North American Decoys at Auction | August 8 & 9, 2023

Guyette & Deeter, Inc.

North American Decoys At Auction

August 8 & 9, 2023

Session Two of the George and Miriam Van Walleghem collection

Guyette & Deeter, Inc.

North American Decoys At Auction

The live auction will be held at the The Venue at Portwalk Place

22 Portwalk Place Portsmouth, New Hampshire

The office is open Monday - Friday 9am-5pm for preview leading up to the sale

Monday, August 7, 2023

Welcome Reception and Preview 4:00 PM - 7:00 PM

Tuesday, August 8, 2023

Preview 8:00 AM - 9:30AM Auction 10:00 AM

Wednesday, August 9 2023

Preview 8:00 AM - 9:30AM Auction 10:00 AM

For questions during the auction call 410-745-0485

If you are interested in viewing a particular piece at the office, please call to be sure it will be available there at the time you plan to visit. We may also be in your area, and so a private viewing may be available. Please contact us for our schedule.

Catalog $45. Out of Country $70

Absentee, Phone & Online Bidding accepted call 410-745-0485 for arrangements

For free decoy appraisal contact:

Jon Deeter | jdeeter@guyetteanddeeter.com | 440-610-1768

Zac Cote | zcote@guyetteanddeeter.com | 207-321-8091

Gary Guyette | gary@guyetteanddeeter.com | 410-745-0485

Cooper Rossner | cooper@guyetteanddeeter.com | 609-560-8028

Important Notices:

■ GUARANTEE - We have made a concerted effort to accurately catalog and describe 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. If we fail to identify a flaw that has an impact on the value, you can return the decoy.

■ DURATION OF GUARANTEE - Requests for a refund on an item purchased through a Guyette and Deeter, Inc. auction must be made within 3 days of the time you take physical possession of your purchases. Whether your items are shipped, delivered, or picked up at the auction site, it is still 3 days from date of possession. This guarantee is null and void if payment is received or mail is postmarked more than 30 days from the sale end date. The guarantee is also null and void if you choose to not take possession of your purchases within the 30 days. If you have paid for your purchases within the 30 days but Guyette and Deeter, Inc is unable to ship your item within the guarantee period, the guarantee will be extended until 3 days from the shipping delivery date. This policy protects our consignors by enabling us to make consignor payments in a timely manner.

■ Under no circumstances will we be responsible for damage to frames or glass, or damage caused by them. Paintings determined to be of high value or large size may be subject to special packaging at the buyers expense. Under no circumstances will we be responsible for damage to fragile decoratives. These items are marked in the catalog with an *.

■ Stands are not included with the decoys or weathervanes unless specified in catalog.

■ All duck calls have condition reports, but are sold “As Is”.

■ Trade Up Program - A limited number of decoys purchased may be paid for by consigning decoys. To participate, please contact our office ahead of time to discuss details.

■ Free appraisals are available with no obligation to consign and any correspondence is strictly confidential.

■ Pick up hours are 1pm – 5pm beginning August 15, or by appointment. Please call ahead so we can have your items ready.

Future Auctions

September 11 & 12, 2023

Fine Sporting Arms

Chesapeake Bay Maritime Museum

St. Michaels, Maryland

November 11 & 12 2023

Decoys, Sporting Art & Americana

Easton, Maryland

February 2024

Fine Sporting Arms

Chesapeake Bay Maritime Museum

St. Michaels, Maryland

Mehves Lelic Fine Art Consultant and Essayist

Josh Loewenstein er F ine Sporting Arms Division Head

J. Wesley Dillon Fir earms consultant

Jon & Leigh Ann Deeter

1210 S Talbot St, Unit A

St. Michaels, Md 21663

Tel: 440-610-1768

jdeeter@guyetteanddeeter.com

Gary Guyette Consultant

St. Michaels, Maryland Tel: 410-924-5678

gary@guyetteanddeeter.com

Lacey & Zac Cote PO Box 347

Freeport, ME 04032

Tel: 207-321-8091

zcote@guyetteanddeeter.com

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

shipping@guyetteanddeeter.com

Mike Stevenson Graphic Designer St. Michaels, Maryland

Tel: 410-745-0485

michael@guyetteanddeeter.com

Denise Jarrell Bookkeeper

St. Michaels, Maryland Tel: 410-745-0485

billing@guyetteanddeeter.com

Allison Banks Office Manager

St. Michaels, Maryland Tel: 410-745-0485

auction@guyetteanddeeter.com

A.J. Smith Photography

St. Michaels, Maryland Tel: 410-745-0485

photography@guyetteanddeeter.com

Mike Roberts Shipping

St. Michaels, Maryland Tel: 410-745-0485

ups@guyetteanddeeter.com

Cooper Rossner

Weekly Auction Manager

St. Michaels, Maryland Tel: 609-560-8028

cooper@guyetteanddeeter.com

Bill Lapointe

Decoy Consultant and Essayist

Swansea, Massachusetts Tel: 774-644-9426

Online Bidding Available for All Guyette & Deeter, Inc. Auctions

The best way to bid online at Guyette & Deeter auctions with the lowest platform fee availa ble. Sa ve up to 4% using our app!

Simply go to bid.guyetteanddeeter.com or use the QR code

Online bidding features real time competitive bidding and live streaming video straight from the auction.

For questions, contact: Cooper Rossner 609-560-8028

cooper@guyetteanddeeter.com 1210 S Talbot St, Unit A St. Michaels, MD 21663 bid.guyetteanddeeter.com

Miniature decorative red tail hawk by Chris Wilson Sold $7,283

Pair of blue wing teal, George Frederick, Phoenix-Davant, Louisiana. Sold! $4,080

“The Eastern Shoreman” goose call by Sean Mann Sold $4,082

Redhead, Mason Decoy factory, Detroit, Michigan. Sold! $6,840

Session One

Tuesday, August 8, 2023

10:00 am

Lots 1 - 241

Session Two

Wednesday, August 9, 2023

10:00 am

Lots 242 - 444

Please read conditions of sale in the back of catalog

The Russ and Karen Goldberger Collection

The Evolution of RJG Antiques

Collecting and dealing decoys for 50 years!

Though we have made the decision to downsize our home, and will no longer have the room to display the collection we have built and enjoyed for decades, we will still remain active in the decoy community. Karen and I have been offering quality decoys for a long time and have built many business and personal relationships that we plan to continu e.

Sa me business, just a new hom e.

- Ru ss Goldberger

Russ and Karen, Portsmouth, New Hampshire The items from the collection of Russ and Karen Goldberger have been marked with the Goldberger collection ink stamp, a design inspired by their logo of the last 30+ years.

Born in Massapequa, Long Island, New York to Maurice and Miriam Goldberger, Russ is a 1963 graduate of Rutgers University, with a degree in economics. After serving as Captain in the United States Air Force from 1963-1967, Russ would enjoy a 15-year professional career with Procter & Gamble in Cincinnati. Eventually serving as Senior Brand Manager and taking the company’s Charmin brand to record market share, sales, and profits. He would develop and launch multiple consumer products while at P&G. In 1977, while still at Procter & Gamble and five years before relocating to Pittsburgh to join SmithKline Beecham as Senior Director of Brand Management, Russ would establish a part-time mail order antique decoy business, called RJG Antiques. The decoy business would remain a part-time endeavor until, in 1989, Russ and Karen moved to New Hampshire and committed to the decoy business fulltime, adding the complementary folk-art business under the name “Russ and Karen Goldberger/ RJG Antiques”.

Russ and Karen would become familiar faces at the major antiques and decoy shows across the country, selling at 20+ shows a year. They were the first decoy dealers and one of the first antique dealers to commit to a full-blown Internet marketing platform, including a major e-commerce website and digital database, matching collector’s interests with available inventory. Russ’s marketing background would be invaluable in growing Russ and Karen Goldberger/ RJG Antiques to become the largest decoy retail business in the country. Between purchasing inventory for their business and representing many collectors at auctions, for a large part of the 1990’s, Russ and Karen became Guyette and Schmidt’s largest buyer of decoys at auction.

Russ and son, Jason Super Bowl XIV, Glendale, Arizona 2015

Russ and son, Jason, circa 1980 at the Muleskinner Decoy Show, Clarence, New York.

In 1993, Russ and the late Alan Haid co-authored the definitive book on Mason decoys, since updated and revised twice. Russ and Karen have operated a large gallery in Rye, New Hampshire for over 30 years and have offered a large and ever-changing inventory of quality decoys and folk art. A highly regarded dealer, author, counselor and broker, Russ has been instrumental in the formation of some of the finest decoy and folk art collections in the country.

Russ and Karen Goldberger at the New York Antique Show

Russ and Karen Goldberger

Russ J. Goldberger (r) and Alan G. Haid (l) with their favorite Masons.

Karen Goldberger with friends, Alan and Elaine Haid in Sedona, Arizona, 2015.

Russ and collector, Barry Serafin, at the Midwest Decoy Collectors Show.

Russ with golf friends, Steve Smith and John Helfrich Portsmouth, New Hampshire

A Personal Note from Russ and Karen…

As decoy and folk art dealers for nearly 50 years, we have had many opportunities to acquire great objects.

Heritage is important. Being from Long Island, schooled in New Jersey, living in the Midwest, and in New England for the past 30 years, we sought great examples by the best decoy makers.

Why did we decide to keep some, upgrade or sell others?

• Decoys, as 3-dimensional objects, had to appeal to us “in the round”. Form is always important to us, and decoys needed to be as created, and in original paint.

• We love a dry surface, usually coming with exposure to the elements and age. Unless varnished at the making, we tended to shy away from more shiny examples.

• Any restoration has to be minimal, ideally none, and only if it was required to restore an otherwise original form.

RJG Antiques Testimonials Throughout the Years

“Thank you for working with me to get the decoys. You have been a big help and a class act about the whole process.”

“I have a great deal of respect for your opinion, and so you taking time to let me know what you think is especially appreciated. We’ve known each other a long time, and during that time I have never heard anything but ‘good things’ about the Goldbergers. That is saying something for both you and your wife.”

“I really appreciate the work you do and very impressed and happy that you have made a living, and left your mark on the world while doing something you are passionate about. You are living the American dream - keep going. Thanks again.”

“I have had several business dealings with Russ Goldberger and have always found him to be a man of tremendous integrity who has a vast knowledge of his field.”

“I would like to thank you for your personalized thank you and offer to follow up with discussion and any questions. These days such personal commitments are more and more becoming a thing of the past.”

“If I were an antique dealer I would operate with the same honesty and willingness to share as you have always done with me. There is a reason for your success and my respect.”

“Thanks, you are by far the best and most understanding dealer I have dealt with.”

“Thanks again, I’ve never had such a pleasant and easy exchange before, U rock.”

SESSION ONE

Tuesday, August 8, 2023 | 10:00am Eastern

Mason Decoy Factory

1896 – 1924 | Detroit, Michigan

Other decoy factories existed earlier but perhaps no one name is more well-known and almost synonymous with the working wooden decoy, than “Mason”. The company was the brainchild of William James Mason, (1846 – 1905) who emigrated to Detroit from Scotland with his parents in 1852. Early in his life, he developed a deep-seated love of the outdoors and became an accomplished hunter and fisherman, plying the waters and marshes around Harsen’s Island and the St. Clair River Delta. His outdoor experiences qualified him for employment, in 1872, as a clerk in the John E. Long Sporting Goods store near the Detroit waterfront. Eventually he, along with partner George E. Avery, took over that business and greatly expanded it to include the wholesale and retail sale of guns, fishing equipment and sporting goods of all kinds. The partners apparently had some differences of opinion and the firm closed in 1888. It is believed that it was at about this time that Mason began to carve his first decoys for sale to fellow sportsmen at Harsen’s Island and around the St. Claire Flats. Early U.S. Patent Office applications indicate that Mason had applied for a trademark on his “Premier” and “Challenge” monikers as early as 1894. Various references indicate that he was producing decoys full time in 1896 out of a small shop behind his home at 49 Tuscola St. Early advertisements in “The Sporting Goods Dealer” show that the Mason Decoy Factory was well established by 1889 and Mason is listed in the 1900 US census as a “decoy maker”. It is

widely assumed that, initially, his decoys were entirely hand made products, although some have stated that he may have had a few lathe turned bodies supplied by the Jasper Dodge factory, also in Detroit. Local sales, as well as mail orders, greatly increased resulting in his move into a mechanized, two story leased facility behind the Nicholson Lumber Co at 456 – 464 Brooklyn, Ave in 1903. The duplicating lathes and other woodworking equipment were located on the first floor, with the office, painting and shipping occupying the second floor. Throughout its existance, Mason decoys were entirely hand painted and the quality of this aspect of the operation has always been its hallmark. By this time, William’s son Herbert had joined the company and supervised most of the daily operations. A number of “grades” of decoys were produced from the elaborate “premier”, through a slightly less refined “challenge”, and a variety of “standard” configurations. Obviously, this made their product appealing to sportsmen and clubs at all economic and/or social levels. The number of species of ducks produced increased, and geese, swans, shorebirds and crows became standard offerings in the catalogs. Always the sportsman at heart, William died in 1905 from pneumonia he developed while sketching ducks in a favorite marsh. After his death, his sons, Herbert and Frederick inherited the business and moved the

Milford St factory

factory to upgraded modern facilities at 5971 – 5975 Milford ST, adjacent to the railroad. Sales continued to originate from direct mail order but outlets were expanded to include individual sporting good stores and national chains, both large and small, throughout the country. The company remained very successful, although seasonally. Herbert, always the businessman, hoping to rectify this, expanded the company to include paint – a move that, again, proved profitable. Herberts growing interest in the line of pain ts, however, and competition from less expensive decoys, resulted in the decoy company closing its doors for the last time in 1924.

Certainly among the most stylish of Masons were his mergansers. The rare, c1910, rigmate pair offered in this sale are immortalized on the cover and on page 73 of Russ and Alan Haid’s reference “Mason Decoys – A Complete Pictorial Guide”. Likewise, the c1905 Challenge blue-winged teal in the collection is a rare example featuring the highly desirable “double blues” on the back. It is pictured on page 58 in the same reference. Of all the shorebird species produced by Mason, the long billed curlews, including the remarkable example being offered, are, as stated by Russ and Alan “- - - the crowning achievement(s) of the Mason factory” . And, “They represent an anchor of many shorebird collections” . Of the enormous number of Mason decoys handled by Russ and Karen, these examples were selected for display in their personal collection in their home.

Herbert Mason and his sons

1

Very rare rigmate pair of American mergansers, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade with incised bill carving and extended crests. Extra feather detailing on drake’s wings. The unusual white-throated hen is an accurate depiction of an American merganser. A signed Limited Edition copy of “Mason Decoys: A Complete Pictorial Guide”, Russ J. Goldberger and Alan G. Haid is included with the decoys. Measure 17” long. Original paint with very minor gunning wear; small dent on underside of drake; tight drying cracks in underside of hen.

Provenance: Ex Dick Clark collection. Ex Dave Shobe collection. Purchased privately in 1990. Russ and Karen Goldberger collection.

Literature: “Mason Decoys: A Complete Pictorial Guide”, Russ J. Goldberger and Alan G. Haid, cover, exact pair pictured. Pg. 17 (exact drake) and 73, exact pair pictured. (30,000 - 50,000)

Collector’s Note: The Mason Factory did not typically differentiate between hen American and hen red breasted mergansers. This hen merganser, with its white throat and breast, is painted distinctively as an American merganser.

Bluewing teal, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade model with early snakey head and incised bill carving. Thick swirl paint with double blue paint pattern. A signed Limited Edition copy of “Mason Decoys: A Complete Pictorial Guide”, Russ J. Goldberger and Alan G. Haid is included with the decoy. Measures 12.5” long. Excellent original paint with very minor rubs; minor flaking around a small knot in back; hairline drying cracks in underside; hairline separation on one side of neck seat.

Provenance: Purchased from a private New England collection. Russ and Karen Goldberger collection.

Literature: “Mason Decoys: A Complete Pictorial Guide”, Russ J. Goldberger and Alan G. Haid, pg. 58, exact decoy pictured. (12,000 - 18,000)

Collector’s Note:

The Challenge blue-winged teal drake is “the best in the world” as far as we are concerned. It has everything we want: desirable species, snakey head style, “double blue” wing patches, and essentially mint condition.

Collector’s Note:

The long-billed curlew is a replacement for the example in our book which we sold (an offer we could not refuse!). We always loved this form, and this one is almost as good. We should have a Mason curlew in our collection, It’s half of our logo.

Large curlew, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Large body with applied head and iron bill. Measures 17” long. Original paint with minor crazing and wear; a couple of tight surface cracks on back from when the decoy was made; small spot of touchup where bill meets face; professional repair to a chip at the front of neck seat.

Provenance: Purchased from Alan G. Haid. Russ and Karen Goldberger collection. (12,000 - 18,000)

Elmer Crowell

1862 - 1952 | East Harwich, Massachusetts

The name Crowell resonates with decoy collectors and lovers of decoy history. His life story is well known. Anthony Elmer Crowell (1862 – 1951) of East Harwich MA, initially worked as a market hunter, then cranberry grower and, eventually, head gunner and shooting stand manager. It is this last occupation that caused him to become one of the most celebrated carvers of all times. The Massachusetts/southern New Hampshire and northeast Rhode Island shooting stands were quite elaborate affairs, usually involving a substantial financial commitment. Some were managed by groups of sportsmen, but some were the private domain of affluent individuals. These men had much in common. They were successful businessmen, industrial leaders, doctors, lawyers, and other professional men. They were educated with ivy league credentials running deep in their blood. They tended to live in the same communities or summer enclaves scattered along the coast. They belonged to the same yacht, golf, and tennis clubs and were members of the same social or fraternal organizations and they gathered in the same private men’s clubs where they would meet for lunch or afternoon cocktails. The “old boy” network was alive and well. It was through these men that Crowell’s name spread, and he became recognized for the exceptional quality of his wooden decoys. His early customers were accustomed to the finer things in life and, when it came to their sporting goods, they demanded, and could afford, the very best. Factory or otherwise commercially available lures existed but, while some were rather nice, most were merely adequate. Soon, orders began to flow into Crowell’s small shop on the outer tip of Cape Cod. It was during this early period that Elmer is credited with producing his finest working ducks and shorebirds, decoys of a quality rarely seen elsewhere at the time. Eventually, as the demands and workload increased, he was forced to abandon some of his earlier carving details and plumage

applications, and his work transitioned to a still wonderful, but slightly less refined and a more purely functional item. His creative urges, however, could not be contained and, ultimately, his production of working decoys greatly diminished and was all but eliminated. He returned to focus on beautifully sculptured and painted work that, this time, was meant to be simply admired rather than stuck on a stick or thrown overboard.

Today’s advanced collectors can thank Crowell’s early patrons, men such as Phillips, Cunningham, Ashley, Hardy, Long, Whittemore and others, with starting Elmer down the path that would eventually earn him the title of “The Father of American Bird Carving”. To this list we can now add the name of Frank Gilbert Hinsdale.

Frank Gilbert Hinsdale (1874 – 1940) was born in Pittsfield, Massachusetts near the border with New York. His father, James, was a successful woolen manufacturer. F Gilbert, or simply Gilbert, (his preferred names) entered that trade as a young man. He went on to receive his Bachelor of Arts degree from Yale University, class of 1898. While at Yale, he was active in a number of organizations including several literary groups. After graduation, he returned to the textile business, becoming extremely successful, influential, and, very wealthy. He became Director of the highly regarded linen firm of Clarence Whitman & Son in downtown New York, and also became the treasurer of the large (1400 employee) Wilkes – Barre Lace Manufacturing Co. in Pennsylvania.

In 1904, he wed his wife, Martha, in a small service in the coastal Massachusetts city of New Bedford. His wife’s maiden name was Means and, after the service, the couple received guests at her mother’s summer house in nearby Mattapoisett. Her father had died in 1891 and her mother, Sophia, had recently built the home in 1902. The Means family

Anthony Elmer Crowell and “the Hinsdale Rig”

were prominent, wealthy members of Boston’s Brahmin Society (read - “old money”) with roots going back to the family patriarch, John, who arrived in Boston in 1718 from Ireland. Hinsdale’s business acumen led to his acquiring the wealth and prestige that allowed him to fit in well with the Mean family. By 1912, he was residing at a coveted Manhattan address with his wife, son and three servants. Martha’s mother died in 1917 and, at some point, the Means gained control of her home at 20 Water St in Mattapoisett, naming it “The Piers”. Eventually, they would split their time between their Mattapoisett and Manhattan addresses.

The Hinsdale’s quickly adapted to their Mattapoisett community and became well known and active in that town’s social and civic affairs. They would eventually donate tracts of land on the waterfront for use as a Town Park which still exists today. F. Gilbert became a respected collector of both art and whaling memorabilia including scrimshaw, logbooks and whalecraft (the harpoons, lances, blubber spades, etc.) used in the once prominent whaling industry in the nearby port of New Bedford. Whaling made New Bedford one of the wealthiest cities in the country by the time the industry peaked in 1857. The “fishery”, as it was known, stubbornly lingered on until the last whaling vessel made a voyage from the port in 1927. Obviously, Hinsdale was well positioned in time and location to amass an enviable collection. Some of his best pieces reside in the New Bedford Whaling Museum today. His infatuation with whaling led to his becoming an avid swordfisherman. He befriended noted whaling artist Clifford Ashley and commissioned him to paint himself at the pulpit (throwing platform) of his boat, the Eliza B Benner, in 1918, about to stick (harpoon) one of the large fish. He became so enamored with the sport that he went on to invent a number of darts (harpoon heads), some of which are still in use today. He commissioned the construction of a large swordfish to serve as a weathervane at the end of the town dock that, after multiple restorations, remains in use there today.

Members of the Means family were known sportsmen and hunters. Some became recognized for their bird carvings while others shot over decoys by noted

New Hampshire carver, George Boyd. They also were associates of other well-known Boston sportsmen, such as Dr. John C. Phillips, and gunned at his stand at Wenham Lake on Massachusetts’ north shore. Hinsdale must have gunned with some of these individuals, for the book, “My Guns” (pub 1941) by William Gordon Means, begins with the posthumous dedication:

To the Memory of F.

Gilbert Hinsdale

Whose good sportsmanship and keen sense of humor Enhanced so many days afield

It is not known how or when Hinsdale became aware of Elmer Crowell, perhaps it was through the Means/ Phillips connection. What is clear, is that he placed an order for a small rig of decoys with Elmer. Crowell is recognized as first using his now famous oval stamp in 1912. The Hinsdale rig are unmarked, indicating that they probably date to a c1910 vintage. The mergansers may have been floated near his home in Mattapoisett, or due to his interest in boating and knowledge of the local waters, they may have been used elsewhere in Buzzards Bay. The usual excellent condition of the decoys in the rig would indicate that they were used with great care, and today offer not only a glimpse into the wide-ranging sporting life of F Gilbert Hinsdale, but also represent the type of exceptional work which A.E. Crowell produced for his earliest influential customers.

Note: Guyette and Deeter would like to thank Jim Cullen and Ted Harmon for the information they provided.

Collector’s Note:

Our rigmate pair of Crowell mergansers are as good a pair of early, working decoys by the master carver that you can find. Hens from this rig are particularly scarce.

4 Extremely rare rigmate pair of red breasted mergansers, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Pre-brand, having been made before Crowell began using his oval brand. From the rig of F. Gilbert Hinsdale, Mattpoissett, Massachusetts. Both with slightly tucked and turned heads, with feather rasping on breast and back of head. Excellent wet on wet feather blending on tail areas and hen’s head. Measure 16.75” and 17.25” long. Outstanding original paint with virtually no wear; fine hairline crack in one side of each neck seat; hairline separation at the wood grain around top of drake’s head and bill; tiny dent on top of drake’s head; these birds were obviously used very little and are in outstanding original condition.

Provenance: Purchased from Ted and Judy Harmon in 2001. Exhibited at the Peabody Museum, the Fuller Craft Museum, the Heritage Plantation Museum, and the Osterville Historical Society 1998-1999. Russ and Karen Goldberger collection.

Literature: “The Songless Aviary”, Brian Cullity, pg. 66, exact pair pictured. (80,000 - 120,000)

5 Large mallard drake, Elmer Crowell, East Harwich, Massachusetts. Slightly turned and lifted head. Fine feather paint detail. Crowell’s nearly complete oval brand on the underside. Crowell made very few mallards in his early years. Measures 17.5” long. Several small spots of touchup on both lower sides; a little on the top of head as well; structurally excellent.

Provenance: Purchased at Guyette & Deeter 2021. Russ and Karen Goldberger collection. (20,000 - 30,000)

Collector’s Note:

The mallard drake was part of a group of a dozen drakes of different species I “picked” out of a northern Maine collection. All have nearly complete oval brands; all are unrigged and mint except for some minor paint pulls, from being stacked together, that were touched up. We had sold this one with the others and later bought it back to keep the memory.

Early miniature hooded merganser, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Wonderful exaggerated crest of head feathers and raised wingtips. Identified and numbered 19 on the underside. Also with the faint remnants of Crowell’s “MFR” ink stamp. Measures 3” long. Excellent paint detail remains bright with virtually no wear; excellent structurally.

Provenance: Purchased at Guyette & Deeter 2013. Russ and Karen Goldberger collection. (2,000 - 3,000)

7 Early miniature pintail, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Raised, slender neck and raised wingtip carving. White painted underside of base with “Pintail 18” and the faint remnants of Crowell’s “MFR” ink stamp on underside. Most of Crowell’s early miniature pintails show damage or repairs to their slender neck and tail sprig. Measures 5” long. Tiny paint flake on tip of tail sprig, otherwise excellent and original.

Provenance: Purchased from Joseph H. Ellis. Russ and Karen Goldberger collection. (2,000 - 3,000)

8 Running black bellied plover, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Outstanding, fat body example with relief wing carving and raised wingtips. Measures 11.75” long. Excellent original paint with very minor wear; tiny chip in raised wingtip; small spot of paint flaking where bill meets face has been darkened; small blood or rust stain on one side of face.

Provenance: Purchased at Julia & Guyette, 1990. Russ and Karen Goldberger collection. (150,000 - 250,000)

Collector’s Note:

The running black-bellied plover was our first serious/expensive auction purchase. We’ve owned it for over 30 years. It’s early, in rare running pose with carved primaries, and in excellent condition. Only a handful of these overly plump, carved wing Crowell’s exist, including a feeder that sold for a world record $830,000 at Guyette & Schmidt in 2006. This plover would be an anchor for any decoy collection!

Collector’s Note: The turned-head plover we purchased privately from a picker/dealer. How many working, Elmer Crowell shorebirds with a turned head have you seen?

9 Very rare turned head black bellied plover, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. With slightly turned and cocked head, which is a very rare feature for Crowell shorebirds. Raised wingtips and fine feather paint detail. Measures 10” long. Excellent original paint with virtually no wear; paint rubs on tip of raised wingtip and edge of tail; some flaking from the hardwood bill and to filler around one eye.

Provenance: Purchased from a New England dealer 2014. Russ and Karen Goldberger collection. (40,000 - 60,000)

Collector’s Note:

The flying goose weathervane bridges our interest in decoys and folk art. Few of these Crowells survived in good condition since they weathered outdoors. Ours is in excellent original condition.

Very rare flying Canada goose weathervane, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Made from a .75” board with applied wings and large brass tack eyes. Inserted copper gusset in stick hole. Measures 29” long. Original paint with minor to moderate flaking; very minor roughness at bill tip; shallow dent in one side.

Provenance: Russ and Karen Goldberger collection. (20,000 - 30,000)

Shorebird Hunting on Long Island

The hunting of migratory shorebirds is not unique to Long Island but, as Bill Mackey observed:

“Since Long Island, without a doubt, means wildfowl decoys to more people than any other spot on earth, that’s the place to start”.

The white man has been pursuing shorebirds on the Island for well over 400 years. New York, first settled by the Dutch in 1609, has the distinction of being one of the very first areas in the New World to be permanently inhabited by Europeans. Other regions were settled shortly thereafter, but none grew as rapidly as did the areas around Manhattan, NY and Boston, MA. Soon, thousands of mouths had to be fed, and wild game, fish and shellfish formed a significant portion of the people’s diet. The early inhabitants often wrote about the abundance of game of all sorts, and certainly, the annual migration of hordes of ducks, geese and shorebirds did not escape their notice. Initially, this bounty was harvested by family members for their own consumption but, as the population grew and urban numbers began to outpace the rural, the occupation of market hunting began to emerge – hunters who would harvest wild animals purely as a commercial venture.

“It was Long Island that supplied the New York game markets for over a century”(Joel

Barber

1934)

Wildlife of all sorts, including shorebirds, were a staple in food markets everywhere. For this venture to be financially viable, it was necessary that the market hunters secure the largest amount of game at the least expense and with the minimum of effort. Game laws were practically non-existent or, at best, poorly enforced. Devices and methods of all sorts were utilized to obtain the game including traps, nets, bait, night shooting, and bigger and bigger guns. Flock shooting was commonplace and large numbers of birds could

be killed with a single shot or barrage. In addition to food, tens of thousands of birds were sacrificed simply to supply the feathers needed to satisfy the fashion whims of the Victorian millinery trade. The widespread slaughter had to eventually take its toll on the animals. Other factors were also involved but, over time, wildlife numbers declined, some due to extirpation and a few to the point of extinction. As this decrease was occurring, agriculture was rapidly improving and expanding. Domestically raised animals and commercially grown fruits and vegetables became more abundant and readily available. Vastly improved transportation could now quickly deliver crops and animals produced at a distance to the burgeoning urban centers. These occurrences were deciding factors that would result in the eventual passing of the market gunner. Life along the coast, too, was changing. Commerce and industry were growing. The economy was improving, and people possessed the means to purchase the domestically produced foods. They also had the leisure time and money to look at game in a new light – that of hunting for sport. This gave rise to the golden age of shotgunning.

Long Island stretches for over one hundred miles from Manhattan in the west to Montauk Point in the east. Along its southern shore, numerous bays, large and small, are found for practically the entire length. Jamaica, Great South, Shinnecock, Moriches, Peconic and other protected bodies of water were surrounded by beaches marshlands and meadows that provided ideal habitat for the, once, clouds of migrating shorebirds – “Snipe” in the New York vernacular. The area attracted a myriad of avian species ranging from the various tiny sanderlings (collectively called “peeps”) to the large willets and curlews. The hunters were far from trained ornithologists and the birds acquired numerous local colloquialisms, such as doughbirds, beetleheads, Calico-backs and an array of other colorful titles. These provided fine sport and some, not all, like those destined for a “peep pie” or a dinner of roasted golden plover, were considered a particular delicacy. The birds would arrive in the Spring and would not leave until the Fall. This provided the new breed of gunners with what became known as the “genteel sport”. It was not necessary to endure the wind, rain, cold and snow with elaborate, expensive rigs. One could arm themselves with a basket of shorebird decoys,

Long Island 1875

“The Christmas Seson -Game Stand at Fulton Market”

A.B. Frost 1878

a whistle, shells and lunch and rest behind a very simple blind on a pleasant day and wait for the gullible birds to come to him or her. If one was coming from the city, as many were, the railroad provided easy, comfortable access to the best shooting grounds over the entire length of the Island.

“Hundreds of Manhattan sportsmen were on the South Bay marshes at daybreak today for the legal opening of the snipe shooting season on Long Island.” (N.Y.Times, July 3, 1906)

The urban sportsman/woman needed decoys and guides to take them to the best locations. Many would need food and lodging if on an extended stay. This meant income for many of the baymen that may have been prior market hunters themselves or the children of market hunters. Many of these men produced the needed shorebird decoys that were either sold locally or in the many sporting goods stores in New York City. Individual homes, simple hotels and grand clubs catered to the needs of the visitors. A few distinct styles of decoys for the birds developed on the Island and each of these had its iconic carvers that were in demand at the time, and equally so by collectors today. The total number of decoys produced probably comfortably totaled in the thousands.

All the while, the human population was continuing to grow. Open and available land continued to give way to development. The once abundant habitat began to be degraded, shrink in size, or disappear entirely. Bird populations also continued to decline. Eventually laws were put in place to offer the shorebirds some degree of protection. An emerging group of conservationists were successful in getting a closed season in New York, making

it illegal to shoot shorebirds from January 1 through June 30. Slowly in the 1900’s, the season was pushed back, first to July 15th, then to August 1st, and finally August 15th.

In 1918, The Migratory Bird Treaty Act prohibited the killing, sale, or transport of migratory birds without approval of the US Department of Fish and Wildlife. This put an end to the (legal) sale of waterfowl and shorebirds. It was the final blow to the market hunter and resulted in the establishment of closed seasons on certain species, including practically all shorebirds. A few, such as yellowlegs and some plovers, retained a highly governed season until 1928 when, finally, it came to an end once and for all. Most of the shorebird decoys were then destroyed or lost to time and the elements.

Easter parade, New York City 1911

Nelson Verity (r) and client

Obediah Verity

1813 - 1901 | Seaford, Long Island, New York

Long Island attracted great numbers of shorebirds and thus, it was home to many carvers of decoys meant to attract them. Some of these men produced lures that were only fair, while others, produced exceptional birds. Many would argue that names at the very top of the list would include Gelston, Bowman, Dilley, and Verity. Ironically, of these, only Thomas Gelston has been thoroughly documented. The other gentlemen are either enigmatic or, at best, only vaguely understood. Among the Verity’s, the picture becomes particularly clouded when discussing the man that, today, most consider the master of the style attributed to the entire family, Obediah.

Uncertainty has surrounded the fine, distinctive decoys of this individual since their existence first became public. As early as 1965, writers William Mackey and Adele Earnest, proclaimed them to be the work of Bellport sportsman, Henry F. Osborne. Some Seaford residents already thought or knew differently. In 1969, George Weeks (1884 – 1977) wrote in “Recollections of Seaford” that “Diah was a great carver of decoys of which I have about a dozen”. In the mid 1970’s, Long Island collectors Bud Ward and George Coombs, with his son, George Jr., in an attempt to finalize the attribution once and for all, visited aged bayman

“Bay Snipe” by A.B. Frost 1895

and carver Andrew “Grubie” Verity (1881 – 1976) in his nursing home and showed him a basket of shorebirds. He first accurately identified some of them with known carvers and then, picking up one of the (so-called) Osborne birds, he stated: “Diah, Obediah”. Even this news was slow to circulate in the decoy community and, as late as 1982, when they had now been assigned to the hand of Verity, his home was listed, erroneously, as being in Massapequa.

The Verity family in Seaford dates back generations to the 1700’s, beginning with patriarch Samuel who was a Revolutionary War Veteran. By the mid 1800’s, the clan had grown to such an extent that Seaford had acquired the unofficial title of “Verity Town”. Men in the family were mostly baymen or worked in closely allied trades. Research by Richard Baldwin and others has determined that no fewer than 16 of the Verity’s carved decoys, and additional family members acted as guides or boatbuilders. To further add to the confusion, various references have identified either 6 or 7 Verity men with the name of Obadiah or Obediah. After conducting an extensive genealogical research project, Baldwin was able to make a rather convincing case that the Obediah of decoy fame was the

son of decoy carver John Henry Verity (1788 – 1866) and his wife Amy, and that his birth and death dates were (1813 – 1901). Further inquiry established that this Obediah worked his entire life as a slow talking bachelor and bayman, but has been unable to determine much else.

The decoys now credited to Obediah Verity represent some of the finest of the classic Seaford school that he is credited with founding. They are represented in the majority of the finest museums, exibitions and collections of decoys across the country. Obediah can rest with the knowledge that his work is now mentioned in the same breath, and held in the same esteem, as that of Boyd, Crowell, Lincoln, Shourds, Cobb, the Toronto Harbor artists, and the remainder of a very short list of the finest shorebird decoy makers from North America.

Andrew “Grubie” Verity carving

Collector’s Note:

I went to high school with Obediah Verity descendants and never knew about their heritage! Years later, long after I left Long Island, I learned about the Verity family’s major contributions to our collecting interests. We have an outstanding feeding dowitcher, perhaps the only known, in untouched original condition. It was found in Canada and offered to me as a package with two Verity Hudsonian curlew (one curlew being a feeder). I had to buy them all, an expensive proposition. I sold the curlews to two advanced collectors and kept the dowitcher. A great trade!

Exceedingly rare feeding dowitcher, Obediah Verity, Seaford, Long Island, New York, last quarter 19th century. Deep relief wing carving and carved eyes. Retains the original hardwood bill that is doweled through the back of the head. Measures 11.25” long. Thin original paint with minor gunning wear; lightly hit by shot; old chip at stick hole; hairline crack in front and top of head with two tiny chips where the bill meets the face; shallow sliver of wood missing on one side from when the bird was being made.

Provenance: Purchased from Howard Waddell in 1995. Russ and Karen Goldberger collection.

Literature: “Decoys: North America’s Hundred Greatest”, Loy S. Harrell Jr., pg. 49, exact decoy pictured.

(100,000 - 150,000)

John Dilley

Quogue, Long Island, New York

Strangely, two of Long Island’s most celebrated carvers, Bill Bowman and John Dilley, have escaped researchers’ efforts to elaborate on their lives.

The first written record of the shorebirds now credited to Dilley appeared in Bill Mackey’s 1965 “American Bird Decoys”. He related that he had acquired a small rig of very finely painted shorebirds from the widow of Jess Birdsall of Barnegat Bay, NJ. With all innocence, he credited Birdsall with their creation. Fairly quickly, however, due to the quality of the painted plumage, speculation centered around the possibility of Elmer Crowell from Cape Cod as the maker. Within a brief period of time, and with additional collectors entering the search, Mackey had to concede that his initial assumptions were incorrect. This was largely due to the fact that most of the “newly discovered” decoys seem to have been found on Long Island, not Barnegat Bay or Cape Cod and Mackey felt that their origin was, most likely, from the area of Quogue, on eastern Long Island. Early reports started to emerge that some had been found with a green stencil with the word “Dilley” and one collector stated that he had found six in a box with the name “John Dilley” on the box, suggesting that they were commercially available. Perhaps foolishly, some even went so far as to feel that the attribution stemmed from

of Decoy Magazine, he reported that he had also seen one example with the brand of “Henry and Squires, NY” Henry C Squires was a respected sporting goods dealer on Broadway in downtown New York City. With that lead, an entry was finally located in an 1890 version of Squires’ catalog showing that he was, indeed, offering these decoys to sportsmen. At that point, the trail ran cold and nothing of significance, seemingly, has been added to the story.

What remains are the decoys themselves, almost universally acclaimed as being among the very finest of their kind from the entire flyway. Based on form alone, Gigi Hopkins has stated that: “ These decoys are ‘birdy’ – you don’t have to see the paint to know what shorebird is being represented” . The details in the painted plumage, however, are extraordinary and far exceeded the norm for the period. Carved as working vs mantel birds, the minute detail and perfectly blended surface clearly identifies each intended species.

John Dilley can rest with the confidence that his work is now so widely admired and accepted as the pinnacle of excellence in a working shorebird.

“The Best shorebird he (has) ever seen”

-Cleon Crowell, son of A.E. Crowell

12

Very rare ruddy turnstone in spring plumage, John Dilley, Quogue, Long Island, circa 1900. Carved wing model with glass bead eyes and detailed paint pattern. Measures 9” long. Original paint with minor gunning wear; typical flaking on the hardwood bill; excellent structurally.

Provenance: Ex Jim Cook collection. Purchased from Jim Cook in 1989. Russ and Karen Goldberger collection.

(60,000 - 90,000)

Collector’s Note: We have two John Dilley shorebirds, a rare ruddy turnstone and a black bellied plover, both in spring breeding plumage. The turnstone is ex Jim Cook collection. I sold the plover to a customer some years back and when he asked us to help him reduce some of his collection years later, we opted to keep it.

“Whoever he was, Dilley had intimate and detailed knowledge of the complex and often confusing seasonal plumage phases of shorebird species. No other painter depicted as many different plumage phases, and no one else lavished such attention to detail. Dilley’s paint was applied layer upon layer in thin strokes with an extremely fine brush to create an extravagantly complex surface.”

- Robert Shaw – Ex Curator Shelburne Museum

Black bellied plover, John Dilley, Quogue, Long Island, circa 1900. Carved wing model with glass bead eyes and excellent paint detail. Measures 10.5” long. Outstanding original paint with virtually no wear; shallow dent with roughness on one wing, otherwise excellent structurally.

Provenance: Russ and Karen Goldberger collection. (30,000 - 50,000)

William Bowman

Long Island, New York and Maine

Beautiful decoys, especially shorebirds, by the hand of an extremely talented, but unidentified, carver had been known in the decoy community since the early days of Joel Barber (1876 – 1952). The work was of such a high standard that the only other known carver of the day with those abilities was Elmer Crowell and, thus, some early writers attributed the decoys to him. Not satisfied with these assumptions, authority, historian, and author Bill Mackey made it his quest to identify the carver. In 1966, his search led him to the law offices of the Herrick family in New York where he discovered a large, diversified, previously unknown, group of the shorebirds. Harold Herrick Jr proudly, and with certainty, identified them as belonging to his grandfather, Harold Herrick (1854 - 1933), a wealthy insurance executive from Far Rockaway. Mackey was informed that Harold Sr had two sons, Harold H and Newbold L and the Herrick family had used the birds in their shorebird rig while hunting in Lawrence, Long Island. Harold Sr was an avid sportsman belonging to the Linnean Society as well as the Century, Down Town and Rockaway Hunting Clubs. Attorney Herrick apparently either told or led Mackey to believe (perhaps through family oral history) that the birds were carved by a Bill Bowman and provided proof of the existence of the individual by pointing out two entries in Harold Herrick Sr’s hunting journal:

August 21, 1890: “Old Bill Bowman who gave me the place had killed four before I arrived”

August 31, 1891: “Bowman has been in tent for a month has not got over six birds any day”

Bowman was described as a cabinet maker from Bangor, Maine who traveled to Long Island annually to hunt shorebirds. He was somewhat of a hermit, residing in a tent on the beach or in a local fishing shack, venturing out only when funds or his favorite beverage ran low. He is reported to have stopped coming to the Island in the early 1900’s. Since that initial visit of Mackey with Herrick, multiple researchers have tried to track down the elusive Mr. Bowman. It was discovered that there was, indeed, a William Bowman who lived, not in Bangor, but 12 miles NNE in Old Town, Maine. Both Bangor and Old Town are on the banks of the widely traveled Penobscot River. This William Henry Bowman (1824 – 1906) was a sawmill worker as opposed to a cabinet maker. He and his wife, Bertha (1826 – 1885) had a son William who died young at age 12. In the 1870 census

he had real estate valued at $1800 and personal property valued at $600, certainly not wealthy but above that of his immediate neighbors. The 1880 census shows that he and Bertha had taken in her aunt who is listed as being a “domestic servant”. Speculation has suggested that these meager facts support his being the William Bowman of decoy fame. He apparently had somewhat sufficient funds and, since the mid 1880’s, having lost both his son and wife, had the freedom to travel to hunt. His death is blamed on “senility and heart failure” and occurred within the dates which Herrick indicated that Bowman had stopped coming to Long Island. Despite the fact that this information seems to somewhat correspond with the Herrick narrative, there is still no certainty that this is the same “Old Bill Bowman” that “ - - has been in tent for month” in Lawrence during 1890 and 1891.

Fast forward to 2003 when Long Island researchers, Jamie Reason and David Bennet, published in Decoy Magazine, a photograph labeled “Charles Bunn with his duck decoy display at the National Sportsman’s Show in New York c1920” . Charles Sumner Bunn (1865 – 1952) was a guide and a member of the Shinnecock tribe of eastern LI. The duck decoys in the photo certainly appear to be identical to those previously attributed to William Bowman. This led them to suggest that, because these decoys seem to have been carved by Bunn, then, the shorebirds attributed to Bowman must, also, be by Bunn. They and others have since offered additional information in support of their Bunn attribution.

Perhaps no other single controversy has so widely, strongly, and sometimes bitterly, divided the decoy community and opinions are rigidly held on both sides of the argument. We encourage further research and civil discussion.

One fact remains undisputed. The decoys stand on their own merits, and the

Collector’s Note: There are two styles of Bowman plover and this is the more desirable one. It was acquired from Richard Oliver in a private sale. I traded him a couple of lesser decoys and some cash. A good trade.

14 Golden plover, William Bowman, Lawrence, Long Island, last quarter 19th century. Deep relief wing carving and raised wingtips. Measures 11.25” long. Original paint with very minor flaking and wear; a few tiny dents and shot marks, approximately half of the bill is an early professional replacement

Provenance: Purchased at Richard Oliver Auctions 1991. Russ and Karen Goldberger collection. (40,000 - 60,000)

outstanding quality of the shorebirds involved unquestionably and justifiably places them in the category of some of the finest of their kind ever created. Jane Townsend of the Museums at Stony Brook aptly describes the birds as follows:

“The decoys of William Bowman are tours de force of remarkable realism. They combine a craftsman’s absolute control of his medium and a naturalist knowledge of the physical structure and behavior patterns of birds”.

Langdon Fishing Station, Lawrence NY c1908

Thomas Gelston

1851 - 1924 | Quogue, New York

Thomas Gelston was born into wealth. His father George S. was a jeweler by trade and apparently very successful, for the family, even after the death of the patriarch, always enjoyed the services of assorted maids, servants and cooks. Thomas did not follow in the family business and occasionally held a variety of jobs ranging from working in a grocery store to serving as an Inspector in Civil Service. For much of his life, however, he seems to have relied on the family monies and he repeatedly lists his occupation as having his “own income”. In 1875 he married his wife Elizabeth and they had one son and one daughter. Unfortunately, his wife passed away sometime prior to 1910. His leisurely lifestyle seems to have allowed adequate time to hunt and perhaps fish. As a boy, he hunted around Sheepshead Bay and later near Quoque, NY. One of his limited financial ventures was selling so me of his decoys through the firm of Abercrombie and Fitch in downtown , New York. Today his carvings are considered to be among the best of the shorebirds produced on Long Island.

15

Large curlew, Thomas Gelston, Quogue, Long Island, 1st quarter 20th century. Deep relief wingtip carving and tucked head. Measures 17” long, and 3.5” wide. Original paint with moderate crazing and minor wear; curlew appears to have rubbed against other birds from the rig when the paint was wet; lightly hit by shot; hairline crack through neck; minor flaking to filler on underside of breast where a strengthening nail was added from when the decoy was made.

Provenance: Purchased from Alan Haid. Russ and Karen Goldberger collection. (12,000 - 18,000)

The Theodore Rogers Rig

Jamaica, New York

A well-known rig of appealing, plump, tucked head, Long Island shorebirds proudly bear the bold brand of “T Rogers”. These delightful decoys have been traced to the rig of Theodore Rogers (1831 – 1903) of Jamaica.

Mr. Rogers’ parents died when he was not yet seven years old and, by the time he was 17, he and his brother and four sisters were listed as boarders in the home of Ruben (a NY city furniture maker) and Marie Rogers. Educated at the Union Academy, he soon entered into the world of banking, first as a messenger and teller at the American Exchange Bank in NY, then moving to the National Shoe and Leather Bank and, finally, becoming head teller at the Bank of the Metropolis in NY. At that institution he rose through the ranks to ultimately assume the role of President and, after his retirement due to ill health, President of the Board of Directors. His position and business acumen allowed him to amass a sizable estate of 3 million dollars by the time of his death.

He never married and, for many years boarded on the large farm of Mr. and Mrs. William Williamson in Jamaica. He also maintained a cottage of his own at Three Mile Mill on the shore of Jamaica Bay where he entertained his guests and spent his leisure time. As noted in his many obituaries from as far away as Ohio and beyond, he was active in a number of local organizations both in New York City, as well as Jamaica, and other points on Long Island. In the City he was a member of the Metropolitan Museum of Art as well as the Aldine Association, a private men’s club on Fifth Avenue where he dined on “oysters, turtle soup, and roast or broiled brant duck” . His obituaries note that he was “one of Jamaica’s leading men - - - -. He (also)

served as Justice of the old village and -- - was one of the original organizers of the Jamaica Rod and Rifle Association”. “He was a good live shot and was never happier than when on a gunning expedition” . He owned 3000 acres of land in South Carolina which would ultimately become the famous Pilentary Hunting Club in Carteret County. Other noteworthy sporting activities included membership in The New York State Association for the Protection of Fish and Game, the private Wyandanch Club of Smithtown, the Carman’s River Fishing Club of Brookhaven and the Bellport Gun Club of Great South Bay, all on Long Island.

His shorebird decoys were carved by at least two different makers, and he marked those in his personal rig with his now, well-known brand. It is unknown if he actually made any of the decoys himself or they were by the hand of one or more other individuals. His “appealing, plump, tucked head” models, however, are now considered icons among the finest of the many Long Island shorebirds.

Collector’s Note:

The Theodore Rogers rig dowitcher in spring plumage is not only a rare decoy (there are many more examples in duller fall plumage), but it also carries the Fosdick brand in addition to the Rogers’.

16

Rare and excellent dowitcher in spring plumage from the Theodore Rogers rig, Long Island, last quarter 19th century. Large carved eyes.

“T Rogers” branded on the underside. Also branded “S. Fosdick”. Measures 11” long. Original paint with minor flaking and wear; under a thin coat of varnish; small knot in underside has risen slightly; small chip at stick hole.

Provenance: Ex George Coombs, Jr collection. Russ and Karen Goldberger collection. (8,000 - 12,000)

Line drawing of T. Rogers

John Sheldon Fosdick

1881

1969 | Jamaica and Massapequa, New York

The “J.S. Fosdick” brand was identified as that of John Sheldon Fosdick by his nephew, Steven Fosdick (1942 – present). Stephen is the son of Willis Fosdick, John Sheldon’s brother. Unfortunately, not a great deal is known about J.S. Fosdick. He was the son of attorney John B. Fosdick of Jamaica, New York, a noted sportsman of his day. John S followed in his father’s chosen profession and, he too, became a practicing attorney. He married Isabelle (“Belle”) Helen Jackson in 1907 and they had 4 children (J. Sheldon Jr, Gwendolyn, Louise, and Willis). For many years the family resided at 50 Bergen Avenue in Jamaica, and he became quite successful. In 1920, the family had 2 servants and, in 1930, his home was valued at $100,000, at least double the value of any of his immediate neighbors. By 1940 he had moved, and his new home was on the water, near Jamaica Bay with its islands and marshland at 165 Ocean Avenue in Massapequa, NY.

For much of John’s life, shorebird hunting on the Bay was a popular pastime. He could have hunted a wide variety of species through 1918 (he would have been 37) but became limited to basically yellowlegs and black bellied plovers from then until 1928, when all shorebird hunting was outlawed. He made his own shorebird decoys, and these carry his familiar “J.S. Sheldon” rig brand.

Other decoys, those from the well-known Theodore Rogers rig of Jamaica, NY (Theodore Rogers, 1831- 1903) also carry his brand. These could have been used to simply fill out his rig, even though they included some species outlawed in 1918. It is also possible that he somehow acquired the Rogers decoys and simply kept them in his collection as a remembrance of earlier days and branded them with his working identifier. Exactly how he came into possession of these decoys (T. Rogers), however, is uncertain.

It is rather doubtful that he received the decoys directly from Rogers – Fosdick would have been only 22 when

Rogers died at age 72. He may have acquired the Rogers decoys in a variety of ways. Perhaps he simply found them or purchased them from someone locally. The most plausible explanation, however, is that he inherited them from his father, John Baylis Fosdick (1855 – 1898) or even his grandfather, Morris Fosdick II (1814 – 1892).

