The Sporting Sale 2023 | Catalog Two | Copley Fine Art Auctions

THE SPORTING SALE

JULY 13-14, 2023

SPECIALISTS

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

Colin S. McNair Decoy Specialist colin@copleyart.com

Jim Allen Decoy Specialist jim@copleyart.com

Leah Tharpe Fine Art Specialist leah@copleyart.com

Stephen B. O’Brien Jr. Cinnie O’Brien

Colin S. McNair

Leah Tharpe

Chelsie Olney

Eileen Steward, Photography & Design

Michelle Dwyer

© 2023 Copley Fine Art Auctions, LLC.

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THE SPORTING SALE SCHEDULE OF EVENTS

AUCTION: JULY 13-14

Day 1: Thursday, July 13, 10:00AM

Lots 1-16, Decoys from the Thomas M. Evans Jr. Collection followed by lots 17-243

Day 2: Friday, July 14, 10:00AM

Lots 244-517

Live-streamed from Massachusetts; there will be no in-person bidding during the auction.

ADDITIONAL PHOTOS AND AUCTION PREVIEW

Please visit copleyart.com for links to view additional images of each lot. You may view objects in our gallery by appointment or contact us to find out if we will be traveling to your area. Our specialists also offer personalized video previews; call our office to set up a time.

ABSENTEE & TELEPHONE BIDS

To schedule absentee or telephone bids, please use the forms found in the back of this catalog. All bids must be received at least twenty-four hours before the start of the sale.

ONLINE BIDDING

Live online bidding will be available through Copley Live (download in your app store), Bidsquare, and Live Auctioneers.

Please review the Terms and Conditions of Sale on page 245 and Important Notices on page 9 of this catalog.

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

2 Buyer’s premium

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

3 Consign to our next sale

Copley Fine Art Auctions, LLC is accepting consignments for our The Winter Sale 2024. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com.

4 Pre-registration

Pre-registration forms are available online, as well as in the back of this catalog.

5 Absentee and telephone bidding

If you plan to place absentee bids or to bid by telephone, please make sure that we receive your Absentee/Telephone Bid form at least 24 hours before the start of the sale. It is possible that any bids received after this time may not be accepted. You will receive confirmation of your absentee bid(s) within 24 hours of receipt. If you do not receive confirmation, please call our office at 617.536.0030.

6 Sales tax

All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate, or copy thereof, while registering. Failure to do so will subject the bidder to a mandatory 6.25% Massachusetts sales tax on purchases.

7 Inspection of items offered at this auction

All items are sold “as is” and should be inspected either personally or by agent before a bid is placed. Prospective buyers should satisfy themselves by personal inspection as to the condition of each lot. Although condition reports may be published or given on request, such reports are statements of opinion only. Regardless of whether or not a condition report is given, all property is sold “as is.” The absence of a condition report does not imply that the property is in good condition. Copley Fine Art Auctions, LLC reserves the right, at its sole discretion, to refuse condition requests.

8 Flat art dimensions

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

9 Additional images

Please visit copleyart.com for additional images of each lot.

10 Stands

Please be aware that stands are not included with items purchased.

11 Condition description of wear or gunning wear

Wear or gunning wear may include all types of wear and damage that can be inflicted, and may be expected, from hunting, handling, use, or time. This may include, but is not limited to, paint wear, flaking, dings, scratches, checks, cracks, craquelure, age lines, dents, chips, rubs, blunts, broken or missing eyes, shot scars, seam separations, raised grain, rust, filler loss, sap, discoloration, and altered rigging, stick holes, and eyes. The condition of the undersides may not be listed. Clear coats, such as varnish, shellac, and oil, may not be listed. Repairs, restorations, and touch-up may include new material. Paint listed as “working,” “gunning,” or “old” is likely not original first coat. Repairs and construction features that are original to the work, including but not limited to putty, bungs, plugs, patches, and stabilization, may not be mentioned. Replaced and repaired bills may include touch-up near insertion point and extend through back of head, if applicable. Radiographs, or x-ray images, may be available by request for select lots. Please submit additional condition report requests at least ten days prior to the sale date. Additional online photos are considered to be part of the condition.

12 Fragile decoratives

Fragile decoratives, like the birds, feathers, flora, and fauna that their makers emulate, can be particularly susceptible to damage, deterioration, and loss. Feathers, wings, legs, tails, leaves, branches, and other parts can become detached from necessary handling. Due to these circumstances, CFAA will not be responsible for any change in condition of decorative lots. Additionally, we recommend that all bidders consider transportation logistics for these special objects prior to the sale.

13 Condition description of “As found”

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

14

Auction results

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

15 Pick up and shipping

Buyers wishing to pick up items after the auction at our office may do so only by appointment. If you would like your items shipped, please complete and return the Authorized Shipping Release form found in the back of this catalog.

16 Auction day contact information

On site: 617.536.0030

Auctioneer Peter J. Coccoluto

MA License #2428

PROPERTIES FROM

Harry and Judy Bextel Collection

Michael Boxer Collection

Dave Campbell Collection

A descendant of the Crocker Family

Descendants of Thomas Coleman du Pont

Thomas M. Evans Jr. Collection

Richard and Lynn Gove Collection

John Hagan Collection

Renee du Pont Harrison Collection

A descendant of Allan and Helen Inglis

Kangas Collection of International Folk Art and Decoys

Dr. Morton D. Kramer Collection

Richard Labowskie, M.D. Collection

Estate of Paul W. Masengarb

Masterworks of the Illinois River Collection

Thomas Lee Saltonstall Collection

Robert Shisler Collection

Terry Smart Collection

Wade and Sharon Wander Collection

Bob White Collection

Eddie Woodin Collection

Private Collection, California

Private Collections, Connecticut

Private Collection, Greenwich, Connecticut

Private Collections, Florida

Private Collection, Georgia

Private Collections, Maine

Private Collections, Massachusetts

Private Collection, Cambridge, Massachusetts

Private Collections, Nantucket, Massachusetts

A Wellfleet, Massachusetts Home

Private Collection, Detroit, Michigan

Private Collection, Minnesota

Private Collection, Nevada

Private Collections, New Jersey

Private Collections, New York

Private Collection, Tennessee

Private Collections, Texas

Private Collection, Dallas, Texas

Private Collection, Virginia

Private Collection, Middleburg, Virginia

Private Collection, Wisconsin

THE SPORTING SALE 2023

LOTS 17-243

DAY 1 | JULY 13

Following the decoys from The Thomas M. Evans Jr. Collection which begins at 10AM

Additional images for each lot are available through the online bidding platforms.

MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

Lots 17-33

The Harry and Judy Bextel Collection

Over the course of forty-four years, architect Harry Bextel worked for the renowned firm of Kevin Roche, John Dinkeloo and Associates. The groundbreaking company pioneered the integration of indoor and outdoor spaces through innovative design. The firm spent forty years remodeling The Metropolitan Museum of Art, and Bextel worked extensively on that high-profile project.

In 1988 Bextel began collecting carvings by Mark McNair. He explains that he decided to focus solely on that maker “because of his innate ability and keen eye to capture the ‘spirit of the bird.’” Harry and Judy have become good friends of Mark and Martha and their family over the years.

An exemplary McNair decoy with a tucked high head and a long hardwood-inlay tail. It is finished with fine scratch comb feather detail and the underside of the hollow body bears an incised “McNair” signature. Excellent original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

$2,500 - $3,500

17 Pintail

Mark S. McNair (b. 1950) Craddockville, VA, 1990 20 1/2 in. long

MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

18 Harlequin Duck

Mark S. McNair (b. 1950)

Craddockville, VA, 2010

14 1/2 in. long

These striking sea ducks are a rare sighting on the Atlantic seaboard. Approximately six were fashioned in McNair’s workshop. The underside of this raised-wing carving bears an incised “McNair” signature. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

$1,500 - $2.500

19 Shang Wheeler-Style Black Duck

Mark S. McNair (b. 1950)

Craddockville, VA, 1994

17 1/2 in. long

This decoy pays close homage to Shang Wheeler, who was a major influence on McNair during his early carving years in Connecticut. The maker’s incised signature and date is on the underside along with a painted inscription to Bextel. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

$1,500 - $1,800

20 Parker’s Island Black Duck

Mark (b. 1950) and Ian (b. 1981) McNair

Craddockville, VA, 2005

21 in. long

This distinct decoy is a collaborative effort that came together in a cabin on a small Chesapeake Bay island. The underside bears an incised “M. & I. McNair” signature and incised “Parker’s Island 2005.” Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

$1,000 - $1,500

21 Long-Billed Curlew Mark S. McNair (b. 1950) Craddockville, VA 17 1/2 in. long

The maker’s incised signature is on the underside of this round-headed, raised-wing curlew. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

$1,100 - $1,400

22 Curlew Ian T. McNair (b. 1981) Craddockville, VA, c. 2005 18 in. long

The underside bears an incised “I. McNair” signature. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

$700 - $900

23 Turned-Head Golden Plover Mark S. McNair (b. 1950) Craddockville, VA, 1993 11 in. long

A featherlight hollow plover with pegged construction and the head turned ninety-degrees. The underside bears an incised “McNair” signature and has an inlaid stick hole. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

LITERATURE: Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 107, related rig illustrated.

$1,000 - $1,500

24 Dovetailed Golden Plover Mark S. McNair (b. 1950)

Craddockville, VA, 2000 12 in. long

A refined hollow plover with a removable dovetailed head. The underside bears an incised “McNair” signature and a bone stick hole inlay. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

LITERATURE: Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 107, related rig illustrated.