Both of these men were professionals who were active in local affairs and contemporaries of Rogers but, of the two, John Baylis Fosdick shared the most similarities with Rogers. According to J.B. Fosdick’s obituary, he was “- - - - also instrumental with others in organizing the Fulton Sharpshooters (in Jamaica) who for several years held annual target shoots in the village on Thanksgiving Day. He was (a) favorite among the sportsmen who visited Jamaica Bay and his Sea Breeze cottage at the Three Mile Mill was a favorite resort”. Theodore Rogers was president of the Jamaica Rod and Rifle Club and perhaps the two clubs competed on Thanksgiving. In addition, Rogers, like J.B. Fosdick, “Had a cottage at Three Mile Mill” . In an 1882 “History of Queens County”, Fosdick’s grandfather, Morris Fosdick, was described as a wellknown professional in Jamaica. He was a surveyor, lawyer, and educator. He, too, was active in the affairs of the community and “ - - - has devoted his attention to the affairs of the Jamaica Savings Bank, of which he has been the treasurer since its organization in 1866”. Rogers was President of a large N.Y City bank and in small Jamaica, NY in the late 1800’s. It is very probable that the two men knew one another through their mutual interest in banking.

As mentioned earlier, we will probably never know how a portion of the Rogers rig ended up in Fosdick’s possession. Descent within the family, however, especially from his father, would seem a very real possibility.

17 Yellowlegs from Long Island, New York, last quarter 19th century. Branded “J.S. Fosdick, Massapequa L.I.” on the underside. Measures 9.5” long. Excellent and original.

Provenance: Ex Hal Sorenson collection. Russ and Karen Goldberger collection.

(3,000 - 4,000)

Collector’s Note: The Fosdick yellowlegs was our first “expensive” decoy purchase. This was back in the 1970’s. We had a business trip to Minneapolis, diverted to Chicago on the way home to Cincinnati, and caught the National Decoy Show at Oakbrook, Illinois. I was blown away! I met Hal Sorenson who had this interesting shorebird with a very skinny neck. I liked it, but the clincher was its maker’s brand “J.S. Fosdick, Massapequa, LI”. That’s where I grew up and my best friend was Steve Fosdick, grandson of the brand’s owner!

Ward Brothers

Crisfield, Maryland

Lemuel Travis Jr (1896 – 1984) | Steven Wesley (1895 – 1976)

The mere mention of the word “Chesapeake” stirs the imagination of duck hunters across the country. Names such as Havre de Grace, “The Flats”, “The Eastern Shore” and others are legendary. The bay was a magnet for multitudes of migrating waterfowl annually. In turn, the ducks have attracted man for centuries, first for food and then for sport. Their pursuit of the ducks was relentless. They hunted the birds day and night using tools now outlawed such as night lights, bait, and the famous (or infamous) sinkbox. The guns ranged from fine sporting doubles to multi barreled “battery guns” and what were, basically, boat mounted small canons designed to spray immense charges of shot into a resting or startled flock. The massive numbers of ducks drew comparable hordes of men. Some formed large, comfortable club houses for the elite and affluent, groups of locals built simple shanties scattered across the marshes, and others made do with simple solitary blinds on remote points and inlets. All of this activity required decoys – lots and lots of decoys, and men throughout the Bay area rose to the task and began to carve. Obviously, some were more talented than others.

At the southern end of Maryland’s eastern shore, in Crisfield, the “town built upon Oyster shells”, two brothers, Lem and Steve, followed in their father’s footsteps and became barbers. Obviously not a get rich quick scheme in a small waterfront community of working baymen. Like many of their neighbors on their remote peninsula, they hunted ducks. This required decoys and they, like others, carved their own. Theirs, however, were different – they were better- much, much better. Word of the quality of their work began to spread, first among their neighbors and soon, far beyond tiny Crisfield. Orders for decoys began to flow in from both stores such as VL&A, clubs, and individuals, to the point where the barbershop was abandoned and transformed into their workshop.

Their work is remarkable in a number of ways. It was always outstanding but unlike other carvers, the men seemed to never be satisfied. Most makers would develop a style of their own and then stick with that

design with perhaps only minor modifications for the remainder of their careers. Not so the Wards. They possessed boundless creativity and over time, they carved a dizzying array of styles, each intended as an improvement on past efforts and always seeking the perfect decoy. These have been categorized in a number of ways, some based on form such as “fat jaw”, “Knot head” or “humpback”, others by the style created for a particular club such as “Bishop Head”, and some by the time frame in which they were made, with their “classic 36” being a good example.

With the passage of time, “modern” materials greatly diminished the demand for the working wooden bird. Fortunately for the Wards, this happened at a time when their reputation and talent was reaching its apex. For them, it was a simple process to transition from decoys meant for the water to birds destined for the mantel. This was largely due to the rapidly growing number of collectors who were now flooding the men with orders. Fortuitously, this gave the Wards the opportunity to create some of their finest and most stylistic and dynamic works. Carvings began to emerge from their small shop that were basically unknown by others at the time. The Ward’s began to produce birds in forms previously only glimpsed in nature.

The two men possessed a number of additional talents. They both loved to sing, write and recite poetry, and both were proficient with flat art. For all their lives, however, the brothers remained reserved and humble.

They would often be seen riding their bicycles around Crisfield insisting that they were simply “two dumb old country boys” . The wider decoy community, however, knew better. They were often called upon to act as judges for the growing number of decoy carving contests nationally and, in 1974, the brothers were given honorary doctoral degrees by Salisbury State College. In 1979 Governor Hughes made Lem Ward a living state treasure for the contributions he made to American Art. He was recognized in 1981 by President Ronald Reagan and, in 1983, Lem was named a National Endowment for the Arts Heritage Fellow. Today, a fine museum with a national reputation has been established in their name.

Lem was married to Thelma G Coulbourne and they had a daughter, Ida. Steve was a devout bachelor. Steve died in 1976 after a bout with cancer and Lem, heartbroken, slowly began to succumb to a number of significant, debilitating health issues, joining his brother in 1984. The two men rest today in Crisfield.

Lem Ward

Steve Ward

18

Pintail drake, Ward Brothers, Crisfield, Maryland, circa 1930. Long body, beaver tail style with slightly humped back and wide upswept tail. Measures 19.25” long. Original paint with moderate gunning wear; very minor roughness at tip of tail and one side of bill; minor separation at a small knot in one side; two small post beetle holes in one side; very minor flaking and separation at neck seat; drying crack along the underside.

Provenance: Purchased at Guyette & Schmidt 1992. Russ and Karen Goldberger collection. (60,000 - 90,000)

Collector’s Note: We had admired a beaver tail style pintail in the collection of Alan Haid and when this one became available over 30 years ago, we had to have it. One of our favorites.

Contrast this Ward pintail with our Charles Walker pintail (lot 27). Same species, different carver, different gunning area. The Ward is beefy and designed for use in rough salt water. The Walker is sleek and hollow with elaborate feather paint, intended for use in fresh, inland water. We are fascinated by the different artists’ interpretation of the same species.

Collector’s Note:

We bought our Ward Brothers ‘36 bluebill privately. We had always wanted one, and with its pristine condition and exceptional paint detail, this was the one for us.

19

Excellent bluebill drake, Ward Brothers, Crisfield, Maryland. 1936 style with slightly turned head and thick stipple paint. Extra feather detailing where black of breast meets the body. Also on the back near tail area. Faint collection ink stamp on the underside of tail. Decoy was never rigged or weighted. Measures 15” long. Excellent original paint with only minor paint rubs on the extremities; separation at filler on top of head where it has risen slightly with a small flake off of one side

Provenance: Ex Bobby Richardson collection. Ex Rennie Walt collection. Purchased from Rennie Walt 2016. Russ and Karen Goldberger collection.

(30,000 - 50,000)

In 1933, the Ward Brothers received a decoy order from the Bishops Head Gun Club in Dorchester County, Maryland. This was not an unusual occurrence for them, but for some reason, whether at the request of the club’s owner, or perhaps creative inspiration, they decided to make several of the species in this order different from others carved in that time period. The pronounced apron under the tail, the distinctive head and bill carving, and the squared off tail are all identifying characteristics that separate this club’s special order from other Ward decoys made in the 1920s and 1930s.

Canada goose, Ward Brothers, Crisfield, Maryland, circa 1933. Rare, Bishops head gun club style, with slightly forward head pose and typical hump under tail. Measures 26.75” long. Original paint with moderate gunning wear; tight drying cracks in breast; small dents and shot marks; tight cracks at neck seat with a spot of old filler on back of neck seat; spots of touchup to black on head and neck; professional repair to the bottom third of bill by Grayson Chesser.

Provenance: Purchased from Grayson Chesser in 1989. Russ and Karen Goldberger collection.

(30,000 - 50,000)

Collector’s Note:

About the time of my 50th birthday, Grayson Chesser came up with our Ward Brothers Bishop’s Head Gun Club belligerent goose. We had always admired its unique style from the first time we saw another in Alan Haid’s collection. Thick original paint typical of the Wards and with only a minor bill chip repair, which Grayson fixed for us. Unable to improve upon it, we have kept it all these years.

Ira Hudson 1873 - 1949 | Chincoteague, Virginia

Perhaps as a sign of the times in which Ira Hudson lived or because of the remoteness of his world, the family did not know the exact date of his birth. While it is assumed to be between 1875 and 1877, most references show it to be 1873. He apparently thought he was born in Delaware. He was actually born in Bishopville, Maryland to Ananias Hudson and Mary Elizabeth Beebe and was reportedly given the middle name of the family’s favorite minister. His family was accustomed to working with their hands and earning a living around the water. In a 1900 census, his father was listed as a “house carpenter” and his uncle as a “lighthouse keeper.” These family occupations apparently influenced Ira’s choice of careers for he is listed as a “waterman” in 1900 and as an “oysterman” in 1910. He married Eva Bowden and the couple raised twelve children on Chincoteague.

Ira never achieved any level of great financial wealth, however, the family never seemed to be deprived of a comfortable existence. Family was very important to Ira and, even in his later years, he enjoyed getting together with them on Sundays. His success was due in part to Hudson’s willingness to do whatever was necessary to provide for their well-being. He clammed, fished, oystered, and raised his own chickens. He built boats, took on carpentry projects, and he carved decoys. It is this last endeavor that brought him some degree of fame during his life, and even higher acclaim after his death.

Ira and Eva Hudson

Collector’s Note:

This little dowitcher was part of a small rig of Ira Hudson shorebirds and ducks found by John D. Showell on a farm he purchased in Taylorville, Maryland in the early 1970’s. Although the rest of those found were sold to early collector Bill Purnell, Mr. Showell decided to keep this one, the smallest example with the most prominent raised wing and fullest belly. Upon Mr. Showell’s death, some 40+ years later, the dowitcher was sold at a small estate auction on the eastern shore of Maryland with the balance of his personal estate.

21 Exceptionally well carved dowitcher, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Fine form with raised “V” wingtip carving. Measures 7.5” long. Original paint with minor wear; very lightly hit by shot; short thin crack at back of head; small amount of wear to wood at wingtips; the original bill was professionally resecured.

Provenance: Purchased from Dick McIntyre. Private Texas collection. Russ and Karen Goldberger collection. (25,000 - 35,000)

Harry Vinuckson Shourds

1861 - 1920 | Tuckerton, New Jersey

Arguably the most important decoy carver from the Garden State, Shourds’ work sets the standard by which all other decoys from the State are judged. The son of a “waterman” and “yachtsman”, Harry was born in Egg Harbor along with his seven siblings. Through at least 1900, he had no listed occupation, but he undoubtedly found ways to exist in a waterfront community of oystermen, fishermen and baymen. By 1880 he had moved to Tuckerton and, in 1884, he wed Mary Agnes Bartholomew and the couple raised their four children on Water St in that town. The family relocated to Ocean City, NJ by 1915, but returned to Water St on Tuckerton Creek where they remained for the rest of his life. From 1910 until his death, he considered himself either a “carpenter” or a “painter”. Oddly, he never appears in the print of the day as being the major decoy maker which he was. Bill Mackey wrote in 1965 that he felt that “Nuck did not make the first decoys used in these parts, but he did make the most, and in my judgement, as fine a stool as anyone before or since”. “Harry - - - did not make any significant changes in decoy design or construction. He simply made them as good or better than the other makers”. Although no concrete number has been established, he undoubtedly produced more decoys than any other carver of the time. Quoting Mackey again, “he- - - made hundreds of dozens of decoys per year and this continued for over twenty years” and “the only statistic available is that he was the largest shipper on the railroad in Tuckerton”. He is said to have guided and, in addition to his carpentry, painting, and decoy carving, his grandson relates that “he gunned (market hunted), shot ducks, picked them, packed them in ice, and shipped them on the railroad in barrels. They would save the feathers and my grandmother would make pillows and feather beds out of them”. His grandmother must have been a hard-working woman as well for in addition

to keeping house, raising four children, picking ducks and sewing pillows, she also found time (c1910) to work as a “washwoman”. When their daughter Maggie died of diphtheria in 1912, Harry and his wife raised her two children.

Shourds’ decoys closely followed in the established carving tradition of coastal New Jersey. The widely popular Barnegat sneak box (hunting boat) influenced the choice of decoys. This was a small (usually 12’ or less) shallow craft with limited freeboard and storge space on its decks. The preferred decoys were normally standard size with inlet weights to maximize the number of decoys that the hunter could carry as well as being hollow carved to reduce the weight of the load. Harry became quite adept at producing his decoys and it has been said numerous times that he would sit down in a barber’s chair and whittle out a finished duck head by the time his haircut was finished. His painting background allowed him to apply an attractive, effective, and durable finish to his birds. The majority of his carvings are of geese, brant, black ducks and bluebills with lesser numbers of other species. His mergansers are considered scarce, and represent some of his finest work. With all the labor involved, he sold his finished decoys, ready to hunt over, for a mere $6.00 per dozen. Largely through word-of-mouth, his reputation resulted in the decoys finding their way into rigs from as far away as Maine and Georgia. He passed on his carving skills to his son, Harry Mitchel, who in turn passed the tradition to his son,

Harry V with some of his decoys

Harry and his great grandson (c)

Harry and Agnes Shourds

Harry V 2nd. The family finally received its due recognition in 1989 when Harry 2nd received an award from The National Endowment for the Arts.

Without a doubt, he is widely acclaimed as being one of the true decoy carving greats from anywhere in North America and certainly represents the pinnacle of the New Jersey decoy caving community during its golden age. His work has been included in practically every major decoy exhibition in the United States and is an indispensable addition to any quality regional collection.

Typical Barnegat sneak box

Collector’s Note:

We have always had an affinity to New Jersey decoys, perhaps because they are carved in the round, hollow, or because I went to Rutgers! Harry V. Shourds was the creator of this style, so we gathered great examples of his work. The mergansers we purchased in two separate auctions, years apart. Amazingly the mergansers could be rigmates with similar wear patterns. Harry V. Shourds bluebills are extremely rare in strong original condition. The Canada goose came in a private sale from Gary Guyette over 30 years ago.

Pair of red breasted mergansers, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Hollow carved with extended crests and tack eyes. Relief bill carving and inlaid lead weights on the underside. Drake is stamped “103D”. Measure 16” and 17” long. Original paint with minor to moderate flaking, mostly on one side of drake; very minor separation at hen’s body seam; hairline crack to underside of drake’s tail; drake’s bill was cracked down and reset with two small nails a long time ago.

Provenance: Hen was purchased at Richard Oliver Auctions 1991. Drake purchased at Guyette & Schmidt 1995. Russ and Karen Goldberger collection.

Literature: “Classic New Jersey Decoys”, James R. Doherty, pg. 48, exact hen pictured. “The Great Book of Wildfowl Decoys”, Joe Engers, pg. 118, exact drake pictured. (60,000 - 90,000)

23

Bluebill drake, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Hollow carved with raised neck seat and painted eyes. Inlaid lead weight on the underside. Also with initials “T.F.P.” carved on the underside for the rig of “Bud” Terrence F Parson of Tuckerton, New Jersey. Measures 14” long. Excellent original paint with very minor wear; fine hairline cracks and minor roughness on edge of tail; crack in neck was tightened.

Provenance: Purchased from a private Texas collection 2013. Russ and Karen Goldberger collection.

(15,000 - 20,000)

Excellent Canada goose, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Hollow carved with raised neck seat and tack eyes. Relief bill carving and inlaid lead weight. Measures 24” long. Original paint with minor gunning wear; very minor roughness on edge of tail; slight separation at body seam; tight crack on bottom piece under tail; professional neck crack repair; small amount of touchup on tip of bill; tight drying crack along back and tail

Provenance: Purchased at Guyette & Schmidt 1991. Russ and Karen Goldberger collection. (25,000 - 35,000)

Charles “Shang” Wheeler

1872 - 1949 | Stratford, Connecticut

A number of stories exist about how Charles acquired his odd nickname. Some say a group of old oystermen, after being the brunt of one of his practical jokes, labeled him after the “Shanghai” oyster, a bivalve known because of its particularly crusty nature. Others, due to his 6 ft height, named him after the “langshangs”, a particularly tall breed of chickens. Still others claim that his schoolmates called him that after B.T. Barnum’s Chinese giant named “Chang”. Whatever the origin, the name stuck for life.

His mother died when he was very young and, seemingly, he was passed around in the family in his youth. Somehow, he managed to acquire a high school education. As a young man, he ended up largely “fending for himself”, working variously as a farm laborer, market hunter, Grand Banks fisherman and tugboat worker. By 1907, he found his life’s calling, working for and eventually, becoming manager of, the Connecticut Oyster Farms in Stratford. Here, he remained until he retired in 1947, when a grateful employer allowed him to retain his desk at the company docks.

Shang was not only tall in stature, he was also a towering figure on the sporting scene of his day as well. As a young man, he enjoyed boxing, breeding sporting dogs and cock fighting. Most of all, he was an avid outdoorsman,

thoroughly enjoying hunting, fishing, and camping, most often on the Connecticut shore and in the forests of Maine or Canada. He became an ardent conservationist, leading him to become a political cartoonist addressing environmental issues. These causes became so deeply engrained in his nature that he became a State Senator, member of the State Fish and Game Commission and Chairman of the State Shellfish Commission. He never married and spent the vast majority of his life as a boarder in the home of fellow oysterman, Ed Bond and his wife Fannie at 272 Johnson Ave in Stratford.

His artistic efforts were many and, seemingly, entirely self-taught. He was an accomplished artist and carver of both waterfowl and fish. His decoys were particularly exquisite for their day. He followed the lead established by his predecessors, Albert Laing (1811 – 1886) and Ben Holmes 1843 – 1912), however, it was a classic case of the student surpassing the teacher. He went on to win almost every decoy carving contest of his day, beginning with the Bellport (NY) Decoy Show in 1923 and continuing with a lengthy string of multiple year ribbons at the National Sportsman’s Show in New York City, culminating with his taking the grand prize there in 1947. He voluntarily stopped entering, claiming “it’s time to give someone else a chance”. He became the undisputed leader in the “Stratford School” of carvers that were to follow. Numerous individuals sought his advice and went on to produce many fine decoys in their own right – some are credited with producing decoys equal to that of Wheeler. Shang carved purely for his own enjoyment and is not known to have ever sold a decoy. In fact, he once turned down an offer by auto magnate William Chrysler of $15,000 (worth well over $100,000 today) for thirty pair of his waterfowl. Normally, if a friend admired one of Shang’s decoys, he would give it to them.

He hunted in the early years, but eventually gave up waterfowl and big game, settling primarily on grouse shooting. Despite his fame as a carver of waterfowl, his true passion was fishing. He would make annual trips to the north woods and waters, particularly enjoying the Rangely area of Maine. Here, he gifted a fly (streamer) to the wife of his guide Wallace Stevens - she was Carrie Stevens. She gave Shang full credit for her entry into the world of fly tying and went on to become, arguably, Maines’s most famous tyer of flies. Carrie honored Shang with at least three different patterns in his name, all of which are still fished today.

Each State has its signature carvers, those people whose work represents some of the best ever produced within its boundaries. Connecticut can proudly boast of its native son, Shang Wheeler.

Collector’s Note:

No one would argue that Shang Wheeler made some of the best decoys known. Our black duck was made on a working decoy pattern with an unusual but attractive side-reaching content head. It was exhibited along with decoys from the Mackey collection at the IBM gallery in Manhattan in 1966 and was from the George Thompson collection.

25 Outstanding black duck, Charles “Shang” Wheeler, Stratford, Connecticut, 2nd quarter 20th century. Hollow carved with turned and slightly down looking head. Scratch feather paint detail on head. Decoy was never rigged or weighted. Measures 17.5” long. A few tiny paint rubs; excellent and near mint

Provenance: Exhibited in 1966 at the IBM Gallery of Arts and Sciences Waterfowl exhibit in New York City, which featured decoys from the collection of William J. Mackey Jr. Exhibited in 1987 at the Smithsonian/ Ward Foundation exhibit. Ex George W. Thompson collection. Purchased at Harmon Auctions 1990. Russ and Karen Goldberger collection.

Literature: “Decoy Magazine”, Summer 1985, pg. 29, exact decoy pictured. (30,000 - 50,000)

Charles Henry Perdew 1874

“He has to be considered one of the very finest, an equal among an elite group of only three or four premier carvers.”

-

Every region of the country has its iconic decoy carvers, men and women who represent the very pinnacle of perfection for that area’s accepted carving tradition. The Illinois River school is well represented by Charlie and Edna Perdew. The son of a farmer, Charlie was born in Magnolia Township and as a young man is reported to have hunted for the market and found work as a carpenter in the construction of the 1893 Columbian Exposition in Chicago. By 1900, he was residing in Henry as a boarder in the home of Miss Emma Masterson and listing his occupation as “machinist – general repair”. Henry would become his home for the remainder of his life, and he would capitalize on his many talents involving working with his hands. He built his own home on a high bluff overlooking the Illinois River, hauling tons of stone from the river by hand to construct its massive foundation and fireplace. In 1902 he brought his young bride, the former Edna Haddon, into the home where they would remain until Charlie’s death. In the wedding announcement in the Henry newspaper, it appears that the couple had been “in a courtship for quite a long time” and Charlie is described as “ - - of an inventive and mechanical turn, of industrious, steady habits - - (and)qualified for a successful career - - “ . He would utilize these “mechanical turnings” for the remainder of his life. He was widely recognized for his ability to build or repair almost anything from bicycles to gunsmithing, even to, in 1955, making his own set of false teeth after being told by the local dentist that a pair would cost $100.

Of his many skills, he settled on producing items for the sportsmen of his day. Other than a brief period during WWI where he opened a broom making facility, decoys, duck calls and a few other associated items required by hunters would become his livelihood. His decoys were inspired by the work of earlier successful style setters, Henry Ruggles (1830 – 1897) and Robert Elliston (1847

– 1915). He hand carved his hollow creations and they were then painted by Edna - it was truly a joint artistic venture (see note 1). Their superb craftsmanship soon gained them an enviable reputation for the quality of their decoys and calls, first among the local hunters and prestigious clubs such as the Hennepin, Princeton, Senachwine, and Swan Lake, but soon spreading to his achieving National acclaim. Charlie sent a pair of mallards to be judged in the 1924 “Exhibition of Wild-Fowl Decoys’ in New York. They were erroneously placed in the machine-made category where they won a second place which infuriated him. He placed advertisements in the widely read sporting journals of the day and printed a number of his own promotional items. His mail order business flourished, and his decoys were soon also being sold by large national outlets such as Eddie Bauer and VL&A.

His efforts set the standard by which all future carvers of the region would be judged, and he is now considered a leading member of the elite Illinois River carving triumvirate of Elliston, Perdew and Graves. In summarizing his work, noted author and collector Alan Haid wrote: “Charles and Edna Perdew’s early hunting decoys are benchmarks for comparison with the finest decoys of other classic makers from all parts of North America”.

Joe French

Charles and Edna c 1950’s

Perdew home and workshop

26 Early rigmate pair of mallards, Charles Perdew, Henry, Illinois, circa 1920s. Hollow carved with comb feather paint detail on drake. Both retain the original unmarked lead weights. Excellent paint feather detail by Edna Perdew. Measure 16.75” long. Original paint with minor gunning wear under a thin coat of original varnish; tight crack in one side of hen’s neck; minor roughness on edge of drake’s bill and tip of hen’s bill; shallow dent in one side of drake.

Provenance: Ex David Galliher collection. Purchased at Guyette & Schmidt 2009. The Russ and Karen Goldberger collection.

Literature: “Perdew, An Illinois River Tradition”, Ann Tandy Lacy, pg. 132, exact pair pictured. (30,000 - 50,000)

“Perdew was not only a fine craftsman, but also a true artist who deserves the respect and admiration of each of us.”

- Hal Sorenson – Decoy Collectors Guide

Robert Elliston

1847 – 1915 | Bureau, Illinois

Recognized as the originator of the “Illinois River Style”, Robert Elliston was born in Ballard County, Kentucky. The family moved to the Midwest in 1852, settling near Indianapolis, Illinois where Robert gained a reputation as an expert rifle shot. His creative and woodworking talents began to emerge when, at age 18, he was residing in South Bend, Indiana, working as a buggy and carriage maker for Studebaker. He must have been very accomplished for he changed location several times, moving to positions in New York, Philadelphia and St Louis, Missouri where he became the hearse designer for the McLaren Hearse and Coach Manufacturing Co.

In 1875, while in St Louis, he married Margaret Cummiskey and one year later the couple had a son, James. Robert then moved the family to Lacon, IL to work for the Brereton Buggy Shop. Tragically, in 1876, Margaret died unexpectedly and her younger sister, Catherine, moved in with Robert to help raise the young boy. This living arrangement would have been deemed socially inappropriate at the time and, as a result, Robert married Catherine in 1879. Heartbreak struck again, however, when, in 1880, young James too passed away. The union of Robert and Catherine resulted in the couple initially having three children, all of whom died in infancy (they would later have three sons and a daughter that survived into adulthood). Robert and Catherine moved again, this time to Lacon to take up residence at the Undercliff Hotel located on Lake Senachwine in Bureau County, Il. The hotel was a major drawing card for well-heeled sportsmen of the Midwest. These individuals would, undoubtedly, have sought out Elliston for their decoys. Robert’s experience in the buggy and carriage trade enabled him to also produce a number of fine boats for the same sports and other visiting guests at the hotel. In late 1889, the family had outgrown the accommodations at the Undercliff and Robert was successful in renting a plot of land on a bluff overlooking the Lake where he built a home and workshop, surrounded by a sizable plum orchard and a large apiary.

It is unclear exactly when Robert began to produce decoys, but an advertisement dated 1880/3(?) notes that by that date, he had a “factory” in Henry, IL and prior to that, in Putnam, IL. When the Hotel Underwood opened in 1882, it was noted that “R.A. Elliston, a decoy carver of some fame attended the opening ceremonies”. He was clearly in full time production when he appears in the 1900 Federal census listed as a “Decoy maker”.

The decoy production was a family affair, Robert crafted the decoys and Catherine was responsible for the exquisite wet on wet painted plumage. The quality of the Elliston decoys set the standard by which all other lures of the time and region were judged. Two of the most famous Illinois River carvers to succeed Elliston, Charles Perdew and George Bert Graves, were strongly influenced by the man considered their mentor.

Upon Elliston’s unexpected death by a heart attack while pumping water for the family cow, Catherine sold their remaining inventory to Graves, but she agreed to continue to paint for him for a period while teaching Grave’s sister “Nellie” to assume that responsibility on her own.

Now considered the founding father of the Illinois River style, his influence on the region’s decoys cannot be overstated. He is, today, rightfully considered to be

Catherine (middle) and Robert (right) at their home. Note workshop to left and plum orchard and bee colonies at rear

27 Bluebill, Robert Elliston, Bureau, Illinois, last quarter 19th century. From the same pattern as those from the Dupee rig, which features a deeper and wider body style than typical Elliston decoys. With fine comb feather paint. detail and feather blending at wingtips. Retains the original Elliston weight. Measures 13” long. Original paint with minor wear; some roughness and an early narrow chip in one side of bill; very fine hairline crack in one side of neck; untouched original condition.

Provenance: Russ and Karen Goldberger collection. (25,000 - 35,000)

Charles Burr Walker

1873 – 1953 | Princeton, Illinois

Charles was born in Princeton and would remain there for his entire life. His father, George, was a blacksmith and young Charles must have developed an early affinity for horses for, by the time he was 26, he was employed as a “hostler (in a) Livery stable”. In 1900 he wed Maria (Mary) Ann (Anna) Brems and, by 1910, the couple had four children. Since his marriage, he listed his occupation over the years variously as; “painter”, “paper hanger”, “house carpenter”, gardener” and, “interior decorator”. His wife passed away in 1944 and, by 1950, he was living with his son and his wife and was recorded as “widowed” and “unable to work”. He had, apparently, been ill for some time and was treated at home by a doctor after he decided not to go to the hospital. He and his wife are buried in the Oakland Cemetery in Princeton.

Early biographers have stated that he only became interested in duck hunting after his son took up the sport. In truth, he greatly enjoyed hunting and, in 1902, purchased share #32 in the prestigious Princeton Fish and Game Club. Annual dues were $10/year and Charles chose to leave the club in 1910 only when the dues were raised to $100/year. He did, however, continue to hunt there often as a guest.

A contemporary of Charles Perdew of Henry, both men were strongly influenced by the earlier work of Robert Elliston of Bureau, IL. Using only the simple, common, hand tools of his day, Walker carved his decoys in a small shop at his home on Pleasant St. and they were sold, almost exclusively, to members of the Princeton Club. Whether it was a constant process of evolution or a deliberate attempt to subtly identify each owner’s rig, most orders was carved ever so slightly different. He used paints from the Parker or Herters companies and developed his own methods of application to achieve a soft, realistic surface. He produced a very high-quality product, but quality came with a cost and buyers had to pay a premium to enjoy his craftsmanship. He sold his decoys for $100/doz at a time when nearby competitor, Charles Perdew, was charging only $36.

Numbers vary, but it is estimated that Walker only carved between 300 and 400 decoys in his lifetime – probably closer to the 300 number. Not many of his decoys have survived to this day to be enjoyed by serious collectors. The membership at the Princeton Club were rather affluent. As they returned after a hunt, damaged decoys from their rig were simply tossed on the dock to be

Pintail drake, Charles Walker, Princeton, Illinois, 2nd quarter 20th century. Hollow carved with relief wing carving. High head and comb feather paint detail. Number 22 on the underside for the Skinner rig. Measures 18.5” long. Original paint with minor gunning wear; old repair to a few cracks in the neck; roughness on one side of bill tip; area of inpainting on one side and one wing patch bar.

Provenance:

Purchased from Alan Haid in 1992. Russ and Karen Goldberger collection. (40,000 - 60,000)

Joseph Sieger

1871 - 1959 | Tustin, Wisconsin

Sieger’s parents, John and Frederikke, were born in Germany and arrived in the United States in 1853. They travelled to Wisconsin and purchased 100 acres of farmland along Alder Creek and route 2 in Wolf River Township. They must have been hard working and industrious for they eventually purchased an additional several hundred acres of tillable land and marsh, extending their property to the shores of the Wolf River. It was here, on the family farm, that Joseph was born, married his wife Addie, had a son Grant, worked his entire life, and died.

The Wolf River flows past Freemont to the north and Lake Poygon to the south. Freemont was home to the early, well known, decoy maker DeWitt Wakefield (1849 – 1942) and Tustin, directly on the Lake, was home to established carver August Moak (1849 – 1912). Lake Poygan, as well as other local lakes, were ideal for the growth of aquatic vegetation such as wild rice and wild celery, which, in turn, attracted thousands of migrating waterfowl annually. The highly desirable canvasback arrived in such numbers that the region became known as the Chesapeake of the West. Hunting clubs sprang up along the local waters and the demand for shooting sites along the river and lake became a valuable commodity. Joe was aware of this demand and was quick to capitalize on it by leasing out portions of his land for gunning.

For his own part, Sieger enjoyed the outdoors and he set out to produce a decoy rig of his own. He was probably aware of Wakefield’s carvings, but we know that he became friendly with Moak and the two men often hunted together. Moak’s designs must have appealed to Sieger, for they certainly appear to be the inspiration for his own decoys. It proved to be the case of the student exceeding the master.

About 1920, Sieger constructed a rig of canvasbacks. His production was extremely limited and reportedly numbered no more than two or three dozen. They adhered to the basic local design tradition, being full bodied and hollow carved with alert high heads. His finished product resulted in the most pleasing, finely finished, and graceful rig floating on the local waters.

When Joe passed away at age 88, his son, Grant, assumed the daily operation of the now generational farm and the decoys were carefully stored away in a small shed on the property. There they remained, undisturbed, until, fortuitously, they were unearthed by local decoy collector/historian/hunter Dave Spengler in the early 1970’s.

Obviously Sieger was an accomplished craftsman, producing many of his own sporting necessities and a number of fine violins, but it is his decoys that have given him his widest, and well deserved, recognition. His carvings are considered among the cornerstones of the some of the finest collections, not only in Wisconsin, but throughout the United States.

29

Collector’s Note: We’ve always thought that Joseph Sieger made the best Wisconsin bullneck canvasbacks and that they are decoy classics. We bought this one privately from a Wisconsin decoy collector and do not believe it has ever been to auction.

Classic canvasback, Joseph Sieger, Tustin, Wisconsin, 1st quarter 20th century. Hollow carved with .75” bottom board and lifted, reared back head. Measures 15.5” long. Original paint with minor to moderate crazing and wear; very minor roughness on one edge of tail and bill

Provenance: Purchased from a private Wisconsin collection 2009. Russ and Karen Goldberger collection. (30,000 - 40,000)

Ferdinand Bach

1888 – 1967 | Detroit, Michigan

Bach was born in Switzerland and is reported to have been trained as an architect and draftsman although he listed his education as ending after three years in high school. This is a relatively insignificant detail, since art and creativity, as was to become apparent, can often be innate. After serving 6 years in the Swiss Infantry, he left his homeland and traveled to Denmark where he boarded the Hellig Olav and set sail for the United States. He was fluent in several languages, but not English and, upon his arrival to the States, he settled briefly in a German speaking community in Pennsylvania. Here, he polished his English and bought his first book in this country – one on the American Indian. This formed a fascination with the Native Americans that would remain with him for his entire life.

By 1917/18, he had migrated to Michigan where he is listed as a “draftsman”. Here he began to live in two separate and distinct worlds. He yearned for, and dreamt of, a life in the rugged north woods. However, even though he wielded a pen and not a wrench, for the remainder of his working life, he would be embroiled in the smoke and grit of Detroit’s renowned “motor city”. He found employment, first as a draftsman, and ultimately, head designer for a number of that city’s largest automobile manufacturers in their heyday including Studebaker, Rickenbacker, Chrysler and Dodge. In 1929, he married Margaret K Watson and lived in a very blue-collar neighborhood with her parents. They had a son, also named Ferdinand, but the union was dissolved in 1936 with Margaret being granted an (uncontested) divorce on the grounds of “nonsupport and extreme cruelty” . Ferdinand had to briefly pay alimony until Margaret remarried later that same year. Strangely, they must have remained somewhat friendly since she is listed as the person to notify in his 1942 WWII draft registration. Until this time, Bach had been living as a “lodger” or “boarder”. By the late 1940’s, however, he had purchased his own suburban home on Kramer St in St Claire Shores, a suburb of Detroit, and only a stone’s throw from Lake St Clair. Here he transformed his surroundings into a miniature interpretation of a north woods cabin, complete with its own tiny birch and evergreen forest. He had always enjoyed the outdoors, including hunting and fishing. Early in his life he traveled to the West to study the Native Americans and later, would annually make an extended pilgrimage to Golden Lake, Ontario to live among the Pikwakanagan members of the First People. He mastered a number of rural skills such as snowshoe making and basketry, but he particularly excelled at the construction of Birch Bark Canoes. He died unexpectedly when his body was found floating in the waters near his home.

His decoy carving was limited but, as one would expect from someone with his design background, always of the highest standard, both in terms of form and finish. As early as the 1920’s, he carved a small rig of detailed black ducks for a local policeman whose territory included the Detroit riverfront where the men may have met. He would later carve at least one other rig for an automotive associate. Other than these two known rigs, Bach carved only for his own use. His first rig was finished by the 1930’s but these were all lost in a tragic boat house fire. Undeterred, he set out to carve a second rig for himself and these have since been crowned his “classics”. These are muscular with and without detailed wing tips and designed to be visible to high flying flocks. He achieved a great deal of realism in this rig by utilizing 44 different head patterns in their construction. His work is usually identified with his name either signed or carved with a flourish on the bottoms, often with a conjoined

Ferdinand Bach

Canvasback drake, Ferdinand Bach, Detroit, Michigan, circa 1920s. Wide body with deep relief wing and tail feather carving. Wide head is tucked and reared back. “FB” carved in the underside for the personal gunning rig of the maker. Formerly in the collection of Donal C. O’Brien, Jr. and so stamped. Measures 14.74” long. Original paint with very minor gunning wear; a few tiny shot marks; small amount of flaking at a small knot in back; crack through front part of weighted keel

Provenance: This exact decoy set the world record for Ferdinand Bach when it sold at Guyette & Deeter April 2011 for $54,625. Ex Donal C. O’Brien Jr. collection. Purchased at Copley Fine Art Auctions July 2018. Russ and Karen Goldberger collection.

Literature: “Great Lakes Decoys Interpretations”, pg. 160, exact decoy pictured. (25,000 - 35,000)

Collector’s Note:

We’ve always felt that Ferdinand Bach canvasbacks, with their unique broad shoulders, carved primary feather detail, and deep keels, are decoy classics! This one being from the collection of Donal O’Brien is a superb example.

George Warin

1830 – 1905 | Toronto, Ontario

George was a young man in his twenty’s when his family immigrated to Canada from England. The group, including George’s brother, James, and his wife Sarah, settled in Toronto. In need of work, they found ample opportunities on the city’s thriving waterfront, teaming with business’s catering to the boating industry. Large commercial craft plied the waters of Lake Ontario and recreational boating was extremely popular. Smaller boats were in demand by canoeists, fishermen, sailors, and hunters. Racing of all sorts was a particularly fashionable pastime. By 1868, George is found in the city directory, listed as a “boat builder” (his younger brother James is similarly listed as early as 1863). Both men were talented craftsmen, and this trade would sustain them for the remainder of their lives. Both found employment with a boat building company owned by Bob Renardson and, by 1876, they had bought the company from him while retaining Renardson as an employee. The new company became “G & J Boatbuilders”. Both brothers applied for, and were granted, a number of Canadian patents for various improvements they made in the industry, George for a “Warin’s shooting skiff” and James for an “Improvement in oars” among others. George himself was a very talented rower and was the person who taught Ned Hanlon who would go on to become five-time world champion. Hanlon was subsidized by well-known Toronto decoy maker David Ward (1838 – 1912), so Warin was very likely familiar with him and his decoys.

George was, for the longest time, a bachelor who boarded with his brother, his wife, children, and a “servant”. When James died in 1884, George married Sarah a short three years later. He was 57 and she, 33. Sarah had five children with James and would go on to have an additional five with George, resulting in the obvious necessity of the large home which they owned on 116 Seaton St.

George was an avid duck hunter and, apparently, a very good one. He became one of the founding members of The Saint Clair Flats Shooting Company in 1874 and, in 1901, was selected to guide, and supply the decoys for, the Prince of Wales (who became King George V) and his party on a trip to Lake Manitoba. Unfortunately, one of his hunting trips involved an accidental gun discharge resulting in the loss of his left hand and portion of his lower forearm.

Being a master woodworker and boatbuilder, Warin obviously possessed the skills, tools, and materials necessary to carve his own decoys. He sold a few of his decoys locally, but most found their way into the rigs of wealthy sportsmen at the prestigious clubs of the day, such as the Saint Clair Flats Club and the Long Point Club. His birds closely adhered to the accepted local standard, both in form and construction. His, however, with their finely applied painted surfaces, are considered among the best.

His success allowed him to enjoy a comfortable life. In addition to his large, nicely appointed home in Toronto, he maintained a fine retreat at Hanlan’s Point on Toronto Island in Toronto Harbor where he enjoyed his later years. He named his home on the Island, “Fort Warin” and it was there that he passed away.

George Warin James J Warin

Prince of Wales and his part, Lake Manitoba

116 Seaton St with three Warin children

Excellent Canada goose, George Warin, Toronto, Ontario, last quarter 19th century. Hollow carved with .5” bottom board and beautiful wet on wet feather blending on body. Believed to be the only Warin goose without a tail or bill chip repair. Measures 23.75” long. Original paint with minor to moderate flaking and wear, mostly near bottom board under tail; areas of appealing crazing; tight drying crack along one side; minor roughness at tip of bill; professional repair to a tight crack in neck.

Provenance: Ex Hugh Turnbull collection. Purchased at Guyette & Schmidt 1991. Russ and Karen Goldberger collection.

Literature: “Decoys: North America’s Hundred Greatest”, Loy S. Harrell Jr., pg. 57, exact decoy pictured. (40,000 - 60,000)

Collector’s Note:

George Warin’s Canada geese have always intrigued us. Stylized form, extremely lightweight construction, and the best paint patterns this side of Crowell. 32 years ago, Gary Guyette came up with this one out of the Hugh Turnbull collection, describing it as the only one known without a bill chip repair. There was some controversy at the time with Canada’s heritage protection laws, and I bought it subject to release. 8 months later FedEx delivered it. We’ve enjoyed it since.

Jasper Newton Dodge

1829 – 1909 | Detroit, Michigan

Jasper was born in Jefferson, NY and, for many years, earned his livelihood as a grocer. In 1856, he married Charlotte A. Wright in Watertown, and the couple eventually made their way west, settling by the late 1860’s in Kalamazoo, MI. At some point shortly thereafter, he felt the need to change occupations and eventually found employment working for the prominent sporting goods dealer, John E Long & Co, in Detroit. He remained in that position through the late 1870’s to the early 1880’s. Unfortunately, in 1879 he lost his wife, and he is listed in the 1880 census as “widowed”, living with his two children and a 16-year-old servant girl.

While at the sporting goods store, he worked alongside future decoy magnate William J. Mason. The store certainly sold decoys and the industrious Jasper must have seen the opportunity to supplement his clerk’s salary by producing similar items. The 1883 Detroit City Directory indicates that by that date, he was living at 79 Pine St in Detroit and producing decoys at that address. He describes himself in the directory as “Decoy Duck Mnfr” . The business prospered and he purchased a lathe to increase production. His major rival at the time was local decoy manufacturer, George Peterson, who had been producing decoys in Detroit since about 1873. Jasper apparently decided that rather than compete with Peterson, he would eliminate his rival and simply buy him out. This process apparently started in 1883 when Jasper acquired the business and equipment, and he went on to purchase the factory and land in 1890.

Initially he would have sold his decoys through local outlets such as the John E. Long Co (which by then had been acquired by William Mason), but he would quickly expand his sales through an ambitious advertising campaign in numerous sporting publications of the day, such as “American Field’, “Forest and Stream” and the “Sporting Goods Dealer”. He obtained orders from large national outlets such as Sears Roebuck and Montgomery Ward and his decoys were offered through numerous independent gun and sporting goods stores. He published an elaborate 33 page “Catalog and price

list” which detailed his multiple grades of duck, goose, shorebird and swan decoys, as well as essays on the use of his decoys. This piece of literature received national distribution.

He continued to prosper and grow his inventory to increase sales. The Company eventually became the Detroit Canoe and Oar Works. In a 1902 ad in “The Sporting Goods Dealer”, Jasper stated that “The canoe and oar business, however, is only a side-line to the manufacture of decoys” . By 1908, Jasper, now age 79, phased out his business and domination of the decoy market was to be assumed by William J Mason.

The Dodge factory achieved its place in the history of the American decoy through the quality and widespread distribution of its product. While all of the species it produced were attractive to both hunters and their quarry, the outstanding design of certain examples have elevated them to the ranks of exceptional folk art. The sweeping lines of the goose being offered here are extraordinary, and this very decoy is pictured in photo 5-88, page 169 of “Detroit Decoy Dynasty by Sharp and Dodge, where they describe the bird as a “- - - stunning example” and “Perhaps the longest – necked factory goose extant - - - ” . It must be considered a jewel in any advanced decoy collection.

1892 Dodge catalog, page 18

1883 “American Field”

Collector’s Note:

As the predecessor of Mason, we wanted one good Dodge, and we picked a dandy! The Canada goose, in our view, is the best factory “folk art” decoy made. For its age the condition is impeccable and it has a great brand on the base. It came out of a New Hampshire antique auction almost 30 years ago.

Excellent Canada goose, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. Excellent form with reared back and lifted head. Large and deep brand on the underside reads “A P&S W.S”. Measures 20” long. Original paint with very minor wear; hairline crack along back; drying crack along the underside; small amount of filler restoration at base of neck and at seam where head and neck are joined; some filler and old touchup to puppy chews on the bill.

Provenance: Purchased from Ron Bourgeault in 1996. Russ and Karen Goldberger collection.

Literature: Literature: “Mason Decoys: A Complete Pictorial Guide: Expanded Edition”, Russ J. Goldberger and Alan G. Haid, pg. 158, exact decoy pictured. (15,000 - 25,000)

Stevens Brothers

Weedsport, New York

Harvey A. Stevens (1847 – 1894) | George Stevens (1856 – 1905)

When one thinks of early decoy makers, a small inland town north of the Finger Lakes in upstate New York is not the first place that normally comes to mind. However, it was here, in rural Weedsport, beginning about the time of the Civil War, that Harvey Stevens, reportedly a finish carpenter/cabinet maker, is believed to have made his first decoy. He enjoyed hunting and was an accomplished trap and live pigeon shooter. Within a few years, he decided to enter the world of commerce, producing decoys for sale and the first documented date for his doing so was an 1876 ad in the August issue of Forest and Stream magazine. The decoys produced by Harvey are often referred to as “factory decoys”. In fact, nothing could be further from the truth. There is no doubt that his birds were offered for sale as a commercial venture but, like the work of some his contemporaries, Robert Elliston (1849 – 1915) and Harry Shourds (1861 – 1920), who also sold decoys, their construction was entirely a handmade product. Tools were only the most basic and the entire operation was carried out in a small shed behind his home less than 10’ x 10’ in size. All aspects of the operation were, initially, done by Harvey including the design, production, painting, marketing and shipping of the finished product. His younger brother, George, a gardener by trade, would eventually assist in the operation and it is probable that another brother Fred would also occasionally help. For most of the years in business, however, the name of the company was simply “Harvey A. Stevens”.

Harvey did, indeed, produce an extremely good product. He lavished great effort on his construction techniques; his paint was of the highest quality, and each decoy was individually packaged in its own canvas bag prior to shipment. Harvey’s genius, however, was in his marketing strategy. He advertised widely, both in periodicals and in direct mailings, stressing that his decoys were, as he proclaimed, “ - - - superior to anything (being) offered to American Sportsmen” noted that “- - - for style and neatness they are unsurpassed” He purposely sought to attract the upper tier of wealthy sportsmen with statements such as, not try to compete with the cheap machine turned decoys, my decoys are a different style and cannot be turned. They are handmade throughout and therefore the market will not be flooded with them”. A dapper gentleman, he often

travelled to New York where he was able to attract the attention of the city’s most prestigious sporting goods dealers such as Schoverling, Daly and Gates as well as H. C. Squires. Both firms would, ultimately, offer Stevens decoys among their other fine products. The advertising campaign was soon attracting wealthy gunners from the entire country. A typical example would be his correspondence with Charles Wetter Bowen (1851 –1916), the president of a large Physicians Supply Co with offices in Providence, RI and Boston, MA.

Like so many others of his time, Harvey suffered from Tuberculosis and, shortly before his early death at age 47, he turned more and more to his brother George. Beginning about 1891 the two brothers began to alternately advertise the business using their own name. George would eventually assume total ownership of the company, making some minor changes in the design of the product and producing all the decoys under his name alone until his death.

As one would suspect, the brothers catered to the desires of their clients. Species most commonly sought on the east coast comprised the bulk of their production. Some species were, apparently, only offered

Very rare and important widgeon drake, George Stevens, Weedsport, New York, circa 1880s. “GW Stevens, Manufacturer of Standard Decoys, Westport, N.Y.” stencil is on the underside. Pleasing form with alert head pose and elongated, shaped tail. Fine comb paint detail. Measures 16” long. Original paint with minor gunning wear; tightly reset crack in neck; paint missing where dowel goes through top of head; worn area on center of underside; fine hairline crack in bill and minor roughness on tip of tail.

Provenance: Ex George W. Thompson collection. Ex Dr. Lloyd Griffith collection. Purchased at Guyette & Deeter April 2015. Russ and Karen Goldberger collection.

Literature: “Decoy Magazine”, Summer 1985, pg. 29, exact decoy pictured. “Decoys: North America’s Hundred Greatest”, Loy S. Harrell Jr., pg. 15, exact decoy pictured. “Stevens Brothers Decoys,” Peggy and Peter Muller, p. 300, exact decoy pictured. “Stevens Brothers,” Shane Newell, pg. 68, exact decoy pictured. (30,000 - 40,000)

Collector’s Note:

As one great example by Stevens for our collection, we chose this wigeon. It is a rare species, in superb condition, and has great provenance. It is unique in that a pintail hen pattern was used for its creation. Other Stevens wigeon, like the real birds in nature, have rounded tails.

George Boyd

1873-1941 | Seabrook, New Hampshire

Born in coastal Seabrook, George’s life was a simple one. His home was always near the marsh with its adjacent woods and fields, and he spent his youth subsisting largely on locally harvested fish and game, as well as fruits and vegetables raised in the family garden. As a young man, he hunted for the market and, in 1894, married Alice Fowler and the couple began to raise their family, first in the home of her parents and, eventually, in their own small, Cape style, home on Collins St.

Economically, Seabrook was extremely reliant on the predominant local industry of shoemaking. A number of factories existed both in the community and in nearby northern Massachusetts. This was his father’s and fatherin-law’s occupation and, like almost all his neighbors, George would work in this occupation for practically his entire life. He spent time employed as foreman in both the F.E Adams and the A.E. Little Companies. Much of

this industry, however, relied on independent workers laboring out of small “tinker” shops or “10x10’s” at their own homes and George was sure to include one of these tiny outbuildings on his own property.

It is believed that he may have been carving decoys as early as 1895 but these were, undoubtedly, for his own use. By 1910 through 1915, however, he was selling his shorebirds through the elite sporting goods store, Iver Johnson, in Boston. They had a reputation to uphold and only chose the best products for their customers. Elmer Crowell also supplied the store with decoys under the name “Iver Johnson Supreme”.

George enjoyed hunting throughout his life and, although he neither owned nor drove a car, he managed to gun at established stands from Chebacco Lake near Wenham, MA to Great Bay, NH. Through his associations with the prominent sportsmen at these various locations, word of the quality and effectiveness of his working decoys spread. Perhaps more importantly for George, these same men developed a taste for Boyd’s miniature carvings and the demand for these increased to the point where major stores such as Macy’s and

Abercrombie and Fitch began to carry his “little birds”. It was only with the success of his carvings that he basically left the shoe business and was able to exist largely on the income from his carving.

George produced decoys for those species that were actively pursued in the areas where he hunted. Black ducks and geese were primary targets, but a few other species were carved as well. His geese are truly majestic. George’s shoemaking background is evident in the detailed construction of his canvas covered examples and his crook necked versions are widely considered to be among the best of their kind produced anywhere in New England. His teal are certainly among the rarest of Boyd’s work and only a handful in any condition exist in collections.

Ironically, and perhaps sadly, Boyd never mentioned his carvings in any document that required

him to list his occupation, choosing “shoemaker” (or versions thereof) until the 1940 census where the occupation column in the census is simply left blank. His obituary in the Portsmouth, NH Herald only records that he was “- - - employed as a shoe worker” . Although appreciated, his work remained anonymous for many years in the decoy collecting community through 1965, when author and historian, William Mackey, proclaimed his work to be “Finely carved and nicely painted” . Jim Cullen obviously agreed with Mackey’s assessment, and it is through his efforts that much of what we know today about this preeminent New Hampshire carver has been made available.