$1,000 - $1,500

MARK S. MCNAIR

25 Fred Nichols-Style Feeding Yellowlegs

Mark S. McNair (b. 1950)

Craddockville, VA, 1991

11 in. long

The underside bears an incised “McNair” signature. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

$1,000 - $1,500

26 Dovetailed Turned-Head Yellowlegs

Mark S. McNair (b. 1950)

Craddockville, VA, 1994

10 in. long

The maker’s incised signature and a stick-hole inlay is found on the underside of this hollow decoy. The inside of the removable neck joint is dated and incised “HB” for the patron. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

LITERATURE: Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 107, related plover rig illustrated.

$1,000 - $1,500

27 Golden Plover with High Dovetailed Head

Mark S. McNair (b. 1950)

Craddockville, VA, 2000

12 in. long

This hollow carving has a removable head with a tall and thin neck. The underside bears an incised “McNair” signature and a bone-inlay stick hole. The inside of the dovetail has an incised “HB” for the artist’s patron. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection, acquired from the artist

$1,000 - $1,500

28 Dovetailed Golden Plover with Carved Wings

Mark S. McNair (b. 1950)

Craddockville, VA, 2007

9 1/2 in. long

The inside of the neck joint has an incised “HB” for the patron. The underside of the hollow body bears an incised “McNair” signature. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

$1,000 - $1,500

This striking plover is a rare visitor to North America yet is easily recognizable by its regal crest which is represented here with a leather inlay. This is the first of only two or three by the artist. The maker’s incised signature is on the underside along with a “1.” Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

$1,000-$1,500

2003

The underside of this racy carving bears an incised “McNair” signature. This decoy, with an osage orange bill, was from a group made in collaboration with McNair’s son Colin. Original paint with light wear.

PROVENANCE: Harry and Judy Bextel Collection

$700 - $900

31

Harry Bextel (b. 1935)

New Haven, CT, c. 2010 6 1/2 by 60 1/2 in.

A framed lineup of hand-cut silhouettes.

PROVENANCE: Harry and Judy Bextel Collection

$600 - $900

32

Harry Bextel (b. 1935)

New Haven, CT, c. 2020 15 1/2 in. wide

A handcrafted sailor’s seashell valentine in an octagonal display case composed of mahogany and glass. The octagon measures 15 1/2 inches wide by 2 1/4 inches deep. Originally made in the late 19th century, sailor’s valentines were crafted at sea, brought home from a seaman’s voyage, and given to a loved one. As found.

PROVENANCE: Harry and Judy Bextel Collection

$2,000 - $3,000

33 Sailor’s Valentine

Harry Bextel (b. 1935)

New Haven, CT, c. 2020 15 1/2 in. wide

A handcrafted sailor’s seashell valentine in an octagonal display case composed of mahogany and glass. The octagon measures 15 1/2 inches wide by 2 1/4 inches deep. As found.

PROVENANCE: Harry and Judy Bextel Collection

$2,000 - $3,000

29 Northern Lapwing Mark S. McNair (b. 1950) Craddockville, VA, 2006 12 in. long

30 Tern

Mark S. McNair (b. 1950) Craddockville, VA,

12 in. long

Decoy Silhouettes

Sailor’s Valentine

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

A rare and important working Crowell dowitcher decoy displaying glass eyes, richly painted detail, and split-tail carving with painted primaries. It is challenging to find early examples of this species by Crowell as he concentrated primarily on black-bellied plover and yellowlegs during the first quarter of the 20th century.

Acutely describing a similar shorebird carving in his book, American Wildfowl Decoys, Jeff Waingrow writes, “Crowell’s dowitcher decoy is a transitional carving, displaying the virility of his earlier work with a measure of new refinement found in the later examples. It possesses enough of the best qualities from each period, however to deserve a place among the finer examples of Crowell shorebirds.” Outstanding original paint with minor gunning wear, including a rub to the wing tip. Reset crack in original bill.

LITERATURE: Copley Fine Art Auctions, The Winter Sale 2013, New York, NY, January 21, 2013, lot 215, exact decoy illustrated.

Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 20 B, similar decoy illustrated.

Jeff Waingrow, American Wildfowl Decoys, New York, NY, 1989, p. 97, similar example illustrated.

Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Sandwich, MA, 1992, p. 49, pl. 1, similar bird illustrated.

Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 213, related dowitcher illustrated.

$25,000 - $35,000

34 Exemplary Dowitcher

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910

12 1/2 in. long

A.

East

9 in. long

This newly discovered carving exhibits Crowell’s mastery of bird carving and paint application with superb blending and detailed feathering. It has a particularly refined bill and incised feathers on the tail. The underside of the base is signed with the rectangular stamp which has been colored red.

This carving, along with the two following lots, is making its market debut since it was acquired from Crowell by a member of the du Pont family. Excellent original paint with light wear, including a very minor wing-tip chip.

PROVENANCE: Private Collection, a descendant of Thomas Coleman du Pont, acquired from the maker Private Collection by descent from the above

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 224, related plover illustrated.

$15,000 - $25,000

35 Du Pont Crowell Black-Bellied Plover

Elmer Crowell (1862-1952)

Harwich, MA, c. 1930

36 Du Pont Crowell Lesser Yellowlegs

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

8 1/2 in. long

An exquisite small mantel bird with distinctly refined features, including a thin neck and bill, full body, and incised tail feathers. It is finished with the artist’s best blended plumage. The underside of the base is signed with Crowell’s rectangular stamp which has been colored red.

This carving, along with the preceding and following lot, is making its market debut since it was acquired from Crowell by a member of the du Pont family. Excellent original paint with light wear, including minor flaking to leg putty.

PROVENANCE: Private Collection, a descendant of Thomas Coleman du Pont, acquired from the maker Private Collection by descent from the above

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 214-215, related yellowlegs illustrated.

$8,000 - $12,000

37 Du Pont Crowell Semipalmated Plover

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

6 1/4 in. tall

An excellent rendition of this rare species with refined form and deftly blended paint. The underside of this mantle carving is struck with the maker’s rectangular stamp.

This carving, along with the two preceding lots, is making its market debut since it was acquired from Crowell by a member of the du Pont family. Original paint with light wear, less than 1/4-inch bill tip replacement, touch-up to small chip and line by left eye, minor touch-up to foot and thigh putty, and minor ding on left flank.

PROVENANCE: Private Collection, a descendant of Thomas Coleman du Pont, acquired from the maker Private Collection by descent from the above

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 52, related semipalmated plover illustrated (mislabeled caption).

$8,000 - $12,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

38 Rare Canvasback Drake A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1940

15

1/2 in. long

As a highly regarded gamekeeper and breeder of waterfowl, Crowell possessed a thorough knowledge of the avian anatomy, which is on full display with this “king of ducks.” This decorative decoy by Crowell is exceptional in that the maker rarely gave such special attention to his carved feather groups. The body is fitted with a turned head with rasped feather detail and a long sweeping bill true to the species. In addition to carved primaries and tail feathers, it has slight wing separation down the back and deeply carved scapulars and flanks. This drake was finished with blended and detailed paint from head to tail.

The underside is signed in ink “A.E. Crowell, Cape Cod, 1940” and struck twice with his rectangular stamp. Original paint with even wear, tight crack in neck with flake in front, original age line along right side, and early minor spot touch-up to sides and neck.

PROVENANCE: A Massachusetts Estate Private Collection, acquired from the above

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 116 and 151, related decoys illustrated.

$15,000 - $25,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

A rare species for the maker with his early oval brand on the underside. The breast features Crowell’s signature rasp finish and the dry surface exhibits his wet-on-wet blending. An early example in exceptional condition, this is one of the finest brant by the maker know to exist. Excellent original paint with even gunning wear and a chip to tail has been darkened.

PROVENANCE: Emerson and Isabelle Tuttle Collection, acquired c. 1925

Private Collection, by descent in the family

Private Collection

LITERATURE:: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 195 (underside) and 256, exact bird illustrated.

Brian Cullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992.

$8,000 - $12,000

39 Rare Brant

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 19 in. long

40

A rare and early snuggle-head working decoy that appears to have avoided the rigors of hunting. Crowell used his hen to showcase his command of complex plumage. The underside is marked with a “Q” brand for the Quandy Collection. Original paint with light wear and some loss to front neck putty.

PROVENANCE: Quandy Collection Private Collection

$7,000 - $10,000

41

Crowell’s redhead hens are quite rare. This crisp pre-brand example was never rigged and displays bold tail feather carving, glass eyes, expertly blended paint, and carved bill detail. Measuring seven inches in width, it features deep rasp carving and a slightly uplifted head, accurately capturing the likeness of species. Excellent original paint with a faint age line in head.

PROVENANCE: Colby Wood Collection Private Collection

$8,000 - $12,000

Early Goldeneye Hen

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 13 in. long

Early Redhead Hen

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 15 in. long

THE MACKEY ENGLISH MALLARD

42 The Mackey English Mallard

John English (1848-1915)

Florence, NJ, c. 1880

16 in. long

John English was “the innovator of the Delaware River decoy,” yet his existence alluded collectors for years and information about his life is just now being discovered. English’s importance as the father of the Delaware River school of carving is documented by virtually every authority from the region. Robert “Bob” White, describes English as “the ultimate Delaware River carver.” Author Kenneth L. Gosner notes, “The work of John English set a standard against which other Delaware River makers have been measured and compared ever since. Indeed, for many collectors, the English style is the Delaware River style.”

This decoy retains its original English paint which is rarely found. This hollow carving, with its clean lines, thin tail, sharp wing tips, and incised feather detail, is the epitome of the

region’s archetype. This is believed to be the finest John English mallard known to exist.