“George Boyd c1905” Courtesy Jim Cullen Boyd with miniatures c1938

Very rare and early rigmate pair of mergansers, George Boyd, Seabrook, New Hampshire, circa 1920s. Both with extended crests, drake with slightly turned head, hen’s head turned 50 - degrees. Measures 16.5” and 18.5” long. Original paint with minor gunning wear; small dents; minor roughness on edge of tails with an old chip on one side of hen’s that was darkened; tight crazing on hen; small area of touchup on center of hen’s back; minor separation to back of hen’s neck seat.

Provenance: Purchased Guyette & Deeter November 2015. Russ and Karen Goldberger collection. (70,000 - 100,000)

Collector’s Note:

George Boyd has always been one of our favorite carvers. His style is recognizably unique and appealing. He lived 15 miles from our home and gunned 5 miles away on Great Bay. The author of the definitive book on Boyd, Jim Cullen, is a friend who lives here in town.

35

Very rare and important full-size bluewing teal drake, George Boyd, Seabrook, New Hampshire. One of only two full-size blue wing teal known to exist. Slightly turned and lifted head. Fine feather paint detail and good patina. Signed on the underside by the maker, also initials “JF” are on the underside. Measures 11.75” long. Very fine and tight crazing over much of the decoy with some shrinkage on head, otherwise excellent and original.

Provenance: Made in 1938 and sold to sixteen year old Josiah Fisher. Donated by Mr. Fisher to the New Hampshire Nature Conservancy in order to raise funds to enhance and manage waterfowl habitat. Oliver’s July 11th & 12th, 1992 auction. Private Connecticut collection. Russ and Karen Goldberger collection.

Literature: “Great Book of Decoys,” Joe Engers, Editor, for rigmate. “New England Decoys,” John and Shirley Delph. “Finely Carved and Nicely Painted,” Jim Cullen. (25,000 - 35,000)

Collector’s Note:

George Boyd is only known to have made yellowlegs and black-bellied plover in breeding (summer) and non-breeding (winter) plumage. We collected all three and the plovers are rigmates.

Slightly forward running pose with tack eyes and split tail carving. Rigmate to lot 37. Measures 11.25” long. Excellent original paint with very minor wear; a few tiny shot strikes on one side; small chip in tip of tail was reset with minor roughness at tip.

36 Black bellied plover in summer plumage, George Boyd, Seabrook, New Hampshire, 1st quarter 19th century.

Provenance: From a home in Canyon City, Oregon. Russ and Karen Goldberger collection. (6,000 - 10,000)

37 Black bellied plover in winter plumage, George Boyd, Seabrook, New Hampshire, 1st quarter 20th century. Slightly forward running pose with tack eyes and split tail carving. Rigmate to lot 36. Measures 11.25” long. Original paint with very minor wear; spots of dark umber paint on lower side and near tail; a few spots of white paint drips were cleaned off of the breast.

Provenance: From a home in Canyon City, Oregon. Russ and Karen Goldberger collection.

(8,000 - 12,000)

38 Petite yellowlegs, George Boyd, Seabrook, New Hampshire, 1st quarter 20th century. Tack eyes and split tail carving. Measures 11.25” long. Dry original paint with minor gunning wear; lightly hit by shot in breast; fine, tight crazing on much of the bird; minor roughness on tip of tail; fine hairline crack in one side of neck; early repair where front half of bill was reset.

Provenance: Purchased from Boyd by a Mr. Barton of “Cozy Cottage”, West Point, Massachusetts and used on the east branch of the Westport River. The shorebird passed down in Mr. Barton’s family to his grandniece. Purchased at Tim Gould Auctions, Smithfield, Maine 2014. Russ and Karen Goldberger collection.

(5,000 - 7,000)

39

Rare swimming Canada goose, George Boyd, Seabrook, New Hampshire. Canvas over wood slat construction with tack eyes. One of a few known in original paint. Measures 30 - 1/4” long. Original paint with minor gunning wear; lightly hit by shot; 1” tear in canvas behind neck seat; hairline crack in bottom board; the original head was reset at some point with small amount of glue visible at neck seat; minor roughness on edge of bill and tail.

Provenance: Ex Jim and Pat Doherty collection. Purchased at Guyette & Deeter November 2020. Russ and Karen Goldberger collection.

Literature - “Finely Carved and Nicely Painted”, Jim Cullen, cover, a similar example pictured. (30,000 - 50,000)

Charles Hart

1862 - 1960 | Gloucester, Massachusetts

By the 1800’s, Gloucester, located near the top of Massachusetts’ North Shore, had earned its hard-won reputation as one of the premier fishing ports in America. Its schooners and their dories would venture to the Grand Banks and beyond, returning with holds brimming with codfish. As one would expect, many of the industries in town catered to the needs of the fleet. Hart’s father, Francis, was a fisherman, but his son chose not to follow in that dangerous occupation and, by the time Charlie was 17, he was boarding at the home of ice dealer William A Homans and working “at (an) ice house” (presumably Homans’ “Cape Pond Ice Co”).

It is unknown how or when Charlie left the ice business and acquired the skills necessary to become a Stone Mason, but this was his listed occupation from at least 1890 through 1940 when he would have been 77 years of age. In 1900 he married Anette Appleyard and, by 1910, the couple had three children (Robert, Charles Jr and Grace). Since at least 1903, he carried out the mason business out of his home at 159 Essex Ave. in Gloucester

He enjoyed hunting and carved a variety of hollow and solid decoys for his own use. Reports indicate that he also offered some for sale through a prominent Boston store. He carved mostly black ducks, the preferred local target, and he also carved a limited number of other species such as teal and, later in life, whistlers. Perhaps his crowning achievement was an incredible standing black duck with flapping wings which, unfortunately, never seems to have gotten past the prototype stage.

After Rear Admiral Richard Byrd’s expedition to the Antarctic in 1928-30, Hart became infatuated, some might say obsessed, with penguins. By his own admission he carved over 1500 of the flightless birds in all the species known to him. These ranged in size from a few inches to monumental models measuring around four feet for mantel or porch decorations. Many of these were sold out of his home on Essex Ave. which, by 1935, had gained the local reputation as “The Penguin House”. One of his proudest moments came in 1935 when he presented Admiral Byrd with one of his carvings. His decoys are considered among the finest to be carved on the North Shore, but it is his endearing penguins which have, perhaps, garnered him his widest reputation. They are actively sought by both decoy collectors as well as the larger, folk art and Americana community.

He lived out his final years in the family home on Essex Ave. with his youngest child, Grace, listed as head of household and he being recorded as “unable to work”. Artistic to the very end, one of his final works was carving his own headstone and corner markers that adorn his grave in Beechwood Cemetery, Gloucester.

We have sold over 100 Charles Hart penguins over the years! From 2” tall paperweights to a pair of 32” and 36” outdoor gate post sentinels. We elected to keep these because they represented the 5 species Hart knew of (there are 17 penguin species known today!), and they’re pristine. All 5 were exhibited and published by the Ward Museum.

159 Essex Ave., Gloucester, MA

Charles Hart Collector’s Note:

Russ and Karen Goldberger at the New York Antique Show

40 Large size miniature king penguin, Charles Hart, Gloucester, Massachusetts, circa 1930. Standing on wooden base with applied flippers and tack eyes. Signed by the maker on the underside and dated 1933. Stands 10” tall including base. Very minor paint rubs and a few tiny flakes, otherwise excellent and original

Provenance: Russ and Karen Goldberger collection. (8,000 - 12,000)

41 Extremely rare, possibly unique, macaroni penguin, Charles Hart, Gloucester, Massachusetts, circa 1930. Standing on wooden base with applied flippers and small tack eyes. Nice color blending on upper breast. Stands 7.25” tall including base. Excellent original paint under an early coat of varnish; small drip of white paint on one side of face; tight crack in the base of one leg

Provenance: Russ and Karen Goldberger collection. (8,000 - 12,000)

42 Very rare magellanic penguin, Charles Hart, Gloucester, Massachusetts, circa 1930. Standing on wooden base with applied flippers and tack eyes. Stands 6.75” tall including base. Original paint with some feather blending and scratch detail; protected under a fairly thick and uneven coat of varnish

Provenance: Russ and Karen Goldberger collection. (8,000 - 12,000)

43 Very rare Adelie penguin, Charles Hart, Gloucester, Massachusetts, circa 1930. Standing on wooden base with applied flippers and tack eyes. Signed by the maker on underside of base. Stands 6.75” tall including base. Original paint with a few minor paint flakes; small amount of touchup to paint flakes on bill.

Provenance: Russ and Karen Goldberger collection. (6,000 - 9,000)

44 Large

penguin, Charles Hart, Gloucester, Massachusetts,

Standing on wooden base with applied flippers and tack eyes. Stands 10” tall including base. Original paint under an early slightly uneven coat of varnish; minor discoloration at wood grain on upper breast and lower belly; some areas of the black added after the varnish from when the penguin was made.

Provenance: Russ and Karen Goldberger collection. (8,000 - 12,000)

size miniature emperor

circa 1930.

Augustus “ Gus” Wilson

1864

1950 | South Portland, Maine

Certainly, one of the most celebrated of the many excellent Maine carvers, Gus Wilson was born in the small village of Tremont on Mount Desert Island in Down East Maine. His father was a successful house carpenter, and the family was a large one including a live in housekeeper. Gus received an 8th grade education on the Island and, like so many of his neighbors, chose the life of a fisherman. In 1887 he married a local girl, Mary S Wilson and they had a daughter, Celia. Unfortunately, Mary died in 1905 and Gus was left to raise his young child alone. He eventually entered the Lighthouse Service, reportedly with one of his first duty stations being on Great Duck Island off the southern coast of Mt Desert Island. One reference notes that he also served at the Marshall Point Light at the tip of Cape Elizabeth, not far from Port Clyde and its mail boat to Monhegan Island (see note 1). By 1915 he was stationed at the Goose Rock Light on small Fox Island, East Penobscot Bay, as Assistant Keeper. By 1917 he had moved further south along the coast and was stationed at the Two Lights Station at Cape Elizabeth, again, as Assistant Keeper. In 1918 he found himself at The Spring Point Light off the coast pf Portland, initially as Assistant Keeper and finally, Keeper, replacing his brother, Otto.

In 1919 he married Edna M Snow and the two enjoyed a happy marriage for the next 17 years until her death in 1936. Lonely and depressed, he married for a third time in 1938 when he wed Fayette Gertrude Berry in South Portland. He was 74 and she, 59. For the vast majority of his life, Gus and his wives either lived at the Light Station(s) or boarded in nearby homes. With his marriage to Fayette, he had retired from the Lighthouse Service (1934) and purchased a home of his own in nearby Gray, Maine. After a short stay in a local hospital, he died and is buried there in the Gray Village Cemetery.

In true frugal Yankee fashion, Gus utilized only basic hand tools. Never using patterns, he preferred to draw out each new batch of carvings on paper, which was then discarded. He made his decoys wide, stable, bold and durable. Heads and necks were inlet into the bodies for strength and paint patterns were simple, yet totally effective and easy to freshen up if the need arose. The bottoms of his birds were often left unpainted, and the eyes are carved. Gus apparently saw no need to waste paint or purchase expensive, and what he saw as unnecessary, glass beads or buttons. His choice of wood was determined by what was available. Blemishes and knots, as well as the occasional small split were simply worked around. He sold his birds to local gunners with the option of being unpainted (reportedly 75 cents) or painted (1 dollar). Extra work was charged for! He

Gus Wilson

outlet, selling a number of his carvings through the large Edwards and Walker Hardware Store in Portland.

Wilson’s carvings cover the widest array of forms of any of the State’s talented makers. It is difficult to imagine what a rig of his birds would have looked like afloat. His flock would have included decoys looking in almost every conceivable direction, wings were carved, and some would have one or both wings raised. Heads would be rocking, some would be feeding with a carved mussel or leather “fish” in their mouths, and some would appear to be either calling, preening or sleeping. The total effect would have truly been that of a raft of content, live birds which would have been a siren to incoming waterfowl.

His work is often divided into three “periods”. The early birds (1880 – 1900) are considered his classics and have often been referred to as his Monhegan or Viking style. His middle period (1900 - 1920) saw him at the peak of his artistry and it is within this time frame that he created some of his most unique designs. The late (1920-1930) period, sadly, reflects the effects of old age on his craftsmanship, yet he continued to attempt new designs into his work, such as his swivel head concepts. In his

orders or when his own time was limited.

Wilson also created some fanciful decoratives, notably his wonderful flyers. Songbirds, snakes, tigers, and perhaps, other wild creatures, filled out his repertoire. Gus Wilson’s work transcended the purely functional and he must assuredly be considered among North America’s most notable folk artist.

Notes: 1. Neither of these stations are listed in his obituary while the next three are repeatedly mentioned in the records.

Collector’s Note:

Gus Wilson has always appealed to our folk-art instincts. His decoys are “alive”, reflecting movement only a keen observer, like a lighthouse keeper, would note.

The Wilson black duck pair has an interesting story. We owned the caller for some time, considered it a uniquely appealing decoy, and never planned to sell it until we saw the one with outstretched wings at Sotheby’s. We bought the rarer wing-up model at the Bertram and Nina Fletcher Little sale intending to substitute it for our caller. Coming home bird in hand, we discovered we had bought a hen that matched our calling drake. They make a perfect pair; same carving vintage, same condition, similar unusual complementary attitudes.

45 Pair of black ducks, Gus Wilson, South Portland, Maine, 1st quarter 20th century. One in calling pose with lifted, reared back head and open bill. Relief wing carving, inlaid neck seat, and carved eyes. Other in extremely rare swimming, double wing up pose, that was never rigged or weighted. Has applied, lifted wings, inlaid neck seat and carved eyes. Measure 17.5” and 19.75” long. Both in original paint with very minor wear; caller with slight separation at a knot in one side, hairline drying cracks in tail, one side, and through base of neck; swimmer with age split along the underside and an old chip along one wingtip.

Provenance: The caller was formerly in the collection of George Thompson and was purchased at a Harmon Auction in 1989. The swimmer is Ex Bertram K. and Nina Fletcher Little collection. Purchased at Sotheby’s January 1994. Russ and Karen Goldberger collection.

Literature: “Important Americana: The Bertram K Little and Nina Fletcher Little Collection, Part I, Sotheby’s NY Sale January 29, 1994”.

(60,000 - 90,000)

Collector’s Note:

There’s an adage that the way to pick your favorite decoy is to grab the one without forethought that appeals to you, regardless of value, in the event of a fire. This Wilson scoter is our choice! Gus Wilson’s sea ducks are all some combination of black and white paint, making them easy for the hunter to repaint. To find an early style, preening Gus Wilson scoter in excellent original condition is nearly unheard of.

46

Very rare preening white-winged scoter, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Wilson’s early Monhegan Island style with elongated body, relief wing carving, and long inlaid neck seat. Gracefully sculpted neck with bill buried into feathers. Measures 17.75” long. Original paint with minor gunning wear; small chip and minor roughness on edge of tail; shallow chip in one side; small amount of flaking at filler in one side of neck seat.

Provenance: Purchased at a Richard Oliver auction 1987. Russ and Karen Goldberger collection. (50,000 - 70,000)

Collector’s Note:

Talk about unique decoy folk art, the preening black duck with raised wing exemplifies the best of the best in working decoys. It is weighted off-center to contradict the downward pull of the wing as it catches the wind. There is an old brace attached to the underside of the wing for extra support. A sculptural decoy masterpiece!

47 Extremely rare preening, wingup black duck, Gus Wilson, South Portland, Maine, 1st quarter 20th century. In preening pose with long, inlaid neck seat and applied lifted wing. Lead weights on underside so the bird would float level in the water. One of only two known in this style. The other sold at auction in 2005 for $195,000. Measures 15.75” long. Original paint with minor gunning wear; spots of old filler added to shot marks and defects in wood; hairline drying crack in one side of neck and neck seat; early repair to a crack through the wing with metal strip on backside of wing with paint added to the area; tight drying crack along the underside

Provenance: Ex Charlie Hunter III collection. Purchased at Copley Fine Art Auctions 2010. Russ and Karen Goldberger collection. (70,000 - 100,000)

Early oversize flying mallard, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Outstretched head and neck with inlaid neck seat and nicely shaped, applied wings. Incised feather carving on wings. Actual applied duck legs and feet, typical of Wilson’s earliest flyers. Carved eye placement was changed in the making. Measures 26.75” long, with a 27.25” wingspan. Original paint that has darkened with age shows minor wear; hairline drying cracks in one wing and along the underside of the body; wooden patches added by Wilson to each side of body behind wings where defect in wood ran through the body; seam in each upper leg where they were reglued; small old chip in tip of one wingtip

Provenance: Purchased at Guyette & Schmidt 1995. Russ and Karen Goldberger collection. (6,000 - 9,000)

Collector’s Note: Our mallard flyer is not like most of the later examples. It has early style shaped wings, a long-outstretched body, and real duck feet. A characteristic only found in Wilson’s earliest flyers.

Joseph Lincoln

1859 - 1938 | Accord, Massachusetts

Mention the word “Massachusetts decoy” to anyone interested in carved working birds and two names will inevitably be mentioned first – Elmer C rowell and Joe Lincoln. Opinions are about evenly split as to which of the two men deserve the title of “The Best”.

“Lincoln was a laconic man, a consummate Yankee craftsman whose solid body decoys are reflections of their makers personality – direct and spare, with not a gesture wasted.” (Bob Shaw)

“Lincoln’s work is characterized by clean and crisp lines and a stylized plumage painting which is as precise as an engraving.” (Dr George Ross Starr)

Joe was born the son of sailmaker George Lincoln and his wife Salome Whiting at the family home on Gardner St., in the Accord section of Hingham. The house was located on the shore of Accord Pond and afforded a lovely view out over the water as well as any passing wildlife. Sadly, his biological father passed away when he was only 9 and his brother, Wilbur, was 4. His Uncle, Joe Whiting, a cooper, moved into the home and helped to raise the two young boys. As a young man through 1894, Joe, typical for many in the area, worked in a shoe factory. By 1900 he was working as a poultry farmer with his brother. Joe was talented in anything requiring the use of his hands. He made and upholstered furniture, carved gunstocks and was reputed to be able to repair just about anything, including clocks and cameras. From at least 1908 through the 1920 census, he lists his occupation as “carpenter”. It is no surprise then that he also constructed a number of excellent lapstrake boats which he kept on the shore of the pond. If he had a passion, it was raising award winning dahlias (a flower). He also loved to hunt! There is no record as to exactly when he made his first decoy, but it is a safe assumption that it was at an early date. By 1918, his fame in carving a very high-quality decoy, resulted in a lengthy article in a Boston newspaper where he is recorded as saying:

“You’ve got to make them good enough to fool the sharp eyes of a duck or goose - - - - and you just bet that those birds have the sharpest eyes and the cunningest brains that there are in the bird family. A turn of the knife the wrong way, a peculiar tilt to the head, such as is not affected by the duck or goose family, and your work is spoiled.”

Orders poured in, allowing him to concentrate on carving as his primary occupation. By 1928, his production had grown to the point where he lists his occupation in the Hingham City directory as “decoy mfg”. Most of the orders were obtained through the mail but many hunters would drive directly to Joe’s tiny shop to place an order for the upcoming season. Occasionally he would stage an elaborate exhibit at the Boston Sportsman’s show.

Joe was a member of the North Shore Gun Club located on the pond below his home. This was one of the celebrated and unique “Massachusetts Shooting Stands”. These were complex arrangements of clubhouses, runways, and lengthy breastworks (blinds) as well as live decoy pens, and storage sheds. In addition to the live birds, these “stands” required large numbers of wooden decoys. Joe was responsible for most of the wooden birds at the North Shore Club,

49

Very rare long-tailed duck drake, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Bold paint pattern typical of Lincoln style. Branded “LLS” on the underside. One of only a few drakes known in original condition. Measures 14.25” long. Excellent original paint with very minor wear; surface has darkened with age; small dents in one side with a small spot of bare wood showing; very early chip in tip of bill; typical age split along underside with tight cracks running up the breast and under tail; a few hairline cracks in tail with a small nail added in one side of the tail.

Collector’s Note:

An antique dealer buddy called me about an antique sale he was at where there were some decoys. No detail was given, but he said, “Get down here!” He collected some Masons and knew enough about decoys to intrigue me. I got there as the auction was beginning. There was a half dozen or so decoys, but the star was the old squaw drake, which I had to have. You can’t sleep at the switch in the antiques world!

as well as numerous other similar operations stretching from southern New Hampshire to northeast Rhode Island. He was also often called upon to repair and/or repaint damaged or worn birds in addition to carving custom orders. As one would expect, the bulk of his production was of species most in demand by the stands, thus black ducks and geese comprise a good percentage of his work, with much smaller numbers of other species. Another common order was for the local seaducks. While eiders were common further north, the three types of scoters were the primary target of the “line shooters” off the Massachusetts coast. Other species would occasionally be encountered when sea shooting, but they would

usually “toll” to the scoter blocks. One of these incidentals was the oldsquaw (long tailed duck). These were not considered overly palatable dinner fare and it is a wonder why someone would place an order for them, yet Joe did carve some. They are considered to represent some of his very finest, albeit rarest, work.

A dedicated bachelor, at 71, Joe married local schoolteacher, 45-year-old Mary Shute. She moved into the home where Joe was born, lived, worked, and ultimately died, at age 79.

Provenance: Purchased at Ipswich Auctions 1993. Russ and Karen Goldberger collection. (50,000 - 80,000)

50

Very rare bluebill drake, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Incised bill carving and slight wing shaping behind neck seat. Decoy was never rigged or weighted. This is believed to be the finest Lincoln bluebill known. Measures 13.75” Excellent original paint with very minor wear; small dents on sides; minor roughness on edge of bill; fine hairline crack in one side of neck.

Provenance: Purchased at Copley Fine Art Auctions 2013. Russ and Karen Goldberger collection. (30,000 - 40,000)

51 Canada goose, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Lincoln’s classic form with incised bill carving and large glass eyes. Measures 24” long. Original paint with minor wear; crazing and paint shrinkage on breast and under tail area with moderate flaking; Lincoln’s typical age split along the underside.

Provenance: Purchased at Julia & Guyette 1989. Russ and Karen Goldberger collection.

(15,000 - 25,000)

Collector’s Note:

We have four decoys by Joseph Lincoln, all considered classic carvings. We have sold a number of Lincoln geese and brant over the years. These examples appealed to us because of their form and condition.

See Joseph Lincoln at work

Collector’s Note:

The Lincoln brant is from the Alvin White collection of Sandwich, Massachusetts. White was perhaps the most famous American firearms engraver of the 20th century. It has never been offered publicly.

52

Brant, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Very slightly forward head pose. In classic Lincoln form. Measures 19.5” long. Original paint with minor to moderate wear; hairline crack along back and one side; typical age split along the underside, which extends slightly up the breast and under tail; minor roughness on one lower edge; thin wash of white on the underside and white area under tail.

Provenance: Ex Alvin White collection, Sandwich, Massachusetts, dean of American gun engravers. Russ and Karen Goldberger collection.

(20,000 - 30,000)

William Everett “Willie” Ross

1878 – 1954 | Chebeague Island, Maine

Located 10 miles NE of Portland, Maine, at almost 7 ½ sq miles, Chebeague is the largest island in Casco Bay. It was here that Willie, a fifth generation Ross on the Island, was born, lived, and died. His father was a fisherman and, as a young man, Willie followed in his footsteps. In 1902, he married a Massachusetts girl, Nellie Francis Smith, and the couple began to raise their family on the Island. Tragically, in 1912, the explosion of an oil container on the stove caused a fire which killed both 28-year-old Nellie and his five-year-old daughter, Ethel. Within a year, to help care for his remaining children, Willie married again, this time to Etta Upton of nearby Cape Elizabeth and they proceeded to have two additional children of their own.

The family was largely self sufficient. Willie raised a cow, pig, and possibly other animals, while Etta tended the large family garden and canned its bounty. He worked at various odd jobs on the Island as a farm laborer, fisherman and, occasionally, employment at a local boat yard and dock. Even before his first marriage, he had been weaving ash splint baskets which found wide acceptance on the Island for a variety of jobs such as

was

a passionate hunter and shot a 10 ga black powder double. He enjoyed music, played in a few of the local bands, and served as assistant scoutmaster on the Island.

Willie and Etta Ross

His son recounts that Willie began making decoys for himself at age 16. The quality of his birds soon gained him recognition on the Island and many of the local gunners were soon purchasing and using his carvings. As with his baskets, he harvested his own cedar and pine and seasoned it in a shed at his home. He is known to have carved black ducks, whistlers, and oldsquaws (long-tailed duck) with perhaps a handful of other species, but it is his wonderful mergansers that have assured him a prominent place in Maine decoy history. The crest on these tollers was often ostrich plume which reportedly came from “some rich ladies who wore big fancy hats”. Oddly, he is not known to have made eiders or scoters which would have been the normal quarry on any offshore island. He used only an axe, spokeshave and jackknife on the bodies and a keyhole saw to rough out the heads. He did not utilize patterns except for some of the heads yet his birds are frequently mirror images of each other. His birds were primed grey then painted, often with the help of his wife. The decoys were sold for $1 apiece or $10 per dozen. By the early 1900’s, Chebeague had developed a widespread reputation as a tourist attraction and Willie carved a number of

miniature decoys and seagulls which were sold through Bennett’s store to “people from away” . He did carve a few whimsical items such as a small pig for his sister and a jewelry box in the shape of a clam for Etta .

His decoys were appreciated in their day for their effectiveness and his son has stated that his father would be surprised to learn that collectors around the country today prize both his baskets and his decoys so highly. “He never thought of them as anything but a working bird” .

Collector’s Note:

Our Willie Ross mergansers have never been offered before in the decoy market. We purchased them from Pam Boynton, a good friend and now passed antique dealer who bought them privately. They are in outstanding condition and retain their original peacock feather crests.

53 Rigmate pair of mergansers, Willie Ross, Chebeague Island, Maine, 1st quarter 20th century. Inlet neck seats and original peacock plume crests, which rarely survived. Measures 17.5” and 18.75” long. Excellent original paint with minor gunning wear; thin band of touchup to a fine hairline crack in hen’s neck; drake with tight crack in neck secured by a few small nails; drake’s bill is a nearly undetectable professional replacement.

Provenance: Purchased from Groton, Massachusetts antique dealer Pam Boynton in 1993. Russ and Karen Goldberger collection. (20,000 - 30,000)

54 Very rare and excellent miniature merganser, Willie Ross, Chebeague Island, Maine, 2nd quarter 20th century. An almost exact facsimile of Ross’s full size mergansers, with rounded body and slightly upswept tail. Measures 3.75” long. Minor paint rubs on the underside; otherwise excellent

Provenance: Russ and Karen Goldberger collection. (3,000 - 4,000)

Note: I found the Ross miniature merganser drake in the antique world. It’s the first ‘real’ miniature Ross merganser I have seen. There are many similar, but more angular, merganser miniatures that have sold as Ross’ over the years, but these were carved by Chester Doughty and not Willie Ross.

54 Collector’s

Orlando Sylvester “Os” Bibber

1882 – 1971 | South Harpswell, Maine

The coastal town of Harpswell comprises a series of narrow peninsulas which jut out into Casco Bay. At its very tip lie the village(s) of South and West Harpswell, home of Ollie Bibber. His father supported his wife and six children by working on a local Harpswell estate and fishing. Ollie chose not to follow in that line of work and, at a young age, moved to Portland where he learned the skills necessary to become a marine engineer and he is listed in the 1902 Harpswell City Directory as serving in that capacity in South Harpswell.

During WWI, he served as assistant engineer in the US Merchant Marine. Following the war, he became chief engineer for the Eastern Steamship Line on vessels that ran between Portland and Bangor (ME), as well as New York, Nova Scotia, and Cuba. In 1931, he married an Everett, Massachusetts girl, Nellie B. Douglas and the couple were living in Harpswell in 1933 where Bibber listed his occupation as “machinist” in the City Directory. Sadly, Nellie died there, and Bibber remained a widower for the rest of his life.

In WWII, he was employed in defense work at the Portland (ME) shipyard. Following the war, he returned to the steamship company where he worked until his retirement. He spent his post retirement years in West Harpswell where he lobstered aboard a boat he had rebuilt himself and enjoyed raising strawberries and chickens at his home overlooking the sea.

He carved only for his own use and enjoyment. Perhaps because of the remoteness of his home and the very limited number of his carvings, his work remained anonymous for many years. Dr George Ross Starr, pioneering New England collector, spent years scouring the Harpswell area in the 1950’s and 60’s in search of

its decoys and their makers. Even with his diligence, the identity of Bibber remained unknown to him. He was aware of his carvings, however, and proclaimed his oldsquaw “- - - one of the finest quandies I have seen” Students of New England birds have echoed his remarks ever since. Dr John Dinan in “The Great Book of Decoys” described his birds as “- - - the best carvings on the (Maine) coast” . Bob Shaw, ex-curator of the decoy collections at The Shelburne Museum in VT describes Bibber as “fastidious” and, when discussing his mergansers in particular, recognizes him as one of “Maines master carvers”. Few today would find argument with the assessment of these gentlemen.

After a lengthy illness, Bibber died in a Brunswick (ME) nursing home. He and Nellie rest today in the West Harpswell Cemetery on Harpswell Neck Rd.

Mrs Nellie B Bibber

55

Oversize merganser, Orlando Sylvester “Os” Bibber, South Harpswell, Maine, 1st quarter 20th century. Long, oversize body. Thinly hollowed with .25” bottom board. Head is slightly turned and up looking. With applied horse hair crest. Measures 22.25” long. Original paint with minor gunning wear; drip of discoloration runs from back down one side; excellent structurally.

Provenance: David and Andi Fischer collection. Purchased at Guyette & Schmidt 2000. Russ and Karen Goldberger collection. (20,000 - 30,000)

Collector’s Note:

Our Bibber merganser is very unusual for a Maine decoy. Oversized with turned head, hollow, almost delicate with original horsehair comb. If Bibber had asked a skilled painter like Willie Ross to paint this one, we’d have the ultimate decoy!

George Huey

1866 - 1947 | Friendship, Maine

Most communities have their local “characters”, those individuals that always seemed to act a little “odd” or perhaps live a lifestyle slightly outside of the accepted norm. Friendship, on the midcoast of Maine, had George Huey.

Not surprisingly, there is little about his life that can be documented. Much of what has been written about him is the result of interviews after his death with, then aged, members of the town. Some documents list his birth as occurring in Friendship in 1885 while others say 1886. His actual State birth record registers his official date of birth as Nov. 4th, 1855 – (apparently, accuracy was rather lax). His father, John, was a Friendship fisherman who his mother, Santana, had divorced by 1900 leaving her to raise her young son alone. As a child, George must have been a handful. Oral history claims that he may have shot his mother in the rear with an arrow when he was young and that he received an 8th grade education in a reform school where he learned the craft of caning chairs.

By the time George was 24, he had left Friendship and was living in nearby Cushing as a boarder in the home of farmer William Carter and his wife. Here he is listed as having his “own income”. By the time he registered for the WWI draft, he had returned to Friendship where he worked as a “fisherman”. Almost assuredly, this would have been digging clams – the closest he ever came to having anything that resembled an actual job. Even in this trade, his idiosyncratic nature emerged when he only kept those bivalves which he (alone) deemed to be the right size. For the most part, he earned his meager income by working (occasionally) at menial, part time jobs around town, performing those tasks that no one else really wanted, such as cleaning the privy or rowing aged lobstermen around the harbor to tend their gear. He lived on the road between Hatchet Cove and Friendship Harbor in what can best be described as a shack with no electricity or running water. He would often appear at people’s door around dinner time hoping to be invited in. Apparently, his personal hygiene left a little to be desired, so if he was offered a meal, or when he attended church, he would be assigned a seat, somewhat apart from everyone else, in a chair that could be easily cleaned. He was commonly seen proudly wearing a conductor’s uniform and hat with its brass buttons and townsfolk gave him the nickname “Pokus”. He would often be carrying a 10” tall figure of a woman that he had carved to match a similar one he did of himself – George named her “Martha Conch”. He seems to have had a sense of humor, for when a

passerby saw him painting a decoy they asked, “ Is that all you have done today George”? To which he replied, “No, I’ve made three birds today, but the cat got one and the other one flew away” . Similar stories about his life abound. He was very proud of his penmanship and once wrote a letter to Sears and Roebuck which began, “Dear Mr. Sears. How’s your Roebuck? The shotgun I bought from you wasn’t any good. I sold it to Alvin Pryor for two dollars.”

Regardless of what people thought of him personally, they really liked his decoys. He made primarily

George and his carving of himself

56 Outstanding red breasted merganser, George Huey, Friendship, Maine, 1st quarter 20th century. Stylized, angular body with inlaid neck seat and relief carved eyes. “GR Huey Builder” carved in the underside, as well as a flying duck. Measures 19.75” long. Excellent original paint with very minor wear; bill was cracked down and professionally reset with area of inpainting at the seam.

Provenance: Ex Charlie Hunter, III collection. Purchased at Guyette & Schmidt 2004. Russ and Karen Goldberger collection. (15,000 - 25,000)

Collector’s Note:

We have sold numerous Huey mergansers in different styles, but believe our George Huey merganser is sculpturally unique. Note the chined sides. It also carries Huey’s etched signature. All in excellent condition.

“If the great Maine carvers had a commonality, it was that they loved to make mergansers - - -. George Huey of Friendship was the master”

- Dr. John Dinan, Jr.

Chestnut Canoe Factory

Fredericton, New Brunswick

By the late 1800’s affluent sportsmen from Boston, New York and beyond became aware of the bounty of fish and game in New Brunswick. They began to arrive in search of the plentiful bear, deer, and moose as well as to experience the legendary trout and salmon fishery of the Miramichi river. They would often arrive by means of canoes built by early Maine makers, B.N. Morris, E.M. White, and E.H. Gerrish.

In Fredericton, brothers William and Henry Chestnut had recently inherited their father’s hardware company and were seeking additional products to expand the business. Canoes seemed a viable option but importing them from the United States would have reduced their profit margin. In 1897 they remedied the situation by hiring local boat builder, Jack Moore, to construct a canoe based on the Morris design. The model was so successful that the brothers traveled to Maine to recruit additional experienced builders from the Old Town Canoe Factory which, obviously, did not come as good news for the owners of Old Town.

In 1905 William Chestnut was granted a Canadian patent for construction of the wood and canvas canoe. Initially, the canoes were built in a small wooden shed-type structure but, as a result of the success of the venture, a larger factory was needed and one was constructed in 1905 on the south side of King St, in Fredericton. In 1907 Chestnut incorporated as the Chestnut Canoe Company Limited and, after the first factory burned in 1921, a new, larger facility was erected. The company flourished and, by 1914, was producing 1200 canoes per year as well as thousands of pairs of snowshoes. At its height, production had

their most successful dealers at numerous hardware stores, boat shops and sporting goods dealers. The most elaborate of these were their factory sample or model canoes. These have often been erroneously referred to as “salesman’s samples”, but they were never intended for that purpose. They were considered special display or “point of sale” items, meant to capture the eye, imagination, and wallets of potential customers. Other canoe factories of the day produced similar items, but those by Chestnut differed in two major ways. First, other companies, mostly American, produced many more of the models (numbers totaling in the 100’s), but less than ten models by Chestnut models are known. Secondly, the models produced by the competition ranged in size from about 2 to 6 feet with most in the 3 to 5 foot range while all known examples by Chestnut measure an impressive 7 feet.

Of the known examples of Chestnut’s, most (if not all) exhibit some degree of repair or restoration while the example being offered here is in about pristine condition. Roger Young, author of the seminal “Little Things That Matter – Collecting Antique Factory Sample

Frist Chestnut Factory

Collector’s Note:

We found the Chestnut salesman’s sample canoe in Pennsylvania, although it was made in Fredericton, New Brunswick, circa 1910. It retains a partial label and is in excellent condition. It hung upside down in our office for 30 years. Beyond its inherent desirability, the canoe is over 7’ long, not the more commonly found 48”.

57 Outstanding and rare 7’ model canoe, Chestnut Canoe Company, Fredericton, New Brunswick, circa 1910. One of less than a dozen known examples by the Chestnut Canoe Company. Cedar ribs and planking covered in green painted canvas with metal stem bands at bow and stern. Retain the original thwarts and caned seats. Much of the original decal on the bow deck. Measures just over 7’ long. Original condition with minor flaking and scratches on canvas; area on underside and one lower side where the original varnish has worn to the canvas; a few fine hairline cracks at tiny nails on bow and stern area of the gunwales. The best example known.

Provenance: Russ and Karen Goldberger collection. (20,000 - 30,000)

58

Rare, early trade sign from St. Louis, Missouri, last quarter 19th century. Relief gill and mouth carving with inlaid dorsal fin and applied anal fin. Deep relief scale carving. Salmon measures 32” long, still mounted to its original iron bracket. Layers of old overpaint have been taken down to an earlier surface and bare wood; some secured age cracks near belly; tight drying cracks in tail and head area; old loss to mch of the fin on top near tail area.

Provenance: Russ and Karen Goldberger collection.

(6,000 - 9,000)

59 “R” bannerette weathervane with flowers, 19th century. Measures 26.5” tall. 36” wide. Very early surface; single bullet hole, otherwise very good.

Provenance: Russ and Karen Goldberger collection. (3,000 - 5,000)

60 “G” bannerette weathervane with sunflower, 19th century. Measures 26.5” tall, 24.75” wide. Very early surface with discoloration from age; small losses to tips of sunflower petal.

Provenance: Russ and Karen Goldberger collection. (3,000 - 5,000)

62 Oil on canvas hunt scene, 1st quarter 20th century. Two hunters woodcock or snipe hunting with dog. Measures 18” x 24”. Surface has darkened slightly with age; thin dark line across top; otherwise very good.

Provenance: Russ and Karen Goldberger collection.

(500 - 800)

61 Excellent oil on canvas hunting scene illustration cover art, 1st quarter 20th century. Used on the cover of Hunting & Fishing Magazine, August 1924. Depicts a shorebird hunter in a beach blind shooting at three passing yellowlegs with four shorebird decoys in front of the blind. Canvas measures 26” x 20”. Minor discoloration from age; very minor flaking and rubs.

Provenance: Russ and Karen Goldberger collection.

(6,000 - 9,000)

63 Pair of hanging miniature bluebills, possibly John Tax, Osakis, Minnesota, 2nd quarter 20th century. Similar head and bill carving to Tax, with comb feather paint detail. Birds are mounted to an old barn board. Measure 5.5” long. Original paint with minor flaking and wear; very good structurally.

Provenance: Russ and Karen Goldberger collection. (600 - 900)

64 Carved and painted hunting scene from Pennsylvania, 2nd quarter 20th century. Oil on board background, with applied carved flying pheasant and dog on point. Old business card on the back from The Widdler, Reading California. Frame measures 15.25” x 18.5”. Even crazing on background; minor flaking and a reglued crack in dog’s hind leg.

Provenance: Russ and Karen Goldberger collection. (800 - 1,200)

65 Two oil on boards, Harry Lyman (1856-1933). Companion paintings of airdales hunting rabbit. Signed and dated 1919 lower left. 9.5” x 11.5”. Surface is mellowed slightly with age; very good original condition.

Provenance: Purchased from Joseph Tonelli. Russ and Karen Goldberger collection. (1,200 - 1,800)

66 Pair of antique block and tackle bookends from Long Island, circa 1900. Working block and tackle mounted as bookends when retired from surface. Measure 10” tall. Worn and used with drying cracks and flaking; nice nautical decoration.

Provenance: Russ and Karen Goldberger collection. (200 - 300)

Custom bluebird mirror, Eddie Wozny, Cambridge, Maryland. Made from a natural hollow of a tree. With applied mirror on inside of hollow and three bluebirds standing on edge. One with open beak and all three with raised wingtips and detailed feather carving. Signed and dated 2013 on the back. Bluebirds measure from 6.5” to 7.5” long. Mirror measures 32” tall Excellent and original.

Provenance: Russ and Karen Goldberger collection. (3,000 - 4,000)

68 Miniature pair of curlew, Eddie Wozny, Cambridge, Maryland. One is flying, with outstretched wings and legs. The other in preening pose with one extended wing. Both with relief wing and tail feather detail. “W” carved in the underside of each. Both are signed and dated 2001 on underside. Measure 8.5” and 4.75” long. Excellent and original.

Provenance: Russ and Karen Goldberger collection. (1,200 - 1,800)

70 Standing black duck, Grayson Chesser, Jenkins Bridge, Virginia. Deep relief wing carving with raised wingtips. Slightly turned head. “Made especially for Karen” on the underside. Signed and dated 1995. “C” carved in the underside. measures 16.5” long. Excellent and original.

Provenance: Russ and Karen Goldberger collection. (800 - 1,200)

69 Pair of miniature mallards, John McHendry, Illinois, circa 1925. Beautifully carved with relief wings and raised, crossed wingtips. Fluted tail feather carving and applied copper double tail sprig on drake. Maker’s signature on the underside. Measures 6.25” long. Original paint that has darkened with age showing very minor wear; excellent structurally.

Provenance: Russ and Karen Goldberger collection. (2,000 - 4,000)

71 Wonderful owl, Russ Allen, Parksley, Virginia. An excellent folk art piece, with owl and base carved from a single piece of wood. Applied perch and feet. Deep relief carved eyes, bear claw bill, and applied leather wings and ear tufts. “R.A.” carved on the back. Stands 21” tall. Excellent and original.

Provenance: Russ and Karen Goldberger collection. (800 - 1,200)

The Lay Family Collection

Every family collection tells a story. The Lay Family Collection consists of an admirable group of works by some of the most renowned American artists. Betty and Kenneth Lay, from Toledo, Ohio, collected with dedication and commitment, and demonstrated true stewardship – starting with an early interest in Edmund Osthaus in the 70s, they grew their collection to include great examples of Impressionism, including works by Mary Cassat, and Realism, as well as significant works from art historically-significant schools, among them the Hudson River School and the Association of Advancement of Truth in Art. The Lays also collected the American PreRaphaelites, including Henry Roderick Newman, John Henry Hill, John William Hill, and Henry Farrer. The Hudson River School is represented by three David Johnson drawings and an oil by James Renwick Brevoort. From the late 1970s until their passing, the Lays worked with Hirschl and Adler Gallery, Spanierman Gallery, Martha Parrish,

MP Naud, Richard York, Paul Worman, Berry Hill Gallery, Jill Newhouse, Clyde Newhouse, Christie’s, Sotheby’s, Stalker and Boos, DuMouchelle’s, and Wolfe’s. The couple were longtime supporters of the Toledo Museum of Art and belonged to the Apollo Society, a high-level fundraising circle. In the 1980s, they donated to the museum one of the most significant works in their collection, a print of George Bellows’ well-known painting, Stag at Sharkey’s.

The collectors’ interests seem to lie in frank, thoughtful representations of nature, children, and people at work, all important social, familial and economic facets of life in America.

They were also interested in the artistic process, as evidenced by several etchings in the collection made before or after better-known paintings by their respective artists: a unique, previously-unrecorded state of Mary Cassatt’s Sketch for the Bath and Winslow Homer’s Eight Bells , as well as Chalfant’s Study for the Shoemaker are great examples.

Kenneth and Betty Lay were lifetime appreciators of art and would be excited to know that their collection will be cherished by a new generation of collectors, who will recognize the works’ importance and help preserve them. Their continuous efforts to build a well-rounded collection of 19th and 20th century American Art have allowed for the appreciation and safekeeping of these paintings and created wonderful opportunities for them to be shared with the public, including loans to a Mary Cassatt exhibition at the Academy Art Museum in Easton, Maryland, and several interviews and articles.

Mary Cassatt was an American painter and printmaker who lived most of her life in France. As a member of the Impressionist movement, Cassatt’s paintings often featured mothers and children in intimate domestic settings. The artist’s use of nuanced color, combined with delicate brushwork created a timeless combination. As an advocate for women’s rights and supporter of Suffrage, Cassatt became known as one of few American artists associated with the Impressionists. Even though she wasn’t a mother herself she often depicted maternal love as well as children frequently; showing the complexity of women’s roles within society.

Mary Cassatt was born in 1844 in Allegheny City, Pennsylvania to a wealthy family. She received her early education at home and quickly displayed an aptitude for drawing. In 1865, she entered the Pennsylvania Academy of the Fine Arts in Philadelphia to study with renowned American artist Thomas Eakins. After four years, she left PAFA, with the goal of traveling abroad. Cassatt moved to Paris in 1866 and studied under Jean-Leon Gerôme, as women were not permitted to enroll at Ecole des BeauxArts then. While studying under Gerôme, Cassatt was deeply inspired by the works of European masters she saw displayed in museums throughout Europe. As many artists of her generation, her life was profoundly shaped by wars: the Civil War had just ended as she was growing up; her early professional development as an artist in Paris was interrupted by the Franco-Prussian War of 1870; and towards the end of her life, she was required to flee her countryside estate north of Paris when World War I broke out. Scholars and viewers may characterize Cassatt’s vibrant yet subtle colors, naturalistic lighting, and psychological complexity as sentimental; in many ways, this was revolutionary at the time.

Cassatt was an accomplished printmaker renowned for her drypoint etchings. Cassatt was drawn to etchings for their delicate lines and subtle tonal variations, which suited her painting style. These powerful images capture the emotional bond between mothers and children beautifully. Cassatt and her work are notable for their influence over printmaking, as she was one of best-known female artists working in this medium during her lifetime. Cassatt often made monochromatic etchings, as well as pioneering color prints created through the aquatint technique. Additionally, she

often hand-colored her drypoints. Influenced by Japanese woodblock printmaking (ukiyo-e), she devised an elegant method of producing seamless color fields in her etchings using the a la poupée method. Cassatt was inspired by the stark geometric simplicity and bold use of color found in Japanese art, and she adopted these elements into her own artwork, fusing bold compositions with Japanese aesthetic innovations. Her etchings and aquatints became permanent fixtures in major museums throughout America during her lifetime and are celebrated and exhibited globally for their remarkable demonstration of her skill.

Cassatt’s work is often described as sentimental, intimate, and focused on women’s worlds - qualities which made her a groundbreaking artist in her day. Her depiction of women in everyday settings as well as children as individuals were important developments in art history. Mary Cassatt’s daring personality and defiance of convention allowed her to achieve perfection in her art, furthering Modernism both internationally and in America. Today, her work can be found in numerous prestigious museum collections around the globe. Notable institutions that house her work include the Metropolitan Museum of Art in New York, the National Museum of Women in the Arts in Washington D.C., The Art Institute of Chicago in Chicago, Boston’s Museum of Fine Arts and The National Gallery of Art.

Mary Cassatt

(b. 1844, Allegheny, PA; d. 1926, Le Mesnil-Theribus, France)

Mary Cassatt (1844 - 1926)

Study for the Bath , c. 1890

Drypoint on laid paper

Plate: 10 3/4 x 7 3/4 in.

Sheet: 15 3/8 x 9 3/8 in.

Signed Mary Cassatt on recto, in excellent condition

Cassatt’s interest in Japanese woodblock printmaking (ukiyo-e) is noticeable in some of her greatest paintings. The etching on the left was a study Cassatt made prior to embarking on her 1893 oil painting, The Child’s Bath, and Cassatt only made one impression of this state. The flat yet circular composition, achieved through the depiction of the arms of the mother around her child, bears resemblance to the pictorial plane of a traditional Japanese print. Cassatt uses a total of six different decorative patterns in the painting, creating a harmonious but dynamic backdrop to the intimate, nurturing moment that appears in the foreground. The etching, which does not include any of the patterns, colors, or the background, is an interesting counterpart. Often, due to the laborious process of printmaking, an etching takes several progressive states, color trials, and even burnishing to complete. The Bath, however, signifies an exploration before Cassatt moves on to her canvas.

It is not difficult to imagine the artist at work on this etching, wondering whether her vision for the scene would bear fruit. Once deciding that she should develop the sketch into a piece, she conjures the same quiet, intimate moment in the drastically different medium of oil painting: the receded lighting she conveys through the soft definition on the child’s right shoulder in the etching translates into tones of rosy brown,

Provenance:

Roger Marx, Cleveland, Ohio; Hirscl and Adler Galleries; Mr. and Mrs. Kenneth J. Lay, Sr., to the estate of Kenneth J. Lay, Sr.

juniper, mauve and ashen blue in the painting. The pronounced linework forming the subjects’ features and especially the child’s body marks the beginning of a simple inverted pyramid composition, and develops into the subjects’ flushed cheeks, shiny dark hair, and downturned gaze towards the child’s feet. The painting is an Impressionist triumph, as it favors the dimly-lit room and beautifully recalls soft voices, the occasional splashing of water, and the rustling of fabric. The piece is also significant because it likely pictures a middle-class woman who fulfills domestic duties on her own. The beautiful, striped dress Cassatt adorns her with in the painting indicates that she is not a domestic worker. The etching has its own unique qualities, as the absence of color and background allows the viewer to focus exclusively on the mother and child. It is thought that Cassatt only pulled one impression from the plate.

Cassatt was known for her skill in creating drypoints, as she was masterful dynamic textures and well-toned figures through the medium. She utilized printmaking techniques to experiment with different compositions, color combinations, and subject matters. She would often make preparatory drawings and create several versions (states) of her etchings, adjusting and refining the compositions as she went, and would sometimes use the final versions of her etchings as the basis for her oil paintings. This allowed her to transfer the spontaneous and fluid qualities of her printmaking into her painting, resulting in an insightful visual language.

$20,000 - 30,000

Mary Cassatt (1844 - 1926)

Mother Resting Her Cheek on Her Daughter’s Blond Head (also known as Maternite), 1913

Oil on canvas, 18 x 15 in. Signed on recto, upper right corner

Provenance:

André Urban, Paris; Arthur Tooth & Sons, London; Findlay Gallery, New York, 1957; Consignment to Hirschl & Adler from Richard Smart, January 1977; Mr. and Mrs. Kenneth J. Lay, Sr., Toledo, Ohio, 19822010; (Mr. Kenneth Lay) to the estate of Kenneth J. Lay, Sr.

By the 1910s, Mary Cassatt was in her 70s and largely recognized as a major figure of the Impressionist movement, and this painting is one of the finest examples of her intimate and tender subject matter: mothers and children. She often portrayed the bonds between mother and child, capturing the warmth, love, and care that define these relationships. Unlike her Japanese-inspired paintings that innovatively disrupt spatial conventions and insert beautiful patterns into the scene, this painting presents a simple, strippeddown moment from everyday life, and features the soft, muted colors that create the atmosphere in many of her works. Cassatt was a master at capturing the subtle gestures and expressions that convey emotion, and her paintings of women and children are considered some of the most beautiful and intimate depictions of the genre.

The brushwork in Mother Resting Her Cheek on Her Daughter’s Blond Head is exquisite, with emotion culminating in the warm physical contact between the pair. Cassatt pays attention to the unique facial features of the child and conveys intimacy while awarding the two subjects their individuality. The clothing and accessories on both the mother and the child are depicted with great attention to detail, as these elements often allowed Cassatt to indicate the social status and roles of her subjects. In this case,

the unknown pair of sitters appear to belong to the upper class, and are likely among Cassatt’s family or friends at her country estate in France. This painting is understated yet masterful when compared with the more ambitious paintings in the pinnacle of Cassatt’s mature period, which included well-known works such as the Child’s Bath and Little Girl in Blue Armchair . The open composition in Mother Resting Her Cheek on Her Daughter’s Blond Head leads the viewer’s eye from the mother’s loving gaze onto the daughter’s face, and the close pose reflects the intimate emotional nature of the work.

Cassatt was prolific throughout her career, until the last years of her life. Mother Resting Her Cheek on Her Daughter’s Blond Head is one of Cassatt’s later paintings, as by 1914, Cassatt had lost her eyesight almost completely due to advancing diabetes. In the last years leading up to this, Cassatt began etching, drawing and painting more observationally, to capture certain moments, which opposed her longer process of producing numerous states (working proofs) when making prints. Estimates suggest that Cassatt made around 200 paintings, drawings and pastels in her lifetime.

$400,000 - 600,000

Mary Cassatt (1844 - 1926)

The Barefooted Child , c. 1896-97

Drypoint and aquatint on cream laid paper

Plate: 9 ½ x 12 ½ in. Sheet: 12 5/8 x 15 5/8 in. Signature on recto, lower right corner Watermarked “derle” on verso.

Provenance:

Breeskin: 160 Mathews/Shapiro 22

Part of Cassatt’s last known suite of color prints, the Barefooted Child pictures a baby with cherubic curls and his mother, who appear to be playing patty-cake. Cassatt experiments with definition and color throughout the five states of the print, with the fourth state printed in yellow and gray. The definition in the mother’s scarf and skirt, as well as both subjects’ hair, is striking, and represents the virtuosic combination of Cassatt’s inspirations and unique visual language: although the fabrics and the sudden, flat transitions between various surfaces resemble Japanese woodblocks, the composition and rendering is Cassatt at the pinnacle of her printmaking prowess.

The mint and yellow pastels of the mother’s outfit and the child’s hair contrasts beautifully with the teal of the mother’s sleeves, framing the child in white and leading the eye to the center of the composition. Their pose bears a strong resemblance to Madonna and child paintings by European Masters such as Raphael and Velazquez, whom Cassatt studied as a young painter during her travels in Italy and Spain. The blue and white color pair is often used in traditional depictions of Saint Mary and Jesus, as blue symbolizes divinity. Unlike some of Cassatt’s meticulously-developed interiors, the muted, monochrome background in this print suggests the subjects symbolize the archetypal image of mother and child.

The full effect of the colors in this print is elevated by Cassatt’s simple yet rich lines. She often experimented with introducing color to unetched areas of the plate, and she did this through a combination of applying the colors directly onto the paper and using color plates. The level of experimentation across different composition methods, color palettes, and printmaking techniques indicate Cassatt’s mastery. Cassatt stopped making color prints long before she had to stop painting, etching and drawing due to her failing eyesight. After producing the suite of prints that included the Barefooted Child , she traveled from her country home in France to America for the first time since 1875.

Known impressions of this etching are in the collections of the Metropolitan Museum of Art, New York; the Art Institute of Chicago, and the Museum of Fine Arts Houston. Because of Cassatt’s use of the a la poupée method to introduce color to the work, each impression (and state) are slightly different. This impression was acquired by the Lay Family in the 1980s and would benefit from conservation work. There are three acid stains as well as mat stains around the borders.

$15,000 - 20,000

Lot 75

Winslow Homer, American (b. 1836, Boston, MA; d. 1910, Scarborough, ME)

Charles Savage Homer, Jr. , 1880

Watercolor on paper

20 ½ x 15 in.

Initialed and dated on recto, lower left

Provenance:

The artist, Charles Savage Homer Jr. (sitter and the artist’s brother), Mrs. Charles Savage Homer Jr. (the artist’s brother’s widow), Charles Lowell Homer (son of the artist’s brother Arthur Homer and nephew of Winslow Homer and Charles Savage homer, Jr.), Alice Homer Willauer (daughter of Charles Savage Homer, Jr.), Peter O. Willauer (Alice homer Willauer’s son), private collection, Washington, D.C., Spanierman Gallery, NYC, the Lay Family, Toledo, OH.

In this stunningly atmospheric watercolor, Winslow Homer portrays his older brother Charles Savage Homer Jr., who was a chemist and a partner at a paint and varnish company. Charles supported his younger brother’s arts career enthusiastically and was an avid collector of his work throughout his life. The artist’s admiration and respect for his older brother is apparent in the way that he depicts him as a subject. Dignified and austere, Charles poses in a gray pinstripe suit, leaning slightly backwards onto the drape. The simplicity of the background and surroundings allow the viewer to focus on the sitter’s features and follow his sidelong posture from his face to his shoes.

Winslow Homer was a talented watercolorist. He produced a number of works in the medium, especially during his later years, that are known for their strong sense of light, color, and atmosphere, including Blackboard (1875), The Gulf Stream (1899), and Midnight, Approaching a Shipwreck (1885). These works showcase Homer’s skill in the watercolor medium and his ability to convey mood and emotion. In Charles Savage Homer, Jr., Winslow Homer displays the entire range of his ability by using soft washes of color over his brother’s suit and the background, rather than saturating the paper with pigment. This contributes emotion to the overall mood and allows for a psychological interpretation of the work by equipping it with a very subtle dreamlike quality that perhaps reflects Winslow Homer’s complete and tender admiration of his older brother. The shades of gray are muted in comparison to his boldly-colored landscapes and marine scenes,

and the work retains its Realism influence through skillfully-executed details, such as the pinstripes on the sitter’s suit and the shiny texture of his shoes.

Winslow Homer’s brothers posed for him often as stand-ins for his marine and sportsthemed works. This quiet and formal moment represents an exception, as Winslow Homer was not widely-known for his portraits as some other artists in his time. He did create a few noted portraits throughout his career, including The Fair Prima Donna (1865), The Peacemaker (1880), and Snap the Whip (1872), which depict his subjects in highlydeveloped, realist settings. These portraits all convey a strong sense of the individuality and the personal character of the sitter, and signal a level of sentimental intimacy Homer rarely afforded his subjects.

$300,000 - 500,000

Charles Savage Homer, Jr. and Winslow Homer in 1900.

Winslow Homer (1836 - 1910)

Winslow Homer was an American painter and printmaker celebrated for his marine paintings and illustrations. Born in Boston, Massachusetts, he spent his youth growing up near the seashore at Cambridgeport. While still young, Homer worked as an illustrator for several magazines such as Harper’s Weekly while traveling extensively, sketching landscapes and the people he encountered. By the 1870s, Homer focused on painting marine subjects inspired by New England’s rugged coastline and power of the ocean, eventually moving to a remote fishing village in Maine where he spent several years capturing fishermen’s lives alongside stunning landscapes.

Homer was renowned for his ability to capture the mood and atmosphere of his subjects, whether they were bustling cities or tranquil landscapes. His paintings and illustrations are noted for their dramatic use of light and color as well as how well they convey motion and energy. A self-taught artist, Homer earned widespread acclaim during his lifetime; today, his works remain among the finest examples of American painting. Homer passed away in 1910 at Prouts Neck, Maine; however, many of his works can be found housed at Winslow Homer Studio at Portland Museum of Art.

Winslow Homer was a relatively private person who traveled frequently for his work as a Civil War illustrator and to find inspiration for his paintings. Homer’s earlier works often have an episodic quality, while his more mature paintings demonstrate psychological depth that showcases his growth as

an artist. While some of Homer’s earliest artworks depicted the war, he preferred not to depict battle scenes. As an illustrator, he was asked to create artwork which documented both events of the conflict and soldiers’ lives. His illustrations are anecdotal, but his paintings stand out for their vibrant use of color and light - providing a powerful visual record of the Civil War and its lasting impact on Americans. Homer’s artwork spans many genres, such as marine paintings, landscapes, portraits and sports. Regardless of the subject matter he tackles in these works, Homer’s pieces are all distinguished by their dramatic use of light and color and bold outlines that create an atmospheric and narrative quality.

Homer’s mastery of wood engraving and etching allowed him an extensive oeuvre, with the latter used to illustrate magazines and books. His skill in wood engraving intricate and detailed images earned him widespread recognition as a talented printmaker. Many of his wood engravings are iconic examples of American printmaking from the 19th century. Winslow Homer’s artwork can be found in several permanent collections of art museums and institutions, including the Metropolitan Museum of Art in New York, Museum of Fine Arts in Boston, National Gallery of Art in Washington D.C., Brooklyn Museum, New York, Art Institute of Chicago, Philadelphia Museum of Art, and the Smithsonian Museum of American Art.

Winslow Homer (1836 - 1910)

Eight Bells , c. 1889

Etching in black ink on light beige, medium-thick, laid paper

19 1/2 x 25 1/2 in.

Signed on recto, lower left corner (“Winslow Homer sculpt 1889”)

Provenance:

Wolf’s Auctioneers and Appraisers (1990)

The Lay Family

Homer made this etching one year after his eponymous, well-known marine painting picturing two sailors taking bearings of the ship’s position with octants. The title refers to a ship’s bell, which strikes once for each 30 minute-interval to mark the time for keeping watch. Eight bells would be heard at four, eight, and twelve AM and PM. The crew seem to be taking the noon sight to determine the ship’s position, and the dark clouds, contrasted with the bright, foam-green sea, indicate bad weather might be arriving. Homer developed the idea for painting this scene as he was painting empty panels on his younger brother Arthur Homer’s sloop, on which he spent a considerable amount of time.

Homer was self-taught in etching, and he created Eight Bells during a prolific period in his life for this medium, between 1887-1889. Etching was enjoying a revival throughout the art world, and many artists were showing interest in it as an art form. Homer often used his paintings as a basis for the etchings and remarked that he had made fine pieces. He stopped making etchings because they weren’t very successful in the market, but they remain demonstrative of his mastery and interest in conveying atmosphere, movement, and dramatic light.

The painting and the subsequent etching were well-received by critics, as the colors and the mood indicated Homer transcended a naturalistic approach and captured the feeling of isolation and introspection that can be experienced at sea, as well as the sailor’s deep connection to the sea and the natural world. This effect is very much conveyed by the wide tonal range and contrast in the etching. From a simple task repeated throughout the day, Homer created a scene of importance and anticipation, especially by removing some of the details on the ship, the sky and the waves that are present in the painting. While the painting expands on the relationship between the sailors and the sea, the etching truly focuses on the pair of sailors. Characterized by

a contemplative mood and sense of solitude, the etching’s strong lines, dramatic contrasts, and intricate details make it a masterpiece unto itself. Like the painting, the Eight Bells etching is considered a masterpiece of Homer’s work and is highly valued.

Although Homer was most experienced in wood engraving, etching proved to be a fruitful medium for him. The richness of printing ink and the bold, monochromatic lines he used heightened to the realist yet dramatic storytelling of American life he so masterfully conveyed in his works. The cross-hatched lines and the adjacent systems of parallel lines in the etching endow the work with richness and mastery, as they create the movement and flow that relay the drastically different textures of water, the soldiers’ beards, clothing and hats, the wooden ship, and the clouds. Editions of this etching are in the collections of the National Gallery of Art and the Clark Art Institute.

$40,000 - 60,000

Winslow Homer, Eight Bells, oil on canvas Addison Gallery of American Art, 1930.37g Gift of an anonymous donor

George Bellows (b. 1882, Columbus, Ohio, d. 1925, New York)

George Bellows was an American Realist painter and illustrator. He is best known for his realistic depictions of urban life and boxing matches, as well as his contributions to the Ashcan School, a group of artists who focused on capturing the gritty realism of American cities in the early 20th century. The Ashcan School advanced his interest in portraying working-class life in the city, as the group focused on deprivation and injustice at a time when paintings still depicted elevated, idealized subjects. Bellows studied at Ohio State University and later at the New York School of Art.

Bellows is widely recognized for his powerful and dynamic images of boxing matches and city life, as well as his series of dramatic and often moving images of World War I. In his early years, he was an athlete and received offers to play semi-professional and professional sports at various points during his educational career, which he declined. Despite his untimely death at the age of 42, he left behind a rich legacy of paintings and illustrations.

George Bellows was a versatile artist who worked in several mediums. He is best known for his bold and dramatic oil paintings, which capture the energy and excitement of urban life in New York City. He was also a skilled lithographer, and he produced a number of prints that showcased his ability to convey movement and emotion. He produced over one hundred lithographs between 1921 and 1924 using a lithography press he installed in his studio. Throughout his career, Bellows worked as an illustrator for magazines and newspapers, and his illustrations are characterized by their strong graphic quality and dramatic compositions.

Unlike some other artists of his period, Bellows enjoyed recognition during his lifetime. Even though he was focused on urban realism, he also accepted portrait commissions from the upper echelons of New York society. However, he never fully embraced this lifestyle, as he was associated with the Lyrical Left and wrote for a socialist journal, the

editors of whom he also disagreed with. Bellows painted a staggeringly wide range of subjects, from gruesome illustrations of World War I and critical illustrations of government censorship to boxing matches, his wife and daughters, and marine scenes. He accomplished the brooding quality of these paintings through bold brushstrokes and powerful images.

The Amon Carter Museum of Art holds 220 of his lithographs, while the Boston Public Library and the Cleveland Museum of Art also have significant holdings. The National Gallery of Art, Washington, D.C., the Columbus Museum of Art, Columbus, Ohio, the Whitney Museum of American Art, New York, and the Museum of Modern Art, New York, have notably acquired his work during his career. He died unexpectedly in 1925 from a ruptured appendix, at a time when he was regarded as one of the country’s most notable artists. The Metropolitan Museum of Art celebrated his accomplishments and acknowledged his promise by organizing an exhibition of his work in the same year.

George Bellows (1882 - 1925)

Bleak Hills , 1920

Oil on canvas

16 1/2 x 24 in.

1920

Unsigned, inscribed Bleak Hills twice on verso, recorded in artist’s Record Book B

Provenance:

Estate of the artist (1925), Emma S. Bellows, his wife, Estate of Emma S. Bellows (1959), (gallery that sold to Lay Family) Private Collection

George Bellows, Stag at Sharkey’s, 1909, oil on canvas Cleveland Museum of Art, 1922.1133

Photograph of Overlook Mountain, Woodstock, NY

Although Bellows is best-known for his urban scenes and social realist paintings, he painted landscapes often. His landscapes depict a range of rural areas from Maine to the Adirondack Mountains, the New Jersey coastline, and the undeveloped surroundings of New York City. These works demonstrate Bellows’ mastery of the landscape genre and his ability to convey the beauty and majesty of nature. Village on the Hill, Camden, Maine , an oil painting by Bellows from 1916, bears striking compositional similarities to Bleak Hills , but incorporates a lively color scheme and movement. Bleak Hills, on the other hand, conveys austerity through brown hues and bold, expressive brushstrokes, which demonstrate the influence of European Modernists, Post-Impressionists, and Flauvinists, from Francisco de Goya to Paul Cezanne. The dramatic vantage point, from a mountaintop looking down, underlines the geographic majesty of the surrounding nature, as well as the smallness of the houses in comparison. The painting depicts a landscape in Woodstock, NY.

Bellows expertly marries a sordid depiction of the natural world with subtle drama. The dense layers of paint add to the dimensionality of the painting, as it conveys the lush, unabiding flora and fauna that make the scene so moving. The viewer is invited to imagine driving through the hills to a destination tucked away while considering the dark tree cover and an openness to the elements. Even though the title

is Bleak Hills , which very much reflects the recession the American economy experienced in 1920 and 1921 following World War I. Rural and agricultural communities would feel the impact of this in an isolated manner. Bleak Hills differs from many of Bellows’ landscapes because of the complete lack of figures and the plainness of the sky: often, he depicts farming or fishing families as heroic but hardened figures, sometimes with the clouds breaking apart above them to reveal an ethereal, gold, sunny hue. Bleak Hills on the other hand is curiously unassuming, with Bellows selecting elements of the natural landscape as his most dramatic characters.

Bellows first visited Woodstock in the spring of 1920 with his friend and fellow artist Eugene Speicher. He came back in the fall searching for a summer home for his family. Most of his paintings of Woodstock are colorful and depict the changing colors of the foliage through the seasons and were made in the Plein Air style.

In addition to the Metropolitan Museum of Art, many of Bellows’ landscape paintings are housed in the Whitney Museum of American Art, Museum of Fine Arts Boston, Art Institute of Chicago, and the National Gallery of Art.

$120,000 - 180,000

Childe Hassam (b. 1859, Boston, MA; d. 1935, East Hampton, NY)

Frederick Childe Hassam (1859-1935) was an American painter and printmaker renowned for his Impressionist-style paintings of urban and coastal scenes. Born in Boston, Hassam studied art abroad before returning home to pursue a career as a painter. Hassam was part of an influential group of American Impressionist artists known as “The Ten,” who held annual exhibitions of their work. He was renowned for his loose brushwork, vibrant colors and focus on light and atmosphere in his subjects ranging from urban street scenes and landscapes to coastal views - often featuring New York City or Gloucester, Massachusetts. In addition to his paintings, Hassam was also an accomplished printmaker, creating numerous etchings and lithographs. These works often featured similar subjects as his artworks and showcased his fascination with light and atmosphere.

Hassam’s landscape paintings often featured urban scenes, breaking away from the pastoral imagery that was popular at that time. His paintings of New York City in particular captured the energy and vitality of the city and helped it gain recognition as an artistic subject worthy of study. The artist’s use of color and brushwork in his landscapes was highly innovative. He was renowned for using bright, bold hues combined with loose impressionistic brushstrokes that gave his works a vibrant sense of movement and vitality.

Childe Hassam made several trips to the Midwest over his career, beginning in the 1880s. One of his earliest excursions there was 1886 when he visited Iowa and Minnesota with fellow artist J. Alden Weir; this journey proved pivotal for Hassam as it exposed him to new subject matter and helped shape his Impressionist aesthetic. Hassam next visited the Midwest in 1890, when he traveled to Chicago for the World’s Columbian Exposition - an important international exhibition. While there, he painted several views of Chicago and its fairgrounds, including his renowned painting The Flag Parade, Chicago . In 1904, Hassam traveled to St. Louis

for the Louisiana Purchase Exposition, another significant international exhibition. He painted several views of the fairgrounds and city, including his iconic painting St. Louis from the Roof of the Palace of Education . Overall, Hassam’s trips to the Midwest were essential in his development as an artist, providing him with new subject matter and honing his Impressionist technique.

Hassam’s work can be found in major museums throughout America, such as the Metropolitan Museum of Art in New York City and the National Gallery of Art in Washington D.C. He is considered one of America’s greatest Impressionist painters and a pivotal figure in American art history.

Self-portrait by Childe Hassam, c. 1915-16. Private collection

Childe Hassam (1859 - 1935)

Northbend, Nebraska , September 14, 1908

Watercolor and gouache

6 1/4 x 9 in.

Provenance:

The artist, 1908; (Childe Hassam), Mr. Harry G. Salsinger, Detroit, Michigan, by 1925-58; (Mr. Harry G. Salsinger) to his son, Mr. Harry G. Salsinger, Jr., Northville, Michigan, 1958-76; (Mr. Harry G. Salsinger, Jr.) to the estate of Harry G. Salsinger, Jr., 1976; (Mr. Harry G. Salsinger, Jr.) to sale, DuMouchelle Art Galleries, Detroit, Michigan, October 27, 1976; (Du Mouchelle Art Galleries) to Mr. and Mrs. Paul Windorf, Mt. Clemens, Michigan, 1976-82; (Mr. Paul Windorf) to [sale, Stalker & Boos, Birmingham, Michigan, 1982, bought in]; (Stalker & Boos) to Mr. and Mrs. Kenneth J. Lay, Sr., Toledo, Ohio, 1982-2010; (Mr. Kenneth Lay) to the estate of Kenneth J. Lay, Sr.

This intimate watercolor and gouache piece departs from Hassam’s cityscapes, and instead focuses on North Bend, a small town in Eastern Nebraska. It is possible that Hassam made this work while traveling, as it is made on the back of a page of a Farmer’s Almanac. In addition to his decidedly Impressionistic brushstrokes, Hassam conveys the flatness of the landscape before him by using subtle shading and flat stacks of color for the fields and the sky. Understated, especially when compared to his paintings and watercolors depicting rocky, coastal landscapes, North Bend, Nebraska presents a quaintness. Hassam’s earthy hues of beige, brown and terracotta red, as well as his quick, loopy outlines, make for a wonderful scene that he may have painted from the window of a moving train.

$15,000 - 25,000

Lot

John Frederick Peto

(b. 1854, Philadelphia, PA; d. 1907, Island Heights, NJ)

John Frederick Peto was a painter known for his still life paintings of everyday objects such as books, pipes, and bottles. He was born in Philadelphia and began his artistic career as an apprentice to a sign painter. Later, he studied at the Pennsylvania Academy of the Fine Arts under Thomas Eakins. Peto is associated with the American trompe l’oeil school of painting, which aimed to create highly realistic illusions of three-dimensional objects on a twodimensional surface, such as the artist’s canvas or board. Peto’s paintings often included objects with sentimental or nostalgic value, such as old books, photographs, pipes, pistols, and shoes, which conveyed a sense of the passage of time and the transience of human life.

Peto’s work was not widely recognized during his lifetime, but he has since gained recognition as a significant figure in American still life painting. His paintings are now held in major museums and collections throughout the United States, including the Metropolitan Museum of Art, the National Gallery of Art, and the Philadelphia Museum of Art.

Peto was interested in informal, worn-out objects and his color palette contained earthy browns and grays compared to the fuller range other trompe l’oeil painters. His brushwork was looser, and in the majority of his paintings, he used softer light. In addition to more conventional still lives, which presented objects arranged on a surface, he painted letter racks, a popular sub-genre of still life painting that presented written materials, such as newspapers, postcards, and notes, to showcase the painter’s full technical ability to create trompe l’oeil illusions.

Peto’s technical ability is unmistakable: he achieves the illusion of reality successfully even in his darker still life scenes, and the high contrast and directional light bestows his paintings with a powdery appearance. His array of objects appears both nostalgic and timeless, and he expertly conveys diverse textures. His still life set-ups have a subtly photographic quality, which is not surprising given he took up the medium towards the end of his life.

Lot 79

Pipe Tobacco Books

Oil on canvas

6 x 8 3/4 in.

A lovely, small piece by Peto, Pipe, Tobacco and Books is a livelier painting with lighter colors, including warm whites, orange, and green. The delicate tobacco pot with gold leafing provides excellent contrast with the bound books. The burnt matches in the foreground provides an excellent opportunity for Peto to demonstrate his skill as he depicts the texture of the brittle head. The matches also provide an opportunity for storytelling that verges on the cinematic: someone has just been here, smoking and reading.

The painting and the frame are both in excellent condition. The distinctive colors and the range of shadows showcase Peto’s characteristic visual language at its best.

$15,000 - 25,000

John Frederick Peto (1854 - 1907)

Ginger Pot, Cake, Lemons

Oil on canvas

5 x 6 1/2 in.

Featuring an incredible level of detail in such an intimate painting, Ginger Pot, Cake, Lemons perfectly communicates the loveliness of teatime. Peto often looked at objects that held a nostalgic aura, rather than luxurious foods, but this painting is a wonderful exception that retains the emotions the objects and foods might evoke: sentimentality, familiarity, and coziness. Demonstrating a wide range of consistency and texture, from the delineation between the icing and the spongy interior of the cake, to the shiny lemon slice, Peto excels at the challenge.

$12,000 - 18,000

John Frederick Peto (1854 - 1907)

John Frederick Peto (1854 - 1907)

Books and Ink Bottle

Books and Ink Bottle is an intimate, small painting that depicts a bookshelf. The lovely beam of light shining on the right side of the painting exposes the texture of the beautiful, if not slightly worn, pages. The anonymity of the books contributes a mysterious quality to the painting that makes its appeal universal: whether they are the oeuvre of the Brontë sisters or Edgar Allen Poe, the viewer is invited to unleash their imagination.

The painting and frame are both in excellent condition with rich colors and lively sheen. This painting is unique due to the unusually high contrast and dark tonality, which Peto often diffused in most of his other work.

$6,000 - 9,000

Oil on canvas 5 1/2 x 9 in.

Charles Burchfield (b. 1893 Ashtabula, OH; d. 1967, West Seneca, NY)

Edge of the Woods , 1954

Charles Burchfield was an accomplished painter and watеrcolorіst who married rеalіst dеpictions of naturе with wondrous abstract еlеments. Born in Ohio, Burchfіeld studiеd at the Cleveland Instіtutе of Art and later at thе National Acadеmy of Dеsіgn in New York Cіty. Thе artіst’s work often dеpіctеd scеnеs from rural Amеrіca and introduced a sense of mystery to beautіful observations of thе natural world. Hе was particularly drawn to thе changіng seasons and іncluded fauna and flora to еxprеss thе passage of time.

Burchfield oftеn usеd bright, bold colors and exaggerated shapеs and patterns to create a sensе of movemеnt and enеrgy. The artist’s work іs oftеn associatеd with thе Amеrican Scеne Paіntіng movement, whіch sought to capturе the essence of Amеrican lіfе and culturе. Howevеr, hіs paіntings wеre more idіosyncratic and personal than thosе of many other Amеrіcan Scenе paіntеrs: highly individual and oftеn whimsіcal to prеsеrvе thе vеry sеnse of wonder that defines hіs vіsual language. Hіs dеpіctіons of wеathеr and use of lіght are particularly characterіstіc, straddlіng a fragіlе poіnt betwеen rеality and a dream world.

Burchfіeld іmbuеd his landscapes wіth a sеnsе of mystical or spirіtual sіgnificance. Burchfіеld’s paintings also frеquеntly іncludеd handwrittеn notes, which addеd an еxtra layer of meaning and personal еxpressіon to hіs work. In addіtion to his artіstіc accomplishmеnts, Burchfiеld was also an early fіgurе іn the devеlopment of Modernism іn Amеrica, as hіs dеviatіon from naturalіst form presеntеd the vіewer with a unіquе dіrection. Burchfield remaіns an innovativе fіgurе who еxpеrіmеnted wіth subject and form, as well as the painting convеntions of his tіmе.

The monochromatic work, simply titled the Edge of the Woods , has an illustrative quality. Picturing a house and a church in a clearing during the bleak winter months, the work almost has a photographic quality, with the trees forming a frame within the frame. The scraggly branches contribute a playful yet atmospheric element to the somber scene, and the artist’s exacting lines contribute an etchinglike quality. Burchfield’s tonal range is skilled, with deep tones in the shrubs contrasting with the low hills and cloudy sky. The artist was interested in canonical American authors such as David Henry Thoreau and Willa Cather, who would often project complex psychological characteristics unto nature. This is very much reflected in his work. The piece is in excellent condition with light mat stains and demonstrates Burchfield’s characteristic work, which has been rediscovered in the 2000s through retrospectives at the Whitney Museum of American Art and the Hammer Museum.

$10,000 - 15,000

Watercolor on paper 11 x 17 in.

Charles Burchfield, An April Mood, 1946-55, watercolor and charcoal on paper Whitney Museum of American Art, 55.39

Henry Farrer was an American painter and etcher associated with the American PreRaphaelite movement. He was born in London and moved to the United States as a child. Farrer studied at the Pennsylvania Academy of the Fine Arts and later in Europe, where he became influenced by the work of the PreRaphaelites. Farrer’s paintings were typically of landscapes and seascapes, often featuring the rugged coasts of Maine and Long Island. His work is known for its atmospheric quality and luminous effects of light. Farrer was also a skilled etcher, and his etchings often depicted similar subjects as his paintings.

Farrer was a member of the American Watercolor Society and the Society of American Etchers, and his work was exhibited extensively in the United States and Europe during his lifetime. His paintings and etchings are held in the collections of the Metropolitan Museum of Art in New York City and the Smithsonian American Art Museum in Washington, D.C.

Farrer’s work was influential in the development of the American Pre-Raphaelite movement, which sought to revive the principles of medieval art and rejected the academic traditions of the time. Farrer’s landscapes, with their detailed realism and attention to light and atmosphere, embodied these ideals and helped to establish a distinct American style. The artist’s work helped popularize the rugged coasts and landscapes of Maine and Long Island, and present them in a new, inspiring light. The rich luminous effects and atmospheric quality was characteristic of his depictions of this geography. Farrer was also a pioneer in the use of color etching, a technique that allowed for greater tonal range and subtlety in his prints.

Henry Farrer

(b. 1844, London, United Kingdom; d. 1903, Brooklyn, NY)

Henry Farrer (1844 - 1903)

A small, delicate watercolor, Sunrise demonstrates the best qualities of Farrer’s understated landscapes. Even though American PreRaphaelites pushed forward a radical subversion of the painting conventions of the time, the common qualities of their visual language were often subtle and keenly focused on naturalism. Sunrise is no exception: the painting captures the moment before the sun appears on the horizon, its red glow emerging from among the parting clouds. Farrer’s skill as a watercolorist allows for this exceptional work to take on a solemn quality: his colors are dense, with dynamic ranges in dark greens and browns. The reflection of the sky on the lake carefully recreates the dewy, fresh moments of early morning, but stops short of a truly dramatic depiction. The influence of author John Ruskin, who recommended that readers and artists alike “go to nature,” is evident in the work. As many Pre-Raphaelites favored inserting allegory in their landscapes, this painting can be interpreted as rebirth and hope for a new day.

Henry Farrer (1844 - 1903)

Sunrise Sunset

A lovely pair with Sunrise, Sunset presents the moment after the sun has dipped below the horizon in a slightly deeper color scheme. The bend in the river catches the richest red-pink hue, while the clouds range from this bold color to gray. In line with the Pre-Raphaelites’ careful naturalistic style, the watercolor allows the viewer to feel immersed deeply in the landscape, centering the beauty of the scene rather than its overt symbolism. Sunrise and Sunset depict two scenes with subtle differences, and the muted colors help unify them elegantly. Farrer’s attention to detail is evident in the rendering of the countryside, as his brushstrokes on the leaves, smaller shrubs, and clouds help introduce the wide variety of textures found in a scene such as this. Reminiscent of New England landscapes in spring and early summer, the cooling scene successfully evokes a tender moment between the viewer and their beautiful surroundings. The

The watercolor is in excellent condition with lively, well-preserved color and contrast.

watercolor is in excellent condition with lively, well-preserved color and contrast.

Watercolor

x 15 in.

Watercolor

$2,500 - 3,500

$2,500 - 3,500

John William Hill was an American artist born in London, who moved to Philadelphia with his family as a child. The son of an engraver, John William Hill was a prolific technical illustrator who began to paint landscapes and still lives after joining the Pre-Raphaelite movement. Working across watercolor and several printmaking techniques, Hill began exhibiting his work as a young man in New York. He is best known for understated technique and his focus on objective realism, borne from some of the skills he acquired as a geological surveyor for the state of New York. Hill indeed has a keen eye for accuracy rather than for romanticism, which allows for the natural beauty of his subjects to come alive through his technical prowess.

Many of John William Hill’s works employ the hatch and spittle technique, often seen in miniatures. For this, the artist uses numerous subtle brushstrokes to build gradients up or down, thus attaining the undramatic, objective nature in his work that made it appear photographic and suppressed the brushstrokes. The artist would work outdoors under natural daylight. Hill became an ardent supporter of the Pre-Raphaelites after discovering John Ruskin’s Modern Painters in the 1850s, and in 1863, he co-founded the Society of Advancement of Truth in Art. Hill’s works are in the collections of the Brooklyn Museum, the Amon Carter Museum, Fogg Museum at Harvard University, the National Gallery of Art, the Hudson River Museum, and the Metropolitan Museum of Art New York.

John William Hill (1812 - 1879)

Landscape

Arched top oil on paper, mounted on board 5 3/4 x 6 in.

This extraordinarily intimate depiction of a tree pictured in fall is an unusual work for Hill, who favors rectangular compositions. The arched top gives the work the quality of a beautiful vignette, and the deep tonality of the oil is a lovely departure from Hill’s muted greens and yellows. The background depicts a line of trees in rich fall colors, placing the red-brown hues in contrast with the lone green tree in the foreground.

This work is in excellent condition with rich colors and texture.

$800 - 1,200

John William Hill (b. 1812, London, United Kingdom; d. 1879, West Nyack, NY)

Lot 86

Watercolor on paper

11 1/2 x 16 1/2 in.

Croton-on-Hudson is one of the most scenic points on the Hudson River, and was unincorporated at the time Hill made this painting. The winding banks of the Hudson and the hills that rise straight from the water make for a majestic view that is balanced by Hill’s muted yet nuanced colors. Hill chooses to contrast the lush green foliage on the foreground with the purple-brown mountains in the back, meanwhile delineating these areas with expert depiction of textures. The inlet’s calm waters provide an opportunity for Hill to demonstrate his technical skill in depicting a glassy reflection of the sky.

$2,000 - 3,000

John William Hill (1812 - 1879)

Croton on Hudson , 1867

John William Hill (1812 - 1879)

Landscape by a Lake

This delicate landscape is an oil on paper mounted on board. Measuring a little larger than the palm of a hand, the colors and detailing demonstrates John William Hill’s mastery of the medium in painting, as he is able to include so many visual

elements in such a small composition. The high point of the painting is the rock hill on the left, as the softly descending curve of the landscape leads the viewer’s eye throughout the work. The yellow overtones evoke farmland and prairies, which is an unusual topic for Hill, who most frequently depicted the taller, denser forests of Northeast United States. The painting is in great condition with lively, dense colors and intact mounting.

$800 - 1,200

John William Hill (1812 - 1879)

Spray of Apple Blossoms

Prior to devoting his career to depicting nature through landscapes, John William Hill was an avid technical illustrator and made zoological and botanical drawings noted for their accuracy. Spray of Apple Blossoms is no exception: Hill focuses on a lovely view of the flowers of an apple tree from an unusual angle. The detail in the individual petals, juxtaposed against the beautiful blue sky, makes for a truly special piece. John William Hill was noted for his virtuosity in subtle brush strokes, as evident in this work – the oftromanticized, gradiented textures of traditional watercolor painting are quite undetectable in this piece. Instead, Hill presents the viewer with exacting realism that brings the details of the plant alive.

$2,000 - 3,000

Watercolor on paper 8 x 11 in.

Oil on paper 3 x 6 7/8 in.

Lot 87

Lot 88

Lot 89

Esopus Near Shokan

Picturing the Esopus Creek near the town of Shokan in the Hudson Valley, this intimate watercolor depicts an idyllic boathouse and yellow-green trees. Hill’s exploration of the relationship between man and the environment through the lens of objective

Lot 90

but emotional storytelling is evident in this work: the nature is its own character in the painting. With lively, unmuted colors, the watercolor is in good condition with minor mat stains. The work was recorded in a 1917 catalogue of John William Hill’s work at the West Nyack Art Gallery in New York, where the artist spent his final years before his passing.

$2,500 - 3,500

Sketch for the Brook

A quiet, muted sketch of a brook and the surrounding landscape, most likely located in New England or New York, this piece demonstrates Hill’s dedication to the Pre-Raphaelites. The artist’s lines are understated and delivers a straightforward yet warm look at the banks of the brook. Most likely made for a painting, the sketch makes expert use of perspective as the water moves into the curvy banks.

The piece is in good condition with minor creases and mat stains, as well as slight discoloration in the center-left.

$1,200 - 1,800

John William Hill (1812 - 1879)

John William Hill (1812 - 1879)

Watercolor on paper 9 3/4 x 13 3/4 in.

Pencil on paper 6 3/4 x 12 1/2 in.

John William Hill (1812 - 1879)

White Mountains, New Hampshire (Landscape with Grazing Sheep) , 1864

9

One of the larger pieces on offer, Landscape with Grazing Sheep is a lovely view of a high plain near the peak of White Mountains in New Hampshire. Hill creates a winding leading line that takes the viewer straight to the peak of the mountain in the middle of the composition. The human presence, indicated through grazing sheep, points to Hill’s interest in exploring the relationship between man and the environment, while the even lighting allows for a lovely color scheme evocative of early spring. The lone tree to the right, present in many of Hill’s landscapes, balances the horizontal elements. This work demonstrates many elements of Hill’s visual language, from the focus on the

John William Hill (1812 - 1879)

Below the Palisades, 1867

The palisades on the Hudson River was a fascinating subject for John William Hill, and the featured them in his landscapes several times. Most notably, a view of the palisades across the Hudson River can be seen in his 1870 watercolor and gouache, now in the collection of the Metropolitan Museum of Art. Below the Palisades , much like Hill’s other landscapes, employs a continuous horizon line that allows the viewer access to the entire landscape before Hill. The lone tree balances the flat composition of the well-toned hills rising from the banks of the Hudson River. This work is one of the best examples of Hill’s landscapes, with subtle brushstrokes that gives the

objective presentation of nature, to an almost-photographic sense of realism. The piece is in excellent condition with light mat stains.

$2,000 - 3,000

landscape a flowing yet realistic quality. It is in excellent condition.

$2,000 - 3,000

Watercolor on paper

11 1/2 x 18 1/2 in.

Watercolor on paper

1/2 x 17 in.

John Henry Hill (b. 1839, West Nyack, NY; d. 1922)

Son of watercolorist and printmaker

John William Hill, John Henry Hill was born and lived all his life in West Nyack, New York. Belonging to the PreRaphaelite School like his father, John Henry Hill was deeply inspired by John Ruskin and David Johnson, and made paintings, watercolors and engravings that embraced a realistic yet emotional style. He focused closely on the landscapes of New York and his subject matter aligned with the Hudson River School and White Mountain art, the general name of a movement that over 400 painters living and making work in the White Mountains of New Hampshire belonged to.

In addition to watercolors of landscapes and zoological specimens, Hill also made drawings and graphites, contributing monochromatic depictions of the beautiful vistas around his home. Hill exhibited his work in galleries and art clubs in New York and Boston, and his works are in the collections of the New York Public Library, the National Gallery of Art, and the Smithsonian American Art Museum.

John Henry Hill (1839 - 1922)

Geraniums

An example of John Henry Hill’s masterful technical illustration, Geraniums pictures the popular garden flower in full bloom. Scaled to life-size, the piece serves as a vignette with rich reds in the middle and green leaves wrapped around the flower as background. Hill pays attention to the differing textures within the single plant: from the buds to the petals and the leaves, the artist carefully depicts realistic properties while retaining the fresh beauty of his subject. The piece is in great condition with minimal fading and mat stain around the edge.

$1,500 - 2,500

Watercolor on paper 6 3/4 x 6 1/2 in.

John Henry Hill (1839 - 1922)

Red and White Flowers

Watercolor on paper

3 1/4 x 3 x 1/4 in.

Provenance:

Hirschl & Adler Galleries, New York, 1982; to George Ablah, Wichita, Kansas, 1982-84; to the Lay Family.

Much like Geraniums , John Henry Hill’s Red and White Flowers offer a vignette that resembles the botanical illustration of its subject. The small watercolor packs admirable detail in the life-size depiction of the flower, with the white and red complementing each other beautifully. John Henry Hill was known for his excellent botanical and zoological illustrations, and a watercolor he made of a bird lying on the grass is in the collection of the National Gallery of Art.

The watercolor is in good condition with lively colors and slight yellowing.

$800 - 1,200

Lot 95

John Henry Hill (1839 - 1922)

View of the Hudson River

Steel engraving

10 1/4 x 13 3/4 in.

A steel engraving made after the artist’s father John William Hill’s watercolor Croton on Hudson , also on offer in this auction, the piece depicts the site of the then-unincorporated village of Croton-on-Hudson, at one of the most scenic points in the Hudson Valley. John Henry Hill demonstrates his mastery of the engraving medium by contributing nuance and tonality to the monochromatic piece. The lovely gradient of light in the water as the inlet opens up to the river is beautifully executed and grabs the viewer’s attention almost immediately. The engraving is in good condition with slight creases along the edges of the paper and mat stains.

$300 - 500

The picnic depicts a light-hearted commune with nature, as the figures and dog in the center are beautifully surrounded by the tall trees. Hill’s expert delivery of tonality and contrast through gray-brown pencil and his gouache touches make the piece a compelling, detailed moment from daily life of the place and time. Hill includes small but crucial details in the work that provides valuable context for the viewer, such as the women’s dress and caps.

The piece is in good condition with light mat stains and subtle fading.

$3,000 - 5,000

John Henry Hill (1839 - 1922)

The Picnic

Pencil and gouache on paper 11 1/2 x 14 in.

John George Brown (b. 1831, Durham, United Kingdom; d. 1913 New York, NY)

John George Brown was an American painter known for his genre scenes depicting everyday life in New York City during the late 19th and early 20th centuries. He was born in Durham, England, and immigrated to the United States in 1853. Brown settled in New York City and became one of the prominent painters of the Ashcan School, a group of artists who focused on portraying urban life and its working-class inhabitants. Prior to his career as a painter, he worked as a glassblower.

John George Brown primarily painted scenes of newsboys, peddlers, bootblacks, and other children engaged in various activities. His works often conveyed a sentimental and sympathetic view of these young subjects, highlighting the hardships and struggles they faced in the growing city. Brown’s attention to detail and his ability to capture the spirit of the times made his visual language unique, as he was communicating the innocence and playfulness

of childhood through darker, richer oil tones, which could be interpreted as the artist’s way of expressing the difficulty of these children’s circumstances. In the Victorian era, paintings that showed sympathy towards children of the Industrial Revolution were quite popular, and made Brown very successful. Labor laws were non-existent or lax, and many poorer families often pushed their children into working for manufacturers and factories as soon as they were old enough.

Throughout his career, Brown exhibited his works extensively, receiving numerous awards. He became an associate of the National Academy of Design in 1860 and a full member in 1863. Brown’s paintings are now held in various collections, including the Metropolitan Museum of Art, New York and the Brooklyn Museum.

John George Brown (1831 - 1913)

Can’t Raise the Wind , 1867

Can’t Raise the Wind pictures a recognizable moment from childhood: there isn’t enough wind to fly a kite. Brown’s composition of the small band of children playing outside is delightful as it is detailed: from the downtrodden expression on the boys’ faces to the echarpe and full skirt the little girl in the background is wearing, there are many clues to what urban life was like for these children. Brown himself grew up middle class in England as the son of a lawyer father who did not want him to become an artist, and sympathized deeply with children like himself, as evidenced by his nuanced way of depicting them.

Brown’s yellow-brown tones across the painting gives a lightly melancholic feel to the fall scene, which is then offset by the litany of colors on the children’s clothing and kites. Brown was an expert on including a full range of color in his paintings and still preserving the overall tonality – in Can’t Raise the Wind , the reds, greens and blues are wonderfully balanced with the brick, concrete and stone of the urban scene.

This is a painting in excellent condition with rich colors and lively varnish.

$30,000 - 40,000

Oil on canvas

18 1/4 x 14 1/4 in.

Henry Roderick Newman (b. 1843, Easton, NY; d. 1917, Florence, Italy)

Henry Roderick Newman was an American still life and landscape painter influenced by the PreRaphaelites. He was born in New York and initially attended medical school, later switching to art after his father, a doctor, passed away. He studied with Jean-Léon Gérôme.

Henry Roderick Newman’s paintings are primarily landscapes, at times depicting scenes from his travels, and he is known for his skillful use of color and light. He became a member of Association for the Advancement of the Cause of Truth in Art in 1864, which emphasized realism and attention to detail. His paintings were characterized by their intricate details and rich colors, and he often used a warm, golden

tone in his works. Newman was one of the first artists to move to Florida and become known to paint there. Starting in 1887, he began spending his winters in Egypt, and made watercolors of ancient structures there. His work is distinctive because he adopted a realist, observational style of depicting landscapes of the Near East rather than the Orientalist style, which blurred the line between reality and fantasy.

Newman’s paintings are in the collections of the Museum of Fine Arts, Boston, the Metropolitan Museum of Art, New York, and the Amon Carter Museum of Art, among other institutions.

Lot 98

Watercolor

25 1/2 x 16 1/2 in.

Abu Simbel is an ancient temple complex located in Nubia, in southern Egypt. The complex is famous for its two temples, the Great Temple of Ramses II and the Temple of Hathor, which were both built during the New Kingdom era of Ancient Egypt. The interior of the temples are adecorated with intricate carvings and paintings depicting various scenes from Ancient Egyptian mythology. Abu Simbel was rediscovered in the 19th century by European explorers, and it is not unusual that Newman, who traveled to Egypt every year, would have been intrigued by the site.

Newman’s watercolor is delightfully skilled and precise in its use of Cartesian perspectivalism: the long, decorated hallway exudes golden light and culminates in a window overlooking the vista. Newman likely made this work after visiting the temple during one of his stays in Egypt. The American Pre-Raphaelite influence on the work is evident: Newman is equally moved by the beauty of the architecture of the temple as his desire to depict it realistically and in great detail. His bold, saturated use of watercolor heightens the lifelike quality of the space, while conveying its timelessness.

The piece is in great condition with light mat stains on the back.

$8,000 - 12,000

Henry Roderick Newman (1833 - 1918)

Abu Simbel

Lot 99

Watercolor

25 1/2 x 16 1/2 in.

This watercolor depicts an interior scene within the Temple. The slightly upturned point of view contributes to the majesty of the structure: Newman simultaneously conveys the height of the walls and columns as well as the intricate relief carvings of hieroglyphs on the walls. The composition allows for the viewer to imagine what is beyond the doorway: Newman’s fascination with the structure is evident in the work.

Newman is meticulous in his depiction of the desert light and the sandy color scheme. The watercolor has a golden hue that reflects the ethereal quality of the scene to the viewer.

The piece is in great condition with lively, saturated colors.

$8,000 -

Henry Roderick Newman (1833 - 1918) Temple at Abu Simbel

12,000

William A. Brown (b. 1947; d. ?, lived and worked in Toledo, Ohio)

Shoeshine Boys

Oil on canvas 14 x 10 in.

Shoeshine Boys is a beautifully-toned painting depicting a group of shoeshine boys attending to a customer. Much like John George Brown, William A. Brown focused on working or street children and painted them in a lively, nuanced manner. While the gloomy overtones of the painting indicate the difficulties and business of urban life, the children’s smiling faces and entrepreneurial posture acknowledges their playful, innocent nature. The scene

is positively cinematic and presents dynamism, while indicating the diversity of city life across race and class. While not much is known about the painter, his masterful style of genre painting and strong lighting make Shoeshine Boys a gem.

The painting is in good condition with deep colors and slightly-faded varnish.

$2,000 - 3,000

Jefferson Davіd Chalfant (b. 1856, Chester County, PA; d. 1931, Wilmington, DE)

Jefferson Davіd Chalfant was a Pеnnsylvanіaborn sеlf-taught realist paіnter who made still-lіfе and gеnrе paintіngs and portraіts. Hе travеlеd to Europе latеr in lifе to study wіth Wіllіam Adolphe Bouguerеau at thе Acadеmіe Julіan, undеr the patronagе of Alfrеd Cornіng. Whіle hіs еarly oеuvrе contaіns many landscapеs and stіll lifе works, hіs maturе paіntings dеpict a wіde variety of subjеcts. Likе John F. Pеto, whose work іs also in the Lay Collеctіon, Chalfant was іnfluеncеd by late 19th cеntury artіst Wіllіam Mіchaеl Harnett and madе trompe-l’œіl paіntіngs. In 2022, the Metropolitan Museum of Art producеd a sіgnіfіcant survey of latе 19th cеntury stіll lіfе іn thе Unіtеd Statеs and Europe, іncludіng important examplеs of the trompе-l’œіl genrе as well as artists influenced by it, by Samuеl van Hoogstratеn, Jеan Etіenne Lіotart, Luіs Mеlеndеz, Gеorgеs Braquе, Juan Grіs, Jеffеrson Davіd Chalfant, and Pablo Pіcasso.

Chalfant had rеmarkable tеchnіcal skіll and creatеd layеred still lіfе paintіngs that іncludеd observеd and fictіonal newspapеr tеxt, whіch contrіbuted complеx narratіvеs to hіs work. In thе 1890s, hе abandonеd still lіfe paіntіng and еmbracеd acadеmіc rеalіsm morе closely, prеsеntіng hіs human subjеcts wіthіn theіr daily envіronment. Chalfant’s paіnstakіng attеntіon to dеtail allowеd for beautiful storytelling. In two prеlіmіnary drawіngs for hіs well-known oil paіntіng, The Shoemaker (1900), and Study for the Blacksmіth Shop , he dеmonstratеs hіs mastеry of іntеrіor pеrspеctіvе, and presents his working subjеcts іn a dіgnіfіеd mannеr. Chalfant’s work was еxhіbіtеd at thе Pеnnsylvanіa Academy of Fіnе Arts and thе Natіonal Acadеmy of Dеsign and іs hеld іn the collectіons of thе Natіonal Gallеry of Art and the Dеlawarе Art Musеum.

Jefferson Davіd Chalfant (1856 - 1931) Study for the Shoemaker

Pencil on paper

12 x 16 in.

Signed lower right (a second signature line erased but reads “Sketch by Jefferson David Chalfant”

In this small, pencil on paper study for his oil painting The Shoemaker , Chalfant pictures a man deeply buried in his work as a cobbler. The artist’s skill in architectural proportions and detail contribute an academic quality to the work. While some foreground surfaces and details are depicted in simplified, singleline drawing, the subject’s face, hands, and clothes are highly detailed. The work is in overall good condition with mat stains on the sides and faint creases.

$6,000 - 9,000

Jefferson David Chalfant, The Shoemaker, 1900, oil on canvas Lot

Lot

102 Lot

Jefferson Davіd Chalfant (1856 - 1931) Study for the Blacksmith Shop (inscribed

Sketch for the Toolmaker, Samuel B. Hughes)

15

Scenes from labor shops are among Chalfant’s most intriguing works: demonstrating his interest in masters of their craft, these pieces are nuanced, dignified depiction of toolmakers. This study is no exception. It pays close attention to the details found in a blacksmith’s shop and surrounds his busy subject with his life’s work. Including his sitter’s name in the sketch title indicates the artist’s interest in presenting the subject wholly, rather than depicting a type. Chalfant made the sketches from photographs, working with a J. Paul Brown in Delaware. Even though he did not copy all the details of the photograph, the sketch is quite loyal to the source image. The drawing brings the viewer into the atmospheric room through details small and large, rendered skillfully in pencil. For the final oil painting, titled the Blacksmith , Chalfant chose a slightly

Jefferson Davіd Chalfant (1856 - 1931) Large Study for the Shoemaker

Pencil

25 x 33 in.

Signed on verso on lower right, inscribed “D. Myers” confirm

Like the smaller study, Large Study for the Shoemaker presents subtle but rich details and attention to texture. The shoemaker’s striped apron, the artwork hanging on his workshop’s wall that depicts a mother running after her children to spank them, and the gas lamp on the table contributes atmospheric detail to the piece. The sketch is in overall fair condition with creases and mat staining along the borders. There are faint acid stains on the back of the work.

$5,000 - 8,000

different angle, centering the anvil rather than the blacksmith.

This study is in fair condition with yellowing, creases, and light mat stains.

on paper

Pencil on paper

x 18 in.

Edmund Osthaus was a German-born American painter known for his realistic depictions of dogs, particularly hunting dogs, as well as his landscapes and portraits. Osthaus was born in Hildesheim, Germany. His family moved often: after fleeing Germany for Mexico and later the United States, they returned to Germany for some time, only to permanently settle in Wisconsin. Osthaus attended art classes in New York City and in Düsseldorf, Germany, and studied with Peter Janssen the Elder, Andreas and Karl Müller, Julius Roeting and Eduard Gebhardt. His greatest influence, however, was animal painter Christian Kroener. Osthaus focused on depicting hunting breeds in particular in oil, watercolor, and pencil, and became a celebrated painter of sporting art. He served as the Director of the Toledo Academy of Fine Arts in Ohio, where he also taught.

Osthaus became known in particular for his dog portraits, which were sold on calendars, postcards and lithographs by the DuPont Gunpowder Company from Wilmington, Delaware. As an illustrator he has worked for various newspapers and magazines such as the Saturday Evening Post, Field & Steam, Collier’s, McCall’s, the Literary Digest and Cosmopolitan.