The weight has been marked with a “BP” for the Bob and Pauline White Collection. Original paint with even gunning wear and tight age line in left side of neck.

PROVENANCE: William J. Mackey Collection Private Collection, Texas, acquired from the above Bob White, Collection, acquired from the above

LITERATURE: Kenneth L. Gosner, Working Decoys of the Jersey Coast and Delaware Valley, Cranbury, NJ, 1985, pp. 89-91. Allen Linkchorst, “John English,” Decoy Magazine, March/April 2000, front cover and p. 9, exact decoy illustrated.

$30,000 - $40,000

NATHAN ROWLEY HORNER

1882-1942 | WEST CREEK, NJ

43 Red-Breasted Merganser Drake

Nathan Rowley Horner (1882-1942)

West Creek, NJ, c. 1930

15 1/2 in. long

James Doherty selected a nearly identical decoy for his collection which is illustrated in his Classic New Jersey Decoys book. This lot is a rigmate with a sleek hollow body and a slightly tucked head capped with three delicate tines. The underside is stamped for the Somers G. Headley Collection and the David Campbell Collection. Outstanding original paint with minimal wear.

PROVENANCE: Somers G. Headley Collection

Larry Lambert Collection

David Campbell Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 102, Doherty rigmate illustrated.

$30,000 - $50,000

“Jake’s Point Hotel Wreck Lead” is partially branded on the underside of this distinct decoy with bold form and paint.

PROVENANCE: Bud Ward Wade

$4,500 - $6,500

A grand form with stippled paint detail. Original paint with some craquelure, a replaced bill, and scattered touch-up to a few small paint rubs.

PROVENANCE: Bud Ward Wade and Sharon Wander Collection

$3,000 - $5,000

44 Jake’s Point Hotel Ruddy Turnstone Wreck Lead, Long Island, NY, c. 1900 10 in. long

Original paint with even gunning wear and a ding in the back.

and Sharon Wander Collection

45 Curlew Swain Family Cape May, NJ, c. 1890 16 1/2 in. long

9 in. long

A rare turnstone shorebird decoy from a rig that included plover and yellowlegs by the same maker. A partial rig is illustrated in Doherty’s book, Classic New Jersey Decoys. This decoy has an original plug through the neck. Original paint with moderate gunning wear.

PROVENANCE: Wade and Sharon Wander Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 175, rigmates illustrated.

$2,500 - $3,500

8

A refined and plump red knot. Old working paint with gunning wear and a replaced bill.

PROVENANCE: Wade and Sharon Wander Collection

$1,500 - $2,500

9 3/4 in. long

A rare turnstone with sweeping lines and a very distinct zig-zag tail. Old gunning paint with moderate wear, chips to bill and tail tip.

PROVENANCE: Wade and Sharon Wander Collection

$1,500 - $2,500

12 in. long

An oversize turnstone with incised raised wing detail and a slightly turned head. Original paint with even gunning wear and a chip to right side.

PROVENANCE: Wade and Sharon Wander Collection

$2,500 - $3,500

46 Ruddy Turnstone Charles W. Turner (1860-1939) Atlantic City, NJ, c. 1890

47 Robin Snipe Capt. Jonas Sprague (1890-1920) Beach Haven, NJ, c. 1910

1/2 in. long

48 Ruddy Turnstone Capt. Jonas Sprague Beach Haven, NJ, c. 1900

49 Ruddy Turnstone Otis Townsend (b. 1877) Townsend Inlet, NJ, c. 1910

50 Ruddy Turnstone New Jersey, c. 1900 10 in. long

A turnstone carved from a 1 7/8 inch board. Original paint with moderate gunning wear and a replaced bill.

PROVENANCE: Wade and Sharon Wander Collection

51 Yellowlegs

Charles Gaskill (attr.) New Jersey, c. 1900 11 in. long

A three-piece yellowlegs with vertical lamination. Appears to be original paint with a replaced bill.

PROVENANCE: Wade and Sharon Wander Collection

52 Early Golden Plover

The Seabury Brothers Lafayette (1823-1910) and Ichabod (1821-1907) Bridgehampton, NY, c. 1855 10 1/2 in. long

Appears to be original paint with moderate gunning wear, stabilizing nail in the side of the head, and a replaced bill.

PROVENANCE: Wade and Sharon Wander Collection

53 Feeding Yellowlegs

Bradford Barkalow (attr.) Forked River, NJ, c. 1880 12 in. long

An elongated decoy with an “HJ” incised by the stick hole. Original paint with moderate wear, including some discoloration and flaking to left side. Bill appears to be a replacement.

PROVENANCE: Wade and Sharon Wander Collection

$1,000 - $2,000

54 Golden Plover David Goodspeed (1862-1943) (attr.) Duxbury, MA, c. 1880 9 1/2 in. long

A rare decoy with gold spots on a ruddy back. Original paint with moderate gunning wear, a few minor dings in back, and a replaced bill.

PROVENANCE: Wade and Sharon Wander Collection

$600 - $900

55 Black-Bellied Plover Flattie Pair New Jersey, c. 1900 11 in. long

A rigmate pair carved from a nearly two-inch board. Original paint with moderate wear and replaced bills. One has a reset hairline crack in neck.

PROVENANCE: Wade and Sharon Wander Collection

56 Yellowlegs Atlantic Coast, c. 1900 9 in. long

Original paint with moderate wear, wire bill is a replacement.

PROVENANCE: Wade and Sharon Wander Collection

57 Mackey Verity Turnstone Flattie

Seaford, Long Island, NY, c. 1880 8 in. long

A rare Verity family turnstone with the Mackey Collection stamp on the underside. Old working paint with moderate gunning wear.

PROVENANCE: William J. Mackey Jr. Collection Wade and Sharon Wander Collection

Original paint with light wear and touch-up around base of replaced bill.

PROVENANCE: Wade and Sharon Wander Collection

$800 - $1,200

A split-tail example with tight stippled paint detail made by, or related to the work of, Captain James Wyer (1816-1899) of Nantucket, Massachusetts. Original paint with light wear.

PROVENANCE: Wade and Sharon Wander Collection

$1,500 - $2,500

58 Yellowlegs Massachusetts, c. 1900 10 in. long

59 Golden Plover Nantucket, MA, c. 1880 11 in. long

60 Golden Plover Nantucket, MA, c. 1860 9 in. long

A plump form with two-piece construction and green stippled plumage. Original paint with light gunning wear.

PROVENANCE: Wade and Sharon Wander Collection

$3,000 - $5,000

61 Reaching Golden Plover Pair Nantucket, MA, c. 1880 10 1/2 in. long

A refined pair of adult plover with outstretched heads. Original paint with even flaking and replaced bills.

PROVENANCE: Wade and Sharon Wander Collection

$2,500 - $3,500

62 Golden Plover Nantucket, MA, c. 1870 10 1/4 in. long

A fine working decoy from the hallowed hunting grounds of Nantucket. Old gunning paint with moderate wear.

PROVENANCE: Wade and Sharon Wander Collection

$1,500 - $2,500

63 Rare Blue-Winged Teal Pair

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, 1950

11 1/2 in. long

A fine rigmate pair of blue-winged teal decoys with turned heads, long flared bills, and upswept tails made in the “1948” style. The underside of each tail is signed and dated 1950. The bottom of the balsa bodies are signed and dated 1948 by Lem and stamped for the Headley and Campbell collections. Somers Headley is known to have acquired decoys directly from the Wards during this era.

Ward blue-wings are vastly outnumbered by the green-wings. Illustrating the rarity of this pair, Gard and McGrath’s heavily illustrated and definitive volume on the Wards features seven

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

green-wings and zero blue-wings by the brothers. Original paint with light wear.

PROVENANCE: Somers G. Headley Collection

Dave Campbell Collection

LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 98, related greenwing teal illustrated, no blue-wings illustrated.

$10,000 - $16,000

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

64 The Ward Peregrine Falcon Lemuel T. Ward (1896-1984)

Crisfield, MD, 1969

24 1/2 in. tall

This singular sculpture by Lem depicts a peregrine with a captured bobwhite quail hen in its talons. The combination of Lem’s detailed refinement and the depiction of a dramatic interaction place this as a landmark work in the cannon of American bird carving.

Dr. Kramer was aware of the importance of this work and had Norris Pratt build a custom crate. This allowed it to remain in excellent condition through multiple public exhibitions. The base is signed, titled, and dated.

The falcon is believed to be the only one known to be carved by Lem. The only other Ward quail known is a preening cock which can be found as lot 67 in this sale. Original paint with light wear and some craquelure on right shoulder.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the artist

LITERATURE: Glenn Lawson and Ida Ward Linton, The Story of Lem Ward, Exton, PA 1984, pp. 56-57, exact carving illustrated and discussed.

EXHIBITED: Salisbury, Maryland, The Ward Museum, 2020-2023.

$18,000 - $24,000

“Occasionally, a work of art appears that is a great leap beyond anything that has come before it. To American Wildfowl Art, Lem Ward’s Peregrine Falcon was such a leap. This is the first known wildfowl sculpture of this quality depicting such interaction between a bird and its surroundings... Lem worked on this bird for several years.”

— Glenn Lawson and Ida Ward

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

65 The Ward Flying Mallard Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, 1936 and 1937

21 in. tall and 19 in. wingspan

The Wards’ ability to capture likeness of species is on full display with this grand pair. Few Ward carvings command the presence of these dynamic ducks alighting. Each bird features fully outstretched wings with carved feather delineation, applied “peach basket” feathers on the back, turned heads on reaching necks, flared bills, and carved feet. The drake also has three curl feathers above the tail. No other Ward flyers of this design have come to light.