Osthaus’ paintings are in the collections of the Toledo Museum of Art, the Oshkosh Public Museum, the Washington County Museum of Fine Arts, Hagerstown, Maryland, the Port Huron Museum, the Canton Museum of Art, the Butler Institute of American Art, and the American Kennel Club. He was an avid hunter and fisherman and bred dogs.

Pointing

Osthaus was a gifted watercolorist, and his subtle toning and energetic brushwork and rendering reflected the momentous, fleeting pace of the hunt. Gordon Setter Pointing pictures one of the most popular hunting dog breeds at work. The textures of the fall leaves, the ground, and the beautiful coat of the setter come together

to create a beautiful scene, as the dog moves gracefully towards the prey.

The watercolor is in good condition with light mat stains.

$5,000 - 8,000

Edmund Osthaus

(b. 1858, Hildesheim, Germany; d. 1928, Marianna, FL)

Edmund Osthaus (1858 - 1928) Gordon Setter

Deer by the Stream

9 1/2 x 13 1/2 in.

This pencil drawing shows Osthaus’ skill in depicting nature as well as communicating sentiment. The beautiful shading around the roots of the tree and the reflective textures of the water make the piece an excellent execution of realism, and the deer’s posture contributes an emergent sentiment, as if it might scuttle at any moment. For Osthaus, this would have been an enjoyable scene, as the young deer quietly moves through the landscape.

The drawing is in good condition with slight yellowing.

$800 - 1,200

Edmund Osthaus (1858 - 1928) Lake Scene

Edmund Osthaus (1858 - 1928)

Watercolor

15 x 19 1/2 in.

In addition to dogs, Osthaus painted landscapes, especially those associated with hunting. He owned a quail lodge that allowed him to enjoy his favorite sport, and he drew on his experience and observations to paint. Lake Scene depicts an idyllic boathouse or small shelter by a lake, with languid waves hitting the shore. The lovely green-blue overcast and delicate shadows create an intimate setting where the viewer can commune with nature.

The watercolor is in great condition with light mat stains. Two short tears on top edge.

$1,000 - 1,500

Pencil on paper

Edmund Osthaus (1858 - 1928) Mother Saint Bernard Looking Down at her Five Pups

This beautiful oil depicts an intimate, personified moment between the mother and her puppies. The ethereal light filtering into the barn scene gives the painting a sentimental quality, and Osthaus presents the viewer with a romanticized depiction of the gentle, large breed. Saint Bernards are a gentle breed despite their size and are known to be patient, and Osthaus depicts this through the maternal expression

on the dog’s face. The lively pups contribute an air of playfulness to the scene, as Osthaus’ careful brushwork, golden hour lighting, and autumnal color scheme convey sentimentality.

The painting is in excellent condition with lively colors.

$20,000 - 30,000

Oil on canvas 30 x 34 in.

David Johnson (b. 1827, New York, NY; d. 1908, Walden, NY)

David Johnson was an American landscape painter active during the mid-19th century and belonged to the Hudson River School. The Hudson River School was an American landscape painting movement that flourished from 1825 to 1975. They took their name from the Hudson River, which runs through New York State and is frequently featured in their artwork.

Hudson River School artists created romanticized depictions of American wilderness landscapes, particularly those found in northeastern America, and sought to capture both nature’s sublime beauty and its spiritual power. Many artists associated with the Hudson River School, such as Thomas Cole, Frederic Church and Albert Bierstadt, traveled widely throughout North America and Europe to study nature and draw inspiration for their artworks. Many painted large-scale canvases that depicted breathtaking vistas such as Niagara Falls, the Grand Canyon or Rocky Mountains.

The Hudson River School was groundbreaking in its emergence as an authentically American style of art. Before this movement, many American artists had looked to European traditions and styles for inspiration; however, the Hudson River School artists sought to craft a visual language that captured the beauty and grandeur of their native landscape.

Within this movement, David Johnson created delicate depictions of American landscapes, particularly the Adirondack and Catskill Mountains, as well as scenes from New England and the American West. Even though he attracted more critical acclaim in his earlier years, he remained productive throughout his career. His work is marked by exacting depictions of his subjects, whether they are landscapes, botanical studies, or still lives.

Lot 108

David Johnson (1827 - 1908) Tongue Mountain, Lake George

Depicting the opposite bank from Black Mountain, Lake George, Tongue Mountain, Lake George is the third landscape pencil drawing from the Lay Family Collection. Often, Johnson’s landscapes were painted with great precision and meticulous attention to detail. This piece reflects his characteristic sweeping vistas, with slight but important variations in the greenery across the lake and strong lines depicting the face of the mountain, as the delicate lines of the lake provide a counterpoint.

Johnson’s drawings served as preparatory studies for his paintings, helping him determine compositional and lighting details before beginning the final piece. Yet, many of Johnson’s drawings stand on their own as works of art in themselves, capturing the same level of fine detail and naturalism found in his paintings. Furthermore, some of Johnson’s sketches were reproduced as illustrations in books and magazines during his career.

The drawing is in good condition with minor creases throughout.

$600 - 900

Pencil on paper 11 x 18 1/4 in.

David Johnson (1827 - 1908)

Black Mountain, Lake George

Pencil

9 3/4 x 19 in

Black Mountain, Lake George depicts a traveler resting on the bank of Lake George, perhaps after a day of canoeing. The lake separates Black Mountain from the Adirondacks, and David Johnson pays homage to the unique geography. The archetype of the traveler was prominent in the works of Hudson River School artists, as immersing oneself within the natural landscape and traveling to places that could evoke wonder and sentimentality in order to find subjects for paintings were highly common. This drawing is no exception: the simple lines communicate a sense of pleasant weariness and harken the wellknown idyllic beauty of the area. Starting in the 1860s, the artist began using lake scenes as a compositional format – sometimes embellishing the scene in front of him with elements borrowed from other landscapes. However, Black Mountain, Lake George, remains a loyal depiction of the vista, as well as a record of the artist’s travels.

$600 - 900

David Johnson (1827 - 1908)

View of Fort Montgomery from Bald Hill

10 x 17 1/2 in.

David Johnson’s understated yet wonderful drawing of a hilly landscape in fact depicts the site of an important battle in the history of the Revolutionary War in which the British and Loyalist soldiers regained some control of the Hudson River Valley in 1777. Johnson’s perspective contributes grandeur to the scene as the river winding through the hills create sentiments of majesty and awe. Nearby, Johnson notably painted the Hudson River from Fort Montgomery (1870), which depicts the historic fort perched atop a rocky outcropping overlooking the Hudson River. The simplicity of drawing is an enlightening counterpoint to the oil, as it presents as a skillful study of the landscape.

$600 - 900

Pencil on paper

on paper

Daniel Huntington was a prominent Hudson River School artist. He studied with inventor and artist Samuel F. B. Morse and painter Henry Inman in New York after being encouraged to pursue the life of an artist by Charles Loring Elliot at Hamilton College. The son of a powerful Connecticut family, Huntington traveled throughout Europe and exhibited his work at the National Academy of Design and other venues throughout New York. In addition to landscapes, Huntington painted allegorical and spiritual scenes, the best known of which is the 1853 oil painting, Mercy’s Dream , inspired by a scene from the Pilgrim’s Progress, a 17thcentury theological allegory by John Bunyan. Huntington’s religious paintings are in the collections of the Pennsylvania Academy of Fine Arts, the Metropolitan Museum of Art New York, and the National Gallery. Later in his career, Huntington became a well-known portrait painter, depicting President Abraham Lincoln as well as other politicians and military officials. These portraits are in the collections of the Union League Club of New York, Berkshire Museum, the Lenox Library, the New York Historical Society, and other institutions.

Daniel Huntington (1816 - 1906) Studies for Sophie Spencer

Pencil on paper

9 1/2 x 12 1/2 in.

Daniel Huntingon’s single-sheet sketches for a formal portrait of a young girl reveal the subject’s cherubic expression and details from her dress. Huntington had turned to portraiture after becoming famous for his earlier work depicting spirituality, and he painted many members of the country’s elite, which brought him wealth. Sophie Spencer likely belongs to a rarified social circle. The sketch of the face bears Huntington’s characteristic style, with dramatic yet flattering lighting and rounded lines.

This drawing is in good condition with minimal creases, a small tear, and subtle yellowing. Signed on the recto, lower left.

$300 - 500

Daniel Huntington (b. 1816, New York, NY; d. 1906, New York, NY)

Lillian Westcott Hale (b. 1880, Hartford, CT; d. 1963, St. Paul, MN)

Lillian Westcott Hale was one of the best-known American Impressionist painters of her era. She studied at the School of the Museum of Fine Arts in Boston.

Hale was associated with the Boston School, a group of painters influenced by John Singer Sargent, Claude Monet, and Jan Vermeer who focused on genteel, upper-class subjects in opulent interiors. Hale’s work demonstrates elements of the Boston School: even though she adopted the intimate, sentimental colors and subject matter of the Impressionists, she was classical in depicting her figures in full, academic detail. Her focus on and ability in depicting the character of her sitters differentiated her work: at times, she chose to simplify her settings in order to really bring out the personality of her subjects. Critics observed that this was particularly pronounced in her portraits of children.

Hale was a member of the Guild of Boston Artists and the National Association of Women Painters and Sculptors. She exhibited her work widely, including at the Pennsylvania Academy of the Fine Arts, the National Academy of Design, and the Corcoran Gallery of Art. She was also an instructor at the School of the Museum of Fine Arts in Boston for many years.

Hale’s work demonstrated the foundational qualities of Impressionism: liberal brushwork, bright colors, and a strong sense of light and atmosphere. Best known for her portraiture across several mediums, she also painted landscapes and still lifes. Hale won an Altman Prize from the National Academy of Design and her work is in the collections of the Museum of Fine Arts, Boston, the National Academy of Design, the Metropolitan Museum of Art, New York, the Phillips Collection, the North Carolina Museum of Art, and the Cleveland Museum of Art.

Lot

Lillian Westcott Hale (1881 - 1963) Seated Boy

on paper 29 1/8 x 23 in.

This large charcoal is a tender portrait of a young boy. Its sketchlike quality gives the work an intimate flair, while the velvety, matte texture of the charcoal contributes rich detail to the boy’s face. Hale was best known for expressing her sitters’ character – particularly the children she depicted. Without a background or details on the subject’s clothes, the viewer can truly focus on the boy’s face and the texture of his hair. The boy’s innocent, playful expression, combined with his slight slouch, gives the work an air of playfulness and energy.

The work is in good condition with slight creases and light mat stains around the border. There is a sketch of a woman or girl’s face on the back of the drawing. The ornate period frame and two-color mat are in excellent condition.

$6,000 - 9,000

Charcoal

Filippo Palizzi (1818 - 1899)

Little Girl Carrying Sticks

Oil on canvas

15 1/2 x 19 in.

Little Girl Carrying Sticks is a lovely, well-balanced painting of a young girl coming around a rocky corner of a mountain. The painting depicts the youthful momentum of an energetic child at work, helping adults at a farm or a country estate. The shade on the girl allows Palizzi to beautifully depict her facial features and clothing, with much attention to the textures of the wheat stalks, sticks, fabric, and the basket. The well-lit background shows the winding Italian countryside. The girl’s bare feet adds a layer of storytelling to the scene.

This intimate painting is in good condition with rich colors. There are varnish crackles throughout with two small blemishes on right top and bottom corners.

$1,000 - 1,500

Oskar Glatz (1872 - 1958)

Portrait of a Little Girl Sewing

Oil on canvas

22 1/2 x 17 1/2 in.

The bright, cheerful colors of this portrait have retained their quality perfectly. The little girl’s concentrated expression and the depiction of the exact moment before the thread goes in through the eye of the needle are delightful, with many Impressionist details contributing to the airiness of the work, such as the tiny doll that matches the girl’s outfit, the delicate flower patterns on her vest and skirt. Glatz is interested in the simultaneity of work and play for a child: the doll indicates that through working on sewing tasks, the girl will complete her toy – a small doll. This is a lovely painting for collectors interested in unusual yet masterful examples from an era at the cusp of European Impressionism, as forward-thinking elements of Modernism began to take hold.

$1,200 - 1,800

James Renwick Brevoort (1832-1918)

Summer Landscape

Oil on canvas 13 x 23 in.

Characteristic of Breevort’s Hudson River School-influenced work, Summer Landscape features the flowingly-beautiful elements of a rural landscape on a summer’s day. Many of Breevort’s best-known features in his scenes are present in this painting: fields, far-away hills, livestock, and a body of water. Breevort’s skill is evident in the detailing of diverse textures, from the dry grass to the reflective pond, and he expertly communicates the slow-paced tranquility of country life.

This painting was most likely made before 1873, as following his stay in Europe, Breevort’s style recognizably shifted away from the Hudson River School style and embraced a palette with deeper tonality and contrast.

The painting is in good condition with lively colors.

$2,500 - 4,500

Filippo Palizzi (b. 1818, Vasto, Italy; d. 1899, Naples, Italy)

Filippo Palizzi came from a family of artists and was a painter of landscapes, portraits, nature studies, and pastoral life. In his later career, he also focused on genre paintings featuring children and animals in the countryside. Palizzi received training at the Royal Institute of Fine Arts but later interrupted his studies to paint under teacher and artist Giuseppe Bonolis. He received a gold medal in the Universal Exhibition of 1867 in Paris.

Palizzi was interested in art education throughout his life, and founde the Naples Society for Promoting the Fine Arts and the Museum of Industrial Art. His contributions to the arts were recognized with the Order of the Crown of Italy, as well as the Austrian Order of Franz Joseph. His work is represented in the collection of the British Museum. Palizzi’s close attention to anatomical detail when painting animals and figures, as well as his lush, expansive scenes, make him an incredible depicter of landscapes.

Oskar Glatz (b. 1872, Budapest, Hungary; d. 1958, Budapest, Hungary)

Oskar Glatz (1872 – 1958) was a Hungarian painter and lecturer at the Academy of Fine Arts in Budapest. Born in Budapest, Glatz studied philosophy in Vienna and Munich and took preparatory courses to attend the Munich Academy. Once admitted, he studied under Gabriel von Hackl and later at the Académie Julian in Paris. He was instrumental in establishing a circle of Impressionist and Naturalist painters in Hungary, and in 1925, he became a member of the Wiener Künstlerkreis. The Wiener Künstlerkreis, also known as the Vienna Secession, was an Austrian association of artists founded in 1897 by a group of young artists who wanted to promote new and modern art forms. The founding members included Gustav Klimt, Koloman Moser, Josef Hoffmann, and Otto Wagner, among others.

The Wiener Künstlerkreis aimed to break away from the academic traditions of art in Austria, which were seen as too conservative and outdated. The group believed that art should be free to

develop independently, and that artists should have the freedom to experiment with new styles and techniques. They also believed that art should be accessible to everyone and not just reserved for the elite.

Glatz’s paintings were primarily landscapes, still lifes, and portraits. He often painted in an Impressionist style, using free brushstrokes and vibrant colors to capture the essence of his subjects. Some of his most famous works include Wrestling Boys, Evening on the Mountain, and Young Peasant Woman from Nógrád . His romanticized pastoral paintings have a distinctive Modernist flair, with subtle perspectival outliers and close attention to adorning elements, such as fabric, hair, and jewelry of his subjects. Glatz was painting the countryside at a time when Europe was ravaged by consecutive wars, and his rich, saturated color palette and bright subjects uplift the viewer and present a dreamy optimism.

James Renwick Brevoort (b. 1832, Yonkers, NY; d. 1918, Yonkers, NY)

James Brevoort was a Hudson River School artist who grew up in the Bronx. He came from a family of architects, and even though he studied architecture, he became a painter who was mostly focused on landscapes. Characteristic of the Hudson River School tradition, he depicted his scenes realistically, under dramatic or otherwise beautiful light. During his upbringing in New York, Yonkers and the Bronx were still rural, and he was surrounded by such untouched landscapes.

He painted mostly in Rockland and Westchester Counties in New York State, favoring a narrow rectangular aspect ratio in his paintings. His most common subjects were rivers winding through hills and fields, and most of his paintings feature calm, good weather. In 1861, Breevort was elected into the National Academy of Design, where he had had his first exhibition five years prior.

After marrying his second wife in 1873, Breevort moved to Europe and settled in Florence, remaining there for seven years. During this time, he was exposed to the works of the Barbizon school of landscape, which influenced a style change upon his return to the US. This coincided with the decline of the Hudson River School’s popularity. His optimistic, tranquil landscapes became more intensely rendered, with more shadows, darker tonality, and featuring looser brushwork. His command of the painting medium allowed him to experiment and ultimately successfully adopt this new direction in his career.

Breevort’s works are in the collections of the Hudson River Museum, Yonkers, NY, the Corcoran Gallery of Art (now part of George Washington University), Washington, DC, the National Academy of Design, New York, NY, and the Los Angeles County Museum of Art.

The George Quay collection

Regrettably, on January 31, 2023, we bid farewell to another esteemed connoisseur, as George Quay III passed away at the age of 82. George, who served as the president of Save Systems, a computer-reselling enterprise located in Chagrin Falls, Ohio, delighted in various pastimes. An enthusiastic angler, hunter, woodworker, and model railroader, George was also an avid collector of folk art, remarkable trophy fish, and decoys.

In the 1980’s George, together with Gene and Linda Kangas, embarked on their shared quest for intricately carved wooden trophy fish. Their initial intention was to jointly amass the fish and eventually divide them among themselves. George utilized his business connections to explore potential specimens in Europe and Scandinavia, while Gene and Linda focused on searching stateside. Over the course of three years, the trio became experts on trophy salmon and trout, their makers, and their history. They amassed an incredible collection of the best carved trophy fish in the world. Eventually, a coin toss determined the division of the collection. George, focused on preserving the exceedingly rare carved fish models representing fish weighing over 50 pounds, retaining most of them. It is worth noting that only a handful of Atlantic salmon models weighing 50 pounds from the turn of the century still exist, and George possessed nearly all of them. In his living room was displayed an example of one fifty-plus pound fish from each of the major carvers of trophy salmon.

As a decoy collector, George focused on decoys of Ontario and Quebec, provinces in which he spent many years gunning, first with his father, and then with his son. His tastes were not limited to these regions, however, as George had a keen eye for form and design. He also relished the less-pursued species of duck decoys. His prized red-throated loon, Weese hooded mergansers and Hutchins goldeneyes are such examples. Anyone who visited his residence also couldn’t help but be impressed by the magnificent Mackey heron, the snowy owl, and the Ramsey gull, gracefully positioned on pristine pedestals adorning the second-floor landing to greet those who entered his front door.

George took great pleasure in sharing his collection with friends and those who showed interest, telling stories of his collection with a twinkle in his eye and unparalleled passion for art. Museums often scheduled visits to his home, and collectors of decoys and folk art came from far and wide to see his collection. George’s contributions to the world of decoy, trophy fish and folk art collecting will be greatly missed.

Ivar Gustave Fernlund

1881 - 1933 | Hamilton, Ontario

Born in Sweden, the Fernlund family immigrated to the United States, arriving in New York aboard the SS Hekla in 1887. They soon found their way to Grand Rapids, Michigan where, by 1902, twenty-year-old Ivar found employment in the pattern shop of Perkins and Co, a manufacturer of woodworking equipment. This would be his livelihood for the remainder of his life. Pattern making is an extremely exacting task where a wooden form of an object is handcrafted to the exact standards and measurements specified in the designer’s blueprints. This, in turn, is used to produce the mold by which the actual part is then cast. It requires a very high level of woodworking skill, and all of this occurs at the heart of any large manufacturing plant. Ultimately, Fernlund would be listed in the various official records as “Superintendent – Pattern shop” or “Superintendent –Pattern – Foundry”.

From Perkins and Co, Ivar moved to the Westinghouse Co in Pittsburg, PA. He was offered a promotion in 1906 to either Hawaii or Canada – he chose Canada. Upon arrival he made the acquaintance of Ada Margaret Griffith, who he quickly married, and their only child, a son, Carl, was born the following year. Initially the young family lived one short block from the shore of Lake Ontario, but soon they moved to Bay St on the narrow spit of land that separates Hamilton/Burlington Bay from the main lake, a neighborhood known locally as “the beach”. This was an area long favored by duck hunters where the practice of “screening” was a

popular style of hunting (see note 1) . To be effective, this method required that the decoys be very realistic and convincing to the live birds. Firmly against factory produced birds, calling them “Buffalo rollers”, Fernlund’s exceptional woodworking skill allowed him to produce his own, thinly hollowed, lures that possessed the exact profile of their live counterparts. He made these in a wide variety of life-like poses, with varying head heights and positions that rode the water well. The decoys were then accurately finished with true to life applications of fine, artist oil paint. His rig was carved over an extended period of time, and Ivar, ever the meticulous perfectionist, constantly strove to improve each batch of birds he added to the flock.

He befriended a number of local hunters and he, along with neighbor and fellow Westinghouse employee Bill Hazel, would often guide hunters, including Westinghouse executives, on the Bay.

Fernlund made a number of species but his total production is estimated to be no more than a little over 150 decoys. When discussing his work, regional authority Paul Brisco succinctly notes: “When form, paint, age, and pedigree are taken into account, Ivar’s decoys are indeed among the truly great works” . As if to cap his point, he selected a trio of Ferlund cans as the cover photo for his book, ‘Wildfowl Decoys of Southwestern Ontario’.

Notes: 1. “Screening” consisted of setting out decoys about 200 yards off the beach and when the birds landed among the rig, the hunter would scull out to them shielded by a screen of grass or brush at the bow of the boat.

116 Excellent rigmate pair of canvasbacks, Ivar Fernlund, Hamilton, Ontario, 1st quarter 20th century. Thinly hollowed with .25” bottom board and thick comb feather paint detail. Hen with slightly turned head. Believed to be among the finest pair of Fernlund canvasbacks known. Measure 14” and 14.75” long. Original paint with very minor gunning wear; lightly hit by shot, mostly on the hen; a single shot strike on back of drakes neck was filled and touched up long ago; flaking around one eye on each bird with early touchup; very minor roughness on edge of drake’s bill.

Provenance: George Quay collection. (20,000 - 30,000)

Ivar Fernlund Courtesy Paul Brisco

Aurele “Orel” Leboeuf

1886 - 1968 | St. Anicet, Quebec

Leboeuf can be described as a tragic folk artist. Born in St Anicet on the shore of Lake St Francis, a widening in the St Lawrence River southwest of Montreal, he was an outgoing, friendly young man who married at an early age. He and his young wife quickly had a son and two daughters while Orel worked seasonally in the construction trades in St Anicet and nearby Valleyfield (see note 1) . Sadly, his wife died prematurely, and this had a profound effect on Leboeuf. His daughters moved in with their brother and Orel began his life of seclusion.

In the 1930’s his friend Anatole Leblanc convinced him to move to his farm on the outskirts of town. He resided in a 4’ x 6’ ice fishing shack on the property the first year with only an oil lamp for heat and cooking. The following year he boarded with the Leblanc family where Mrs. Leblanc remembers him as being “nosey and always getting into everything” . This arrangement lasted only one season and, finally, Leboeuf purchased a 10’ x 14’ shack in St Anicet and had it moved to a knoll on the Leblanc farm. Here he would reside, becoming more and more eccentric until 1965.

He had made his first decoy by age 12 and had sold his first by the 1920’s. When construction work began to wane in the fall, Leboeuf would travel to Lancaster, Ontario and camp alone on one of the small islands there, becoming one of Canada’s few market hunters. Although the season began in September, he would wait until November when he felt the temperature had dropped to a point to safely store his game. When he had shot 200 – 300 birds he would catch the steamer to Montreal and sell them at Poulin’s market for $15 per 100. Bluebills were his preferred targets because they were plentiful, and he could harvest them in greater numbers. For the remainder of the year, he would subsist on the sale of his decoys which he normally sold for $12/ doz (occasionally $36/doz). He is remembered as visiting

local fishermen on a nearby bridge to peddle his birds or standing for hours at the mailbox by the side of the road waiting for someone to stop and buy a decoy. As the years went by, he refused his government pension and became more and more reclusive to the point where hunters would have to stop by his shack multiple times just to get him to come to the door and accept an order for decoys. Even then, it may have taken up to two years to fill the request. Eventually, he became extremely reluctant to part with any of his carvings, instead squirrelling them away in his tiny abode.

Apparently not overly meticulous when it came to housekeeping, the floor of the shack was quickly covered by an 18” thick layer of cedar wood chips which surrounded his few pieces of furniture and coming dangerously close to a tiny wood stove. One night, in 1965, a stray spark found its way to this combustible mass and the building burst into flames. Neighbors rescued Leboeuf, coat and hat on fire, desperately trying to rescue his beloved decoys. After the fire, his daughters convinced him to move to Vallyfield to be near them and he died in a retirement home there a short three years later.

Leboeuf lavished great detail into his carvings, embellishing them with elaborate feather detail and bill carving. He altered store bought paint by skimming off the linseed oil and replacing it with his custom blend of turpentine and gasoline to reduce the sheen. He is credited with being the style setter for what was to become the Valleyfield school of carving. He carved a wide variety of species to hunt over as well as, later in life, a small number of decorative ducks for his own enjoyment. His extremely rare buffleheads are practically unheard of and must be considered among his greatest accomplishments.

Note:1.Because he was so reclusive, documentation is scant, but his wife may have been Rose Bessette (dates unknown) and his children Henri, Jeannette and Bella. One census record lists his occupation prior to marriage as that of a farmer.

117 Very rare and outstanding bufflehead hen, Orel Leboeuf, St. Anicet, Quebec, 1st quarter 20th century. Deep relief wing and tail feather carving, typical of the region. Feather rasping on back of head. Leboeuf’s swivel line tie on the underside. Decoy was never weighted. Measures 14.25” long. Head swivels slightly, otherwise excellent and original.

Provenance: George Quay collection. (6,000 - 9,000)

118 Bluebill, Orel Leboeuf, St. Anicet, Quebec, 2nd quarter 20th century. Tucked head model with deep relief wing and tail feather carving. Feather rasping on back of head. Comb feather paint detail on back. Measures 12.75” long. Original paint with minor to moderate wear under a thin coat of varnish; tight drying cracks along back and breast; head is very slightly loose; wooden patch on one wing and on underside from when the decoy was made.

Provenance: George Quay collection. (800 - 1,200)

119 Bluewing teal hen, Bill Cooper, Verdun, Quebec, 2nd quarter 20th century. Relief wing and tail feather carving. Head is turned 45 degrees. Measures 10.5” long. Strong original paint with very minor rubs; otherwise very good and original.

Provenance: George Quay collection.

(2,000 - 3,000)

120 Rare and important merganser hen, Achilles Hart, St Anicet, Quebec, circa 1930. Deep relief wing and tail feather carving. Extended crest with incised feather detail. Measures 18” long. Original paint with minor wear; head swivels very slightly; tiny chip on top of head and at raised wingtips; hairline drying cracks in underside.

Provenance: George Quay collection.

(3,000 - 5,000)

121 Pair of greenwing teal, Billy Ellis, Whitby, Ontario, 2nd quarter 20th century. Hen in tucked head pose. Both with comb feather paint detail on sides. Measure 11.5” and 12.75” long. Original paint with minor wear; protected under a thin coat of varnish; moderate crazing on hen’s breast; both very good structurally.

Provenance: George Quay collection. (1,200 - 1,800)

122 High head canvasback, Billy Ellis, Whitby, Ontario, 2nd quarter 20th century. In high head pose with raised neck seat. Measures 17” long. Head swivels slightly, otherwise very good and original.

Provenance: George Quay collection. (600 - 900)

125 Black duck, Bud Tully, Peterborough, Ontario, 2nd quarter 20th century. Deep relief wing carving and extensive feather rasping. Slightly turned head. Two bore holes drilled in the underside. Measures 13.25” long. Original paint with moderate gunning wear; old chip in one side of tail; head swivels slightly.

Provenance: George Quay collection. (2,000 - 3,000)

Pair of bluebill, Bud Tully, Peterborough, Ontario, 2nd quarter 20th century. Slightly turned heads with detailed bill carving. Feather rasping on heads and bodies. “RH” painted on the undersides. Measure 13” and 13.5” long. Original paint with moderate gunning wear; very minor roughness on edge of drake’s bill, otherwise very good structurally.

Provenance: George Quay collection. (1,500 - 2,500)

127

Rigmate pair of goldeneye, Sam Hutchins, Jones Falls, Ontario, 1st quarter 20th century. Wonderful folk art appeal with relief wing carving and extensive cross hatch feather detail. “GE11” and “GE13” stamped into lead weights. Measure 12.75” and 13.5” long. Dark areas are original, with minor wear; white areas appear to be a thin second coat likely done in the making; old chips in tails that have been darkened.

Provenance: George Quay collection. (12,000 - 18,000)

Ralph Chillingworth Weese

1884 - 1965 | Belleville, Ontario

Born in 1884, the son of a marble cutter, Ralph was already vested in the outdoors when, by age 16, he received an offer to work for $2.00 per week as a chore boy at Marsh’s Sports store in downtown Belleville (the going rate at the time was about $1.50/wk). Looking to expand his business, Mr. Marsh decided to add a line of candy to the store to attract the eyes and pocket change of the youngsters in the community. The venture was so successful that confections soon became the primary line for the store. By 1930, now long time employee, Weese, purchased the business which had moved to 392 Front Street and the Weese’s Candy Store would become his livelihood for the remainder of his life before retiring in 1964. Ironically, much of his candy was made on a marble slab that his father had made years before for a different confectioner. At one point, there were multiple candy stores along the bustling downtown section of Front St, but Weese’s, alone, survived to be the last remaining hand made candy store in town when it was sold to long time employee Ruth Andrews.

A lifelong sportsman, Weese enjoyed fishing and hunting and he became an accomplished taxidermist and musician. He could often be seen wetting a line in the Moira River behind his store before or after work and, when time allowed, he enjoyed deer hunting north of Belleville or duck hunting at his camp, “Thorne Wood”, at Hay Bay on the north shore of Lake Ontario.

Weese’s carving efforts were very poorly recorded until around 1990 when George Quay first published the introductory story of his life in Decoy Magazine. Carving primarily for his own use, his production of decoys was very limited with estimates ranging from 70-80 to about 200. His carving was influenced by the work of Bill Chrysler and his birds were, in turn, the inspiration for other local Belleville hunters. The decoys were primarily hollow in the traditional Prince Edward County style and consisted of mostly black ducks, bluebills, whistlers and a fine rig of teal. At some point in the teens, seemingly purely on a whim, Weese decided to produce a singular pair of hooded mergansers which, today, are considered possibly his pinnacle achievement. Because “hoodies” were not overly popular in the area, the pair were never rigged and resided on a shelf in his shop until the early 1960’s when he gifted them to an admiring grandson. They have existed in only a very limited number of collections since that time and have been prominently pictured in all the major articles about Weese, where they are described as “celebrated” or as his “piecede-resistance”.

Ralph and his wife, Mary, rest today in the Belleville Cemetery.

Ralph Weese

128

Very rare pair of hooded mergansers, Ralph Chillingworth Weese, Belleville, Ontario, 1st quarter 20th century. Thinly hollowed with .25” bottom boards. Extended crests and detailed bill carving. Drake with slightly turned head. Very rare to find an early pair of working hooded mergansers. Measure 14.5” long. Original paint with minor wear and discoloration from an early coat of varnish; very minor scratches and dents; cork on the underside of hen’s bottom board was replaced long ago; drake’s eyes may be early replacements.

Provenance: George Quay collection. (25,000 - 35,000)

Canvasback, Morris Boat Works, Hamilton Bay, Ontario, last quarter 19th century. Hollow carved with .25” bottom board. Comb feather paint detail on back. Measures 14” long. Original paint with moderate wear under a thick coat of varnish; hit by shot with one shot strike causing a small chip in tail; minor roughness on edge of bill; areas of touchup on sides of head and bill; underside in an early second coat of paint.

Provenance: George Quay collection. (1,000 - 1,500)

130 Rare long tail duck from Ontario, 1st quarter 20th century. Hollow carved with .25” bottom board. Measures 11” long. Mix of original and early in use repaint under a thin coat of varnish, with areas of more modern touchup to flaking and shot marks.

Provenance: George Quay collection. (800 - 1,200)

131 Rare ruddy duck from Ontario, 1st quarter 20th century. Thinly hollowed with thin bottom board. A rare species for a working decoy from Canada. Measures 12” long. Original paint with moderate flaking and wear; fine drips of off white paint on back; a thin second coat of paint on the underside has been sanded down.

Provenance: George Quay collection. (1,500 - 2,500)

132 Bluebill from Ontario, 2nd quarter 20th century. Thick scratch feather paint detail on back and sides. “Hall” branded on the underside. Keel was removed at some point. Measures 12.75” long. Original paint under a thick coat of early varnish; very minor discoloration and wear; tight crack along one side from when the decoy was made.

Provenance: George Quay collection.

(400 - 600)

133 Bluebill, William J. “Buck” Crawford, Smiths Falls, Ontario, 1st quarter 20th century. Hollow carved with .25” bottom board. Relief wing carving and slightly turned head. Stylish tail feather carving. Maker’s initials branded in the underside. Measures 13.25” long. Original paint with moderate flaking and wear; under an early coat of varnish with minor discoloration; lightly hit by shot.

Provenance: George Quay collection. (1,000 - 1,500)

134 Black duck, Dr. J.C. Woods, Orillia, Ontario, 2nd quarter 20th century. Raised neck seat and reared back head. Deep relief wing carving and carved side pockets. Measures 17.25” long. Original paint with minor to moderate wear under an early coat of varnish; moderately hit by shot; early chip on tip of tail was shaved down long ago and darkened; minor blunting at tip of tail.

Provenance: George Quay collection. (600 - 900)

135 Goldeneye hen, Henry Laviolette, Valleyfield, Quebec, 2nd quarter 20th century. Raised shoulders and relief wing and tail feather carving. Appears to have been part of a triangle rig. Measures 13” long. Original paint with minor discoloration and wear; thin second coat on the head and bill; tight crack through neck.

Provenance: George Quay collection. (800 - 1,200)

The Red Throated Loon

Few question that the origin of the decoy can be traced to Native American cultures. The now well-known woven reed and feather canvasback decoys found in Lovelock, Nevada have been dated to around the birth of Christ, but it is believed that the practice of fashioning facsimiles of the live bird to aid in attracting game predates this period, possibly by thousands of years.

Early native societies were nomadic and, thus, any decoys employed were ephemeral, simple, and quickly constructed using readily available local materials. Piles of mud or seaweed, rocks placed atop one another, sections of logs with a branch attached for a head, all these methods were effective attractants to gullible birds that had probably never seen a human being. With the rise in agriculture, the people became more sedentary which, in turn, allowed for the construction of more permanent lures, while still employing naturally occurring materials and shapes whenever possible.

When the Europeans began to arrive and settle in earnest, they were quick to adopt many of the hunting practices long in use by the Native populations. After all, these were time-tested methods that had proven their worth. The use of man-made decoys was quickly adopted and many of the earliest decoys credited to the settlers clearly show their Native American influence. The shaping of heads and necks would have posed the biggest problem to the early colonists who had limited access to a variety of tools. Fortunately, a quick search of driftwood piles would supply the readymade shapes necessary to solve the problem.

Through the late 19th century and, even until the present, small groups of indigenous people have survived and have honored their heritage by retaining many of the skills and practices of their ancestors. This is clearly seen in the extremely rare example of a red throated loon offered here.

The loon would have provided sustenance, its feathers may have had a ceremonial use and, as some have suggested, the oil in its skin may have proved useful in wiping down the guns after a hunt. The decoy exhibits many of the traits that one would expect from decoys carved in the native people’s traditional manner. The head and neck are clearly of one piece, so-called “root head” construction, a detail dating back centuries. This head forward design produces a very realistic, animated

decoy, representing an elongated, sleek, rapidly swimming bird or one about to dive for prey. To aid in the lifelike illusion, the head is positioned as if gazing to the right. The use of a piece of leather at the base of the neck seems to be an attempt to soften the transition between the two pieces to smooth out the body line. It is intentional and purposeful, for it is also on two similar examples by the same maker in the collection of the Shelburne Museum.

The painted surface, while not truly representative of the loon’s plumage, exhibits the typical colors, natural symbols and geometric patterns that often embellish decorative, ceremonial, and domestic articles made and used by many Northeast woodland groups. Overall, the decoy is not only visually appealing but remarkably effective in its simplicity.

Loons are one of the truly rare and seldom seen decoy species. This, coupled with its Native American heritage make this example an outstanding addition to any collection and an important part of our outdoor legacy.

135a Extremely rare and important red throated loon, attributed to Long Island, New York, 3rd quarter 19th century. Four of these swimming red throated loons are known to exist. Two are in the Shelburne Museum collection, and another in a private collection. Root head construction, with broad squared off tail and folky feather paint detail like others from the rig. Pieces of leather have been added to the base of the neck. Measures 24” long. Original paint with moderate flaking and wear; tight drying cracks and small defects

in wood on back; crack along the underside was filled long ago; chip in breast at neck seat with some separation where head joins the body; early chip and tight crack in tip of bill with a small nail added which has stained the surrounding wood a darker color.

Provenance: George Quay collection. (40,000 - 60,000)

Mackey’s Heron

One of the very few decoys actually pictured in the catalog, this heron was offered as lot 181 in the very first session of the famous Mackey collection auction where it was described by Richard Bourne as:

“Very rare and very early great blue heron decoy. This exceedingly rare life-size decoy features inletted legs. It is probably one of the earliest birds in this collection and was one of Mr. Mackey’s personal favorites”.

Bourne’s claim of the bird being a Mackey favorite was substantiated by Mackey himself when he selected this very heron from the number he owned as the illustration for his article on “Confidence Decoy’s” in the July/Aug/ Sept, 1964 issue of Decoy Collectors Guide. He certainly had multiple examples to choose from in his collection, for he exhibited at least seven herons or egrets in his 1966 Exibition at the IBM Gallery of Arts and Sciences in down town New York.

This particular decoy displays everything that a classic heron decoy should exhibit. It is multipiece with the head and neck apparently crafted from a natural tree limb for ease of carving, realism and maximum strength. It posseses the added feature of having two legs, again seemingly from natural branches, an exciting and attractive trait that, although rare, is occasionally seen on Long Island examples.

The exact use of a heron decoy has long been a topic of discussion. Authors “King” Hemming, Hal Sorenson and others have claimed that they were shot for their feathers for use in the millinary trade. Some, such as folk art authority Adele Earnest, label them as “solitary persuaders” , birds normally used singularly to provide a

sense of contentment and safety to a rig. Mackey differs in his explanation. He felt that to be a confidence decoy, the bird must be one that “- -is not shot in its own right and is helpful in luring birds of another species within gunshot” . In his opinion, this definition would eliminate the great blue heron because, in areas such as Long Island, the birds acquired the nickname of “Seaford Turkey” due to their appeal as table fare. He felt that the only true confidence bird was a seagull. Early collector Malcolm Fleming somewhat negated Earnest’s “solitary persuder” claim and bolstered Mackey’s assertion that they were intended targets for food when he found a group of six in an old barn as well as another group of four, all on Long Island.

Whatever their actual intended purpose, the few remaining great blue heron decoys are considered true treasures, the centerpiece of any quality decoy collection, and one of the finest and most desirable exmples of American folk art.

Session I, Mackey sale Mackey’s 1964 article

135b

Early heron decoy, last quarter 19th century. Applied wooden legs would have originally been mounted to a bottom board. Stick up hole drilled in underside. Mackey collection ink stamp on breast. Measures 34” long. Multiple coats of early paint have flaked to much bare wood; separation and losses where legs are joined to body; drying cracks throughout; old nails added to secure horizontal cracks in head and neck; early chip out of one side of neck seat; some dry rot and splits along the underside; bill is a very early replacement.

Provenance: George Quay collection. (20,000 - 30,000)

Amos

1900 | South Seaville, New Jersey

Amos Wheaton of Seaville, New Jersey was not only amongst some of the earliest known decoy makers in America, but he had one of the most original carving styles. His work can be described as functional but with additional carving and “flair” than his contemporaries along the Jersey coast. It is safe to say that there is nothing quite like them. Wheaton is especially known for his folky goldeneye drakes, and one known bufflehead drake.

Amos Wheaton made both hollow and solid bodied decoys as did his contemporary and distant cousin, Ephraim Hildreth who lived further down the County. In fact, Wheaton and Hildreth both descended from English whaler-yeomen who left Long Island, New York for the Jersey Cape in the 1690s. The two men were likely acquainted, given their shared reputation as renowned gunners along the Cape May County seaside and some common surnames in their genealogy.

Goldeneye and bufflehead are all that we have seen carved by Wheaton, though he likely made black ducks as that species was by far the most commonly gunned for in Cape May County. There is no doubt where he used his Goldeneye decoys; for many years Amos Wheaton was the millwright at Thompson Van Gilder’s sawmill. The millpond that powered the mill is still a great place to hunt goldeneyes, ringneck ducks, hooded mergansers, and wood ducks. The pond was also the gunning spot of another Cape May County carver from a generation later, Tom Robinson who is especially known for his folky hooded merganser decoys.

Adele Ernest, may have been the first to recognize the exceptional folk-art value of Amos Wheaton’s decoys. In her book, she highlights one of his Goldeneyes, but attributes the decoy to “T. Smith”; an easy mistake as the 1860 and 1870 Federal Census’ show

the Smiths living next door to Amos Wheaton, along with his wife Harriet, and their five sons.

Amos Wheaton was the son of master carpenter, Willets Wheaton and Phebe Willets. He was born and raised near Petersburg, New Jersey in the northern part of the Cape May county peninsula, but spent a good deal of his adult life in Seaville, further to the south. Wheaton was a carpenter but spent most of his career as a millwright and supervisor of construction projects. In 1894, at the age of 74, “Mr. Amos Wheaton” was hired to supervise the rebuilding of the sluice/dam on Cedar Swamp Creek in northern Cape May County. He died six years later at age of 80.

Interestingly, his son Dr. Theodore Corson Wheaton founded the largest privately owned glass company in the U. S. that employed thousands of Southern New Jersey residents. T.C. Wheaton’s contributions to the realm of collectible glass are widely recognized and valued, just as his father’s work with collectible waterfowl decoys continues to be highly esteemed.

J.P. Hand, Cape May County, New Jersey

135c Rare goldeneye, Amos Wheaton, South Seaville, New Jersey, 3rd quarter 19th century. Two piece body with relief carved, oversized head, and exaggerated paddle tail. Great folk art appeal. Measures 13” long. Original paint with minor to moderate wear; under a fairly thick coat of varnish; chip in one side of tail with early touchup; shot strike in tip of bill has caused a small chip and roughness; small amount of touchup to flaking on one side of bill; spot of paint loss where a nail was added on one side of breast and sanded down.

Provenance: George Quay collection.

(6,000 - 9,000)

136 Petite bufflehead, Tom Schroeder, Detroit, Michigan. Relief wingtip and tail feather carving. Nice color blending on sides of head. Measures 9” long. Original paint with minor discoloration under the original coat of varnish; minor flaking to varnish on top of head; with a small spot of touchup in that area.

Provenance: George Quay collection. (2,000 - 3,000)

137 Very rare pair of half size mallards, Bert Graves, Peoria, Illinois, 1st quarter 20th century. Drake has slightly turned head. Both have glass eyes. Measures 9” long. Excellent original paint with a nice warm mellow patina; small piece at tip of drake’s tail has been broken and reset but appears to be the original piece.

Provenance: Ex Russ Goldberger collection. George Quay collection. (4,000 - 6,000)

137a Mallard hen, Walter Pelzer, Milwaukee, Wisconsin, 2nd quarter 20th century. Slightly turned head with detailed bill carving. Relief carved side pockets and wingtips. Inlayed lead weight on underside. “JHD” branded on the underside for the collection of Jim Dunham. Measures 15.5” long. Worn original paint with significant flaking; some areas of working touchup, all under an early coat of varnish; minor roughness on edge of bill otherwise very good structurally.

Provenance: George Quay collection. (4,000 - 6,000)

138 Mallard, Reg Marter, Burlington, New Jersey, 2nd quarter 20th century. Hollow carved with deep relief wing and tail feather carving. Measures 16” long. Original paint with minor flaking and wear; crazing on head and neck; filler and touchup around both eyes.

Provenance: George Quay collection. (1,000 - 1,400)

139 Swimming merganser hen, David Goodspeed, Duxbury, Massachusetts, 1st quarter 20th century. Hollow carved with 1” bottom board and raised neck seat. Inlayed lead weight on the underside. Measures 19” long. Original paint with moderate flaking and wear; filled cracks along the back with touchup; flaking on one side of neck seat with touchup; bill was cracked down and tightly reset.

Provenance: George Quay collection. (800 - 1,200)

139a Pair of pintail, Bernard Ohnmacht, Lafayette, Indiana. Made with swivel heads and deep relief wings. “Kangas” branded on the undersides. Drake retains the metal weight holder that is stamped “patented” on the underside. Retain the original carrying bags. Measure 15.5” and 16.5” long. Mostly original paint protected under the original coat of varnish; white on drake’s breast was repainted; spots of repaint on hen’s breast and one lower edge.

Provenance: George Quay collection. (3,000 - 4,000)

139b Pair of bluewing teal, Otto Jorgenson, Lake Poygan, Wisconsin, 1st quarter 20th century. Folky little teal with hump backs and upswept tails. Measures 10.5” and 11.5” long. Original paint with minor wear and moderate discoloration from a thick, early coat of varnish; tight drying cracks along each back; tight crack in underside of hen; each with a professional bill chip repair.

Provenance: George Quay collection. (1,000 - 1,500)

138

139

139a

139b

139c Extremely rare working harlequin duck, George May, Nova Scotia, circa 1880. Wide neck seat and upswept tail, typical of Lunenberg County decoys. Incised carving detail where colors change. Measures 15.5” long. Very dry, early surface appears to be mostly original paint with moderate flaking and wear; appears to have thin and very early second coat on sides of head and areas of back; hit by shot; old chips in tail; multiple drying cracks in body; crack through neck and in neck seat with the head slightly loose.

(3,000 - 5,000)

139d Pair of red breasted mergansers, Harold Thengs, Norway and Long Island, 2nd quarter 20th century. High heads with extended crests. Balsa bodies with wooden keels, rigged fore and aft. Maker’s ink stamp on the underside. Measure 18” and 19” long. Mix of original and early in use repaint with moderate flaking and wear; cracks in each neck; chipping in each crest with some early restoration to hen’s; moderate crazing along hen’s back and underside; some roughness on tip of drake’s tail.

Provenance: George Quay collection. (2,000 - 4,000)

139e Pair of long tail ducks, Harold Thengs, Norway and Long Island, 2nd quarter 20th century. Balsa body and heads. With wooden keels, rigged fore and aft. Maker’s ink stamp on the underside. Measures 18” and 12.75” long. Mix of original and early in use repaint with moderate flaking and wear; tight cracks in each neck; some early filler added to a defect in wood in underside of hen.

Provenance: George Quay collection. (2,000 - 4,000)

139d

139e

John Ramsay

1857 - 1934 | Summerside, Prince Edward Island

Strangely, not a great deal of information has been written about the man who is credited as being the premier carver from the Island in the heart of the Canadian Maritimes. His work had been well known locally but only first made available to a larger audience by Dale and Gary Guyette in 1983. He was born on PEI, the son of shipbuilder Donald Ramsay and his wife Ann Simpson. He first appears in the Canadian census in 1891 where he is listed as being a lodger in the home of William and Hattie Manson in Summerside and employed as a “Joiner”. In 1895, he married Eliza Ann Waye and, in 1900, they had their only child, a daughter Zelma. Between 1901 and 1911 his occupation is noted as being either a “carpenter” or a “machinist – in a (illegible) factory”. With this background, it should be obvious that Ramsay possessed a variety of the type of hands on skills that would allow him to carve some remarkable decoys. The Guyettes related that he worked most of his life at Hall Manufacturers

He is known to have made possibly 1000 goose and brant decoys, as well as around 90 outstanding shorebirds. Oddly, he is not recorded as carving any blacks, whistlers, or other species which certainly would have been plentiful and desirable targets. Many of his birds were eagerly scooped up by local hunters who recognized not only their quality, but their exceptional workmanship and lightness, both important practical matters. The majority of the decoys were constructed as “stickups”, initially for use on the ice, and later, as attractors on the marsh edge and, ultimately, field use.

A very few (possibly three), extremely rare, and equally exceptional seagulls came from his hand. Like many of his other decoys, they were designed as stickups and were hollow carved. The bills and tails on his geese and ducks were unadorned with any detail to speak of. The gulls, however, received the benefit of carved wing tips and anatomically correct bill shapes. Certainly, almost

139f Large working gull, John Ramsay, Summerside, Prince Edward Island, 1st quarter 20th century. Raised and crossed wingtips, and broad tail. Two iron legs mounted to underside. Large metal, tack eyes. Measures 26” long, stands 24” tall including base Much of the old overpaint was taken down to a mix of original and early repaint; multiple drying cracks and splits; lightly hit by shot; some separation and roughness at two knots on back; old chipping on each side of tail and crossed wingtips.

Provenance: George Quay collection.

(3,000 - 5,000)

Charles Hart 1862 - 1960 | Gloucester, Massachusetts

140

Extremely rare stick up Canada goose, Charles Hart, Gloucester, Massachusetts, 1st quarter 20th century. Hollow carved with two piece head and neck. “McCleery” ink stamp on the underside. Believed to be one of only a few known. Measures 20.5” long. Excellent original paint with minor gunning wear; separation at body seam on front part of body; an outstanding example.

Provenance: Ex Dr. James McCleery collection. Private New York collection.

Literature: “New England Decoys,” John and Shirley Delph. (40,000 - 60,000)

Charles Hart

141 Merganser hen, Keyes Chadwick, Oaks Bluff, Massachusetts, 2nd quarter 20th century. Slightly turned head with detailed bill carving. Crest is slightly extended. Round inlayed weight in underside, typical of Martha’s Vineyard decoys. Measures 17.25” long. Original paint with very minor wear; drying split in the underside; a few paint rubs on back and one on top of head. (2,500 - 3,500)

143 Black duck from Martha’s Vineyard, Massachusetts, 2nd quarter 20th century. Tack eyes and incised bill carving. Decoy was never weighted. Measures 16.25” long. Strong original paint with very minor wear; dent in one wing patch; otherwise very good and original. (800 - 1,200)

1879 - 1959 | Newburyport, Massachusetts

144 Canada goose attributed to Fred Baumgardner, Newburyport, Massachusetts, 1st quarter 20th century. “II VII” is carved in the underside. Inlayed weight in underside. A large solid body goose similar to the work of Charles Safford, a gunning partner Baumgartner. Glass eyes. 27” long. Strong original paint shows an even amount of gunning wear with some rubs; small areas of flaking and discoloration; a crack that appears to have been repaired in the making runs from the neck seat through the tail.

Provenance: Found at an estate sale in Carmel, California. (10,000 - 15,000)

Fred Baumgardner

Arthur Gifford Tuell

1877 – 1955 | Westport, Massachusetts

The well-known pair of “Tuell” hooded mergansers were acquired in 1978 by highly respected early Massachusetts collector Anthony (“Tony”) Waring. His collection has been sold but this singular pair has remained in the family since that time. Over the years, these decoys have been pictured or discussed in a number of publications, culminating most recently in “Massachusetts Masters” by the Ward Museum of Wildfowl Art (2011).

Tony acquired the birds from a home in Little Compton, RI, a town which abuts Westport, MA. He was informed that Mr. Tuell carved the birds for his own use on the East branch of the Westport River located a short distance behind the Tuell home. He was told by the decoy’s owner at the time, that this pair, the two lone survivors of their type, were found on Mr. Tuell’s workbench upon his death.

Arthur Tuell was born in New Bedford, MA. As a young man he worked variously as a poultry farmer and as a “Naval architect” (probably a generous self-appointed title). In 1906, he married Mary Ella Manchester in Westport. It is significant that Tuell’s mother was a Gifford. The Gifford’s and Manchester’s were

the leading poultry raising families in Westport. The families were large, successful, and influential. With this background, it is no wonder that, after the marriage, the couple resided on Horseneck Rd in Westport while Tuell worked as a poultry farmer. By 1918 he had returned to his earlier trade of “ship carpenter”, now working at The Pierce and Kilburn shipyard in New Bedford. By 1920 he had left the marine trade and worked as a selfemployed house carpenter in Westport. At some point in the mid to late 1920’s the family moved to 27 Sherman St in New Bedford, where Arthur listed himself as an “architect”, presumably doing residential carpentry. This was his livelihood through the early 1940’s when he “retired”.

We do know that Tuell was an enthusiastic sportsman. He is listed in various documents as being a member of the Horseneck Gun Club, as well as a founding member of the Westport Sportsman Association. The latter group signed leases to acquire the hunting rights to acreage on the Westport River for the purposes of waterfowling. At least four other (and presumably more) members of the club are documented decoy carvers and practically all of the members were from the Horseneck Road section of Westport.

145 Pair of hooded mergansers, Arthur Tuell, Westport, Massachusetts, 1st quarter 20th century. Hollow carved with extended crests and carved eyes. Measure 17.5” long. Second coat of paint by Tuell with very minor wear; tight crack in hen’s neck; touchup on tip of hen’s bill and one side of neck seat; professional repair to a chip in hen’s crest. (3,000 - 4,000)

145a Canada goose, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Two piece head and neck with reared back head and large brass tack eyes. Maker’s oval brand on the underside. Measures 22.5” long. Original paint with minor flaking and gunning wear; a few small dents; age split along the underside that extends up the breast and under tail; tiny chip in one side of bill tip has been darkened. (10,000 - 14,000)

146 Mallard, Elmer Crowell, East Harwich, Massachusetts, 2nd quarter 20th century. Relief wingtip and tail feather carving. Slightly turned head. Felt was removed form the underside, exposing a round, iron weight inlayed in to the underside, possibly intended for use as a door stop, but with no paint wear indicating it was used for that purpose. Measures 16.75” long. Original paint with minor flaking and wear; a few tiny dents; tight crack through neck.

(4,000 - 6,000)

147 Black duck, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Slightly turned head and relief tail feather carving. Maker’s oval brand on the underside. Decoy was never rigged or weighted. Wing feather paint detail is much more refined than most Crowell black ducks. Measures 17.25” long. Tiny spots of touchup to flaking on each side and back, near tail; hairline drying cracks in breast and back.

(2,500 - 3,500)

147a Extremely rare gull, Willie Ross, Chebeague Island, Maine, circa 1940s. Inlayed neck seat and painted eyes. Mantle bird was never rigged or weighted and was likely made as a gift. Though a later carving by Ross, this gull is the only example we have ever seen by the maker. Measures 18 ½” long. Original paint that has mellowed with age; minor discoloration and wear; small dent on top of head; drip of discoloration on one side of head; puppy chews and minor blunting on tip of bill.

Provenance: Recently discovered in a home on Chebeague Island and consigned by the family that it has passed down in. (5,000 - 8,000)

147b Excellent and very rare goldeneye hen, by a member of the Alexander family, Harpswell, Maine, last quarter 19th century. “A Alexander, 1856” carved in the underside. Also with the George Ross Starr collection ink stamp on the underside. Measures 11.25” long. Original paint with very minor wear; under a thin coat of varnish; minor separation at neck seat.

Provenance: Davis Pearson collection. (2,000 - 3,000)

147a

147b

147c Decorative long-tailed duck, 2nd quarter 20th century. Relief wing carving and raised wing tips. Alert, slightly turned head with painted tack eyes. Measures 12 3/4” long. Original paint with minor flaking and wear; chip in underside of bill; applied hardwood tail sprig is mostly missing; hairline crack and small chip in one raised wing.

Provenance: Found in an estate sale in Oregon. (2,000 - 3,000)

147e Self bailing white wing scoter, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Hollow carved with 1” beveled bottom board. Measures 17.25” long. Original paint with minor to moderate wear; old chip in tail; smaller chip in lower edge of bottom board; hairline crack through bottom part of neck.

(1,000 - 1,500)

147f White wing scoter, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Cedar body and large tack eyes. Measures 16.75” long. Original paint with moderate flaking and wear; heavily hit by shot; drying crack along the back; hairline crack along one side of head; minor roughness and chipping on tip of bill.

(2,000 - 3,000)

147g Canada goose, George Boyd, Seabrook, New Hampshire, circa 1920s. Canvas over wood slat construction. Measures 26.5” long. Mix of original paint with areas of restoration; moderate flaking and wear; paint loss and small losses to canvas above nail holes; two tears in canvas on one side near tail.

(1,500 - 2,500)

147h Early redhead, Keyes Chadwick, Oaks Bluff, Martha’s Vineyard, 1st quarter 20th century. Slightly turned head with detailed bill carving. Inlayed lead weight on underside. Al Hadfield collection brand on the underside. Measures 16.25” long. Original paint with moderate flaking and wear; minor roughness on edges of bill; tight crack in breast; moderate to significant flaking and wear.

(800 - 1,200)

147i Bluebill, Albert Laing, Stratford, Connecticut, 3rd quarter 19th century. Hollow carved, flat bottom style with .75” bottom board. Head is tucked with bill resting on breast. Carved eyes. Measures 13.5” long. Old working paint with significant flaking and wear; heavily hit by shot; old wooden patch on one side near tail and one side of head; roughness on edges of tail; cracks in breast; wooden patch on each side of neck seat were added at a much later date; old filler added on tip and one side of bill.

(2,000 - 3,000)

147g

147h

147i

Elmer Crowell

1862 - 1952 | East Harwich, Massachusetts

148

Decorative preening whimbrel, Elmer Crowell, East Harwich, Massachusetts, circa 1930. Head is turned to one side in a preening pose. Raised wingtips and relief tail feather carving. Maker’s rectangle stamp on underside. “CCR” carved on the underside for the collection of Carolyn Rowland. Measures 9.5” long, stands 10.5” tall. Gesso feet and thighs have been restored, otherwise excellent and original.

(25,000 - 35,000)

Unique decorative flicker, Elmer Corrwell, East Harwich, Massachusetts, circa 1925. Raised wingtips and relief tail feather carving. Maker’s rectangle stamp on the underside. This is the only example of this species known by Crowell. Measures 9” long, stands 6.5” tall. Original paint with some very tight crazing; tiny chip at the tip of one tail feather has been darkened; some restoration to gesso feet and thighs; small chip in one gesso thigh. (30,000 - 40,000)

151 Decorative bluejay, Elmer Crowell, East Harwich, Massachusetts, circa 1920. Raised wingtips and relief tail feather carving. Maker’s oval brand on the underside. Measures 9” long, stands 7.75” tall. Excellent original paint with very fine crazing on top of head; gesso feet and thighs have been restored; small amount of filler and touchup on very tip of bill and where the top part of bill meets the face.

(8,000 - 12,000)

152

Feeding kingfisher, Elmer Crowell, East Harwich, Massachusetts, circa 1915. Raised wingtips and relief tail feather carving. Crisp oval brand on the underside of base. Measures 8” long, stands 5.5” tall. Original paint that has darkened slightly under an early coat of varnish; small chip on carved crest feather; one gesso toe is missing. (12,000 - 18,000)

153 Early yellowlegs, Elmer Crowell, East Harwich, Massachusetts, circa 1910. On un-branded, carved clam shell base. Split tail carving. Identified in pencil on underside. Measures 11” long, stands 10.5” tall. Bill is a professional replacement, otherwise excellent and original. (12,000 - 18,000)

154 Lesser yellowlegs, Elmer Crowell, East Harwich, Massachusetts, circa 1915. Split tail carving and excellent paint detail. Maker’s oval brand on the underside of base. Measures 8.5” long, stands 9” tall. Original paint with tiny spot of touchup to flake around one eye; professional bill crack repair. (12,000 - 18,000)

154a Extremely rare and possibly unique half size least tern, Elmer Crowell, East Harwich, Massachusetts. With both wings raised away from body. Split tail carving and excellent paint detail. Chip carved base with maker’s rectangle stamp and signature on underside. Measures 4.75” long, stands 6.25” tall including base. Surface has mellowed with age; bill was professionally reattached with some touch up; a few tiny paint rubs, otherwise excellent and original.

(8,000 - 12,000)

“This group of decoys was made in the early to mid 1990’s. I was then in my mid twenties; was restoring lots of great, old birds and allowing their influence to help guide my path. The Gadwall shows a Seaford,L.I. Influence, the Pintail an obvious Blair tribute, the Canvasback pair was loosely inspired by John Graham, while the Teal exhibit the Crisfield, MD influence of the Ward’s and Sterling’s.

I believe most of these were sold through Vance Strausberg’s Orvis store in Maryland and it is ironic that they found their way down to Bray’s Island Plantation, as I spent many great times there as a teenager before it became developed. Exploring the woods and marshes, hunting doves ,and even shooting ducks in the old rice fields as a guest of the Pingree family was incredible, and I even met Ted Turner at a few of the dove shoots.”

Cameron McIntyre

b. 1968 | New Church, Virginia

“CTM”

(2,500

(2,000 - 3,000)

155 Excellent loon, Cameron McIntyre, New Church, Virginia. In summer plumage with relief wing carving and reared back, uplooking head. Carved eyes.

carved in the underside. Measures 25.5” long. Made to look older, excellent and original.

- 3,500)

156 Pair of greenwing teal, Cameron McIntyre, New Church, Virginia. Inspired by the pinch breast style decoys of the Ward Brothers with ridge down back and narrow pinch breast. Both with tucked and slightly reared back heads. Scratch feather paint detail on hen, comb feather detail on drake. “CTM” carved on the underside. Measure 11.5” long. Made to look older, excellent and original.

excellent and original.

(1,200 - 1,800)

157

Influenced by the early Cecil County, Maryland carvers, with raised neck seat and detailed bill carving. Bodies are hollow carved, with “CTM” carved on the underside. Measure 14” long. Made to appear older, excellent and original.

(3,000 - 4,000)

Made to look older, excellent and original.

(1,200 - 1,800)

Pair of canvasbacks, Cameron McIntyre, New Church, Virginia.

159 Pintail, Cameron McIntyre, New Church, Virginia. Carved in the style of John Blair of Philadelphia, with hollow carved body and tack eyes. Maker’s name carved in the underside and dated 1994. Measures 17.5” long.

158 Gadwall, Cameron McIntyre, New Church, Virginia. Hollow carved with relief wing and comb feather paint detail. Carved eyes and reared back head. “CTM” carved in the underside. Measures 14.75” long. Made to look older;

160 Pair of preening gadwall, William Gibian, Onancock, Virginia. Hollow carved with relief wing and tail feather carving. Comb feather paint detail on drake. Both with heads turned, and drake with raised, crossed wingtips. “Gibian” carved in the undersides. Measure 15” long. Very good and original.

(2,000 - 3,000)

161 Long tail duck, Mark McNair, Craddockville, Virginia. Slight relief wing carving. Inlayed head with square wooden dowel through the top of head. “McNair” carved in the underside. Measures 15.25” long. Made to look older, excellent and original.

(1,500 - 2,500)

162 Pair of canvasbacks, Leo McIntosh, Woodville, New York. Hollow carved, with slightly turned heads and detailed bill carving. Relief wing and tail feather carving. Extensive comb feather paint detail. Maker’s name carved in the underside. Measure 15” and 15.25” long. Very minor discoloration, otherwise excellent and original.

Provenance: Gordon Mulava collection.

(800 - 1,200)

163 Excellent flying black duck wall plaque, Leo McIntosh, Woodville, New York. Applied wings with relief feather carving. Scratch feather paint detail. Signed and dated 2001 on back of top wing. Bird measures 20” long, with a 27.5” wing span. A few minor paint rubs at wingtips; a few very minor spots of sap bleed on back.

Provenance: Gordon Mulava collection.

(1,200 - 1,800)

160 162

161 163

Jim Schmiedlin

164 Rare

Jim

Pennsylvania. Hollow carved with relief wing and tail feather carving. Slightly turned head with wide spoon bill carving. “JAS”, as well as Jim’s “Reward for Return” label on underside. Dated 12/04. Measures 17” long. A few very minor paint rubs, otherwise excellent and original.

Provenance: Gordon Mulava collection. (5,000 - 8,000)

shoveler,

Schmiedlin, Bradfordwoods,

165 Pair of long tail ducks, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with slightly turned heads and relief wingtip carving. “JAS” as well as Jim’s “Reward for Return” label on the underside. Dated 2/03. Measure 15.75” and 17.25” long. Original paint protected under the original coat of varnish; some of the white feather detailing was added after the varnish, but likely done in the making; excellent and original.

Provenance: Gordon Mulava collection.

(8,000 - 12,000)

166 Pair of canvasbacks, Jim Schmiedlin, Bradfordwoods Pennsylvania. Both with relief wing carving, drake with slightly turned head, hen in preening pose with one wing slightly extended.

“JAS” branded on the undersides. also with a painting of flying canvasbacks on the underside of each. Signed and dated 1/2006. Measure 14.5” and 17” long. Original paint with minor discoloration from the original coat of varnish; small paint rub on tip of drake’s bill; very minor separation and hairline cracks at body seam in drake’s breast.

Provenance: Gordon Mulava collection.

(8,000 - 12,000)

167 Hooded merganser, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with relief wingtip and tail feather carving. Head is turned 50 degrees with extended crest and excellent bill carving. “JAS” stamped on the underside. Dated 11/97. Measure 14.5” long. Original paint with a few minor rubs; hairline crack extends up from bottom board on breast and under tail; two tiny spots of touchup on back.

Provenance: Gordon Mulava collection. (4,000 - 6,000)

168 Red breasted merganser drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with relief wing and tail feather carving. Slightly forward head pose. “JAS” as well as Jim’s “Reward for Return” label on underside. Dated 10/92. Also with the Schmiedlin Private Collection ink stamp on the underside. Measures 18.75” long. Original paint with moderate gunning wear; very good structurally.

(5,000 - 8,000)

169

Merganser hen, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with slight relief wing and tail feather carving. Slightly turned head with extended crest feathers. “JAS” as well as Jim’s “Reward for Return” label on underside. Dated 10/88. Writing by Jim about this bird on the underside. Measures 17.75” long. Original paint with moderate gunning wear; under an early slightly uneven layer of varnish; crack extends from bottom board near underside of tail. (5,000 - 8,000)

170 Bluewing teal, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with relief wing and tail feather carving. Slightly turned head. “JAS” as well as Jim’s “Reward for Return” label on the underside. Dated 6/2006. Measure 14.5” long. Minor paint rubs, mostly around the edge of tail, otherwise excellent and original.

Provenance: Gordon Mulava collection. (4,000 - 6,000)

171 Ring necked drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with relief wing and tail feather carving. Head is tucked and slightly turned. “JAS” as well as Jim’s “Reward for Return” label on the underside. Dated 3/2011. Measures 13.5” long. Original paint with very minor wear; original coat of varnish has yellowed slightly; strip of white paint on both sides of breast added after the varnish by the maker; excellent structurally.

Provenance: Gordon Mulava collection. (4,000 - 6,000)

172

Jim

Pennsylvania. Hollow carved with head turned in preening pose, with one extended relief carved wing. Relief carved, crossed wingtips. “JAS” as well as Jim’s “Reward for Return” label on the underside. Dated 8/05. Measures 13” long. Original paint protected under the original coat of varnish; very good and original.

Provenance: Gordon Mulava collection. (5,000 - 8,000)

Preening bluebill,

Schmiedlin, Bradfordwoods,

Steve Weaver

b. 1950 | Cape Cod, Massachusetts

From his secluded location on the shore of Pimlico Pond, Steve can enjoy Cape Cod’s changing seasonal landscapes and a rather intimate view of a variety of its wildlife. Descending the short path to the studio, one can immediately sense that this is the home and workshop of someone with a true reverence for nature.

A native, and lifelong resident of the Cape, Steve initially found work in a number of occupations, finally settling on a high stress position as a project manager for a road construction company. He has always been attracted to the outdoors and, although he no longer actively hunts, he still enjoys fishing at any opportunity because it allows him to practice a catch and release philosophy while still enjoying nature.

His first introduction to decorative carving came in his late 20’s when, on a family trip through rural Cabot, Vermont, he happened upon a sign that read “Bird Carver – Visitors Welcome”. This was the shop of Henry Elmer Menard (1902 – 1987) and, upon entering, he found that he was attracted to the art, and purchased a few pieces. With this casual introduction, Weaver entered the world of decorative wildlife carving and has never looked back. His first piece was an attempt at a tufted titmouse. Although he never completed the carving, the experience was life changing and, in his own words, “ I knew that bird carving was what I was put on this earth to do” . Since that early initiation, he has constantly strived to improve his work. Other than one brief set of classes with Richard Palmer, Steve is primarily self-taught. He began to attend carving exhibitions to study the work of the many accomplished artists that Cape Cod is so well known for. He remembers one exhibit in particular when, in the 1980’s, the Cape Cod Museum of Natural History featured the work of Eldridge Arnold of Hyannis and, since that time, he has studied the work of a wide

variety of both contemporary and deceased Cape Cod decorative carvers. After the 1992 exhibit of the work of Elmer Crowell at the (now) Heritage Museum and Gardens, he became a serious student of not only Crowell, but also of a variety of The Cape’s old masters of working decoys. Initially, he carved part time and his work slowly improved but, as he recalls, he briefly “hit a wall” when it came to the paint. He has since mastered both the carving and the once vexing process of painting, now producing work in a unique style of his own exhibiting exceptional realism and quality.

He eventually sold his first piece in 1985. Word began to spread and, by 1992, he had the work and the confidence to leave his construction job and carve full time. He has since won a wide variety of national competitions and his work has been the subject of exhibitions at, among others, The Duxbury Art Complex, the Cahoon Museum of American Art and the Thornton Burgess Society’s Greenbriar Nature Center. In 1996, he was selected by Bill Weld, then the governor of Massachusetts, to carve the State bird, a blackcapped chickadee, for a lengthy, 50 State exhibit at the Ward Museum. He has given classes and lectures at the Heritage Museum and Gardens, The Nantucket Historical Society, and the Cape Cod Museum of Natural History. He feels that by teaching others, his own work has also continually improved.

Although he has not carved any working decoys, he has done a great deal of restoration, specializing in the works of the Cape’s many old famous makers. He is still greatly enamored with Elmer Crowell who he readily credits as the greatest bird carver of all time.

At 73, Steve continues to carve but now takes more and more time to relax and enjoy life on Pimlico Pond with Joy, his partner of 22 years.

173 Outstanding miniature great horned owl, Steve Weaver, Cape Cod, Massachusetts. Titled “In the Still of the Night” on the underside. Also identified and signed. Slightly turned head, with relief wing and feather carving. Raised, crossed wingtips and extended ear tufts. A single carved feather mounted on base. “SAW” carved on base. Piece measures 7.75” tall. Excellent and original. (3,000 - 5,000)

174 Miniature kingfisher with carved

Steve Weaver, Cape Cod, Massachusetts. Titled “Perfect Perch” on the underside. Also signed on the underside. Dropped wing carving with relief feather detail. Extended crest feathers, and open bill with carved perch. Tiny carved perch is a work of art in itself. A single carved feather mounted on base, “SAW” carved on base. Kingfisher measures 5.5” long. Piece measures 9.5” tall. Excellent and original. (3,000 - 5,000)

(2,500 - 3,500)

perch,

175 Miniature magnolia warbler, Steve Weaver, Cape Cod, Massachusetts. Titled “Signs of Spring” on the underside. also identified and signed on the underside. Relief wing and tail feather carving. Open beak clutching a small worm. Warbler stands on a budding pussywillow branch. Warbler measures 4.5” long. Piece stands 7.5” tall. Excellent and original.

175a Miniature white heron, Steve Weaver, Cape Cod, Massachusetts. Titled “Stalk Still” on the underside. Also signed on the underside. Slightly turned head and relief wing feather carving. A single carved feather mounted to carved clamshell base. “SAW” carved on to base. Stands 6.5” tall. Excellent and original. (2,000 - 3,000)

175b Miniature frog and beetle, Steve Weaver, Cape Cod, Massachusetts. Titled “Don’t Bug Me” on the underside. Also signed on the underside. Excellent frog carving with skin and eyes that appear real. Small carved beetle applied to base. “SAW” carved on base. Frog measures 3.25” long, stands 3” tall. Excellent and original. (2,000 - 3,000)

176 Miniature chipmunk, Steve Weaver, Cape Cod, Massachusetts. Titled “Foraging” on the underside. Also signed on the underside. Chipmunk holds a carved acorn with two other acorns mounted to base. Extended tail and inserted whiskers. “SAW” carved on to base. Stands 4.25” tall. Excellent and original. (1,200 - 1,800)

176

175b

175a

177 Miniature wading tri color heron, Steve Weaver, Cape Cod, Massachusetts. Titled “Stalking the Back Water” on the underside. Also signed and dated 2007 on the underside. One raised metal leg and slightly turned head. Slight relief feather carving. A single carved feather mounted on base. Measures 6.75” long, stands 7” tall including base. Excellent and original. (1,500 - 2,500)

178

Steve Weaver,

Titled

Also signed on the underside. Head is turned, preening one extended, dropped wing. Relief feather carving. A single carved feather mounted on base, “SAW” carved on base. Stands 5” tall. Excellent and original. (2,500 - 3,500)

on

(800 - 1,200)

Miniature preening godwit,

Cape Cod, Massachusetts.

“Sprucing Up”

the underisde.

179 Tiny miniature winter wren, Steve Weaver, Cape Cod, Massachusetts. Extended wingtips and upswept tail. Signed on the underside. “SAW” carved in to the base. Wren measures 1.75” long, stands 2” tall including base. Very good and original.

Elmer Crowell

1862 - 1952 | East Harwich, Massachusetts

181 Pair of miniature greenwing teal, Elmer Crowell, East Harwich, Massachusetts. Split tail carving, and drake with extended crest. Maker’s round ink stamp on the underside of each, which is mostly worn off of drake’s base. Measure 3.75” long. Very good and original.

(2,000 - 3,000)

182 Pair of miniature mergansers, Elmer Crowell, East Harwich, Massachusetts. Split tail carving and extended crests. Maker’s rectangle stamp on the underside. Also numbered 11 and 12. Measure 4.75” and 5.75” long. Excellent original paint; paint flake on edge of hen’s tail; professional bill chip repair on drake, otherwise very good.

(2,000 - 3,000)

183 Miniature running black duck, Elmer Crowell, East Harwich, Massachusetts. Split tail carving and nice paint detail. Maker’s rectangle stamp on the underside. Measures 5.5” long. Professional tail and bill chip repair, otherwise very good.

(600 - 900)

184 Miniature American merganser, Elmer Crowell, East Harwich, Massachusetts. Split tail carving, and numbered 17 on underside. Also with Maker’s rectangle stamp. Measures 5” long. Excellent and original.

(1,200 - 1,800)

185 Miniature widgeon, Elmer Crowell, East Harwich, Massachusetts. Split tail carving. Maker’s round ink stamp on the underside. Measures 3.75” long. Original paint with moderate discoloration from an early coat of varnish; minor flaking on tip of bill. (800 - 1,200)

186 Miniature pintail, Elmer Crowell, East Harwich, Massachusetts. Split tail carving. Identified on the underside. Also with maker’s rectangle stamp. Measures 5.5” long. Very minor paint flake on tip of tail; professional neck crack repair. (1,000 - 1,500)

187 Miniature feeding canvasback, Elmer Crowell, East Harwich, Massachusetts. Spit tail carving. Maker’s rectangle stamp on the underside. Measures 5” long. Original paint has darkened slightly with age; minor flaking on tip fo tail; professional bill chip repair. (1,000 - 1,500)

188 Miniature towhee, Elmer Crowell, East Harwich, Massachusetts. Identified on underside of base. Measures 3” long. Excellent and original. (1,000 - 1,500)

James Ahearn

1904 - 1963 | Stamford, Connecticut

As late as 2009, almost nothing was known about a talented carver of miniatures that bore the name “J Ahearn”. Most were waterfowl or upland game birds. These were executed as standing or flying singles, pairs and family groups mounted (traditionally) on a twig base or displayed on beautifully executed lamps. A number of these were sold through well known establishments that catered to sportsmen, such as The Sporting Gallery and Bookshop (c194546) and The Crossroads of Sport (c1950’s), both in New York, City. At the time, other than these meager facts, as Joe Ellis noted in his superb text “Birds in Wood and Paint”, “Little (had) emerged regarding his life, the location of his shop, and other aspects of his carving career” (see note 1).

A number of researchers have since tried to expand on this information. There were certainly multiple people within that time frame that lived within a reasonable radius of New York that had the name “J Ahearn” and could have been the individual who was responsible for the carvings. Recent research, however, indicates that the mysterious Mr. Ahearn was one James Joseph Ahearn that was born in the Bronx (NY) to James J and Jane Ahearn.

By the time of the 1930 census, his father had died, and he was living on West End Ave in Manhattan with his mother and working as a salesman for a chewing gum factory. In 1934, he married Genevieve Collins in Ridgefield, CT. By the 1940 census, the couple had returned to the Bronx where he now worked as a salesman for The National Cash Register Co. By 1942, the couple had moved to Stamford, CT where he worked as a manager for the Cash Register’s company office, while residing at 55 Cove View Drive. In 1947, Genevieve either died or they became divorced, for in that same year he married Lucile Hall, who apparently brought

her two sons, Dick and James, with her to the marriage. This seems to be the pivotal year in Ahearn’s life. From that date through at least the 1953 City Directory, he begins to list his occupation as “Artist” and he appears in the 1950 Federal census as a “retired accountant”. The late 1950’s saw the construction of the new Interstate Rt 95 through southern Connecticut. This busy highway passed within sight and earshot of 55 Cove View Drive and must have greatly disturbed him for, by 1958, the couple had moved to Standpipe Road in Ridgefield, CT, a town Ahern was familiar with from his first marriage and a distance he must have felt was far enough away from any additional future road construction.

Upon his death in Ridgefield, for some unexplained reason, he was buried in the Kensico Cemetery in Valhalla, New York. After his death it is reported that the family briefly continued to sell his lamps, presumably using the stock remaining after his passing. His wife moved to Florida and died in 1966. She, too, is interred in the Valhalla Cemetery.

Notes 1: Upon his death it was discovered that he also carved a limited number of beautifully rendered trout as well as a few dogs, mostly retrievers.

189 Six miniature gamebirds, James Ahearn, Stamford, Connecticut. Includes a bobwhite quail, woodcock, ruffed grouse, pheasant, valley quail, and California quail. All identified and signed on the underside of twig bases. Grouse with fanned out tail. Valley and California quail with inserted head plums. Measure from 3” to 7.25” long. All are very good and original. (2,000 - 3,000)

190 Group of four miniature ducks, James Ahern, Stamford, Connecticut. Includes a bluewing teal, greenwing teal, harlequin, and masked duck. All with slight relief wing carving. All are identified and signed on the underside of bases. Measure from 2.75” to just over 3” long. Very good and original. (1,000 - 1,500)

191 Group of four miniature ducks, James Ahern, Stamford, Connecticut. Includes a widgeon, bufflehead, wood duck, and preening mallard. All with slight relief wing carving. Mallard with inserted metal tail sprig. All identified and signed on underside of bases. Measure from 2.75” to 3.5” long. Very good and original. (1,000 - 1,500)

192 Group of three miniature carvings, James Ahern, Stamford, Connecticut. Includes a hooded merganser, ruddy duck, and pair of mallards. All with relief wing carving, hooded merganser with extended crest, mallard drake with inserted metal tail sprig, hen in preening pose. All identified and signed on the underside. Measure from 3” to 4.75” long. Very good and original. (800 - 1,200)

193 Group of five miniature ducks, James Ahern, Stamford, Connecticut. Includes a redhead, goldeneye, canvasback, ringneck, and bluebill. All with relief wing carving, canvasback with slightly turned head. All identified and signed on the underside of bases. Measure from 3” to 3.75” long. Canvasback has a bill chip repair and neck crack repair with touchup on bill area; ringneck with a small spot of touchup; others are very good and original. (800 - 1,200)

194 Miniature great auk, Thomas Wilson, Ipswich, Massachusetts, 1st quarter 20th century. Very rare species for any carver. Tiny tack eyes. Stands 2.25” tall. Original paint with very minor crazing; a few spots of discoloration on breast. (600 - 900)

195 Miniature harlequin duck, Gerald Robertson, Blue Hill, Maine. Miniatures by this carver are very rare. Relief wing carving and raised wingtips. Scratch feather paint detail. Identified and signed on the underside. Measures 3.5” long. Tiny paint flakes on bill; very fine hairline crack in bill. (400 - 600)

196 Miniature loon pin cushion, from Maine, 1st quarter 20th century. Purportedly made by Willie Eastman for his wife. Inlayed neck seat, typical of decoys form Maine. Carved recess in back is filled with pin cushion material. Measures 5” long. Original paint with minor wear; tiny chips on edge of tail and tip of bill; some fraying and loss to pin cushion material. (800 - 1,200)

(3,000 - 5,000)

(2,000 - 3,000)

(2,000 - 4,000)

197 Rare miniature trumpeter swan, George Boyd, Seabrook, New Hampshire. Reared back head with tiny tack eyes. Measures 4.5” long. Original paint with fine crazing over much of the carving; very minor separation at neck seat.

198 Miniature white heron, George Boyd, Seabrook, New Hampshire. Standing on metal legs with head turned 90 degrees. Stands 5.25” tall including base. Original paint with minor discoloration from sap bleed; tight crazing and paint shrinkage.

199 Pair of miniature canvasbacks, George Boyd, Seabrook, New Hampshire. Typical Boyd form with tiny tack eyes. Both are identified on underside. Measure 4.5” long. A few minor paint rubs and scattered tight crazing, otherwise excellent.

203

(2,000 - 3,000)

200 Pair of miniature black ducks, George Boyd, Seabrook, New Hampshire. Slightly turned heads with tiny tack eyes. More feather paint detail than most. Signed on the underside. Measure 4” long. A few minor paint rubs and tight crazing; very fine almost unnoticeable hairline crack in one bill.

201 Miniature mallard, George Boyd, Seabrook, New Hampshire. Slightly turned head and tiny tack eyes. Identified on the underside. Measures 4.25” long. Original paint protected under a thin coat of varnish; some fine paint crazing; 3/4 of the bill is a professional replacement.

(800 - 1,200)

202 Miniature Canada goose, George Boyd, Seabrook, New Hampshire. Tiny tack eyes. Measures 5” long. Original paint under an early coat of varnish; a few small spots of touchup on back and tail area otherwise very good and original. (1,200 - 1,800)

203 Miniature canvasback, George Boyd, Seabrook, New Hampshire. Slightly turned head and tiny tack eyes. Identified on underside. Measures 4.5” long. Original paint under a thin coat of varnish; a few tiny paint rubs; spot of touchup on top and one side of head. (1,200 - 1,800)

204 Miniature godwit, George Boyd, Seabrook, New Hampshire. In running pose with split tail carving and tiny tack eyes. Measures 4.5” long. Original paint protected under a thin coat of varnish; excellent and original.

(1,500 - 2,500)

205 Miniature yellowlegs, George Boyd, Seabrook, New Hampshire. In running pose with split tail carving. Tiny tack eyes. Measures 4.5” long. Excellent and orignial.

(1,500 - 2,500)

206 Miniature black bellied plover, George Boyd, Seabrook, New Hampshire. In running pose with split tail carving and tiny tack eyes. Measures 4” long. Original paint with a few tiny paint flakes; black areas with an early coat of varnish; tiny spot of touchup on one side of breast.

(1,000 - 1,500)

207 Rare miniature upland plover, George Boyd, Seabrook, New Hampshire. In running pose with tiny tack eyes. Rare scratch feather paint detail on back and sides. Identified on underside. Measures 4.25” long. Original paint protected under a thin coat of varnish; small spot of discoloration on breast, otherwise excellent and original.

(1,500 - 2,500)

Wendell Gilley

1904

1983 | Southwest Harbor, Maine

Southwest Harbor is a small town on Mt Desert Island in the heart of Downeast Maine. Home to famed Acadia National Park, the Island quickly became a mecca for increasing numbers of affluent summer visitors to augment the local resident population. This provided adequate work for the trades, and Wendell’s father had become a successful plumber. Wendell followed in his lead, assuming the ownership of Gilley Plumbing in 1920 (he was only 16). He seemed to enjoy the work, but he also loved birds. At the age of ten his father had given him a pair of live mallards which started him down a lifelong path of being fascinated with his avian surroundings. He took up hunting and took a correspondence course in taxidermy so he could continue to enjoy the birds long after their demise and brief stay on the dinner table. This led him to a chance visit to the museum of Natural History in Boston to study the taxidermy of others. There he became engrossed in a display of miniatures by Elmer Crowell, which inspired him to attempt his own tiny carvings upon his return home. His early carvings were very much influenced by his visit to the Museum and these early birds were executed in the style of Crowell, right down to his use of “carved rock” and “chip-carved” bases. Most of these even show evidence of a similar “pin type” attachment hole on the base, similar to the way Elmer mounted his birds for painting. His signature on the base also evolved over the years with the “By – W. H. Gilley” examples dating from the late 1930’s to

the 1940’s. He was soon selling his work to appreciative summer visitors, as well as through national stores, such as Abercrombie and Fitch in New York. Demand for his work grew rapidly and, in the mid 1950’s, Wendell made the decision to sell the plumbing business and carve full time. He became active in the competitive carving community, winning many first-place awards and, for a number of years, was President of the National Wood Carvers Association. He authored two books on the subject and was called upon to judge a number of the major contests.

His work led him to be awarded a Doctor of Humane Letters Degree from the University of Maine and, in 1979, his hometown rallied to form the Wendell Gilley Museum of Bird Carving, which is still a very popular local attraction on the Island. His work is widely sought, and he is considered one of the most important carvers of his generation.

207a Pair of miniature wood ducks, Wendell Gilley, Southwest Harbor, Maine. Hen with tucked and turned head, drake with turned head and extended crest. Both with slight relief wing carving. Signed and dated 1968 on driftwood, also signed and dated on the underside. Birds measures 6.5” and 7.25” long, piece measures 9.5” tall. Minor paint rubs mostly on drake’s back and edge of tail, otherwise excellent and original. (1,500 - 2,500)

207a

Wendell Gilley in his shop 1965

207b Miniature pheasant, Wendell Gilley, Southwest Harbor, Maine. Identified and signed on the underside. Measures 5.75” long, stands 3.75” tall. Very minor paint rub on tip of tail otherwise, excellent and original.

(1,000 - 1,4000)

207c Miniature ruffed grouse, Wendell Gilley, Southwest Harbor, Maine. Curved, fanned out tail and extended crest feathers on head. Identified and signed on underside. Measures 3” tall. Small white spots on base and parts of back, otherwise excellent. (1,000 - 1,400)

207e Miniature wood duck, Wendell Gilley, Southwest Harbor, Maine. Tucked head pose with extended crest carving. Identified and signed on the underside of chipped carved base. Measures 2.75” tall. Excellent and original. (600 - 900)

207f Miniature hooded merganser, Wendell Gilley, Southwest Harbor, Maine. Extended crest on head. Identified and signed on underside of chipped carved base. Measures 3” tall. Excellent and original. (600 - 900)

207g Miniature bufflehead, Wendell Gilley, Southwest Harbor, Maine. Identified and signed on the underside of chipped carved base. Measures 3” tall. Excellent and original. (600 - 900)

(1,000 1,400)

207d Miniature ruffed grouse, Wendell Gilley, Southwest Harbor, Maine. Plump little bird with fanned out tail. Slight relief wingtip carving and incised tail carving. Signed on the underside of twig base. Measures 3.25” tall. Minor paint rub on edge of raised head feather, otherwise very good and original.

207b

207e

207c

207f

207d

207g

Hans Janner 1880 - 1963 | Mt Clemens, Michigan

208 Large and impressive bass fish decoy, Hans Janner, Mt. Clemens, Michigan, 2nd quarter 20th century. Well sculpted and serrated dorsal fin, with celluloid eyes and a paint pattern made from a mix of silver, white, and greenish tones. Measures 16” long. Original paint protected by a light coat of varnish.

Provenance: George and Miriam Van Wallegham collection. (30,000 - 50,000)

209 Excellent bass fish decoy, Hans Janner, Mt Clemens, Michigan, 2nd quarter 20th century. Celluloid eyes with carved mouth and gills. Inset metal fins. Paint style similar to those on the ghost fish. Blended multi tones of white and silver with yellow. Light shades of green. Measures 13” long. Very good and original.

Provenance: George and Miriam Van Wallegham collection. (30,000 - 40,000)

decoration over a base coat of gray, with a faded yellow wash over the lower portion and tail. At one point it had double side fins, but the

211 Bass fish decoy, Hans Janner, Mt. Clemens, Michigan, 2nd quarter 20th century. Plexiglass inset eyes with carved mouth and gill. Copper fins. Strong original paint with light wear and minor discoloration mostly on lower side.

Provenance: George and Miriam Van Wallegham collection. (8,000 - 12,000)

212 Bass fish decoy, Hans Janner, Mt. Clemens, Michigan, 2nd quarter 20th century. Inset glass or plastic eyes. Copper dorsal fin and adipose fin. Others appear to be steel. Carved mouth and gill with red paint accent in groove. A very light wash of silver along belly. Fish appears to be made from red cedar. Measures 12” long. Shows very light wear.

Provenance: George and Miriam Van Wallegham collection.

Literature: “Fish and Fowl Decoys of the Great Lakes,” Donna Tonelli, p. 74, exact fish pictured. (4,000 - 7,000)

August Julius “Jim” Rosin

1892 - 1964 | Harrison Township, Michigan

Born in Detroit, Michigan on the 4th of July, 1892 young Rosin had a hardscrabble early life. His parents were German immigrants and his father, a merchant tailor by trade, in a fit of insanity, hanged himself in the attic of their Detroit home when he was just 5 years old. His mother, not able to speak English was relegated to taking in washing in order to support herself and her 7 children (all under the age of 16.) Jim went to school through the 8th grade then dropped out to help support the family. By virtue of the hard work of the widow Rosin and her children the family was able by 1910 to own their own home free and clear. Rosin’s father was also named August, so apparently, he was tagged with the nickname “Jim” in order to differentiate the two.

Despite an unnamed physical disability Rosin served as a mechanic briefly in World War I. He was drafted into the Army in October of 1918. The war ended in November of the same year and he was back home by January of 1919. Early on Jim worked as a machine hand in an auto factory and later as an auto mechanic for his brother-in-law Paul Kraft. He also worked as an electrician wiring houses in the early ‘20s. In 1928 Rosin moved to Harrison Township, Michigan and went to work for the Hacker Boat Company (makers of the world-famous Hacker-Craft boats) in Mount Clemens. As luck would have it

one of his new neighbors in Harrison Township was another notable spearing decoy maker, Andrew Trombley. It’s reported that Jim was also a member of Hans Janner Sr.’s inner circle of fishing cronies and may have collaborated with him on some fish decoys. It’s not known how many decoys Jim Rosin might have made but they appear to be somewhat scarce.

In 1945 Jim’s brother-in-law, Paul J. Kraft founded Kraftube Fabricators in Roseville, Michigan and Jim went to work there. The company specialized in fabricating welded metal tubing for the auto industry. Rosin passed away unexpectedly in 1964. He never married.

Gary L. Miller

Copyright May 23, 2023

Believed to be Jim Rosin on the right c. 1917 in front of Paul Kraft’s garage on McDougall St. in Detroit. (Auto mechanic groupies on the far right).

Believed to be Jim Rosin leaning against wall c. 1917 in Paul Kraft’s garage on McDougall St. in Detroit.

213 Walleye fish decoy, James Rosin, Lake St. Clair, Michigan, circa 1930. Fine textured original paint with glass eyes. Painted metal, inset fins. Wooden tail. Mouth is carved open. Measures 12” long. Original paint; tip of tail is broken and missing; a larger chip is broken and reglued.

Provenance: George and Miriam Van Wallegham collection.

Literature: “Fish and Fowl Decoys of the Great Lakes,” Donna Tonelli, p. 83, exact fish pictured.

(3,000 - 5,000)

214 Large bass fish decoy, James Rosin, Lake St. Clair, Michigan. circa 1930. Detailed gill carving and gill plates. Lips and open mouth. Inset painted fins. Wooden tail. Measures 11” long. Strong original textured paint; restoration done to lower half of tail.

Provenance: George and Miriam Van Wallegham collection.

Literature: “Fish and Fowl Decoys of the Great Lakes,” Donna Tonelli, p. 83, exact fish pictured.

(3,000 - 5,000)

215 Large and impressive perch fish decoy, James Rosin, Lake St. Clair, Michigan, circa 1930. Carved with an open mouth and gills. Painted, inset fins with wooden tail. Measures 13” long. A textured surface with original paint; small paint loss around belly weight; one eye has shattered.

Provenance: George and Miriam Van Wallegham collection.

Literature “Fish and Fowl Decoys of the Great Lakes,” Donna Tonelli, p. 83, exact fish pictured.

(4,000 - 6,000)

Charles Kellman

1895 - 1971 | Detroit, Michigan

Charlie Kellman was born in the tiny town of Austin, Pennsylvania in 1895 but when he was just a lad his family moved to Kenosha, Wisconsin, a city on the shores of Lake Michigan just north of Chicago, Illinois. His father was a laborer in a Kenosha mattress factory. As a teenager of 15 he cut his work teeth as a hand in a brass factory there. In 1917 he moved to Detroit where he got married and went to work as a mechanic for the Timken Axle Co. Kellman served his country in World War I and upon his return from military service was employed as a machinist in Detroit’s auto factories. In the 1930s Charlie went to work for his brother-in-law, Robert L. Simmers, who was a partner in a company that specialized in covering pipes with asbestos insulation, an occupation he would follow for the rest of his work career. Kellman was what one might call a “handy” guy and busied himself in his spare time with

building model boats & planes, pond sailors, bird houses and other basement workshop craft projects. Some of these items were sold for extra income or gifted to family and close friends.

The Depression years were rough economically and Kellman being a lifelong fisherman of considerable prowess with an inventive bent and all the necessary manual skills took up what we would call today a “side hustle.” He began designing, making and selling hand tied flies, hand carved fish spearing decoys and fishing lures and all manner of fishing tackle to the public from his Detroit home and a few select retail outlets. It didn’t hurt that he was close friends with many of Detroit’s fishing elite such as Lou Eppinger of Dardevle fame, Charles Helin (manufacturer of the famous Flatfish lure), Paul Young (the bamboo fly rod guy) and Jack Van Coevering, the Outdoor Editor of The Detroit Free Press. Through his friendship with these and others he became something of a fishing celebrity. He was Van Coevering’s “go-to guy” for questions related to fishing tackle and fishing technique. Kellman was frequently quoted in outdoor magazines and local newspapers and many of his what used to commonly be called “kinks” were published in the Detroit Free Press and other publications. These were short “how-to” columns that gave instructions on how to make some of his inventive designs. Not inconsequentially, Kellman’s son Carlton was a professional photographer who left us a fine visual record of Charles Kellman and some of his “kinks.” Also,

son Norman was an amateur cinematographer who filmed many of Charlie’s fishing exploits that have been preserved for us and currently edited and posted on the internet by grandson, Tim Kellman. (See Charlie Kellman Goes Fishin’)

Today Charles Kellman is fairly well known amongst collectors of fly rod lures and other fishing baits but seems to have been somewhat overlooked by the fish spearing decoy community. According to Kellman’s

grandson, Tim Kellman, Charlie wasn’t much of a spear fisherman himself and apparently didn’t make a large number of ice decoys. He had a health issue that made him intolerant to the cold. Most of the known examples of his spearing decoys are locked away in museums and private collections and are rarely seen and seldom available for purchase. It’s extremely rare that we as collectors and historians of spearing decoys should have the kind of documentation that exists here. Not only are there examples of Kellman’s finest fish decoys on offer, we have photos of him working on them at the bench and dated published instructions & diagrams of how they were constructed. All of this and a movie to boot. This is like hitting the trifecta. Who could ask for more?

- Gary Miller

216 Articulated sucker fish decoy, Charles Kellman, Detroit, Michigan, circa 1930. Two piece hollow construction with intricately painted scale pattern and what appears to be squirrel hair used as fins. Body is slightly weighted at the end of the line tie. Measures 11” long. Original paint with a little staining near hair at top of body; very light in use wear.

Provenance: George and Miriam Van Wallegham collection.

Literature: “Fish and Fowl Decoys of the Great Lakes,” Donna Tonelli, p. 75 exact fish picture. (8,000 - 10,000)

Charles Kellman in his basement shop with a neighborhood boy from his scout troop. Note the aquarium he kept stocked with fishy “models” and test subjects. (Carlton Kellman photo.)

For lots 216 - 219 Kimball, Art, Brad, and Scott. The Fish Decoy Volume III. Boulder Junction, Wis.: Aardvark Publications, Inc. 1993, pg. 51. Kangas, Gene and Linda. Great Lakes Decoy Interpretations. Concord, Ohio: Creekside Art Gallery LLC, 2011, pg. 268. Tonelli, Donna. Fish and Fowl Decoys of the Great Lakes. Atglen, Pa.: Schiffer Publishing Ltd., 2002, pg. 75. Murphy, Dudley, and Rick Edmisten. Fishing Lure Collectibles, Second Edition. Paducah, Kentucky: Collector Books, 2001, pp. 212-214.

217 Extremely rare fish decoy, Charles Kellman, Detroit, Michigan, circa 1930. Hole in top is used for filling the hollow cavity with lead shot to get the appropriate weight. Applied metal fin to bottom and tail, other two fins have been inserted during construction. Carved mouth with an intricately detailed paint pattern. Only a few of these Kellman fish decoys are known to exist. 10” long. Very good and original.

Provenance: George and Miriam Van Wallegham collection.

Literature: “Fish and Fowl Decoys of the Great Lakes,” Donna Tonelli, p. 75 exact fish picture. (4,000 - 6,000)

218 Articulated fish decoy, Charles Kellman, Detroit, Michigan, circa 1930. Two piece hollow body with carved gill and mouth to emulate a sucker. Highly detailed scale painting with feathers inserted at tail, top, bottom, and sides. 8” long. Strong original paint with natural deterioration and wear to the feathers some darkening to the overall decoy.

Provenance: George and Miriam Van Wallegham collection. This appears to be the exact fish decoy that Kellman is making in the photo on page 255.

Literature: “Fish and Fowl Decoys of the Great Lakes,” Donna Tonelli, p. 75 exact fish picture. (4,000 - 6,000)

219 Fly fishing lure, Charles Kellman, Detroit, Michigan. Two piece hollow with a hook trailer and feathers at tail and fins. Carved gill and intricately patined scales and eyes. Measures 3.25” long. Excellent and original.

Provenance: George and Miriam Van Wallegham collection. (800 - 1,200)

220 Fish decoy, Frank Kuss, Mt. Clemens, Michigan. Classically curved, Kuss fish with rounded metal fins, wooden tail, and carved open mouth. Probably made as a bass. Measures 9.5” long. Paint appears to be a mix of original with a second strengthening coat protected by a coat of varnish.

Provenance: George and Miriam Van Wallegham collection.

Literature: “Fish and Fowl Decoy of the Great Lakes,” Donna Tonelli, p. 87 exact fish pictured. (1,500 - 2,500)

221 Perch fish decoy, Ed “One-Arm” Kellie, Monroe, Michigan, circa 1940. Carved eyes, mouth, and gills, with metal fins. Original paint with possibly a small amount of white strengthening to small areas on side; some chips and rubs from in use wear.

Provenance: George and Miriam Van Wallegham collection. (800 - 1,200)

222 Trout fish decoy, Ken Brunning, Rogers City, Michigan, circa 1940. A very early example. Very different from his commercial grade fish. This thick, heavy trout has a carved wooden tail with applied metal fins. Deep carving under the mouth. Measures 5.5” long. Original paint that has chips at both top and bottom of tail.

Provenance: George and Miriam Van Wallegham collection. (800 - 1,200)

223 Group of four fish decoys, Jim Rosin, Harrison Township, Michigan. The longest walleye measuring 13.5”. A floating bass, and two other smaller bass style fish. Smallest measures 6.5”. All are mint.

Provenance: George and Miriam Van Wallegham collection. (1,000 - 2,000)

224 An important group of fish decoys, all made from bone, last quarter 19th century. Unknown indigenous makers, Alaska. All are solid bone, three have sunken metal eyes. Most have some type of scale decoration. Smallest measures 2.5”, longest measures 5.25”.

Provenance: This important group of fish was included in the exhibit at the American Museum of Folk Art in 1990, and this exact group is pictured in “Beneath the Ice,” the exhibition booklet for that exhibit, p. 13. Ex collection Alister B Martin. (1,500 - 2,500)

225 Rare bluegill fish decoy, Jim Foote, Gibraltar, Michigan. Signed and dated 1989 on lower fin. Classic scaling pattern with detailed gills, mouth, and head. Vertical fins are carved, horizontal fins are applied metal. Measures 6” long. Excellent and original. (2,500 - 3,500)

Gordon Francis Charbeneau

1905 - 1966 | Mount Clemens, Michigan

June 5th, 1905: torrential rains soaked much of lower Michigan; four to six inches of downpour causing widespread flooding. At 3:30 PM a tornado hit Sanilac County to the north of Mount Clemens leaving 40 injured and 5 dead. Into this climatic chaos entered Gordon Francis Charbeneau, the 1st son of David Charbeneau and his second wife, Nora Fox. Nearly from the time he could walk and talk, Gordon worked with his father in various family businesses. First there was the Mount Clemens Ice Co. where his father was the manager, followed by Charbeneau Bros. who were the proprietors of Unclaimed Freight Stores on N. Front Street. Then came Charbeneau, Peltier, and Fox Bros. who were manufacturers of “all kinds of cement block, and dealers in sand and gravel”. This was followed by the Fulton Fish Market where David Charbeneau was the proprietor and Gordon was clerk from 1923 until about 1934. Finally, there was Dave’s Stop, a tavern at 136 Rathbone.

Now on his own, Gordon did a stint with the WPA in 1939, followed by employment with the Mount Clemens Sugar Co. By 1944 he was listed as a selfemployed painter and decorator and eventually as a painting contractor. In 1950 he worked in a tool shop as a drill press operator. His last employment was as a painter at St. Joseph Hospital in Mount Clemens. Not surprisingly, with such a wealth of experience, Charbeneau

became an accomplished woodworker who made his own fish and duck decoys, duck boats and duck boat tenders as well as spears. He was a noted sportsman, fisherman and hunter who hunted and fished the “flats” with the likes of Abe De Hate, Louis Jock, Don Riley, Pecore Fox (his cousin) and Dave Dreschel, a local group renowned for their prowess and endurance, frequently hunting for weeks at a time in remote parts of the Lower Peninsula.

Charbeneau’s fish decoys range in size from 6” to 13” and can be characterized by the use of a single wire loop line-tie, slightly cranked wooden tails, a single rectangular or oblong weight, tack or glass eyes, carved mouths and gills and four metal swim fins. Frequently they have rather large relief carved scales giving them a sort of carpish look.