Carved in the mid-1930s, these exceptionally early and highly accomplished decoratives show clear parallels to the Wards’ classic ‘36 model gunning decoys, which originated at the same time. Important to the legacy of the brothers, these carvings place the Wards among the likes of A. Elmer Crowell (1862-1952) and Charles “Shang” Wheeler (1872-1949) as two of the earliest makers of decorative American bird carvings.

These important carvings were originally purchased by Fred and Lynn Vogel, early decoy collectors who also owned an antique shop in Dewey Beach, Delaware. In the 1970s Oliver “Tuts” Lawson, a friend and protégé of the Wards, often visited Lynn Vogel who also sold Lawson’s carvings in the shop. During those visits Lawson remembers seeing just the single hen mallard, though he was aware that a drake had at one time accompanied her. Copley is pleased to represent these reunited carvings as a pair.

With their elaborate and extensive carving details, these boldly carved mallards are in very good condition given their age. They represent two of the most important decorative Ward carvings ever to come on the market.

The drake is signed “L.T. Ward, Crisfield, MD -1936-” on the underside. The hen is signed “Lem Ward, Crisfield, Md, -1937-” on the underside of right wing. Original paint with some craquelure and wear, touch-up to some of drake’s craquelure. Drake has crack in each leg and restoration to two primary feather tips and left side of tail. The hen is in excellent structural condition with touch-up to top of tail joint. Hen’s base has been added to match drake’s.

PROVENANCE: Fred and Lynn Vogel, acquired directly from the Ward Brothers

Private Collection, Virginia (drake only)

Private Collection, Texas (drake only)

Private Collection, Maryland (hen only)

Private Collection

LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989.

Russell A. Fink, Catalog of American Bird Decoys, Lorton, VA, 1976, lot 240, exact drake illustrated.

EXHIBITED: Salisbury, Maryland, The Ward Museum, 2017-2023.

$30,000 - $50,000

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

66 “Sunbathing” Yellowlegs in Four Stages

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, 1965

10 in. long, 10 in. tall

This yellowlegs in a rare “sunbathing” position was inspired by the work of John James Audubon as is referenced by a metal plaque mounted on the signed and dated base. The carving displays significant attention to detail in form and paint. In addition to the feature carving itself, this lot includes Lem’s 1982 drawing of the bird, the original pattern, and a single block profile cutout with a paint sketch to demonstrate how the bird was made. Original paint with light wear.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the artist

LITERATURE: Glenn Lawson and Ida Ward Linton, The Story of Lem Ward, Exton, PA, 1984, pp. 124-125, exact carving illustrated.

EXHIBITED: Salisbury, Maryland, The Ward Museum, 2020-2023.

$4,000 - $6,000

67 The Ward Bobwhite Quail Lemuel T. Ward (1896-1984) Crisfield, MD, 1966

8 1/2 in. tall, 8 in. wide

This carving of a preening bobwhite quail is unique and may be the only standing quail done by the Wards. It is part of his premier decorative “Sunbathing” series of titled birds which includes some of his finest.

The Ward Museum of Wildfowl Art in Salisbury, Maryland, held the one other known quail by Lem. However, that quail is an accessory to one of the greatest and most innovative early American bird of prey carvings ever executed, as it is held limp in the talons of a peregrine falcon (Lot 64).

The rarity of refined early bobwhite carvings by any maker cannot be overstated. Indeed, among the leading decoy makers only Elmer Crowell’s few quail notably preceded this

THE WARD BOBWHITE QUAIL

work. They are among the Cape Codder’s most sought-after carvings, yet none of Crowell’s are known to be in a preening position.

The carving is mounted on a fourteen-inch-long driftwood base. The side of the base is signed and titled “Sunbathing L.T. WARD 1966.” Excellent original paint with light wear.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the maker Private Collection

LITERATURE: Glenn Lawson and Ida Ward Linton, The Story of Lem Ward, Exton, PA 1984, p. 44, exact carving illustrated.

$15,000 - $20,000

68 Swan Capt. Benjamin F. Dye (1832-1896)

Perryville, MD, c. 1880

24 1/2 in. long

An exceedingly rare swan by the maker with tack eyes and traditional rigging. “SY” is branded in the lower breast. In working paint with heavy gunning wear, restoration to neck, body cracks, and bill.

PROVENANCE: Ronald S. Swanson Collection Private Collection

$4,500 - $6,500

69 Pinch-Breast Pintail Drake The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1932

18 1/2 in. long

A rare pinch-breast model pintail from the rig of aviation pioneer Glenn L. Martin (1886-1995). Regarding the pinch-breast pintail, Gard and McGrath state, “The design is considered the best in Ward pintails and is valued with that of earlier Ward styles.” Original paint with heavy gunning wear, roughness to head, and an original crack in back.

PROVENANCE: Glenn L. Martin Rig

Ronald S. Swanson Collection Private Collection

LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 57-63, related examples illustrated. Ronald Swanson, “The Decoy as Folk Sculpture,” Cranbrook Academy of Art Exhibition Catalog, January 1987, p. 29, fig. 43 (2nd from right), exact decoy illustrated.

EXHIBITED: Bloomfield Hills, Michigan, The Decoy as Folk Sculpture, Cranbrook Academy of Art, January 27-February 22, 1987.

$4,000 - $6,000

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, c. 1925

24 1/2 in. long

An early carving with a low neck seat and high tail, reminiscent of their humpback duck decoys. As found.

$1,200 - $1,800

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, c. 1931

14 1/2 in. long

This early and exceedingly rare Ward showcases exceptional form. The underside is signed and dated by the Wards and stamped for the Dyke Collection. Old paint with heavy gunning wear, chip to top of head, age line in back, and touch-up to reset bill.

PROVENANCE: Guy Windsor Sam Dyke Collection, acquired from the above Private Collection

LITERATURE: Eugene V. Connett, ed., Duck Shooting Along the Atlantic Tidewater, New York, NY, 1947, p. 129, related decoy illustrated.

$2,000 - $3,000

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, c. 1936

17 1/4 in. long

As found.

70 Early Canada Goose

71 Pinch-Breast Broadbill Drake

72 Black Duck

73 Wing Duck Redhead

Richard T. “Dick” Howlett (1829-c.1890)

Havre de Grace, MD, c. 1875

14 in. long

A rare, wooden wing duck with stylish head carving. Howlett was one of Havre de Grace’s best makers and his decoys are rare. A similar rigmate has been attributed to Captain Benjamin F. Dye (1832-1896) of Perryville, Maryland. Original paint with gunning wear, working touch-up to eyes, scars on left side of face, and a reset chip under bill.

74 Wing-Duck Canvasback

William Heverin (1860-1951)

Charlestown, MD, c. 1900

14 1/2 in. long

A low-body wooden decoy for use on the wings of an Upper Bay sinkbox. Heavy gunning wear and taken-down paint.

75 Mackey Redhead

Capt. Benjamin F. Dye (1832-1896)

Perryville, MD, c. 1880

12 3/4 in. long

This early Upper Bay decoy bears the Mackey Collection ink stamp. He illustrated this decoy in his book, noting that “stylized paint patterns such as this were seldom used after 1900 on Chesapeake Bay waters.” In a mix of old paint with heavy gunning wear and a neck crack.

PROVENANCE: William J. Mackey Jr. Collection

Ronald S. Swanson Collection Private Collection

LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 145, pl. 122, exact decoy illustrated.

$2,000 - $3,000

76 Bluebill

Capt. Benjamin F. Dye (1832-1896)

Perryville, MD, c. 1870

13 in. long

An early Upper Bay decoy with excellent form. Old working paint with repaint to black, top of head and bill are restored.

$2,000 - $3,000

77 Grace Rig Canvasback

James T. Holly (1855-1935)

Havre de Grace, MD, c. 1880

14 in. long

Branded “GRACE” on underside. As found.

78 Canvasback Drake

Charles Nelson Barnard (1876-1958)

Havre de Grace, MD, c. 1910

15 1/4 in. long

Repaint with gunning wear.

79 High-Head Canvasback

James T. Holly (1855-1935)

Havre de Grace, MD, c. 1890

17 1/2 in. long

A large high-head canvasback. As found in old gunning paint.

80 Mallard Drake

Robert “Bob” McGaw (1879-1958)

Havre de Grace, MD, c. 1935

15 3/4 in. long

A rare full-size decorative mallard on a beveled-edge base. Original paint with light wear, some crazed paint on head, and an age line on underside.

$1,000 - $2,000

LIFE-SIZE FLYING WILD TURKEY

81 Life-Size Flying Wild Turkey

Frank S. Finney (b. 1947)

Capeville, VA, 2022

48 in. long, 58 in. wingspan

This is among the finest turkey carvings by any maker and it’s among Finney’s finest work. This life-size gobbler is fullbodied with extensive detail from front to back, including carved feathers. It is hollow and fitted with a mounting plate for hanging on a wall or the custom stand which is included with the work.

This is the first work of its kind to ever be offered at auction. Only one comparable was made over a decade ago, which resides in a private collection. Signed “F.F.” on the backside of the mounting plate. Original paint with minimal wear.

$40,000 - $60,000

The Finney Flying Turkey was a crowd favorite and the most photographed item at the 2023 Southeastern Wildlife Exhibition preview in Charleston, South Carolina.

ARTHUR BURDETT FROST

1851-1928

82 Arthur Burdett Frost (1851-1928)

Autumn Woodcock Shooting, 1895 signed “A.B. Frost” lower right watercolor and gouache, 13 1/2 by 21 1/2 in. titled on The Old Print Shop, New York label on back

Charles Porter Schutt, known to friends and family as Porter, was an avid sportsman with a keen appreciation for sporting art. Born in 1911 in Wilmington, Delaware, in 1935, he married Phyllis Moxham du Pont, daughter of Eugene E. du Pont. Under her father’s champion tutelage, she became an accomplished shot at an early age. Together, Porter and Phyllis shared a profound love of the outdoors, respect for nature, and enjoyment of the sport of shooting. They spent countless days hunting quail, woodcock, dove, duck, and wild turkey at her parents’ two expansive sporting properties, Kinloch Plantation, on the Santee River outside Charleston, South Carolina, and Napley Green, on the Chester River near Rock Hall, Maryland. In addition to attending and hosting organized shooting parties on the East Coast, the couple regularly traveled to Scotland and Spain to enjoy “walked up” days flushing out partridge, pheasant, and woodcock with other experienced guns.

In the late 1960s, the Schutts purchased a large tract of land in Alabama where they envisioned a shooting plantation of their own. “Gallio,” the result, is a pristine forested property, shaped over forty years into a shooting paradise, and designed to provide and protect a perfect natural habitat for game birds.

Though the walls at Gallio and at Dogwood, in Wilmington, were covered with Audubons and Frosts, Autumn Woodcock had a place of pride in Porter’s library above his desk as his favorite and most prized work of art. It was the perfect painting to appreciate while sitting, nursing a scotch, and planning the next shooting party or yearly trip to Scotland. To Porter and Phyllis, Frost’s incredible eye for detail and ability to capture the spirit of the moment trumped all others. Porter Schutt died in 1999, and Autumn Woodcock descended in the family until being offered today.

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

By 1876, he was on Harper’s staff working on many books including Tom Sawyer, Uncle Remus, and Mr. Dooley. He also illustrated Theodore Roosevelt’s sporting book, Hunting Trips of a Ranchman

Frost was an ardent sportsman who spent his summers and autumns fishing, rowing, and hunting ducks and snipe. He is

best known for his hunting and shooting prints which capture the drama of sport in realistic, detailed settings. Frost lived much of his life at his estate, Moneysunk, in Convent Station, New Jersey.

This work, Autumn Woodcock, is the original watercolor reproduced by Charles Scribner’s Sons in Frost’s Shooting Pictures, a portfolio of twelve chromolithograph prints. It is considered one of the artist’s most iconic and recognized works.

Of the thousands of works that Frost is known to have produced, Autumn Woodcock, with its excellent composition and superb condition, ranks right at the top. The work reveals Frost as one of the greatest illustrators of his generation. The hunter is perfectly positioned as the setters come across the woodcock by a brook, a Frost masterwork in every sense.

As Henry M. Reed notes, “Every scene portrayed is one that each of us who has hunted with dog and gun has experienced - the setter staunchly on point, the gun ready, thumb on the safety, and heart pounding as we await the explosive fluttering of wings as the bird flushes...all of these are situations which the artist handles with such realism and familiarity that the viewer is placed squarely in the center of the adventure...The pointing dogs are magnificent - sneaky, noses moist and low, and their weightless balance, with forefoot raised, is perfection. The landscape backgrounds for the shooting pictures signify autumn, with grey morning mist behind the birches, the fallen leaves wet with morning dew...”

PROVENANCE: Charles Porter Schutt Collection, acquired from The Old Print Shop, New York Sarah S. Harrison Collection, by descent Renee du Pont Harrison Collection, by descent

LITERATURE: Henry M. Reed, The A. B. Frost Book, Charleston, SC, 1993, p. 87, illustrated.

Henry M. Reed, The A. B. Frost Book, Rutland, VT, 1967, illustrated. Henry W. Lanier, A. B. Frost The American Sportsman’s Artist, New York, 1933, illustrated.

$70,000 - $90,000

Detail from front cover of the original Shooting Pictures Folio.

ARTHUR FITZWILLIAM TAIT 1819-1905

83 Arthur Fitzwilliam Tait (1819-1905)

Quail and Chicks, 1867 signed and dated “AF Tait N A 1867” lower right oil on board, 10 by 14 in signed and dated on back Kennedy & Co., New York and Winsor & Newton labels on back

This painting is number 67.5 in Henry Marsh’s Tait checklist. This little gem recalls Tait’s famous The Cares of a Family, with a pair of attentive quail and six baby chicks framed by delicate grasses and flowers.

Known as one of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While working for the art firm, Tait was exposed to the works of Edwin Landseer (18021873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others.

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

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

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

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

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

PROVENANCE: Charles Porter Schutt Collection Sarah S. Harrison Collection, by descent Renee du Pont Harrison Collection, by descent

LITERATURE: Warder H. Cadbury and Henry F. Marsh, Arthur Fitzwilliam Tait: Artist of the Adirondacks, 1986, p. 195, no. 67.5.

$20,000 - $30,000

A.F. Tait’s famous print, The Cares of a Family

ARTHUR FITZWILLIAM TAIT

84 Arthur Fitzwilliam Tait (1819-1905)

Expectation, 1899

signed and dated “A.F.Tait N.A. 99” lower left oil on linen on board, 18 1/4 by 27 1/4 in. dated, titled and signed on back

Tait’s register entry for this painting reads, “C. ‘Expectation’ 18 x 27 Sheep--. Horse & Dog. Dec’r & Jan’y begun Dec’r 22. finished Jan 8th 99 took about 12 days Holidays -- [bag of oats] Lotos Club,” according to Henry Marsh’s checklist of the artist’s works.

Tait painted this work while he lived in Yonkers, New York, with his wife Emma. She recorded they were very happy, and Tait was “able to get to the country north of Yonkers and spend time among the farm animals and fowl, depicting them in their rural setting.”

After gaining full membership to the National Academy of Design in 1858, Tait entered Expectation in its 74th Annual Exhibition in 1899. Artist Carlton Wiggins wrote to Tait after seeing a “little sheep picture at the Lotos Club,” expressing how charming and fine he found it. The Lotos Club, founded in 1870, is a literary and arts club in New York City that counted Mark Twain among its members, with a mission “to promote and develop art, sculpture, literature, architecture, journalism,

music, drama, science, education and the learned professions…” Tait was a member and exhibited Expectation there as well.

Warder Cadbury notes, “Tait’s subjects deftly shifted from Adirondack game to quiet pastorals of sheep and cows at just the right moment in American cultural and economic history. By catering to a new generation of art buyers, he remained productive and financially secure, unlike some of his contemporaries.”

This charming pastoral scene exhibits a mixture of barnyard animals, with a loyal sheepdog guarding the bag of oats that has caught the attention of the hungry but content horse and sheep.

PROVENANCE: Estate of Muriel Flint Treat, Laguna Hills, California Private Collection, California, acquired in 1988

LITERATURE: Warder H. Cadbury and Henry F. Marsh, Arthur Fitzwilliam Tait: Artist of the Adirondacks, 1986, pp. 103, 105, 308, no. 99.4.

$15,000 - $25,000

85 Aiden Lassell Ripley (1896-1969)

Two Woodcock signed “A. Lassell Ripley ©” lower left watercolor, 19 1/2 by 29 in. Guild of Boston Artists label on back

Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country’s top artists, including Philip Leslie Hale (18651934) and Frank W. Benson (1862-1951).

Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors “en plein air” in North Africa, France, and Holland. Upon his return in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for

these works. Following a successful one-man show of his sporting art in 1930, Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects.

Along with his contemporary Ogden Pleissner (1905-1983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art.

PROVENANCE: John E. Lennon Collection

Private Collection, Greenwich, Connecticut, acquired from Copley Fine Art Auctions, The Sporting Sale 2011, lot 105

EXHIBITED: Boston, Massachusetts, Aiden Lassell Ripley Retrospective, Guild of Boston Artists, Sept. 10-28, 1996.

$20,000 - $30,000

AIDEN LASSELL RIPLEY

1896-1969

86 Aiden Lassell Ripley (1896-1969)

Dove Shooting, 1947

signed and dated “A. Lassell Ripley © 1947” lower left watercolor, 17 by 24 1/2 in.

By the 1930s and 40s, Aiden Lassell Ripley had established himself as the most sought-after painter of southern plantation scenes. Business executives and political leaders traveled to estates during the dreary northern winters to hunt for wild turkey, quail, and dove.

In Dove Shooting, Ripley includes the elements of a good southern dove hunt. The hunter, in sporting attire, raises his

gun on the birds, the dog handler stands by, and the canine waits its turn to retrieve. Ripley’s dove shooting depictions rarely come to market, relative to his quail and turkey scenes.

PROVENANCE: Charles Porter Schutt Collection Sarah S. Harrison Collection, by descent Renee du Pont Harrison Collection, by descent

$30,000 - $50,000

87 Aiden Lassell Ripley (1896-1969)

Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country’s top artists, including Philip Leslie Hale (18651934) and Frank W. Benson (1862-1951).

Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors “en plein air” in North Africa, France, and Holland. Upon his return in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for

these works. Following a successful one-man show of his sporting art in 1930, Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects.

Along with his contemporary Ogden Pleissner (1905-1983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art.

PROVENANCE: The Sporting Gallery, New York, c. 1950s Private Collection, Arizona Private Collection, Florida, acquired from The Sporting Sale 2016, lot 61

$25,000 - $35,000

Gobbler and Hen Turkey, c. 1950 signed “A. Lassell Ripley ©” lower left and upper left watercolor, 25 by 21 in.

PROVENANCE: Private Collection, Wisconsin

-

88 Aiden Lassell Ripley (1896-1969) Grouse in Flight signed “A. Lassell Ripley ©” lower left watercolor, 25 1/2 by 21 1/2 in.