As can readily be seen from his resume, Charbeneau was well connected to many other Mount Clemens area fish decoy carvers, either by blood, friendship or marriage. In addition to those already mentioned his mother-in-law was also a Peltier. It’s believed that most of his fish decoys were carved during the ‘30s, ‘40s and ‘50s. They are not commonly found but how many he may have carved is presently unknown.

Copyright Gary Miller, June 21, 2023

226 Large fish decoy by a member of the Charbeneau Family, possibly Francis Gordon Charbebeau, 1st quarter 20th century. Made as a gift and given to the Peltier family. Extensive diamond faceted scaling. Highly detailed and intricately carved extending from behind the head to the tail. Painted with alluminum paint so that it shows differently depending on how the facets catch light. At least three fish were made in this style by the Charbeneau family. Unused, with only minor blunting on top of tail and a very small, early chip on bottom of fin; overall excellent condition.

Provenance: Ex Jerry Adams collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 151, similar example.

(18,000 - 22,000)

230 Pintail, Pat Godin, Paris, Ontario. Slightly turned head and deep relief wing feather carving with raised, crossed wingtips and split tail sprig. Identified, signed, and dated 1996 on the underside. Measures 20.25” long. Excellent and original.

Provenance: Gordon Mulava collection. (1,200 - 1,800)

231 Preening black duck, Pat Godin, Paris, Ontario. Head is turned with bill very slightly open preening a side feather. Raised, crossed wingtips. Signed and dated 2001 on the underside. Measures 14.5” long. A few very minor paint rubs, otherwise excellent and original.

Provenance: Gordon Mulava collection. (1,200 - 1,800)

232 Canvasback, Jett Brunet, Galliano, Louisiana. A content canvasback with tucked and slightly turned head. Raised, crossed wingtips and relief tail feather carving. Slight feather carving over the entire decoy. Signed and dated 1997. Measures 12.5” long. A few very minor paint rubs, otherwise excellent.

Provenance: Gordon Mulava collection. (3,000 - 5,000)

233 Shoveler hen, Jude Brunet, Galliano, Louisiana. Tucked and slightly turned head with relief wing carving and raised, crossed wingtips. “My first hen shoveler” carved in the underside. Also singed and dated 1992. Measures 12.25” long. A few tiny paint rubs, otherwise excellent and original.

Provenance: Gordon Mulava collection.

(2,000 - 3,000)

234 Bluewing teal, Jude Brunet, Galiano, Louisiana. Relief wing carving with raised, crossed wingtips and slightly turned head. Signed and dated 2004 on the underside. Measures 11” long. Excellent and original.

Provenance: Gordon Mulava collection.

(1,500 - 2,500)

235 Excellent gadwall, Jett Brunet, Galliano, Louisiana. Tucked and slightly turned head, with excellent detailed bill carving. Relief carved wings with raised, crossed wingtips. Signed and dated 1998 on the underside. Measures 13.5” long. Small paint flake on one wing feather, otherwise near mint.

Provenance: Gordon Mulava collection. (4,000 - 6,000)

233

236 Bufflehead, Tan Brunet, Galliano, Louisiana. Smooth body with relief wing carving and raised, crossed wingtips. Very detailed feather carving on head with outstanding iridescent paint detail on head. Signed and dated 1993. Measures 10.5” long. A few very minor paint rubs, otherwise excellent.

Provenance: Gordon Mulava collection. (3,000 - 5,000)

237 Preening ruddy duck, Jett Brunet, Galliano, Louisiana. Head is turned, preening a back feather. Tail and body are curved as one would see on a live bird. Relief tail feather carving and raised, crossed wingtips. Signed and dated 1992 on the underside. Measures 10” long. Very minor paint rubs and a small paint flake on lower edge, otherwise excellent.

Provenance: Gordon Mulava collection. (2,500 - 3,500)

238 Full size snow goose, Jimmie Vizier, Galliano, Louisiana. Slightly turned and up-looking head, with raised, crossed wingtips. Signed and dated 1995 on the underside. Measures 21.5” long. Original paint with no wear; small dent on one lower edge; repair to a small chip in very tip of bill with some inpainting in that area.

Provenance: Gordon Mulava collection. (1,500 - 2,500)

239 Pintail, Jimmie Vizier, Galliano, Louisiana. High head model with relief wing feather carving and raised, crossed wingtips. Signed and dated 2008. Measures 18.75” long. A few tiny dents in lower edge, otherwise excellent.

Provenance: Gordon Mulava collection. (1,000 - 1,500)

240 Excellent preening greenwing teal, Jimmie Vizier, Galliano, Louisiana. One wing slightly raised, with head turned to preen that wing. Relief wing and tail feather carving. Raised, crossed wingtips. Signed and dated 1994 on the underside. Measures 9.75” long. A few very minor paint rubs and a small chip in one tail feather was reset.

Provenance: Gordon Mulava collection. (1,200 - 1,800)

241 Pair of red breasted mergansers, Ben Heinemann, Rocky Mount, North Carolina. Hollow carved with slightly turned heads and extended crests. Relief wingtip carving. Maker’s brand on the underside. Measure 16” long. Excellent and original.

Provenance: Gordon Mulava collection. (1,000 - 1,500)

End of session one

SESSION TWO

Wednesday, August 9, 2023 | 10:00am

Frank Finney

B. 1947 | Cape Charles, Virginia

242 “A Party of Thieves,” Frank Finney, Cape Charles, Virginia. Depicts a scene of four fox and one raccoon dancing and roasting chickens over a fire. Tallest fox stands 10” tall. Base measures 22.5” x 17.5”. Maker’s initials on the underside. Excellent and original.

(8,000 - 12,000)

243 “Lottie and Her Babies,” Frank Finney, Cape Charles, Virginia. Mother dog feeding her pups. Maker’s initials carved in the underside of base, as well as a heart carved in the underside. Base measures 10.25” x 8.5”. Painted to appear older; excellent and original. (4,000 - 6,000)

244 1/2 size barn owl, Frank Finney, Cape Charles, Virginia. Slightly turned head and raised wing carving, with relief wing and tail feathers. Scratch feather paint detail. Maker’s initials carved in underside of base. Stands 8.5” tall. Made to look older, excellent and original.

(4,000 - 6,000)

245

245 Standing curlew, Frank Finney, Cape Charles, Virginia. Raised wingtips and detailed bill carving. “F” carved on top and underside of base. Also with a lightning bolt carved on the underside. Measures 16” long, stands 13” tall including base. Excellent and original.

(2,500 - 3,500)

246 Miniature seated dog, Frank Finney, Cape Charles, Virginia. Head is turned 90 degrees. Maker’s initials carved in the underside. Dog measures 8.5” long. Painted to appear older, excellent and original. (400 - 600)

247 Miniature beagle, Frank Finney, Cape Charles, Virginia. Signed and with the maker’s initials in ink on the underside. Dog measures 7” long. Painted to appear older; excellent and original. (400 - 600)

248 Miniature dachshund, Frank Finney, Cape Charles, Virginia. Uplooking with extended tail. makers inials carved in the underside. Dog measures 8.75” long. Paint above each eye was reworked by the artist after the varnish layer; excellent and original. (400 - 600)

249 Miniature chicken, Frank Finney, Cape Charles, Virginia. Relief wing carving and raised tail feathers. Maker’s ink stamp on the underside. Stands 7” including base. Varnish layer was aged to appear older, excellent and original. (600 - 900)

250 Miniature chicken, Frank Finney, Cape Charles, Virginia. Dropped wings and fanned out tail with relief feather carving. Maker’s ink stamp on the underside. Measures 5.5” long. Painted to appear older, excellent and original. (400 - 600)

251 Miniature Elliot’s pheasant, Frank Finney, Cape Charles, Virginia. In walking pose with long, extended tail. Relief wing carving. identified and with maker’s initials on the underside. Measures 9.75” long. Excellent and original. (400 - 600)

252 Pair of miniature penguin, Frank Finney, Cape Charles, Virginia. Made in the style of Charles Hart, Gloucester, Massachusetts. Turned heads with carved eyes. Unsigned. Stand 6.5” tall. Made to appear older with minor flaking, otherwise excellent and original. (1,200 - 1,800)

254 Three full-size flying woodducks, Josh Brewer, Little Deer Isle, Maine. All three have outstretched wings with relief feather carving and applied carved legs. Mounted on a beautifully figured backboard. Signed lower right. The sale of this piece is to benefit the nonprofit organization Fly Fishing in Maine, which is dedicated to preserving, promoting and protecting Maine’s fisheries. Ducks measures 17” long, backboard measures 20” x 52”. Excellent and original. (6,000 - 9,000)

255 Extremely rare pair of standing Labrador ducks, William Gibian, Onancock, Virginia. Raised, crossed wingtips and relief tail feather carving. Hen with tucked head, drake with slightly turned head. “Gibian” carved on underside of each body. Maker’s business card on underside of bases are signed and dated 2009. Also with writing from maker that these are the first and probably last pair of Labrador ducks made. Included is a hand painted backdrop and base signed “Gibian” lower right. Birds measure 11.5” and 13.5” tall including base. Backdrop measures 28” across x 23” tall. Excellent and original.

(4,000 - 6,000)

256 Standing canvasback, William Gibian, Onancock, Virginia. Relief wing and tail feather carving. Slightly turned head with detailed bill carving. “Gibian” carved on the underside of duck. Maker’s business card on underside of base is dated 9/00. Stands 18.5” tall including base. Very good and original.

Provenance: Gordon Mulava collection. (1,200 - 1,800)

257 Decorative scoter, Keith Mueller, Killingsworth, Connecticut. Deep relief wing and tail feather carving. Slightly raised and turned head with carved eyes and carved starfish in bill. Inlayed head. Maker’s brand on the underside. Measures 16” long. Excellent and original. (1,200 - 1,800)

258 Pair of gadwall, Don Bridell, Mt. Airy, Maryland. Both with raised, crossed wingtips and excellent paint detail. Drake with slightly turned head. Hen in sleeping pose with bill tucked under feathers. Signed and dated 1990 on the underside. Tiny spot of touchup on drake’s tail and near each eye, otherwise excellent.

Provenance: Gordon Mulava collection. (800 - 1,200)

259 Pair of mergansers, Don Briddell, Mt. Airy, Maryland. Both with slightly turned heads and extended crests. Raised wingtips on hen. Both identified, signed, and dated 1987 on the underside. Measures 17.75” long. Original paint with very minor rubs; reglued chip in one side of drake’s tail; small dent and hairline crack in tip of hen’s bill.

Provenance: Gordon Mulava collection. (500 - 800)

(600 - 900)

260 Decorative ruddy duck, Joe Wooster, Buckeye Lake, Ohio. Swimming ruddy duck drake with slightly turned head. Mounted to pine base with piece of driftwood and carved beetle. Brass plaque indicates this carving won second place at the 1973 World Wildfowl Carving Competition. Ruddy duck with relief wing and tail feather carving. Signed and dated 1973 on underside of base. Ruddy measures 13.5” long, base measures 14.5” across. Minor blunting and paint rub on tip of tail; small spots of sap bleed on sides of head, otherwise very good and original.

261 Excellent pair of cork body ruddy ducks, Harold Haertel, Dundee, Illinois. Hen with slightly turned head, drake in breast preening pose with upswept wooden tail. Signed and dated 1969 on the underside. Measure 11.5” and 8.5” long. Excellent and original.

(2,500 - 3,500)

262 Three bluewing teal hens, Harold Haertel, Dundee, Illinois. Cork bodies with nicely detailed heads. Two with slightly turned heads. One with tucked and forward head pose. One is signed and dated 1969. Measure from 10.5” to 11” long. Very minor roughness on edge of one tail, otherwise excellent and original.

(2,500 - 3,500)

263 Pair of dove, Harold Haertel, Dundee, Illinois. Maker’s initial stamped on the underside. Both with nice paint detail. Signed and dated 1970 on the underside of one tail. Both with painted, leather bills. Measure 10.5” and 11.5” long. Longer dove with area of early touch up on one side of breast, otherwise excellent and original. (1,500 - 2,500)

264

Rare and outstanding pintail drake, James Arlo Peters, Glasford, Illinois, 2nd quarter 20th century. Hollow carved with raised neck seat and detailed bill carving. Outstanding paint detail on back. Decoy was never rigged or weighted, and was made as a gift to a family member. Measures 16” long. Excellent original paint protected under a thick coat of original varnish that has yellowed; some very minor paint rubs and flaking, otherwise excellent.

Provenance: Made for and passed down in the Peters family. Recently consigned by the maker’s great grand niece.

(5,000 - 8,000)

265 Pair of mallards, James Arlo Peters, Glasford, Illinois, 2nd quarter 20th century. Hollow carved. Scratch feather paint detail on hen’s wingtips. Measure 15.25” and 15.75” long. Original paint under a thick original coat of varnish that has yellowed slightly; minor gunning wear; tight horizontal cracks in lower neck and neck seat of drake; early tail chip repair by the maker on one side of drake’s tail.

Provenance: Made for and passed down in the Peters family. Recently consigned by the maker’s great grand niece.

(2,000 - 3,000)

James Arlo Peters made approximately 100 decoys for his own use. He hunted in the Lacon, Illinois area and modeled his decoys after those by Billy Shaw and Stephen Lane. Peters was a very talented painter, as can be seen on the back of lot 264. See page 382 of ‘Decoys and Decoy Carver of Illinois’, by Parmalee and Lewis.

267 266 Rigmate pair of mallards, Robert Elliston, Bureau, Illinois, last quarter 19th century. Hollow carved with comb feather paint detail on drake, scratch feather paint detail on hen. Both retain the original Elliston weights. Measure 17.5” long. Original paint that has darkened slightly with age; minor gunning wear; some minor roughness on edge of bills; small chip on top of hen’s head; thin chip on one side of drake’s neck seat.

(6,000 - 9,000)

267 Pair of mallards, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved with the original Perdew weight on the underside. Measure 16” long. Original paint by Charlie with minor discoloration from the original coat of varnish; minor gunning wear; area of tight crazing on hen’s breast; hairline crack on each side of hen’s head and bill.

(4,000 - 6,000)

268 Oversize mallard, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Hollow carved with long oversize body. Comb feather paint detail on white. Measures 22.75” long. Original paint with moderate discoloration from an early coat of varnish; minor flaking and wear; filler above nail holes at body seam has flaked out, otherwise excellent structurally.

(7,000 - 10,000)

269 Early mallard, Fred Allen, Monmouth, Illinois, last quarter 19th century. Hollow carved with comb feather paint detail. Lead weight on the underside with embossing from a company in Bridgeport, Connecticut. Measures 15.5” long. Dry original paint with moderate gunning wear; scattered flaking and paint rubs; very minor separation at body seam otherwise very good structurally. (1,500 - 2,500)

270 Greenwing teal, Richard Wilcoxen, Liverpool, Illinois, last quarter 19th century. Hollow carved with slightly turned head and thick comb feather paint detail. Measures 11.25” long. Original paint that has darkened from an old and thick coat of varnish; moderate gunning wear; fine hairline crack in front of neck; otherwise very good structurally.

(800 - 1,200)

271 Mallard drake, Charles Shelstrom, 1st quarter 20th century. Hollow carved with relief wingtip carving and raised neck seat. From the gunning rig of Douglas Mosley with “DM” painted on the underside. Measures 14” long. Original paint with moderate gunning wear; small reglued chip in one side of bill with small amount of touchup.

(800 - 1,200)

272 Excellent pair of bufflehead, Ben Schmidt, Detroit, Michigan. Relief wingtip carving. Pair appears to be unused. Measure 11.75” long. Some spots of paint over spray on one side of drake, otherwise excellent and original.

(3,000 - 5,000)

273 Early pintail hen, Ben Schmidt, Detroit, Michigan, 2nd quarter 20th century. Incised wing feather detail. Also with Schmidt’s feather stamping on much of the bird. Keel was removed at some point. Mesures 17” long. Original paint with very minor wear; a few shot strikes; hairline crack in one eye with a few tiny spots of touchup around the same eye.

(2,000 - 3,000)

274 Magnum redhead, Ben Schmidt, Detroit, Michigan. Part of a special order rig of oversized decoys made for Bill Robson, Sombra, Ontario, which is identified by Schmidt’s writing on the underside. Relief wingtip carving. Measures 16.5” long. Original paint with very minor discoloration and wear; an excellent example. (600 - 900)

Canvasback drake, John Schweikart, Strawberry Island, Michigan, 1st quarter 20th century. Hollow carved with .25” bottom board. Reared back head and applied metal wingtips. Folding copper keel on underside. Measures 16.25” long. Very early second coat of paint by Schweikart with minor to moderate gunning wear; some original feather detailing at wingtips; tight drying cracks in breast and tail; chip repair on one edge of bill.

Provenance: George and Miriam Van Wallegham collection. (3,000

- 5,000)

276

Very rare canvasback drake, Nate Quillen, Rockwood, Michigan, last quarter 19th century. Branded CJS in underside for Charles J Shefield, 1843-1887, Pointe Moullie Shooting Club. Edges of bill are extremely thin and delicate as with the classic Quillen tail on this style decoy. Hollowed from a drill hole underneath the tail. Measures 14” long. Original paint that has been applied over a coat of sealant which is the same process Quillen used with his low head redheads; crack in neck has been secured; small chip with touchup in one side of bill; small dent in one side of head.

(7,000 - 10,000)

Challenge grade with snakey head carving and extended crest. “Q. A. Shaw” branded on the underside for Quincy Shaw of Massachusetts. Measures 17.25” long.

Original paint with minor discoloration and wear; an early coat of varnish was applied to all but 3/4 of the bill where the decoy was being held from; hairline crack in lower neck; tiny dent in tip of bill.

Provenance: Davis Pearson collection. (3,000 - 5,000)

278

goose with applied bill that is recessed in to top of head. Head and neck attached to body by hardwood dowel running through the side of neck. Two stick up holes drilled in to underside. Measures 22.5” long. Mostly original paint with minor to moderate gunning wear under an uneven coat of early varnish; some touch ups to black on bill, head, and neck; some early glue visible at neck seat; hairline cracks in tail and back; typical drying split along the underside; two small chips in underside of bill.

(3,500 - 4,500)

277 American merganser, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century.

Canada goose, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Early style

(3,000 - 5,000)

279 Bluewing teal, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade with snakey head and relief bill carving. Double blue wing patch. Measures 12” long. Original paint under an old coat of varnish shows minor wear; heavily hit by shot in one side; tight crack in one side of head; minor roughness on edge of bill; spots of touchup to flaking on back.

280

Old

Connecticut, circa 1939. Early, near mint examples. Hen with slightly tucked head and scratch feather paint detail. Hard balsa bodies with wooden keels and the original Old Saybrook ink stamp on the undersides. Measure 11.5” and 12” long. Decoys were never used; near mint with a few very minor paint rubs and a tiny dent in one side of each.

(2,500 - 3,500)

Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Hollow carved, premier grade with relief bill carving. “Wescott” branded twice on underside. Measures 12.75” long. Original paint with minor to moderate wear; varnish was cleaned off of much of the decoy; repair to a thin chip along one side of bill.

(2,500 - 3,500)

281 Outstanding pair of greenwing teal, Ted Mullican for Wildfowler Decoy Factory,

Saybrook,

Greenwing teal hen,

Ward Brothers

Crisfield, Maryland

282

Canvasback, Ward Brothers, Crisfield, Maryland, 1st quarter 20th century. Rare knot head style with slightly turned head and carved, ice groove behind neck seat. Very thick stipple paint. Measures 16.75” long. Original paint with moderate gunning wear; some flaking to paint on back and one side; crack through neck with a small nail securing; chip in each side of neck base was reset long ago like many of the knot head canvasbacks the eyes are later replacement.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath. (12,000 - 18,000)

283 Black duck, Ward Brothers, Crisfield, Maryland. 1936 model, with cedar body and slightly turned head. Measures 17” long. Original paint under a thin coat of varnish; minor to moderate wear; slight separation at one side of neck seat; minor roughness on edge of bill and top of head; some old filler used on one edge of tail may have been from when the decoy was made; tight drying crack along the back.

(6,000 - 9,000)

284 Greenwing teal, Ward Brothers, Crisfield, Maryland. 1936 model with slightly turned head and extended crest. Maker’s ink stamp on the underside. Decoy was never rigged or weighted. Measures 12.5” long. Original paint with moderate flaking and wear, mostly on back towards tail; tight crazing on breast and one side of head; split along one side of the body; very minor separation at neck seat; filler on top of head is missing.

285 Pair of pintails, Ward Brothers, Crisfield, Maryland. 1948 model with balsa bodies, slightly turned heads, inserted cedar tails. Keels were removed at some point. Measure 17.5” long. Original paint with moderate gunning wear; small dents and shot marks; minor roughness on bill tips; large dents and roughness on undersides.

(4,000 - 6,000)

(5,000 - 8,000)

286

Merganser hen, Doug Jester, Chincoteague, Virginia, 2nd quarter 20th century. Raised neck seat and extended carved crest. Scratch feather paint detail on back. Cotton wood body was rigged, but never weighted. Writing on the underside indicates it was purchased by Bus Humphreys from the maker. Measures 17.5” long. Original paint with minor to moderate wear; fine hairline cracks in neck.

(1,500 - 2,500)

287 Brant, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Raised neck seat and tack eyes. Wet on wet feather blending on sides. Measures 17.5” long. Original paint with moderate flaking and wear; significant flaking to the black on breast and head; typical drying crack along the back; crack along the back of neck; tight drying cracks in bill.

(1,500 - 2,500)

288 Black duck, Ira Hudson, Chincoteague, Virginia, circa 1930. Partially inlayed neck seat, tack eyes, and fluted tail. Scratch feather paint detail on much of the decoy. Roy Bull collection brand on the underside. Measures 16.5” long. Original paint with minor to moderate wear; hairline crack on one side of neck seat; chip in one side was reset; loss to wood near a knot on the other side is from when the decoy was made.

(800 - 1,200)

289 Black duck from Virginia, 2nd quarter 20th century. Raised neck seat and painted eyes. Scratch feather paint detail on much of the body. Measures 17” long. Original paint with minor to moderate gunning wear; minor blunting on edge of tail; narrow chip and roughness on one side of bill.

(800 - 1,200)

Dudley 1860 - 1942 | Knotts Island, North Carolina

Lee

290 Redhead, Lee Dudley, Knotts Island, North Carolina, last quarter 19th century. Classic Dudley form with slightly reared back head. “LD” carved in the underside for the maker’s personal gunning rig. Measures 12” long. Old overpaint has been cleaned down showing some of the original surface; moderate to significant gunning wear; lightly hit by shot; bill is a professional replacement by Cameron McIntyre; small amount of glue visible at a hairline crack in neck.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr.

(20,000 - 30,000)

Lee Dudley

291 Bluebill, Lee Dudley, Knotts Island, North Carolina, last quarter 19th century. Classic form with relief wingtip carving and reared back head.

“ELM” branded on the back near tail for Edward L. Maher, a member of the Pocahontas Fowling Club. Mackey collection ink stamp on the underside of tail. Measures 12.75” long. Very early in use repaint has flaked down to much bare wood; lots of old filler added to dry rot along one side of body, on top of head, and at a large chip in tail; dry rot has worn down brands on the underside; tight crack through neck; bill is an old replacement. (6,000 - 9,000)

291a Pintail drake Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Tack eyes with scratch painting on gray area of back. Measures 19” long. Original paint has crazed heavily on head; tail break has been reglued; glue is present in a crack in underside of body; repair at neck base; several other rubs and imperfections in wood. (1,500 - 2,500)

291b Rare mallard drake, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Fluted tail with football style body with neck seat nestled in to body. Tack eyes. 16” long. Worn original paint; most of body is exposed bare wood; head has retained green color; tight cracks in body; a few shot marks. (800 - 1,200)

291c Rare mallard hen, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Football style body with head nestled in to carved shelf of body. 17” long. Paint is a mix of original and older working brown paint; wing patches appear to be original; repair to one side of bill with rough area or chewed area at tip. (400 - 600)

291a

291b

291c

292 Running curlew, Robert Andrews, Smith Island, Virginia, circa 1900. In running pose with carved eyes and relief wingtip carving. “R” carved in the underside. Measures 16.25” long. Surface is down to bare wood with a dark patina; areas of old filler on back and one side; minor roughness on top of head and edge of tail; tight drying crack along the underside and up the breast; bill is a very well done professional replacement.

(4,000 - 6,000)

293 Curlew from Accomack County, Virginia, last quarter 19th century. In running pose with carved eyes and hardwood bill. Measures 13.5” long. Thin original paint with moderate wear; hit by shot; multiple tight drying cracks on breast and underside; bill is an early replacement.

Provenance: George Quay collection. (1,500 - 2,500)

294

294 Dowitcher from Accomack, Virginia, last quarter 19th century. Relief wing carving and carved eyes. “Dowitcher” written in pencil on underside. Measures 9.5” long. Original paint with significant wear; minor chipping and roughness on edge of wing and tail; lightly hit by shot; bill is an early replacement.

Provenance: George Quay collection.

(2,000 - 3,000)

295 Dowitcher or redknot from Accomack, Virginia, last quarter 19th century. Relief wing carving and carved eyes. “Dowitcher” written in pencil on underside. Measures 8.5” long. Dry surface with remnants of original paint; lightly hit by shot; approximately half the bill is missing; area of early wood putty near stick hole.

Provenance: George Quay collection.

(1,500 - 2,500)

296 Small red knot, Charles Clark, Chincoteague, Virginia, 2nd quarter 20th century. Balsa body with splined hardwood bill. Measures 6” long. Original paint under the original coat of varnish that has darkened with age; minor flaking on edge of head and tail; tiny dent in one side of breast.

Provenance: Consigned by family of Charles Clark. Clark gave the shorebird to the consignor’s grandparents in 1913 as a wedding present, when Clark was approximately 33 years old. The winner of this lot will receive a signed document detailing the family names and exact provenance this piece in the Clark family.

(5,000 - 8,000)

295

296

297 Curlew from the Accomack/ Wachapreague area of Virginia, last quarter 19th century. Referred to as Parramore Island curlew, and believed to have been used at the Parramore Island Club. Flat sided with iron bill. Measures 12” long. Original paint with moderate wear under an early coat of varnish; small dents and shot marks; lots of puppy chews on top and bottom of tail area with some touchup; old chip in top of head.

(1,000 - 1,500)

298 Yellowlegs, Charles Clark, Chincoteague, Virginia, 1st quarter 20th century. Fat body with slight relief wingtip carving. Measures 9.25” long. Mix of original and very early in use repaint by Clark; shows moderate discoloration and wear; flaking on breast and underside with more modern touchup; lightly hit by shot; bill is slightly loose.

Provenance: George and Miriam Van Wallegham collection. (3,000 - 4,000)

299 Small dowitcher from Virginia, circa 1900. Relief wing and raised wingtip carving. Measures 9” long. Original paint with minor flaking and wear; early and thin second coat on red on breast; small chips on edge of tail with a larger chip having been reset; dent on back; drying split in top of head; most of the bill is a very early working replacement.

Provenance: George Quay collection. (600 - 900)

300 Black bellied plover, Gardner/ Dexter, Little Compton, Rhode island, 1st quarter 20th century.

Deep relief wing carving and raised wingtips. Small bead eyes. Measures 11.75” long. Original paint with minor discoloration and wear; areas of flaking from fire exposure with professional touchup; small amount of touchup where bill meets face. (3,000 - 5,000)

301 Curlew, Gardner/Dexter, Little Compton Rhode Island, 1st quarter 20th century. Three piece laminate construction wth split tail carving and large glass eyes. Faint collection ink stamp on the underside has mostly rubbed off. Measures 14.5” long.

Original paint with minor discoloration and wear; heavily hit by shot on one side; flaking on much of the back from fire exposure has been professionally restored; small chip where bill meets face loosely reset with separation in that area. (4,000 - 6,000)

302 Black bellied plover, Gardner/ Dexter, Little Compton, Rhode island, 1st quarter 20th century.

Deep relief wing carving and raised wingtips. Small bead eyes. Measures 11.75” long. Original paint with minor discoloration and moderate wear; flaking from exposure to fire on one side and head with professional touchup; bill is a professional replacement. (3,000 - 5,000)

The Chipman Brothers

Sandwich, Massachusetts

Located at the base of Cape Cod, Sandwich was a quiet, remote, working community in the early 1800’s with a simple economy based largely on farming and fishing. This was all to change dramatically when, in 1827, wealthy, Boston-born Deming Jarvis visited the Village on one of his numerous hunting and fishing excursions to the area. He saw in the surroundings what others did not, a vast network of forests. He was interested in establishing a glass factory, an industry that required large amounts of wood to produce the immense heat needed to make glass. Sandwich was close to Boston by water and there was abundant marsh hay with which he could pack his glass. The area also offered another major advantage. Soon, a canal would be built across the base of the Cape, which would allow him to economically ship his goods to distant markets. His vision resulted in the construction of the Sandwich Glass Works, a firm that provided unprecedented employment opportunities, wealth, and prosperity to the Town far beyond what it had ever imagined.

Two men who came to enjoy this growth and success were brothers William (1822-1900) and Isaac (18261901) Chipman, descendants of Elder John Chipman (1621 – 1708). Elder Chipman moved from Plymouth in 1646 and became one of the earliest settlers of Barnstable (Cape Cod). He was a carpenter by trade, and William and Isaac must have received a few of his genes, for they, too, became carpenters in their hometown of Sandwich. The rapid expansion of the community due to the glass works provided ample work for men with their skills, and the brothers prospered. Initially, both ran wood-working mills in the Spring Hill section of Town but, by the time the

1858 Sandwich business directory was published, they were listed as operating a “Sash and Blind Mfg.” located near the Town Hall in Sandwich Village. The rapid growth of the Town, coupled with their skills and business acumen, allowed both brothers to marry, raise families and become successful. Isaac maintained a home on Main St in the Village while it is believed that William resided on what is now Chipman Lane. By 1870, Isaac had real estate valued at $4000, a sum significantly above that of his immediate neighbors. In the 1880 census, William supported his wife and four children, as well as his bachelor brother Samuel, his aged mother and a domestic servant. William also had the leisure time to develop a series of pools near his home in The Spring Hill section of Town, where he grew rare pink pond lilies for his own enjoyment and sale. (see note 1)

The brothers enjoyed shorebird shooting and, fortunately for them, the plentiful Sandwich shoreline and its vast marshes provided ideal habitat for a multitude of species. The tiny “peeps” must have been particularly plentiful in the area, for a number

303

Rare hollow carved sandpiper, Isaac or William Chipman, Sandwich, Massachusetts, 3rd quarter 19th century. Thinly hollowed with inserted iron legs and cobalt blue glass eyes, typical of shorebirds by the Chipman family. Measures 7.75” long. Excellent original paint that has mellowed with age; a few tiny paint flakes at body seam, otherwise excellent and original.

Provenance: Found in a home in Eastham, Massachusetts around 1950 by Don Howes in a basket with peep and plover decoys by the same maker. This exact decoy sold for $92,000 at the August 1st, Decoys Unlimited Auction.

(20,000 - 30,000)

of decoys for them have been documented as originating from there. Being accomplished woodworkers, it is not difficult to imagine that, with their skills and ready access to the tools at either their woodworking mills or at the Sash and Blind plant, they had little difficulty in fashioning their delicate, exquisitely hollow decoys. Isaac’s son, Edmund, was a decorator at the glass factory and he is likely the source of the cobalt or cranberry glass beads commonly used as eyes on the Chipman decoys. The lightness of their carvings and the flex allowed by their traditional two wire legs, undoubtedly allowed the decoys to gently sway and bob in a slight breeze.

This subtle movement coupled with their delicately painted plumage must have been a siren to their live passing brethren. Of all the many fine examples of shorebird decoys to emerge from the Cape, the work of the Chipman brothers must be ranked among the very best.

Guyette and Deeter would like to thank Jim Parker for his time and effort in providing key research material. Note 1: It has previously been written that the brothers were pattern makers at the glass works but this cannot be documented.

Elmer Crowell

1862 - 1952 | East Harwich, Massachusetts

304 Rare golden plover, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Split tail carving and tack eyes. Small “JF” stamped near stick hole for the collection of Joe French. Measures 9.5” long. Original paint with minor gunning wear; excellent structurally.

Provenance: Ex Joseph French collection. Ex Alan Haid collection.

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

(15,000 - 25,000)

(8,000

305 Sanderling, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Split tail carving and tack eyes. Measures 8.75” long. Original paint with very minor gunning wear; moderately hit by shot in one side; tiny chip in tip of tail; five shot strikes on underside filled with a waxy substance.

Provenance: Ex John Delph collection. Guyette & Schmidt, April 1994.

- 12,000)

Henry Dutton Morse (1826-1888) was a successful engraver, diamond merchant, and jeweler from Boston who pioneered the diamond cutting industry in America. He constructed the country’s first diamond cutting factory, The Morse Diamond Cutting Company, in Boston around 1860. Morse was a very ‘hands on’ factory owner, inventing and perfecting diamond cutting machinery, instruments, and techniques. Around the middle of the 19th century, Morse also began painting scenes of the hunt. Dogs and game birds were his favorite subject and dead game still-life portraits, a popular genre of the time, were executed with as much attention to detail as his diamond cutting.

306 Robin snipe, Henry D. Morse, Boston, Massachusetts, 3rd quarter 19th century. Plump body wth raised wingtip carving. Branded “HD Morse” in one lower side. Measures 9” long. Original paint with minor gunning wear; a few small shot marks; old chip in one side of tail and tip of raised wingtip. (6,000 - 9,000)

Approximately 10 years ago a small rig of shorebirds were offered in a small estate auction in Rhode Island. All of the shorebirds were in very good original condition and all carried the brand of ‘HD Morse’. It is unknown whether Henry Dutton was the carver of the shorebirds, but the fact that so few by the hand exist today and all bare the cold brand of HD Morse, would indicate they were not made by someone who made a living carving decoys but almost certainly made by the man who used them, in this case Henry Dutton Morse.

Henry Dutton Morse

Oil painting by H.D Morse dated 1856.

308 Pair of golden plover from Massachusetts, last quarter 19th century. Thinly hollowed, two piece construction with tail areas opened to the inside. Plump bodies with tack eyes. Faint George Ross Starr collection ink stamps on the underside. Also with the ink stamp and small “JF” for the Joe French collection on the underside. Measure 10.5” and 12” long. Original paint with moderate flaking and wear, mostly on one side of each; reset chip on the underside of one; the other with a wooden patch at the stick hole; hairline crack in underside of one; bills are very early replacement.

(4,000 - 6,000)

308

307 Rare eskimo curlew from Nantucket, last quarter 19th century. Similar to those from the Morton rig, with carved eyes and hard chine line on underside. Originally had two leg holes on underside with a single being drilled later. George Ross Starr ink stamp on the underside. Measures 12” long. Original paint under a thin coat of varnish shows minor wear; lightly hit by shot in one side; hairline crack along the same side; old chip at tip of tail; dents on the underside where it was used to hammer in the stake; bill is an early professional replacement.

(4,000 - 6,000)

309 Large willet, by a member of the Burr Family, Hingham, Massachusetts, last quarter 19th century. Applied wings and dropped tail. Measures 14” long. Original paint with moderate wear; filler has flaked above nails; old chips at wingtips; heavily hit by very fine shot; one eye is replaced; bill is a replacement.

(1,500 - 2,500)

310 Feeding lesser yellowlegs from Massachusetts, last quarter 19th century. Similar to the so called “minnow in throat” shorebirds. Measures 10” long. Original paint with moderate wear; lightly hit by shot; white overpaint was taken off of white area; thin coat of varnish over the whole bird. (2,000 - 3,000)

311 Large willet, Charles Thomas, Assinippi, Massachusetts, 1st quarter 20th century. A flat sided, slightly carved pattern by Wilson included. Deep relief wingtip carving and large tack eyes. Measures 15” long. Original paint under an early coat of varnish; minor to moderate discoloration and wear; small dents and shot marks; drying split on the underside and breast. (2,000 - 3,000)

312 Plover from Hingham, Massachusetts, 1st quarter 20th century. Split tail carving and tack eyes. Starr collectin ink stamp on underside. Measures 10.75” long. Original paint with very minor discoloration and wear; three filled shot holes in one lower side; bone bill appears original.

Provenance: Davis Pearson collection. (2,000 - 3,000)

313 Rare yellowlegs, R. Mungford, Nantucket, Massachusetts, last quarter 19th century. Hollow carved with vertical body seam. Split tail carving and shoe button eyes. Measures 13” long. Original paint with minor flaking and wear; tiny chip in front of neck seat; two small spots of touchup on one side of head. (2,000 - 3,000)

314 Black bellied plover, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. McCleery ink stamp near stick hole. Measures 10” long. Original paint with very minor wear; some tight crazing on breast and small area of paint shrinkage on back near tail.

Provenance: Ex Dr. James McCleery collection.

Literature: “Classic New Jersey Decoys,” James Doherty, Jr. (12,000 - 18,000)

Harry V. Shourds

1861 - 1920 | Tuckerton, New Jersey

316

315

19th

Relief wing carving. Measures 8.5” long. Dry original paint with almost no wear; approximately half of the bill has chipped away long ago; possibly used as a sanderling after the fact.

Provenance: Davis Pearson collection. (3,000 - 5,000)

315

last quarter 19th century. Collection inventory ink stamp on underside. Measures 9” long. Original paint with very minor wear; moderately hit by shot, mostly on one side; very minor roughness on tip of tail; spot of filler and touchup on the underside of where bill meets the face, where the original bill was cracked down and reset.

(6,000 - 9,000)

Robin snipe, Harry V. Shourds, Tuckerton, New Jersey,

Lesser yellowlegs, Daniel Lake Leeds, Pleasantville, New Jersey, last quarter

century.

underside in ink. Measures 13” long. Original paint with moderate discoloration from an old coat of varnish; minor to moderate gunning wear; lightly hit by shot; bill is a professional replacement with a reset crack in bill.

(3,000 - 4,000)

318

19th

wingtips. Liam Berry collection ink stamp

the underside. Measures 14.75” long. Original paint under a thin coat of varnish that has darkened with age; moderate flaking on head and bill; hairline crack along one side; tight crack along top of head.

Provenance: Davis Pearson collection. (5,000 - 8,000)

319 Curlew, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Maker identified on

Curlew, Daniel Lake Leeds, Pleasantville, New Jersey, last quarter

century. Fat body with relief wing carving and raised

on

320 Large and very rare marbled godwit, Brigantine, New Jersey, 3rd quarter 19th century. Two piece head and body with tack eyes and upswept bill. Mackey collection ink stamp on the underside. Part of a rig found by William J Mackey, Jr. in 1950. Measures 20.25” long. Old overpaint was taken down with some of the original pattern faintly visible; hit by shot in one side of body and neck; bill is a replacement. (5,000 - 7,000)

321 Black bellied plover, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Fat body and painted eyes. Retains the original hardwood bill. Measures 9.5” long. Original paint with minor discoloration from an early coat of varnish; moderate gunning wear; lightly hit by shot; spots of roughness on one side of back and both sides at top of head; tight seam around neck where head was off and reset; minor roughness on edge of tail. (2,000 - 3,000)

322 Small sanderling, Joel Barkalow, Forked River, New Jersey, circa 1870s. Carved eyes and thin neck. Writing on underside indicates bird was previously in the collections of Robin Hardy, Bud Ward, Ellenberg, Holtz, and Hillman. Measures 6.25” long. Original paint with minor discoloration and wear; a few shot marks; some old chipping where the original bill meets the face. (4,000 - 6,000)

323 Pair of tiny sanderling, Bradford Salmons, Mayetta, New Jersey, 1st quarter 20th century. Small working shorebirds with painted eyes. Measure 6” and 6.5” long. Original paint with minor flaking and wear; a few small shot marks on one; the larger one with a seam in the neck where the head was off and reset; larger birds bill is an early replacement.

(2,000 - 3,000)

324 Very rare pair of dunlin from New Jersey, last quarter 19th century. A very rare species to find in working shorebirds. Slightly flat sided with painted eyes. Measure 7” and 7.5” long. Original paint under an early coat of varnish; both bills are very early replacements, otherwise very good structurally. (1,500 - 2,500)

325 Black bellied plover from New Jersey, last quarter 19th century. Wide head carving. “GNG” for collection of Gary Giberson on underside. Measures 10.75” long. Original paint with very minor wear under a thin coat of varnish that has darkened slightly; fine hairline crack along one side.

Provenance: Davis Pearson collection. (2,000 - 3,000)

326 Early yellowlegs, John Henry Verity, Seaford, Long Island, 3rd quarter 19th century. Relief wing carving and carved eyes. Measures 11.5” long. Very early second coat of paint with moderate crazing and wear; heavily hit by shot; old chip in tip and underside of tail; original bill is very slightly loose; area of discoloration on neck and head. (5,000 - 8,000)

327 Yellowlegs, Andrew Verity, Seaford, Long Island, circa 1900. Flat sided shorebird with relief wing carving and carved eyes. Measures 10.5” long. Original paint with moderate gunning wear; moderately hit by shot

in one side; loss to a small knot on back near tail; the original bill has been tightened to the face; chip repair on top of head.

(2,000 - 3,000)

328 Pair of ringneck plover, Chief Eugene Cuffee, Shinnecock Reservation, Long Island, 1st quarter 20th century. Dropped wing carving and carved eyes. Measures 7.75” and 8.25” long. Original paint with moderate flaking and wear, mostly on one breast and underside; minor chipping at stick hole; otherwise very good structurally.

Provenance: Davis Pearson collection. (2,000 - 3,000)

(3,000 - 5,000)

330 Dowitcher, Chief Eugene Cuffee, Shinnecock, Reservation, Long Island. Dropped wing carving and carved eyes. Original paint that has darkened under an early coat of varnish; very minor wear; single shot strike in back; small chip was reset in the tip of one wingtip.

Provenance: Davis Pearson collection. (1,200 - 1,800)

331 Four shorebird whistles, last quarter 19th century. One with bands of engraving. Measure from 2.5” to 3” tall. Original condition with wear from age and use; crack in top and bottom cap of largest whistle otherwise very good structurally. (600 - 900)

329 Golden plover, John Dilley, Quogue, Long Island, New York, last quarter 19th century. Fall plumage with glass eyes. A more simple version of Dilley’s work. Carving marks are still visible. Paint is more simple, but the elegance of his work is still apparent. 10.5” long. Original paint; wear at back of head, bill, and tail; structurally good.

Nathan Rowley Horner

1882 - 1942 | West Creek, New Jersey

Provenance: Ex

(15,000 - 25,000)

331a

Outstanding classic model bluebill, Nathan Rowley Horner, West Creek, New Jersey, circa 1920s. Hollow carved with painted eyes and nice bill carving. Measures 14” long. Tiny spot of touch up to a flake on back and one on side, otherwise outstanding original condition.

Bill and Elizabeth Cross collection. Ex Jimmy and Debbie Allen collection. Ex Jim and Pat Doherty collection, Doherty collection sticker on underside.

Harvey Stevens 1847 - 1894 | Weedsport, New York

331b Bluewing teal, Harvey Stevens, Weedsport, New York, last quarter 19th century. Maker’s ink stamp on the underside. Also branded “SS”. “H.S.B.” stamped four times on underside. Measures 12.5” long. Original paint with minor discoloration and wear; a few small dents and scratches; a single nail was added at the front of neck seat to prevent the head from spinning; crack along the breast and back with filler and touchup. (10,000 - 14,000)

Chauncey Wheeler

1888 - 1945 | Alexandria Bay, New York

Raised neck seat and upswept tail. Incised wing and tail feather carving known as the “torn heart” design. “WFB” branded on underside for William Francis Beal from Long Island, who ordered the rig from Wheeler in 1919. Measures 17” long. Original paint with very minor wear; minor flaking at a hairline crack along back; separation at a knot on one side near tail; filled split on the underside from when the decoy was made has opened with flaking to the filler.

331c Rare brant, Chauncey Wheeler, Alexandria Bay, New York, 1st quarter 20th century.

(8,000 - 12,000)

1887 - 1951 | Cadillac, Michigan

332 Impressive

plaque, Oscar

Cadillac, Michigan, 1st quarter 20th century. A glass eye pike with bear paw pattern. Metal strapping on sides and back to prevent warping. Plaque measures 9.5” x 30”. Original paint with a small area of touchup at the tip of the mouth and at the very top of the adipose fin; an expected and appealing amount of surface crazing, mostly on the lower side of the fish; the plaque has crazed and aged surface, evenly dispersed over the front surface.

fish

Peterson,

(17,500 - 22,500)

333

Oscar Peterson

333

pigeon

glass eye, resting on a carved branch. Plaque measures 11.5” x 6.5” x 5/8”. Peterson’s metal strapping on back to prevent board from warping. Structurally good; original paint that has crazed evenly to create an appealing surface.

(5,000 - 8,000)

334

red parrot

a vine branch with ripe fruit or berries. An early plaque with Peterson’s wood splined back. Measures 19” x 10” x 1.5” thick. Original paint with a coat of varnish that has darkened; small areas of flaking along edge and to a couple of the grapes.

(7,000 - 9,000)

Carved plaque, Oscar Peterson, Cadillac, Michigan. Passenger

with

Carved wall plaque Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. A

perched on

334

Fish Plaques

George Quay was one of the first Americans to pursue and collect carved trophy fish. His collection represents the best he could find after decades of scouring North America and the United Kingdom. The three carved large Atlantic salmon here are three of the finest he owned. The multi catch fish and two of the rarest of the rare, fish over fifty pounds, with one having provenance hanging in Gordon Castle.

335 Large, important, and unique Atlantic salmon carved trophy fish, Hardy Brothers, London. This particular fish was caught in Quebec at St. Annedemonts, June 28 1912. Detailed, carved, and painted scales and fins. Plaque measures 18.5” x 53”. An encased fly is mounted in the lower left hand corner. Bone insert baring the Hardy brothers name lower left. But most interestingly, what separates this from other great plaques is the detailed list of fish that were caught by the same sport. A total of 8 fish between 43 and 10 lbs. This trophy obviously representing the 43 lb’er. Original paint with small rubs and discoloration; no structurally damage visible.

Provenance: George Quay collection.

(8,000 - 12,000)

336 Important and large carved wooden Atlantic salmon trophy fish or model of a spay salmon. Well carved and painted with tones of gray and blue. Highlighted with pink and with scales painted out of white. Dorsal, adipose, anal, and one ventral fin are carved out as part of the silhouette. The pectoral fin and the second ventral are applied. Mounted on gray wash board with a molded frame. The board inscribed “Earl of Winterto, In the Rock Pool, 10/11/1892, 50 pound.” This fish was carved by John Tully and painted by Miss Russell. Both artists residing at Fochabers. The fish was carved for the Duke of Richmond and Gordon, also known as the Gordon Castle. Frame measures 22.5” x 57”. Lower right fish information lists length of fish at 4’ 1.5”, girth 2’ 4”. Original paint with rubs and scratches to body; damage to top adipose fin; small areas of damage to carved wooden fins; inside frame has paint loss and is mostly worn to natural wood.

Provenance: George Quay collection.

Literature: “Fish Models, Plaques, and Effigies,” Ronald Swanson, p. 221, exact fish pictured. (8,000 - 12,000)

337 Exceptionally large and important 50 lb. Atlantic salmon. Made by the P.D. Malloch Company of Perth, England. Displays their typical bread board backing with oak frame. Text reads “Killed by Lord Wolverton in Dick’s Pond on the Earn 26th Oct. 1906. Weight 50 lb, length 51.25”. Girth 28”.” Tag that reads “Festival of Empire, 1911. 365. Game Fauna Exhibition” on back. board measures 22.5” x 59”. Strong original paint with a rubbed area at high point center of body that may have had some restoration along time ago; crack lower tip of tail; top fin has been broken and reset; tight crack runs through the length of the body where it was pieced together for construction; similar crack runs along top of body.

Provenance: George Quay collection. (8,000 - 12,000)

338 A carved wooden sea trout trophy fish or fish model. Approximately 8 lbs. Sold by the J. Cooper Company, and made by William B. Griggs of St. Lukes, London. Highly detailed scale pattern with open mouth, visible metal teeth. Plaque measures 14” x 31”, fish measures 25”. Bottom fin is broken and missing; bottom front fin is possibly replaced.

Provenance: George Quay collection. Literature: “Fish Models, Plaques, and Effigies,” Ronald Swanson, p. 160, exact fish pictured. (2,500 - 3,500)

Kuratau Tokaanu. NZ.” Very detailed scale pattern with hues of pink running through center line. Plaque measures 13” x 33”. Original paint; structurally very good and original.

Provenance: George Quay collection. (2,000 - 4,000)

340 Carved wooden brown trout trophy fish or fish model Hardy Brothers, London. Retains bone plaque lower left. Excellent original paint, carved fins, and mounted on oak board. Board measures 9” x 23.5”. Small dent; a few rubs; slight roughens to small area of tail.

339

Provenance: George Quay collection. (3,000 - 5,000)

Large carved wooden rainbow trout trophy fish or fish model. Plaque and printing reads “H. M. 15 lbs

341 Small trout carving, Lawrence Irvine, Winthrop, Maine. Mounted on a state of Maine carved plaque with faux birch bark paint detail. Relief gill and eye carving with open mouth. Signed on the back of plaque. Trout measures 8.25” long, plaque measures 17” tall. Excellent and original. (1,500 - 2,500)

342 Lake trout fish plaque, Lawrence Irvine, Winthrop, Maine. Relief gill and eye carving with open mouth. Plywood backboard painted to imitate birch bark. Trout measures 23.5” long, plaque 29”. Original paint under the original coat of varnish; a few very minor rubs; pectoral fin is a professional replacement. (1,000 - 1,400)

343 Lake trout fish plaque, Lawrence Irvine, Winthrop, Maine. Relief gill and eye carving, and open mouth. Signed on the back of backboard. Trout measures 24” long, plaque 29”. Original paint under the original coat of varnish; a few very minor rubs; half of the pectoral fin is a professional replacement. (1,000 - 1,400)

341

343

342

345 A wonderful and well executed carved wooden brook trout mounted in diorama period case. Signed “R Hasse”. Appears to be last quarter 19th century. Painted landscape scene of stream with a 12” brook trout carved in the round in excellent detail including open mouth, carved and concave fins. Paint execution would indicate this was a trained artist. Period frame with vintage glass measures 21.5” x 29.5”. The concave dome is approximately 5” deep.

(2,000 - 3,000)

346 Relief carved trout with painted background, William Roy Robinson, Jr. Burlington, Connecticut, circa 1930s. Trout measures 10” long. Board measures 13.5” x 36”. Original paint with moderate flaking; scattered touchup to flaking on trout; a few small dents; tight drying crack on left side of board.

Provenance: George and Miriam Van Wallegham collection.

(800 - 1,200)

347 Relief carved trout with painted background, William Roy Robinson, Jr. Burlington, Connecticut, circa 1930s. Trout with incised gills and large tack eyes. Applied dry fly on upper mandible. Trout measures 12” long, plaque measures 11.5” x 24”. Original paint with minor crazing and wear under the original coat of varnish; a few minor paint rubs and flakes; piece of old scotch tape in center at top of board.

Provenance: George and Miriam Van Wallegham collection.

(1,500 - 2,500)

349 Plaque with two hanging trout from Canada. Open mouths with relief carved gills and glass eyes. Trout measure 12.75” and 13.25” long. Original paint with moderate flaking; areas of inpainting on both trout; flaking and losses where fins joined bodies; chip in one tail; one pectoral fin is an old replacement.