This bright and vivid watercolor, depicting the artist’s favorite bird, shows Ripley’s full brilliance. Sporting art collector Guido R. Perera, a friend and patron of the artist, marvels at Ripley’s knowledge of this favorite game bird: “Aiden may have been a grouse in one incarnation.”

$15,000

$25,000

A scale model of a 405-pound bluefin that was caught off Wedgeport, Nova Scotia, by Col. L. Sadler of London and landed in just twelve minutes. Inscribed “405 LB Tuna Killed by Colonel L. Sadler of London England in 12 Minutes, Wedgeport, Nova Scotia, Sept. 11th 1938.” As found.

PROVENANCE: Ronald S. Swanson Collection Private Collection

LITERATURE: Ronald S. Swanson, Fish Models, Plaques & Effigies, Far Hills, NJ, 2009, p. 53, fig. 70, exact fish illustrated. Ron Swanson, Classic Angling, January 2002, p. 17, exact fish illustrated.

Ronald S. Swanson, “Fish Models, Plaques & Effigies,” Decoy Magazine, July/August 1996, p. 12, exact fish illustrated.

$600 - $900

18 in. long

A full-body wall mount mahi-mahi signed by the maker on the back.

89 Bluefin Tuna Model 1938 16 in. long, plaque is 9 in. long

90 Dorado Mike Borrett (b. 1960) Madison, WI, c. 2010

Mike Stidham spent his early years in Palm Desert, California, where he dreamed of becoming a desert painter. As a young teen, he began trout fishing in Colorado, selling his early watercolors through local fly shops, and he worked as a fishing guide in Idaho. Among his honors and accomplishments, in 1992 the artist produced the Saltwater Sportfishing Stamp for Texas and, for a time, held the IGFA record for a hammerhead shark taken on a fly rod. He says, “To me the painting is about the sense of place, the feeling of being there, the various colors

of the rocks and rhythm and movement of the gravel bed.” Today, Stidham paints from his Sandy, Utah, studio as well as on the many fishing trips he takes to see, study, and pursue his subjects in their natural environment.

PROVENANCE: Private Collection, Texas

$2,000 - $4,000

PROVENANCE:

$2,000 -

92

92 Mike Stidham (b. 1954) Bass signed “Mike Stidham” lower right oil on board, 14 by 23 in.

Private Collection, Texas

$4,000

91 Mike Stidham (b. 1954) Bass Chasing Popper signed “Mike Stidham” lower left oil on board, 18 by 36 in.

AIDEN LASSELL RIPLEY

93

93 Aiden Lassell Ripley (1896-1969)

Drawing for Lone Woodcock, c. 1950 signed “A. Lassell Ripley” lower right pencil, 8 1/2 by 13 1/2 in. titled lower left

This is the original pencil drawing for Ripley’s etching, Lone Woodcock

PROVENANCE: Private Collection, Wisconsin

LITERATURE: A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, pp. 86-87, illustrated.

$800 - $1,200

94 Aiden Lassell Ripley (1896-1969)

Grouse in the Snow charcoal, 9 by 12 1/2 in.

PROVENANCE: Private Collection, Wisconsin

$400 - $600

94

95 Aiden Lassell Ripley (1896-1969)

Pierce’s Bridge, Lexington signed “Aiden Lassell Ripley” lower right watercolor, 17 by 25 1/4 in.

In this work, Ripley depicts an evening snow scene at Lexington Station in Massachusetts.

PROVENANCE: Private Collection, Massachusetts

$3,000 - $5,000

21 1/2 by 14 1/4 in.

Earl Lincoln Poole studied at the Pennsylvania Academy of Fine Arts and the Philadelphia Academy of Natural Sciences. He was employed by the Reading Public Museum for many years, ultimately rising to director, and co-founded the Baird Ornithological Club in 1921. The Earl Poole Sanctuary, named after the artist and owned by Berks Nature, is a popular birding site near Reading, Pennsylvania.

PROVENANCE: Private Collection

$5,000 - $8,000

signed and dated “C David Johnston 1973” lower right watercolor, 12 1/2 by 19 in.

PROVENANCE: Private Collection

96 Earl Lincoln Poole (1891-1972) Woodcock in Flight signed “E.L.Poole” lower right watercolor,

97 David Johnston (British, b. 1946) Woodcock, 1973

AUGUSTUS AARON "GUS" WILSON

1864-1950 | SOUTH PORTLAND, ME

LITERATURE:

98 Black Scoter Augustus Aaron “Gus” Wilson (1864-1950) South Portland, ME, c. 1900 15 1/2 in. long

A classic and refined Monhegan-Island-style sea duck with raised wings and a tucked head, positioning the bill just above the breast. Old paint with some darkening and moderate gunning wear.

Joel Barber, Wild Fowl Decoys, New York, NY, 1954, p. 59, diagram of similar scoter illustrated.

Barber’s drawing of a related scoter in Wild Fowl Decoys

PROVENANCE:

An exceedingly rare, if not unique, Monhegan-Island-style long-tailed decoy. All of Wilson’s best mergansers, scoter, and eider exhibit wide bodies with low profiles, raised wings, and inletted heads. Yet seemingly all of his other known long-tails were made in his later styles. Original paint with moderate gunning wear, restored patch on top of head and to tail chip.

$2,000 - $3,000

99 High-Head “Viking Rig” Scoter Augustus “Gus” Aaron Wilson (1864-1950) South Portland, ME, c. 1890 17 in. long

A Monhegan-Island-style scoter decoy with a high inletted head, incised wing detail, and a rare dry surface. Original paint with heavy gunning wear, including loss to bill, tail, and right side.

John Dillworth Collection Private Collection, Texas $1,500 - $2,500

100 Rare Long-Tailed Drake Augustus Aaron “Gus” Wilson (1864-1950) South Portland, ME, c. 1890 12 1/2 in. long

18 1/4 in. long

This swimming black duck features not only a reaching and turned head, but also rare plumage. Original paint with moderate gunning wear and a neck crack.

17 in. long

A classic Wilson black duck with raised wings and an inset head. Original paint with moderate gunning wear, including rub to left side of bill. Original fill to age line in right wing.

$800 - $1,200

Augustus Aaron “Gus” Wilson (1864-1950) South Portland, ME, c. 1890 17 1/2 in. long

Wilsons of this form have been dubbed the “Viking Rig” due to their distinctly high heads that look like Viking ships. The carving features incised raised wings. Taken down to mostly original paint with moderate gunning wear neck cracks, one of which has been reset.

Augustus Aaron “Gus” Wilson (1864-1950) South Portland, ME, c. 1930

16 in. long

A classic Wilson sea duck with a slightly turned and tucked head. Original paint with moderate wear.

$1,000 - $1,500

101 Rare Swimming Black Duck Augustus Aaron “Gus” Wilson (1864-1950) South Portland, ME, c. 1920

102 Black Duck Augustus Aaron “Gus” Wilson (1864-1950) South Portland, ME, c. 1930

103 “Viking Rig” Scoter

104 White-Winged Scoter

105 Eider Pair Pennell Alexander (1811-1890) Brunswick, ME, c. 1860

18 in. long

A refined pair of Maine eider, each bearing the maker’s large incised “PA” signature. Recent research has reattributed these birds to Pennell, a member of the Alexander ship-building family. They had been attributed to a Phineas Alexander, also of Maine. Each has a mix of original and working paint with some restoration, and head and neck cracks.

PROVENANCE: Pennell Alexander Rig Private Collection

$2,000 - $3,000

106 Eider Drake John Zwicker (1849-1933) Grand Manan Island, New Brunswick, c. 1900

16 in. long

Of Zwicker, the Guyettes, in Decoys of Maritime Canada, write, “His eider decoys with their graceful lines and pleasing paint patterns are among the finest made in Canada or the United States.” Old gunning paint with even wear, a tail chip, and some spot touch-up.

LITERATURE: Dale and Gary Guyette, Decoys of Maritime Canada, Exton, PA, 1983, pp. 73 and 164, related decoy illustrated and discussed.

$1,000 - $2,000

107 Long-Tailed Pair Maritime, Canada, c. 1920 13 in. long

A charming pair of maritime long-tails with inletted heads and weights. Original paint with moderate gunning wear, including to the top of the hen’s head.

$600 - $900

108 Long-Tail and Goldeneye Maritime, Canada, c. 1920 13 1/2 in. long

A rigmate duo including a goldeneye hen and long-tailed drake with inletted heads. Mix of original and gunning repaint with moderate gunning wear.

109 Black-Bellied Plover

John Dilley

Quogue, Long Island, NY, c. 1890

10 1/4 in. long

The underside of this plover is signed “Dilley” by the maker. Very few Dilleys carry either the maker’s known stamp or signature, making this illustrated example all the more desirable. Its sides are lightly hit by shot, proof of this gunning decoy’s baptism by fire. Original paint with gunning wear, minor touch-up to flaking, and a few shot scars.

PROVENANCE: Helen French Collection Dr. Morton D. Kramer Collection Private Collection

LITERATURE: Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, pp. 49-50, color pl. XX, exact decoy illustrated twice.

$5,000 - $7,000

110

This exceptional peep pair showcases identical form in two distinct plumages. The first is in a rarely seen darker-backed spring breeding plumage with fine stippling applied. This distinctive decoy can be seen under the title sign in William J. Mackey’s historic IBM exhibition. The lighter rigmate, in winter plumage, features black and red stippling applied to a white body. Both bodies are especially plump and show the maker’s S-curve wing carving.

Dr. Peter Muller put this perfect pair together, with one bird coming from Mackey and the other from Elaine and Alan Haid. Original paint with even gunning wear.

PROVENANCE: William J. Mackey Jr. Collection (decoy in spring plumage)

Elaine and Alan Haid Collection (decoy in winter plumage)

Dr. Peter J. Muller Jr. Collection Private Collection, Cambridge, Massachusetts

LITERATURE: Hal Sorenson, ed., “IBM Exhibits Mackey Decoys,” Decoy Collector’s Guide, 1966-1967, p. 47, exact decoy in spring plumage illustrated.

Joe Engers, “Dr. Peter J. Muller: Bringing a good eye and an artistic approach to decoy collecting,” Decoy Magazine, January/February 2008, p. 13, exact decoy in spring plumage illustrated.

The Ward Museum, The Decoys of Long Island, Salisbury, MD, 2010, p. 63, related example illustrated.

Robert Shaw and Ronald Gard, The McCleery Auction, Dallas, TX, 2001, pp. 80 and 136, rigmate illustrated.

Frank Schmidt and Gary Guyette, The Art of Deception: Waterfowl Decoys from the Collection of Paul Tudor Jones II, St. Michaels, MD, 2006, p. 55, related pair illustrated.

Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 43, related example illustrated.

William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 102, pl. 85, related example illustrated.

EXHIBITED (spring plumage): Manhattan, New York, The Decoy Maker’s Craft, IBM Gallery of Arts and Sciences, August 29October 1, 1966.

$18,000 - $24,000

110 The Muller Verity Peep Pair Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 6 3/4 in. long

THE SURACE FEEDING PLOVER

Frank Surace was one of the earliest decoy collectors from Long Island and one of the Long Island Decoy Collectors Association’s founding members in 1971. He, along with his friends William Mackey and Milt Weiler, traveled together with a briefcase full of cash on decoy-picking road trips.

This bold Verity design displays a deep feeding pose that perfectly captures the probing nature of the species. The side of the tail features a stringing hole for transportation. This bird features everything that seasoned collectors look for in a Verity: carved eyes, raised S-curve wings, V-shape primaries, tight stippled paint, and a full belly.

Russ Fink selected this exact decoy as the front cover feature of his 1976 Catalog of American Bird Decoys which featured the collection of Frank Surace of Long Island. Some working over-paint taken down to original paint, moderate gunning wear, a crack under the replaced bill, and a rub to left wing.

PROVENANCE: Frank Surace Collection

Private Collection, Texas, acquired from Stephen O’Brien Fine Arts

LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 180, related example illustrated. Jeff Waingrow, American Wildfowl Decoys, New York, NY, 1989, p. 42, related yellowlegs illustrated.

Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 19, related example illustrated.

Russell A. Fink, Catalog of American Bird Decoys, Lorton, VA, 1976, front cover, title page, and number 194, exact decoy illustrated.

$18,000 - $24,000

“Verity’s most distinctive form is a feeding shorebird, with its bulbous head bent down and forward, its fixed eyes seemingly intent on some choice morsel before it. The outline of the bending form is a series of graceful unbroken curves that extend from the tip of the tail over and around all sides of the body, neck, and head.”

— Robert Shaw, Bird Decoys of North America

111 The Surace Feeding Plover Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1870 9 3/4 in. long

The Surace Feeding Plover on the front cover of American Bird Decoys, 1976.

THE SURACE FEEDING PLOVER

112 Black-Bellied Plover

Obediah Verity (1813-1901)

Seaford, Long Island, NY, c. 1870

11 in. long

An excellent early Verity form with tight stippled paint and an incised “X” under the tail. Old working paint with heavy gunning wear and a black paint drip on right side of neck. Replaced bill.

$1,500 - $2,500

113 Early Root-Head Shorebird

Thorn Rig

Jamaica Bay, Long Island, NY, c. 1850

13 in. long

A large early decoy with an applied root head. Its size suggests it could have been used to attract curlew. This exact decoy and a rigmate are illustrated and discussed in Mackey’s book. Old working repaint with gunning wear, including a chip at base of neck.

PROVENANCE: William J. Mackey Collection

Ronald Swanson Collection Private Collection

LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 96, pl. 79, exact decoy illustrated.

114 Sandpiper

Long Island, NY, c. 1860 9 in. long

A refined shorebird with elements of the Verity school of carving. Old paint with moderate gunning wear and touch-up to bill.

115 The O’Brien Shourds Winter-Plumage

Plover

Harry V. Shourds (1861-1920)

Tuckerton, NJ, c. 1890

9 1/2 in. long

A black-bellied plover in winter plumage with the stamp denoting The Donal C. O’Brien Jr. Collection on the underside. Original paint with gunning wear and minor restoration to chip on top of bill.

PROVENANCE: Donal C. O’Brien Jr. Collection Private Collection, Florida

LITERATURE: Peter Johnson and Alf Wannenburgh, The World of Shooting, Lausanne, Switzerland, 1987, pp. 259-261, exact decoy illustrated.

Copley Fine Art Auctions, The Donal C. O’Brien, Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II, Hingham, MA, 2017, front inside boards of hard-cover edition, pp. 138-143, lots 68-75, exact decoy in O’Brien Shourds rig illustrated.

$4,000 - $6,000

116 Early Robin Snipe

Harry V. Shourds (1861-1920)

Tuckerton, NJ, c. 1880 9 in. long

Red knot carvings by this maker are amongst the most popular species sought by collectors. In addition to their definitive form, this decoy displays a reddish hue not found on his other shorebird species. Original paint with even gunning wear.

PROVENANCE: Richard and Lynn Gove Collection

$3,000 - $5,000

117 Black-Bellied Plover

Harry V. Shourds (1861-1920)

Tuckerton, NJ, c. 1900 10 in. long

Mackey’s inked inscription on the underside reads “Tuckerton NJ, Shourdes [sic].” Though attributed to the work of Nate Frazier at times, James Doherty, in his Classic New Jersey Decoys, also makes a case for this being the work of Shourds. Original paint with moderate gunning wear, touch-up to reset neck cracks.

PROVENANCE: William J. Mackey Collection Wade and Sharon Wander Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 66, pl. 111 and 114, related examples illustrated.

$1,000 - $1,500

118 Merganser Hen

Harry V. Shourds (1861-1920)

Tuckerton, NJ, c. 1890

16 1/2 in. long

Restored.

119 Brant

Long Island Sound, c. 1880

18 in. long

A well-crafted brant with a deep three-piece body and a high reaching head. The paint pattern echoes the bold sweeping lines of the body and is finished with tight stippled feathering.

This distinct bird could have been on either the New York or Connecticut side of Long Island Sound. A related, decoy has been attributed to Benjamin Holmes (1843-1912) of Stratford, Connecticut. Original paint with moderate gunning wear and some restoration to tail and chew marks on bill, and touch-up to left side of crown.

LITERATURE: Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 40, Holmes-attributed brant illustrated.

$3,500 - $4,500

120 Peabody-Rig Redhead Drake

George Augustus Peabody (1831-1929) Rig

Danvers, MA, c. 1850

15 3/4 in. long

This very early and exceptional hollow redhead drake is from the rig of George A. Peabody, a friend and fellow Harvard graduate of Dr. John C. Phillips (1876-1938).

The removable head is attached by three brass pins, one of which is threaded and held tight by a nut on the underside of the decoy. Matching “XXXI” incisions are on the facing surfaces inside the neck seam. This meticulously crafted removable head system is reminiscent of the dovetailed geese and shorebirds and the Osgood geese. The head is slightly turned and features broad cheeks and detailed bill carving. The long and hollowed body is finished with elaborate wing carving and fine paint. This decoy is perhaps the earliest known example to show this level of sophisticated wing carving.

The bottom board is securely affixed with both nails and screws and is twice branded “G. A. PEABODY.” Original paint with light gunning wear, flaking, and a bill tip chip.

PROVENANCE: George A. Peabody Rig

Ronald S. Swanson Collection Private Collection

LITERATURE: Ronald Swanson, “The Decoy as Folk Sculpture,” Cranbrook Academy of Art Exhibition Catalog, January 1987, p. 15, fig. 19, exact decoy illustrated. John C. Phillips, Wenham Lake Shooting Record And The Farm Bag, 1897-1925, 1926, p. 4.

EXHIBITED: Bloomfield Hills, Michigan, The Decoy as Folk Sculpture, Cranbrook Academy of Art, January 27-February 22, 1987.

$2,000 - $3,000

121 Early Black Duck

Albert Davids Laing (1811-1886)

New York, NY and Stratford, CT, c. 1835

16 1/4 in. long

The age and construction of this decoy are notable in decoy history. This black duck from Laing’s earliest known rig, made while he was living in New York, is one of the first known rigs of hollow decoys. The underside is branded “B. H. WELLER” twice. Old paint with gunning wear.

PROVENANCE: Albert Davids Laing Rig

B. H. Weller Rig

Ronald S. Swanson Collection Private Collection

LITERATURE: Ronald S. Swanson, “Albert D. Laing: A decoy maker unequaled in his time,” Decoy Magazine, July/August 1995, p. 10, exact decoy illustrated.

Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 24, exact decoy illustrated.

$1,500 - $2,000

122 Red-Breasted Merganser Pair

Levi Rhodes Truex (1860-1934)

Atlantic City, NJ, c. 1900

17 1/2 in. long

A refined hollow rigmate pair of the maker’s best species. Each remains in fine original condition, which is unlikely given the thin paddle tails, crests, and bills. Both are marked on the underside for the collections of Jack Conover and Dave Campbell. Excellent original paint with even gunning wear. The underside of the hen as a smudge of dark paint.