Provenance: George Quay collection. (600 - 900)

348 A matched or bookend set of carved fish that have been mounted on decorative plaques. Fish are carved individually and layered. Both plaques are signed “J.H.Ewing 1903” on back. Each measure 11” x 7”. Original paint that with minor wear; retains original early hanging hardware. (1,000 - 2,000)

350 Folky trout plaque, 2nd quarter 20th century. Relief gill and pectoral fin with open mouth and carved eyes. Ellis collection ink stamp on backboard. Tout measures 15.5” long. Board measures 20.25”. Original paint that has darkened with age under a thick coat of varnish; moderate crazing; minor paint flaking on one metal fin; small paint flake on inside of mouth. (600 - 900)

349

350

Emile Albert Gruppe (1896-1978)

351 Emile Albert Gruppe (1896-1978), oil on canvas. Titled “The Bahamas” on the back of stretcher. Done in an appealing thick, impasto technique with bright vivid colors. Signed lower right. Image measures 19.5” x 23.5”. Excellent and original. (8,000 - 12,000)

352 Portrait of the seven masted schooner Mary Wells, last half 19th century. Oil on canvas behind glass. Measures 15” x 33”. Moderate flaking, mostly on sails; a few minor creases and small puncture holes; some early inpainting to wear around edges.

(800 - 1,200)

353 Thomas H. Willis (1845-1925), oil on canvas. With applied fabric and thread. Titled “America”, signed, and dated 1898 lower right. Framed behind glass. Image measures 19.25” x 35.75”. Fine craquelure throughout; puncture repair in center of sky with 2” round area of inpianting.

(2,000 - 3,000)

354 Early ship painting, signed C.A. Smith, last quarter 19th century. Depicts three sailing ships flying American flags. Image measures 19.25” x 35.25”. Canvas is relined with minor stretcher marks across the top; fine craquelure throughout; minor yellowing; large amount of early restoration with some areas of more modern inpainting.

(1,200 - 1,800)

James Bard (1815-1897)

355 James Bard (1815-1897), oil on canvas. Portrait of the Almendares. Ship is filled with well dressed gentlemen, and is adorned with carved pilot house figure and native American carved figurehead. Signed lower right and dated 1868. Lower left “Built by Thomas Collyer, N.Y. 1848, H.R. Dunbar & Co.”. Image measures 27” x 47”. Preservation work done in 1975; with scattered inpainting to craquelure and flaking; painting was relined and varnished at that time. (20,000 - 30,000)

356 Antonio Jacobsen (1850-1921), oil on canvas laid on board. Titled “City of Chester”. Signed lower right, and dated 1877. Image measures 13.5” x 21.25”. Fine craquelure in sky; a few small spots of inpainting on water; a few larger spots within painting in clouds, mostly across top edge. (4,000 - 6,000)

Antonio Jacobsen (1850-1921)

John James Audubon (1785-1851)

Audubon

(1785-1851), Plate 53, Whooping Crane From Birds

of America. Engraved, printed and colored by R. Havell, 1855. “J. Whatman” watermark. Sheet size 37.75” x 24”, frame size 50” x 36.5”. Aquatint engraving with original hand coloring. Retains vibrant color; professionally framed so all edges are visible.

Provenance: Chua collection. (30,000 - 50,000)

357 John James

From Birds of America. Engraved, printed and colored by R. Havell, 1830. “J. Whatman” watermark. Paper size 39.5” x 26.5”, frame size 43.5” x 31.5”. Aquatint engraving with original hand coloring. Two small edge tears, one lower edge center and one middle right; slight discoloration, mostly around lower edge; three small spots discoloration spots in white areas. (3,000 - 5,000)

(1785-1851), Plate 57, White-winged Silvery Gull From Birds of America.

Engraved, printed and colored by R. Havell, 1835. “J. Whatman” watermark. Image retains strong blue and yellow colors. Sheet measures 24” x 38”, frame size 35.5” x 42.25”. Aquatint engraving with original hand coloring. A normal discoloration around white margin and a very few tiny discoloration specs within the image. (3,000 - 5,000)

358 John James Audubon

359 John James Audubon (17851851), Plate 92, Pigeon Hawk

360 Chet Reneson (b. 1934), watercolor and guache. Depicts a fly fisherman and guide landing a large salmon. Signed lower right and dated ‘07. Image measures 17.25” x 27.5”. Excellent and original. (4,000 - 6,000)

361 Chet Reneson (b. 1934), watercolor. Image measures 17” x 27.5”, frame measures 27” x 37”. Signed lower right and dated ‘07. Vibrant, well executed image of fisherman in stream. Professionally framed and matted under plexiglass, excellent and original. (4,000 - 6,000)

(3,000

362 Chet Reneson (b. 1934), watercolor. Image measures 18” x 28”. Of salmon jumping with fisherman in canoe in background. Signed and dated ‘99 lower left. Frame measures 27” x 37”.

Professionally framed and matted with plexiglass covering.

(4,000 - 6,000)

363 John Whorf (1903-1959), watercolor. Titled “Swap Country” and dated 1938. Depicting a hunter and his dog in a green canoe. Whorf painted very few dogs in his career. Signed lower right. Original tag from the Milch Galleries, New York, New York taped to back. Image measures 13.5” x 19.75”. Very good and original.

- 5,000)

Bror Nordfeldt

1878 - 1955

Bror Julius Nordfeldt came to the United States in 1891 at age fourteen and went to Chicago, Beginning 1899, he enrolled at the Chicago Art Institute and returned for several extended periods of time, living at one point in the outbuildings of the 1893 Columbian Exposition as part of the 57th Street Artists Colony. Nordfeldt became one of the better known of the early 20th-century American modernist artists. He was an etcher and engraver as well as oil painter. He gained early attention for his abstract, non-academic depiction of everyday subject matter such as still lifes, portraits and figures. Nordfeldt had two successful, attention-getting solo exhibitions in Chicago in 1911 and 1912. Throughout his career, especially when he was living in New Mexico, Nordfeldt made many trips to California. In 1937, he exhibited work with the San Francisco Art Association.

364 Bror Nordfeldt (1878 - 1955), oil on canvas. Image measures 19.5” x 23.5”. Signed lower left. Titled “Dead Ducks”. Gallery sticker from Gerald Peters on backside. Dead game image of a pair of American mergansers draped over table with shotgun in background. One small repair with inpainting about the size of a dime against the edge on the right side. (8,000 - 12,000)

365 Enoch Reindahl (1904-2000), oil on canvas. Five flying black ducks over choppy water. Signed and dated 1931 lower left. Image measures 19.75” x 17”. Very good and original.

Provenance: Ex Reindahl family collection. Guyette & Schmidt, July 2001, lot 286. (7,000 - 10,000)

366 Charles E. “Shang” Wheeler (1872 - 1949), oil on board. A single flying grouse in autumn landscape. Signed lower right. Pictured on p. 65 of “Shang” by Dixon Merkt. 19.75” x 15.5”. A few small holes in board, otherwise excellent and original. (2,500 - 3,500)

367 Karie O’Donnell (b. 1969), oil on board. Titled “Sergent” and depicting a single immature goose standing at Fort Warren in Boston. Signed lower right and dated 2014. Image measures 18.5” x 35.5”. Excellent.

(2,500 - 3,500)

368 Daniel Loge (b.1954), oil on canvas. Flying mergansers off of a rocky coast. Signed lower left. Image size 11.5” x 17.25”. Very good and original.

(600 - 900)

369 Ford Ruthling (1933 - 2015), oil on canvas. Depicts a snowy owl. Signed lower right and dated 1973. Image measures 19.75” x 23.5”. Very good and original.

Provenance: Bill Huey collection. (800 - 1,200)

370 Ford Ruthling (1933 – 2015), oil on canvas. Depicts a Mason bluewing teal and Harry Shourds brant. Signed lower right and dated 1968. Image measures 23.75” x 19.25”. Very good and original.

Provenance: Bill Huey collection. (800 - 1,200)

371 Robert Verity Clem (19332010), gouache on board. Depicts a single sanderling on beach scene. Signed lower left and dated 1969. Image measures 13” x 26.5”. Excellent and original.

(2,000 - 3,000)

372 Richard E. Bishop (1887 - 1975), pair of colored prints. Includes “Map of the Diving Ducks, Eiders, and Mergansers of North America” 1937. numbered 571/1000. Also “Map of the Surface Feeding Ducks, Swans, and Geese of North America,” 1937. Numbered 571/1000. Both measure 30.5” x 26.25”. Both are excellent and original with vibrant color for their age.

373 Three etchings, John Templeman Coolidge, Jr. (1888-1984). Coolidge was a friend of Frank Benson, who studied with Philip Hale. He was a member of the Boston Art Club, a trustee of the Boston Museum of Fine Arts, and a member fo the Boston Art commission. One of swimming black ducks, signed lower right, measures 7” x 5.25”. One of hooded mergansers, signed lower right, measures 5” x 5.5”. And one of marbled godwit, unsigned, measures 8” x 5.5”. Very minor toning from age, otherwise excellent and original. (1,000 - 1,400)

(1,500 - 2,500)

374 Original pen and ink illustration, Charles E. “Shang” Wheeler, Stratford, Connecticut. Depicts two fox hounds with fox and hunter on outer edge. Signed lower left. Frame measures 14.25” x 18.25”. Moderate discoloration from age, otherwise very good.

(1,000 - 1,400)

375 Original pen and ink, Charles E “Shang” Wheeler, Stratford, Connecticut. Titled “All Blue” on mat. Depicts a fanned out hand of poker cards of a flush. Cards depict flying black ducks. Signed and dated 07 lower right. Exact image is figure 73 p. 94 of “Shang” by Dixon Merkt. Frame measures 14” x 12”. Minor fading throughout and minor discoloration near mat. (800 - 1,200)

376 Original pen and ink of quail, Charles E “Shang” Wheeler, Stratford, Connecticut. Depicts a quail walking at a base of corn stalks, with a hunter and dog remark on mat. Signed on a hand of cards behind hunter.

Frame measures 16” x 23”. Minor fading and discoloration near mat; moderate discoloration from age on mat.

(600 - 900)

377 John Dearman (20th century), watercolor. Flight of bluebills landing in flooded timber. Signed lower right. Measures 13.75” x 19.25”. Very good and original. (1,000 - 1,400)

378 Anthony J. Rudisill (b.1934), watercolor. Pair of red headed woodpeckers. Signed lower right. Image measures 18.5” x 14”. Two short scrapes on mat; one tiny scrape on edge of tree, otherwise excellent (800 - 1,200)

379 J.D. Knapp (1881-?), watercolor. Flight of bluebills landing on water. Signed lower left. Image measures 13.5” x 20.5”. Nice bright colors, very good and original.

(600 - 900)

excellent and original.

(3,000 - 5,000)

383

and framed. (400 - 600)

left.

(1,200 - 1,800)

edition

1939. “Cradling Wheat.” One of an edition of 250. Signed by the artist lower right. Original gallery tag from Aaron Galleries, Chicago, Illinois on back. Measures 10.25” x 12.5”. Excellent and original. (1,200 - 1,800)

381

383

380 Clyde Aspevig (b.1951), oil on board. Image measures 15.5” x 19.5”. Landscape scene, signed lower left. Gilt frame with linen matting that has separated slightly at top right corner. As viewed under blacklight painting is

381 Ann Herzog-Right (b.1947), oil on board. Image measures 6” x 9.5”. Image of boat that is tied out. Signed lower right. Excellent and original; professionally matted

382 Alois Kirnig (1849-1911, Prague), oil on board. Small landscape with sunset. Signed lower left. Image measures 5.5” x 9.5”. Very minor and fine crazing; small spot of inpainting top

Thomas Hart Benton (1889-1975), limited

lithograph

384 William Mathew Prior (1806 - 1873), oil on paper board. Portrait of a young lady with rosy cheeks. Unsigned. Framed behind glass in period frame. Image measures 13.5” x 9.5” Minor flaking with a few spots of inpainting; rubs to paint along left edge.

Provenance: George and Miriam Van Wallegham collection. (3,000 - 5,000)

385 Appealing early portrait, mid 19th century, oil on canvas. Young lady with curls and rosey cheeks. Nice detail in jewelery and lace collar. Image measures 26” x 21.5”. Canvas was relined; 2.5” round area of inpainting lower center; inpainting to a 3” scratch near shoulder; other small spots of inpainting to flakes.

Provenance: George and Miriam Van Walleghem collection. (2,000 - 3,000)

386 Aiden Lassell Ripley (1896-1969), watercolor on paper. Image measures 14” x 18.5”. Perhaps a study for a larger painting. Pencil notes are seen around rooster on right. Rooster displays cockfighting spurs. Slight darkening, mostly around edge of matting; frame has a few scratches and marks.

Provenance: Quay collection. (4,000 - 6,000)

387 A pair of cockfighting roosters, oil on canvas. One is signed “Hurry Harry, winner at Westbury February 22, 1922”. Other is signed “Iroquois, winner at Westbury”. Madison Avenue sticker on back of frame. Images measure 13.5” x 10.5” Matching frames show excellent age; flaking on one painting is visible lower center to lower edge.

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

388 Oil on canvas of a champion cockfighting rooster. Signed lower right “J. Santorino” with last name illegible. Image measures 28” x 21.5”. Coat of varnish has darkened to show excellent age; crazing is even throughout; no visible restoration seen under black light.

Provenance: Quay collection. (2,500 - 3,500)

389 M. Taylor Rue, oil on canvas. Image measures 14” x 10”. Signed lower right. Image of a racing pigeon which is banded on right leg, and E. 7 is inscribed on the band. Painting shows great age; coat of varnish has darkened; but is structurally good; mounted in period frame. (800 - 1,200)

390

An early large and impressive carved wooden fighting cock. Stands 27.5” tall. Chip carved base with feather detail carving. Retains leather guards on feet. Metal post is driven through base and into rooster’s body for stability and done at time of making. Surface is old and crazed and original.

Provenance: George Quay collection. (8,000 - 12,000)

391 Swan carousel figure, last quarter 19th century. Carved wood which appears to be American pine. Made with a seat nestling behind the carved and extended wings. Measures 29” long and 27” tall. Multiple coats of very old paint have crazed and dried to create an appealing surface; five metal bands have been applied to the neck area for strengthening and repairs; paint chipping but flaking has been stabilized; some structural separation and natural cracks in wood.

Provenance: Found at a farm in Michigan. (8,000 - 12,000)

Owl Carvings

Not all decoys were intended to attract others. In fact, some were intended to do the exact opposite. The predator/prey relationship is widespread in nature and only a very few species at the very top of the food chain have any degree of immunity. Animals are well aware of who their enemies are. They must learn at an early age, or they do not go on to reach maturity.

A large variety of fauna serve as prey items for the various owl species. Birds and small to medium size mammals are favored foods in the largely nocturnal bird’s diet. These same small animals are also potential threats to man’s efforts to grow, harvest and store crops, especially small fruits and almost all grains.

Evidence indicates that the 8th century Japanese used sacred fig ures to scare away birds as did the ancient Egyptians and Greeks. In medieval times it was the job of children or women to guard the fields an d scare away intruders. In America, the same held true for the indigenous peoples. Some historians believe that when the black death greatly decimated the European population in the 1300’s, surviving farmers discovered that humanoid effigies and a few other inanimate shapes did the job a lmost as well. This was the first widespread use of the “scarecrow”. Earl y figures often reflected images of the occult, of customs, culture, mythology, superstitions or religion. These figures, either singularly or in multiples, b egan to spread across the expanding open acres of farmland.

Closer to the home, at the heart of the farm, there arose a need to protect the kitchen garden, medicinal herbs, and the farm wife’s occasional small flower patch. In addition, once harvested, grains were stored ne ar the homestead, and these, too, needed constant supervision and protection from marauding critters, again mostly small mammals and birds. Carved owls were soon relatively common sights on the family barn or similar structure. The value of these figures in accomplishing their intended job has been somewhat validated and they, or facsimiles thereof, are still widely used today around the home garden.

One of the largest of all the owl species, and the largest (by weight) in North America, it is a voracious hunter needing between 7 to 12 mice per day merely to survive. The species is famously nocturnal, but the snowy owl is a little unique among its brethren. Since it breeds and spends most of its time in the high arctic, it must be able to hunt throughout the continuously bright days of summer. On its winter migration southward, it would find little difficulty finding prey around the snow-covered corn cribs and grain bins on the rural northern New England farms.

391a Rare snowy owl, 1st quarter 20th century. Deep relief carved wings and extended wingtips. Applied wooden thighs. Detailed beak carving and large glass eyes. Found in Vermont by folk art collector and dealer, Jay Miles. Measures 22” long. Multiple early coats of white paint with moderate to significant flaking and wear; tight drying cracks in back; drying split along one side; early chip in tip of beak; one eye is missing.

Provenance: George Quay collection. (8,000 - 12,000)

392 Full size great horned owl, Phillipe Sirois, Arrowsic, Maine. A monumental piece for this artist, with relief wing and incised feather carving. Applied ears and tail. Owl measures 25” tall, 40.5” with base. Original paint with almost no wear; minor separation at seams in tail; discoloration to filler used at ear seams and where feet are applied to legs.

Provenance: George Quay collection. (3,000 - 4,000)

Joseph “The Lumberman” Bernier 1873

- 1952 | Biddeford, Maine

Born in Sainte Henedine, Quebec in 1873, the young Joseph emigrated with his family to Biddeford, Maine in the mid-1880’s. Family history, along with census data, has Bernier being injured while working as a woodcutter and finding a second career/livelihood in folk carvin g by 1930. Many of Bernier’s carvings are small songbirds, some standing on birdbaths or with fish or berries clutched in their bills. Very few of these large bald eagles exist and they represent a monumental effort for a partially paralyzed or somewhat handicapped carver.

393 Extraordinary and monumental spread wing eagle, Joseph Romuald Bernier, Biddeford, Maine, circa 1930s. Eagle with applied wings and tail with deep relief feather detail. Beak is open with extended tongue and large glass eyes. Eagle stands on a carved book and could possibly be interpreted as protecting the holy book. Eagle measures 31” long, with a 61” wingspan, and stands 21” tall including base. Original oil paint with moderate to

significant shrinkage from being applied on a still damp grey primer coat; this paint shrinkage is typical of Bernier’s work and exactly what you like to find in a legitimate Bernier carving; minor separation at seams of pieces of wood used to form the wings; tight crack along one side of tail where an old chip was resecured with a narrow piece missing; small and early chip in one feather tip near body; very minor separation where legs meet the body. (30,000 - 50,000)

The Henry Gudgell Walking Stick

Henry Gudgell, a slave born in Anderson County, Kentucky in 1829 moved to Chillicothe, Missouri at a young age where he was a wood carver, blacksmith, wheelwright and silversmith. He is considered the most important African American cane maker. Only two of his walking sticks are known to exist. The first was discovered by Professor Robert Ferris Thompson, Yale University, while examining the Index of American Design. The second and the only other known piece of Gudgell’s work was discovered in 1980 and was first authenticated by Professor Regenia Perry in Black Art Ancestral Legacy, Dallas Museum of Art. Where she stated: One of the most celebrated examples of an African American carved walking stick was fashioned by a slave, Henry Gudgell ... Until recently, this splendid walking stick (Yale’s) was believed to be the only extant example of Gudgell’s woodcarving. However, a similar walking stick in a private collection is undoubtedly also by Gudgell. This Gudgell walking stick was subsequently acknowledge by Professor Thompson and Yale as the only other known walking stick by Henry Gudgell. ( Letter February 8, 1983 from Thompson to Weiss This was further acknowledged by Ramona M. Austin in Meyer, George H., American Folk Art Canes and in The New Encyclopedia of Southern Culture, Volume 23, Folk Art.

Henry Gudgell’s work has been documented and described in multiple books, and academic articles. The first was by John Michael Vlach in, The Afro American Tradition in Decorative Arts , The Cleveland Museum of Art, where he writes: It is ironic, although not incomprehensible, that the greatest piece if

Afro American walking stick sculpture should have been made in north-central Missouri, in Livingston County, over a thousand miles from the geographic focus of a black carving tradition. Vlach went on to say Gudgell’s walking stick was the oldest dated example of an Afro American walking stick.

Subsequent research discovered Henry Gudgell’s influence most likely came from his wife, Chloe Woodus, and the slaves of Spencer Hall Gregory who came from Currituck County, North Carolina to Livingston County, Missouri. Weiss, Allan, An Odyssey: Finding the Other Henry Gudgell Walking , Folk Art, Fall 2008, American Folk Art

The importance of Henry Gudgell’s work is found in many books and academic essays, including, Life, Liberty and the Pursuit of Happiness, American Art from the Yale University Art Gallery, Yale University Press; Farrington, Lisa African-American Art, a Visual and Culture History , Oxford University Press; Ferris, William, Afro American Folk Art and , University Press of Mississippi; Wimbush, Vincent L., African Americans and the Bible, Sacred Texts and Social Textures , WIPF & Stock, Eugene Oregon; Hemphill, Herbert, ed., Folk Sculpture USA , The Brooklyn Museum and Los Angles County Museum of Art; Crouther, Betty J., PhD, Iconography of a Henry Gudgell Walking Stick , University of Mississippi; Pamela Franks and Robert E. Steele, Embodied :Black Identities in American Art from the Yale University , exhibition catalog 2010.

An important, and one of only two known carved walking sticks, Henry Gudgell (1829-1895). Carved from a light colored hardwood and decorated at the top with serpentine fluting and raised bands, including a formation of diamonds. The middle portion contains an alligator or lizard, followed by a tortoise. Both have geometric decoration on their backs. Lower portion is embellished with entwined snake or serpent with its tongue fully extended. Length is 46”. A brass tack is embedded at the top crown; a fine patina extends throughout from years of wear and touch; small area at tip of tail; is rough and is partially missing.

Provenance: The object is accompanied by extensive documentation, including a photograph of Henry Gudgell’s great-granddaughter holding the walking stick, a copy of the deed to the 22-acre land Gudgell purchased in 1870, and other important information on his life history. The story of this walking stick can be found in An Odyssey: Finding the Other Henry Gudgell Walking Stick in Folk Art, Fall 2008, American Folk Art Museum, available online.

Literature: “Carved and Whittled Sculpture,” Michael Hall, p. 33, Yale University Art Gallery Gudgell stick. “Folk Sculpture USA,” Herbert Hemphill, Jr., p. 1, Yale University Art Gallery Gudgell stick. “The Afro-American Tradition in Decorative Arts,” John Michael Vlach, p. 35, Yale University Art Gallery Gudgell stick. “Folk Art,” Carol Crown & Cheryl Rivers, p. 44, exact carving and Yale University Art Gallery Gudgell stick. “Black Art: Ancestral Legacy,” Dallas Museum of Art, p. 40, exact carving and Yale University Art Gallery Gudgell stick. “New World Folk Art,” John Hunter and Gene Kangas, p. 29, exact carving. (50,000 - 80,000)

Scan QR code to view more angles of the Yale University Art Gallery

Gudgell walking stick

The Henry Gudgell walking stick from the Yale University Art Gallery

394 Jesus Before Pilate, Elijah Pierce. Deep relief carved plaque depicts the biblical scene of Jesus taken before Pilate. Frame by Pierce is original to the carving. Measures 13.5” x 27.5” x 1.25” thick. Minor separations at seams in board, otherwise excellent.

- 18,000)

A folk-art carver of bas reliefs, Elijah Pierce created works that “are considered to be among the most important American folk carvings” of the 20th Century. Described as a sculptural storyteller, he did carvings of African-American sports heroes, biblical subjects and political and social issues. He is best known for his religious carvings including the “Book of Wood”, a series of thirty-three large reliefs with each representing one of the thirty-three years of the life on earth of Jesus Christ.

Elijah Pierce began carving as a young child in Mississippi and settled in Columbus, Ohio where he ran his barbershop that had two rooms---one for the barber customers and one for displaying his carving.

The largest collection of work including the “Book of Wood” series is at The Columbus Museum of Art in Columbus, Ohio. In 1993, that museum held a retrospective exhibition of his work, “Elijah Pierce, Woodcarver”. With more than 170 pieces, the exhibit traveled to several venues.

Source: Chuck and Jan Rosenak, “Contemporary American Folk Art: A Collector’s Guide”

Provenance: George and Miriam Vanwalleghem collection acquired from Michael Hall. (12,000

Edgar

1904

395 Fall of Man series, Edgar Tolson, Camden, Kentucky. Garden of Paradise, circa 1970. Poplar, water birch, cedar with black paint on serpent. 12” tall, 11” x 12”. Structurally good; serpents forked tongue is broken and missing.

Provenance: George and Miriam Van Wallegham collection.

(8,000 - 12,000)

396 Fall of Man series, Edgar Tolson, Camden, Kentucky. Expulsion, circa 1969. Made from poplar wood, water birch, cedar, with a black painted serpent nestled in fruit tree. Measures 12.5” tall, 9” long, and 19” wide. Very good and original.

Provenance: George and Miriam Van Wallegham collection.

(8,000 - 12,000)

397 Fall of Man series, Edgar Tolson, Camden, Kentucky. Temptation, circa 1971. Poplar and cedar, with a serpent painted black. Measures 14.5” tall, 7.5” deep, and 13” long. Small area of discoloration and one tiny spot of staining on bottom board; serpents forked tongue has been broken and is missing.

Provenance: George and Miriam Van Wallegham collection.

395

396

397

Fred Alten 1871 - 1945

Fred K. Alten was born of German parents in 1872 and, for the fi rst half of his life, lived in Ohio. He came to Detroit around 1912 and died in Michigan in 1945. Information from city directories from 1915 to 1936 indicate that he worked at a variety of occupations including laborer, piano mover, trucker, foreman, employee of Ford Motor Company and a carpenter. He was said to be a very introverted man who spent all of his spare time in a woodshed carving his animals in solitude. A book from which he gained much of his inspiration has been preserved with the collection. Entitled Johnson’s Household Book of Nature , it contains descriptions and illustrations of modern as well as prehistoric animals based on the works of Audubon, Wallace, Wood and other 19th century naturalists.

398 Group of six hand carved and painted animal figures, Fred Alten, Wyandot, Michigan, early 20th century. Kangaroo with baby kangaroo in pouch, 12” tall. Body is carved from one piece of wood with applied feet, tail, and front left paw. Original surface shows excellent age; separation along backside at top of tail has been reset; left ear is broken and missing; some minor blemishes and rubs to paint surface. Second is a caribou with applied lead antlers, the word “Caridou” is written on underside of belly. Stands 7” tall. Has a gray primer coat with a second coat that is textured to emulate fur. Body and legs are carved separately. Softness of lead antlers has made them lay back on body; paint flaking and rubs to primer coat on parts of body; a few small chips of paint missing. Third is a Japanese panther, written on underside. With long curled tail. Measures

12” in length. Tail has been applied and pinned to center of back. Two tone stripe paint is covered by a coat of varnish. One ear is missing a sliver on lower half. Fourth is a tapir, measuring 9”. Body and legs are carved separately; part of tail is missing; a patch of hair is mounted at top of head. One tack eye and one paint eye. Shows wear from play. Fifth is a roebuck with carved wooden antlers, stands 9” tall at antlers. Also has a textured paint surface with the word “Roebuck” pained on underside of belly. Small area of damage to antler. Last is a mink with red bead eyes, measures 9” in length. Structurally good. All show in use wear from handling and are covered in a coat of varnish.

Provenance: George and Miriam Van Wallegham collection. (6,000 - 10,000)

399 Three carved wooden animal figures, Fred Alten, Wyandot, Michigan, early 20th century. Carved and painted wood. A cheetah with black spots, applied leather tail, measures 9.5” in length. Appears to have been broken in half and reglued. A giraffe with an old black and white surface, front legs inletted to the body. Stands 11.5” tall. Third being some kind of deer or antelope. Measures 6.5”. All show heavy handling and wear; deer and cheetah covered in a coat of varnish.

Provenance: George Quay collection. (800 - 1,200)

400 Wonderful trio of folk carved hunters, circa 1900. Includes one seated, one standing, and another aiming. All with ties, shooting jackets, and short brimmed hats. Tallest stands 9.75”, seated figure measures 8” high. Loss to one foot; some chipping to brim on two of the hats;

aiming figure has had one arm reattached, with the other being carved from the same piece of wood as the shotgun; barrels of rifle of standing hunter replaced and rifles of other two hunters replaced by Gene Kangas.

Provenance: Ex Jack and Linda Grim collection. Ex Gene and Linda Kangas collection. George Quay collection. (2,000 - 4,000)

400a Earnest Popeye Reed (1919-1985), stone carving. Measures 17.5” tall. A woman with dress train gathered in right hand, and left leg lifted and rested on elevated stone. “E Reed” carved in underside. Very good and original.

Provenance: George Quay collection. (1,000 - 2,000)

400a

401 Narwhal, Clark Voorhees, Old Lyme, Connecticut. Maker’s stamp and initials

back. Measures 22.5” long. Very slight discoloration from a thin coat of varnish; reglued crack at tip of tusk and top part of tail.

Provenance: Davis Pearson collection. (2,000 - 3,000)

400b Trade sign that appears to be 1st half 20th century. Three separate pieces. A top hat, which measures 15” tall x 18” wide. A fancy scroll bracket. And a glove that hangs measures 14” in length. Bracket sticks out 33” from the wall. (4,000 - 6,000)

402 Humpback whale, Clark Voorhees, Old Lyme, Connecticut. Maker’s stamp and initials on the back. Measures 18.5” long. Tiny spot of touchup on top part of tail, otherwise excellent and original.

Provenance: Davis Pearson collection. (1,200 - 1,800)

401

402

on the

403 Carved wooden figure of a native Indian, circa 1900. Appears to be American, or possibly Canadian. Mounted to a contemporary base. A hole in top of head indicates a head dress could have been applied. Measures 13.5” tall. Shows excellent age; original paint is crazed; approximately half of left foot is missing; could possibly have been made as a countertop figure for cigar trade.

(700

12” high.

(400 - 600)

Provenance: George Quay collection. (600 - 900)

404 Pair of carved Inuit bookends, Grenfell Industry, Labrador, Canada. Measures 6.25” tall. Original paint under a thin coat of varnish show minor wear from use; a few spots of touchup on white areas.

- 1,000)

405 Carved wooden pug. Mounted on a chip carved base with a copper plate and the name “Dory” etched in. Probably a remembrance piece. Both base and figure are carved from a hardwood and are well executed. Appears to be 1st quarer 20th century. Stands

Gustav Dentzel

1846 - 1909 | Philadelphia, Pennsylvania

407 Carved and painted prancer carousel horse, Gustav Dentzel, Philadelphia, Pennsylvania, last quarter 19th century. Gustav Dentzal founded the Dentzal Carousel Factory in 1867. His horses and other figures are some of the earliest and finest ever made. Hollow carved. Outside row horse. Saddle with carved eagle on cantle. Measures 60” long. The horse in mostly original surface with minor wear; saddle and saddle blanket, straps and bridle in early restored paint; the original tail has been cracked and reattached; two of the legs have been broken and reset; moderate flaking at seams.

Provenance: Bill and Mary Huey collection.

(6,000 - 9,000)

Purchased by the Huey’s from an antique gallery in New York in the 1970s.

408 Large full body, copper steer weathervane, circa 1900. Excellent verdigrised surface. Cast zinc horns. 39” in length, 23” tall. Several bullet holes some of which have been repaired with lead filler.

(5,000 - 8,000)

409 Large and impressive “Formal Horse” weathervane, Rochester Iron Works Factory, Rochester, New York, circa 1900. Cast Iron body with thick, sheet metal tail. Rare, larger size model. Measures 38” long, standing 28” tall. Surface is an appealing mix of gold leaf and iron rust.

(25,000 - 35,000)

410 Racing horse and jockey weathervane, late 19th or early 20th century. Copper, zinc, and lead. Both jockey and horses head are cast zinc. A natural verdigrised surface remains undisturbed. 32” long.

Literature: For a nearly identical example see “A gallery of American Weathervanes and Whirligigs,” Robert Bishop and Patricia Koblentz, p. 76. (5,000 - 10,000)

412

full

copper

Probably by the Washburn Weathervane Company, 2nd or 3rd quarter 20th century. Copper and lead construction.

Measures 32” in length, and 30” tall. Original verdigrised surface; structurally very good. (6,000 - 8,000)

- early 20th century. Cast iron body with sheet metal tail. Stands 27” tall. Traces of old yellow paint; bullet hole in tail, otherwise structurally good. (3,000 - 5,000)

410

411 Rooster weathervane, Rochester Iron Works, last quarter19th

411

412

Large prancing

body

hackney horse.

413 One of the finest carved deer heads we have offered, circa Mounted with North American white-tailed matching ten point antlers. A finely executed, carved from one piece, deer head, with stylish carving around mouth, eyes, ears, and base of the mount. An oak leaf motif carved around the base. Textured fur carving at neck. Measures 33” tall. Excellent paint execution with shading and a surface that has dried and crazed showing excellent age.

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

Carved wooden deer head with white-tailed antlers, 1st half 20th century. Head has glass eyes, detailed fur carving, and mounted to decorative plaque. Appears to be made from a hardwood, and most likely made in the black forest area of Europe. Unusual to see one of these carvings with American white-tailed antlers. From base to tip of horns is 33”. Slight seam separation on face near one eye; dust and age in carved hair of neck and ears; structurally good. (1,200 - 1,800)

Carved deer head with massive white-tailed antlers and glass

Surface has been flocked to create texture. Mounted on pine board with a very early Guyette & Schmidt sales tag. One ear appears to have been broken and repaired; tight crack running from one side near left eye; a few small chips where bare wood is exposed. Measures 32” high, incise spread on antlers is 20.25”. One ear appears to have been broken and repaired; tight crack running from one side near left eye; a few small chips where bare wood is exposed.

Provenance: Quay collection. (800 - 1,200)

20th century. Measures 60” long. Includes carved canoe paddle. Minor losses to weave along top edge. Much of the weaving missing from bow and stern; separation to birch bark at one end.

(500 - 800)

418 Falls City “Expert” minnow bucket. Stenciled graphics with a fish on one side. Measures 12” wide and 9” tall. Original paint with minor flaking and wear; scattered scratches and rust stains on top.

(800 - 1,200)

419 Center hole woven fishing creel with excellent tooled leather and K bar knife. Haggard creels, Doniphan, Nebraska. Trout decorated fly holder at front of creel. Branded Ken Haggard on back. Basket measures 16” wide, 11” tall, approximately 9” deep. Mint and unused.

(800 - 1,200)

420 Woven side hole fishing creel with tooled leather, George Lawrence. Number 15 and stamped on back of creel. Measures 16” wide, 9” tall, and approximately 7.5” deep. Appealing patina from in use wear with some staining around the top leather edges of lid; appropriate amount of surface wear to leather areas on underside; structurally excellent.

(500 - 800)

421 Three color American checker board, dated 1884. With “Christmas” written on the opposite side. Retains Christie’s auction sticker. Measures 23” x 15”. Board is well preserved, but paint shows age, probably period to the date on the board; some dents and grooves in board otherwise good and original.

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

422 Parchisi board, circa 1900. Five color geometric

decoration. Measures 20.5” x 18”. Original paint with crazed and worn surface.

Provenance: Quay collection. (1,200 - 1,500)

423 Two sided game board, circa 1900. Canadian checkers on one side, pachisi on other. Measures 25” x 25”. Original paint with crazed, stained, and worn surface.

Provenance: Quay collection. (600 - 800)

424 Large Canadian checker board with scallop painted galleries at each end. Two piece board strengthened with cross boards on back. Appears to be circa 1900. 33” x 23”. Original worn colors and surface with crazing; numerous scratches and dents.

Provenance: Quay collection. (500 - 700)

425 Two color Canadain checker board. With framed gallery at each end. Includes sliding panel to store checker board pieces which have been retained. Board

appears to be circa 1900. Measures 30.5 x 19.5”. Black and creme paint has crazed and worn to create an appealing surface.

Provenance: Quay collection. (400 - 600)

426 Two color Canadian checker board. With framed gallery at each end. circa 1900. Measures 29.5” x 19”. Original paint that is worn and crazed.

Provenance: Quay collection. (300 - 500)

cracks, scratches,

dents. (600 - 900)

428 A carved wooden cornucopia of painted fruit. Containing apples, strawberries, approximately 19 individual pieces with alluminum foliage and a candy cane stripped carved and painted horn shape basket. Measures 18”. Some wear to surface with aluminum leaves having been bent back wth small areas of paint loss. (2,000 - 2,500)

430

or possibly and early

Pennsylvania, 1st quarter 20th century. Box divided in to two separate compartments with a large hole accessing each. Faint paint detail on front of Pennsylvania pinwheel. Measures 13.75” tall. Surface has mellowed to a warm patina; cracks along top edge with one missing piece in the center. (600 - 900)

429

428

429 Oak billiard ball rack. Made to hang from the ceiling, with gold painted numbers 1-9 on the back of each shelf. Measures 31.75” x 24”, and is 4.75” deep. Some old chipping and edge wear from use; tight

and

Early pigeon

wood duck box from

431 Outstanding folk art carved box. Five sides have deep relief carved scenes and scalloped borders. The lid with carved stag and two birds. The front and back with recumbent lions, the back with two larger overlapping hearts, and the front with five relief carved hearts around the keyhole. Each side panel with a carved animal walking on a tree branch. Delicately carved feet at corners extend to the center of each side with relief carved scrolling. Held in a private collection for almost 50 years, this is the first time this box is being offered at auction. A surface with a very early coat of varnish with appealing crazing and a very warm patina; some wear at high points of scalloped edges; minor chipping on edge of one foot; some remnants of red paint on brass hardware and top edge of box.

(4,000 - 6,000)

432 Carved pine violin case, last quarter 19th century. Applied, carved borders and center pieces with two birds on top and bottom. Round carved Rosets at corners. Measures 10” x 28.5” x 6.5”. Very early varnished surface with tight crazing and an appealing warm patina; wear down to bare wood at high points mostly at one side.

(1,200 - 1,800)

433 Large carved wood shotgun trade sign, 1st quarter 20th century. Double barrel shotgun with double triggers and metal trigger guard. Incised checkering on the forarm and grip. Original hangin brakcets included. Measures 73” long. Very early surface with tight crazing and moderate wear and flaking; small dents.

(4,000 - 6,000)

433a Paint decorated two sided game board. Appears to have some age. Checkers on one side with backgammon on the back. Two shades of gray, black, and red. Measures 19” x 17.5”.

(1,500 - 2,000)

433b Wonderfully decorated two sided game board. Pachisi on one side, which is four colors. American checkers on the other, with the board being three color and additional geometrical embellishment in both gallery areas. Board is in unusual construction, made form .25” pine and hollow. Measures 22.5” long x 14.25” wide x 2” thick. A strip of the board is gone on the pachisi side.

(1,800 - 2,200)

433c Folk carving of a revolutionary war soldier on a spotted horse, early 20th century.. Horse with carved eyes and open mouth with a metal bridle. Measures 9.25” long, stands 10” tall. Original paint with minor rubs and wear; drying cracks on back of neck area; reglued cracks in horse’s legs; reglued cracks in both of soldier’s feet.

Provenance: George and Miriam Van Walleghem.

(2,500 - 3,500)

433b

433a

433d Early bucolic homestead scene in carved watermelon frame, circa 1898. Oil on pine board of three boys playing in front of a small cabin with steamship in background. Initialed and dated “RSP ‘98” lower center. Scene is framed by a 2” thick carved watermelon frame. Image measures 7.75” x 12.25”, watermelon frame measures 15” x 21.5”. Untouched original condition with moderate wear from age; minor separation and flaking to filler where panel joins frame; fine hairline cracks in frame; small dents and edge wear on backside.

Provenance: Ex collection Tom Rowlands. Exhibited at the West Moreland Museum of Art, Greenberg, Pennsylvania, 1989, and pictured in the exhibit catalog titled “A Sampler of American Folk Art from Pennsylvania Collections,” p. 36, exact piece. Private Falmouth Foreside, Maine collection. (4,000 - 6,000)

433e A pair of carved wooden whitetail fawns. probably 1st quarter 20th century. Body is carved from one piece with wide legs and ears. Original paint protected by a coat of varnish that has darkened slightly; some paint has worn away to expose bare wood; both have a broken and repaired foot; one has some breaks with piece missing near one ear; three breaks on one leg.

(4,000 - 6,000)

434 Early domed top painted box from New England, last quarter 19th century. Dove tailed corners and arched top. Inlayed iron hinges and lockset. Measures 10.5” x 23.5”. Original paint with minor to moderate wear; minor roughness and chipping at edges.

Provenance: George Quay collection. (400 - 600)

435 Wooden decorated sponge painted blanket box, circa 1900. Possibly Ohio or Pennsylvania. With turned legs. 26” tall x 21.5” deep x 50” long. Lift top with two latch keyholes. Original paint with edge wear; surface discoloration mostly on top board which has darkened; side piece of trim is missing; expected amount of chips and rubs.

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

436 Paint decorated wooden lift top box, circa 1900. Probably Ohio or Pennsylvania. Original brass scutcheon. With turned feet. Measures 23.5” tall x 19.5” deep, 43.5” wide. Top is retained much of the original color and surface with several scratches; edge wear to sides; expected amount of chips and rubs.

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

Cigar Store Trade Signs

437 Rare barber pole tobacconist trade sign, last quarter 19th century. Like the cigar store Indian a barber pole was and still is used to inform all passersby that a haircut is available. In addition to haircuts, 19th century barber shops often had cigar stands as part of their services. The combination barber pole and cigar trade sign is a very rare and wonderful example of early American folk art. Measures 79” tall. Dry original paint surface with expected flaking and wear.

Provenance: Mark Goldman collection. (15,000 - 25,000)

438 Excellent cigar store trade sign, Thomas Brooks, New York City, New York, circa 1870’s. Referred to by Brooks as “leaners”, these appealing trade figures feature an outstretched arm, offering a bundle of cigars, with the opposite arm resting on a carved post. A handsome carving with deep relief carved necklace and outstanding detail on bearskin wrap. Measures 80” tall including base. Surface was taken down to much of the original with professional paint and headdress restoration by Peter Dean; base and post by Dean done at the time of the surface restoration; a rare example by one of the most sought after trade figure carvers.

Provenance: Sold at Pook & Pook auctions and owned by Olde Hope Antiques, New Hope, Pennsylvania. Americana Antiques, Oxford, Maryland. Private collection, Massachusetts.

(40,000 - 60,000)

439 Important cigar store Indian princess trade sign, possibly Samuel Robb or Thomas Brooks New York City, New York, circa 1870. Holding a bundle of cigars in outstretched right hand and tobacco leaves in left. Stands 81” tall including base, making it one of the largest female examples. Early crazed surface showing minor wear; some structural restoration to tips of headdress feathers, nose, and toes on front foot.

Provenance: Early California collection. Alan Katz Americana. Mark Goldman collection. (25,000 - 35,000)

440 Cigar store Indian princess trade sign, from an East Coast maker, circa 1875. Holding a bundle of cigars in extended right hand. Slightly turned head with large gold earrings. Retains the original base with “madden toys est 1831” painted on the sides. Measures 79” tall including base. Very early appealing surface with some areas of flaking; some restoration to tips of headdress feathers and feet; very early iron brace near outstretched hand; typical drying splits on back.

Provenance: Mark Goldman collection. (15,000 - 25,000)

441 Cigar store Indian trade sign, attributed to the shop of Thomas Brooks, New York City, New York circa 1875. Known as a Brooks leaner. These were given as a promotion to retailers who purchased 5000 cigars or more. Holding an open box of cigars in right hand and leaning on a club held in left hand. Very early surface with appealing crazing; some early restoration to nose; minor chips in headdress feathers; custom modern base.

Provenance: Mark Goldman collection.

(12,000 - 18,000)

442 Cigar store Indian princess trade sign, attributed to the shop of Samuel Robb, New York City, New York, circa 1880. Small size made as a window display or for countertop use. Holding a box of cigars in one hand and a dagger in the other. Stands 46” tall. Appealing surface with minor flaking and wear; early restoration to headdress feathers; typical filled age split on back.

Provenance: Mark Goldman collection.

(10,000 - 15,000)

443 Circus wagon carving of a gladiator, circa 1900. Life sized bearded figure in seated position with helmet decorated with carved feathers, muscular arms and legs, and elaborately carved tunic. Originally on circus wagon, holding reins. 49” x 35”. Retains some of its original paint.

Provenance: Carvings: A Comprehensive Auction, Guernsey’s, June 1993, lot 681. (8,000 - 12,000)

444 “Comical Bust” cigar store trade sign, shop of Samuel Robb, New York City, New York, circa 1870. Sold through the William Demuth catalog and sales people. Used as a window display or countertop advertising. Would have typically held a cigar or pipe. See “Artists in Wood,” p. 53. Measures 24” tall. Early surface with moderate flaking; early drying cracks in back; arm was resecured at some point; a rare piece.

Provenance: Mark Goldman collection. (10,000 - 15,000)

End of session two

Index of Carvers

Fine Sporting Arms Auction

• Visit Bid.Guyetteanddeeter. com for online catalog and bidding starting mid-August. Preview for this auction available NOW on our website!

6

1. GREAT PAIR OF RECENTLY MADE HOLLAND & HOLLAND ROYAL EJECTOR DETACHABLE SIDELOCK DOUBLE TRIGGER

2. FABULOUS HIGH ORIGINAL CONDITION PARKER VHE 410 GAUGE SKEET GUN

3. SUPERB LYNTON MCKENZIE ENGRAVED AND GOLD INLAID JAMES PURDEY 2 BARREL SET SIDELOCK EJECTOR

4. EXTREMELY RARE AND FINE PARKER BHE 28 GAUGE

5. HARD TO FIND WINCHESTER MODEL 21 GRAND AMERICAN 2 BARREL SET 12 GAUGE WITH CASE

6. A WONDERFUL PAIR OF GASTINE RENETTE BREECH LOADING SIDE LEVER HAMMER TARGET PISTOLS WITH CASE

• Auction previewSunday September 9, 2023 all day with cocktail party starting at 4pm.

• Sale Location: Live auction to be held at The Chesapeake Bay Maritime Museum in St. Michael’s, MD.

• Contact our offices for a copy of our world class catalog for th is important sale!

Collection Planning Program

While you continue to enjoy collecting today, you can rely on Guyette & Deeter to collaborate with you on your estate planning and collection management needs. Whether it’s for tax purposes, estate planning, gifting, charitable giving, or insurance, we can develop and periodically update a comprehensive written appraisal of your collection. We have extensive experience working closely with banks, attorneys, trustees, estate officers, probate court, private clients and family members responsible for the dispersal of collections as part of larger estat es.

O ur unmatched market understanding allows us to more accurately document the value and description of each item in your collection. We know that working together to ensure that your wishes are established now will make it easier to administer your estate lat er.

Co ntact Jon or Zac to discuss our Legacy Planning Program today.

Jon Deeter | 440-610-1768 jdeeter@guyetteanddeeter.com

Cote | 207-321-8091

Important changes to November’s

Easton Waterfowl Festival

Guyette & Deeter Auction

New schedule:

Friday, November 10 | 4:00 - 7:00pm

Auction preview party

Saturday, November 11 | 10:00am

Guyette & Deeter Auction | Session One

Sunday, November 12 | 10:00am

Guyette & Deeter Auction | Session Two

New Location:

Country School

716 Goldsborough St

Easton, MD 21601

Dealers who have historically set up inside the Hog Neck Community Center will have priority for tables inside the Country School. The dealer show starts at 8:00 am November 10 - 12. Contact Allison Banks at 410-745-0485 for indoor table rentals. We anticipate having dealer tailgating in the school parking lot. Contact Lyndee Zeller at Lzeller@waterfowlfestival.org or 410-822-4567 for details on outdoor tailgating.

Easton Waterfowl Festival Schedule of Events

Venues include: Easton Armory, The Avalon, Academy of the Arts, Eastern Shore Land Conservancy. Christ Church Easton, and Featured Art and Sculpture Pavilion

Opening Night Schedule | Thursday, November 9

4:00 - 5:00 pm |

5:00 - 8:30 pm |

Opening Ceremonies at the Tidewater Inn

Premiere Night Party at the Downtown Art Gallery

November 10 and 11 | 10:00am - 5:00pm

November 12 | 10:00am - 4:00pm

Menu and Full Bar Available all evening

VIP Packages available: www.waterfowlfestival.org

VIP Happy Hour & Hor devours at The Historic Bullitt House everyday Wine Tasting Pavilion and Beer Wetlands 11-5 each day

www.waterfowlfestival.org

The Country School

Patrick is the author of BERKS COUNTY LONG RIFLES, published for the Berks County Historic Society (Berks History Center) in Reading, Pennsylvania. The book accompanied the Exhibit of the same name held at the Society in 2009.

Patrick also co-authored with John Kolar and published the book, LANCASTER LONG RIFLES, Published for the Pennsylvania Historic Commission property at the Landis Valley Museum in Lancaster, Pennsylvania. The book and the accompanying exhibit held at Landis Valley in 2012 is considered the largest attended exhibit of American long rifles.

He is also the co-author with the late Joe Kindig III of the book, MASTERPIECES OF THE AMERICAN LONG RIFLE, The Joe Kindig Collection which accompanied the exhibit of long rifles held at the Reading Public Museum in 2014.

Patrick was a curator of all three of the above landmark exhibits.

He has written numerous articles in national magazines on antiques and is the past founder/editor of Antique Collecting the national awarded magazine.

He is a member of several antique arms collectors associations and clubs here and abroad.

We are excited to announce Patrick Hornberger as our consultant for Antique Firearms with a specific interest in American rifles.

Currently seeking quality consignments for our September 11 and 12 auction. Call our office at 410-745-0485

The Best Decoy Stands Available

• Black anodized aluminum construction.

• Rubber padded tops & bottoms. Will not mar your furniture or decoys.

• 3 post and 4 post styles to choose from.

• 1 in to 4 in heights in 1/4 in increments

CONDITIONS OF SALE ‑‑ PLEASE READ

1. GUARANTEE ‑ We have made a concerted effort to accurately catalog and describe 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. If we fail to identify a flaw that has an impact on the value, you can return the decoy.

2. DURATION OF GUARANTEE ‑ Request for a refund for items purchased IN PERSON at the auction must be made within 3 days of the sale. If you bid absentee, by phone, or on the internet, it is your responsibility to examine the lot immediately upon receipt and notify us of any issues. The guarantee will end 5 days from the date of delivery. Therefore, all guarantees on items purchased will become null and void 10 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 open ing 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 on 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 defi ciency 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 CAN BE MADE WITH CREDIT CARD (VISA, MasterCard, American Express, or Discover), CASH, CHECK, OR WIRE TRANSFER.

8. BUYERS PREMIUM The buyer’s premium, assessed on each selling lot, is 20% of the hammer price up to and includ ing $1,000,000, plus 10% on any amount in excess of $1,000,000. For payments made using a credit card, the buyer’s premium is 23% 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. Cases are not included with shotgun shell boxes. All dimensions are approximate and are not guaranteed. All calls are sold “As Is”.

ABSENTEE, PHONE, AND ONLINE 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 or 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 20% 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 8 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 a few days 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. Please provide notice in writing if items are covered under your own insurance policy. 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 oil 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 2nd 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: Jon Deeter at (440) 610-1768, Zac Cote at (207) 321-8091, or Gary Guyette at (410) 745-0485.

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

OFFICE:

PO Box 1170

OFFICE: PO Box 1170

St. Michaels, MD 21663

St. Michaels, MD 21663

410-745-0485

410-745-0485

Fax 410-745-0487

Fax 410-745-0487

michael@guyetteanddeeter.com

decoys@guyetteanddeeter.com

I desire to bid on the following items in the sale. The bids are to be executed by Guyette & Deeter, up to but not exceeding the amount(s) specified on the below bids. All bids will be executed and accepted subject to the Terms of Sale and Absentee Bids Procedure outlined in the catalog. (Please be sure that you understand our procedures before using this Absentee and Phone Bid Form.) Office will not be open until Wednesday after the auction.

A PREMIUM OF 20% WILL BE APPLIED TO ALL ITEMS SOLD, TO BE PAID BY THE BUYER