PROVENANCE: Jack Conover Collection

Dave Campbell Collection

LITERATURE: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, pl. VI, related pair illustrated.

John Clayton, “Levi Rhodes Truex,” Decoy Magazine, September/ October 2013, p. 25, related pair illustrated.

James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 157, related pair illustrated.

$14,000 - $18,000

HARRY V. SHOURDS

1861-1920 | TUCKERTON, NJ

123 Swimming Goose

Harry V. Shourds (1861-1920)

Tuckerton, NJ, c. 1890

27 in. long

Harry V. Shourds produced hollow ship-like decoys of the finest quality. This goose is nearly identical in form to the famous goose formerly in the John H. Hillman Collection. Mix of working paint with professional touch-up, including area around the original reset neck.

PROVENANCE: Somers Headley Collection Private Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, pp. 28-30, related goose illustrated.

$10,000 - $15,000

Somers Headley and his dog sitting next to his hissing goose in his legendary decoy room.

A hollow, turned-head decoy by the father of the Stratford School.

PROVENANCE: Albert D. Laing Rig

York City,

of the earliest and most talented carvers in North America. The underside bears a large “LAING” rig brand and a Baldwin rig brand. This important rig has been referred to as the “early classic rig” and was also used by Charles E. “Shang” Wheeler. This decoy was the cover feature for the marker’s Decoy Magazine article in 1995.

Laing has been revered for adding a lifelike quality to his rigs with a variety of head positions, such as this elegant sleeper. There is no evidence that Laing ever sold decoys commercially, and it is believed that at the time of his death the 111 decoys from his gunning rig constituted the majority of his entire output. According to Chitwood, Laing’s entire hunting rig was sold after his passing in 1886 for $45. Old gunning paint with moderate wear, some touch-up, and partial bill restoration.

Charles E. “Shang” Wheeler Rig Private Collection

LITERATURE: D. Webster & W. Kehoe, Shelburne Museum Decoys, Shelburne, VT, 1961, p. 75, rigmate illustrated.

Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 65, Shelburne Museum rigmate illustrated.

Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 22, Donal O’Brien’s rigmate illustrated.

Joe Engers, ed., “Albert D. Laing: A decoy maker unequaled in his time,” Decoy Magazine, July/August 1995, front cover, p. 12, exact decoy illustrated.

$8,000 - $10,000

124 Early Preening Scoter Albert Davids Laing (1811-1886) New York, NY and Stratford, CT, c. 1850 14 in. long

Laing, originally from New

is one

DONAL

C. O'BRIEN JR.

1934-2013 | NEW CANAAN, CT

125 Canvasback Drake Donal C. O’Brien Jr. (1934-2013) New Canaan, CT, c. 1965

17 in. long

A hollow drake with the maker and rig brand of Donal C. O’Brien Jr. Original paint with even gunning wear and ding to top of head.

PROVENANCE: Donal C. O’Brien Jr. Rig Private Collection

$600 - $900

126 Bluebill Pair Donal C. O’Brien Jr. (1934-2013) New Canaan, CT, c. 1965

13 1/2 in. long

A hollow pair with the maker and rig brand of Donal C. O’Brien Jr. Original paint with even gunning wear, hen has crack in bill.

PROVENANCE: Donal C. O’Brien Jr. Rig Private Collection

$1,000 - $1,500

Donal C. O’Brien Jr. recieving an award at a carving competition., c. 1968.

127 Thorne-Rig Bluebill

Lemuel N. Ackerly (1873-1940)

Patchogue, Long Island, NY, c. 1930 13 in. long

This decoy’s raised razorback made for better stacking in a layout boat. Branded “E. T Thorne” on the bottom. Original paint with moderate gunning wear and some restoration to neck, patch on back, and tail tip.

PROVENANCE: Edwin T. Thorne Rig

Private Collection

128 Mackey Long-Tailed Drake Long Island, NY, c. 1880 11 1/4 in. long

An early hunting decoy that saw use along the rugged waters of the Atlantic Coast. William Mackey owned this decoy and illustrated a pair of rigmates as Labrador ducks in his 1965 book American Bird Decoys. The same decoys appear in a 1978 publication discussing the elusive Labrador duck. Though historically called a Labrador duck by Mackey, the presence of original black cheek patches and the absence of black neck bands mark a distinction between long-tails and Labradors.

A rare construction element, which Mackey noted, is the curved section cut into the back to hollow the decoy from the top. The underside is struck with a Mackey Collection ink stamp. Original and old working paint with moderate gunning wear, touch-up to bill, and a wash on black.

PROVENANCE: William J. Mackey Collection Private Collection, Dallas

LITERATURE: Russell A. Fink, Catalog of American Bird Decoys, Lorton, VA, 1976, lot 76, related decoy illustrated. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 62, rigmates illustrated.

Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22–23, 2000, p. 138, lot 341, rigmate illustrated. North American Decoys Magazine, Summer 1978, p. 26, rigmates illustrated.

$2,000 - $4,000

129 Root-Head Brant

Gus Bishop

Babylon, Long Island, NY, c. 1880 16 3/4 in. long

The underside bears a Mackey ink stamp, “Gus Bishop” brand and cold stamp, and a “A.D. Haff” brand. As found.

PROVENANCE: William J. Mackey Collection Private Collection

130 Pintail Drake

Wilbur R. Corwin (1852-1914) (attr.)

Bellport, Long Island, NY, c. 1875 19 in. long

An extremely hollow decoy with a slightly turned head. Working repaint with heavy gunning wear.

PROVENANCE: Way Way Yonder Gunning Club Rig, Babylon, New York

Ronald S. Swanson Collection Private Collection

LITERATURE: Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 46, rigmate illustrated.

131 Bluebill Hen Gus Rogers (1892-1938)

Alexandria Bay, NY, c. 1935

14 1/2 in. long

This carving bears a brass tag on the underside inscribed “From rig of Donald B. Baxter, Syracuse, NY.” Based on written correspondence between Don Baxter of Syracuse, New York, and Gus Rogers, it can be assumed that Mr. Baxter bought this bird for his own personal hunting rig directly from Rogers in the late 1930s. Original paint with moderate gunning wear, including flakes to knot in back and ding to bill tip.

PROVENANCE: Donald Baxter Rig

Private Collection

$1,200 - $1,600

132 Bluebill Upstate New York, c. 1920

14 1/2 in. long

Original paint with moderate gunning wear.

133 Tucked-Head Goldeneye

Lake St. Clair, c. 1900

14 in. long

A hollow carving with “JVM” branded on the underside. Old paint with heavy gunning wear, including a bill tip chip.

LITERATURE: Bernard W. Crandell, Decoying: St. Clair to St. Lawrence, Erin, ON, 1988, p. 37, related decoy from Earl Friday rig illustrated. Clune Walsh Jr. and Lowell Jackson, Waterfowl Decoys of Michigan and the Lake St. Clair Region, Detroit, MI, 1983, pp. 140-141, related decoys illustrated.

$400 - $600

134 Green-Winged Teal

Ken Harris (1905-1981)

Woodville, NY, c. 1960

11 1/2 in. long

A decorative teal with carved wing feathers and exceptional paint detail. Stamped “By Ken Harris, Woodville, NY” on the bottom. Original paint with light wear.

PROVENANCE: Don Cross Collection Private Collection, New York, acquired from the estate of the above

$300 - $500

1900 17 in. long

A classic Long Point pintail from the Club’s distinguished carving family. Original paint with light gunning war, faint age line on left side, and an original indent to right tip of bill.

LITERATURE: Bernie Gates, Ontario Decoys II, Kingston, ON, 1986, front and back cover, related teal illustrated.

$2,500 - $3,500

Peterborough, Ontario, Canada, c. 1940 15 1/2 in. long

A rare and exceptional decoy with feather-light construction and a wonderfully textured surface. Tully was not prolific and his smooth body models, such as this one, are particularly rare. The bottom board is struck with a “Queen’s Hotel’ brand. Excellent original paint with light wear. A few stabilizing nails to original reset bill.

LITERATURE: Patricia Fleming and Thomas Carpenter, ed., Traditions in Wood: A History of Wildfowl Decoys in Canada, Altona, Canada, 1987, front dust-jacket cover and p. 94, related carvings illustrated. Bernie Gates, Ontario Decoys II, Kingston, ON, 1986, p. 99, rigmate illustrated and discussed.

$2,500 - $3,500

135 Pintail Drake Charles Reeves (1877-1941) Long Point, ON, Canada, c.

136 Rare Hollow Bluebill James “Bud” Tully (1918-1973

PARKS RIG WOOD DUCK

137 Parks Rig Wood Duck

Malcolm B. Parks (1872-1957) rig

Prince Edward County, Ontario, c. 1910

12 1/2 in. long

This exceedingly rare and refined woody is one of only two known from the Parks rig. The stylish crest has carved delineation from the back of the bill to the nape of the neck. Original paint with even gunning wear, neck seam is slightly loose. Minor restoration to lower bill chip.

PROVENANCE: Malcom Parks Rig

Private Collection, Texas

LITERATURE: Jim Stewart, The County Decoys, Erin, ON, 2004, p. 67, rigmate illustrated.

$3,000 - $5,000

138 Resting Wood Duck c. 1950 duck is 13 in. long

An early decorative summer duck that relates closely to the work of Shang Wheeler. The bird and its carved foot rest on a removable driftwood base. Original paint with moderate wear and neck seam is loose.

$3,000 - $5,000

139 “Signor Hemingway” Wigeon Christo Earnest Burano, Italy, c. 1900 14 in. long

This Eurasian wigeon was part of the rig that was found on an island near Venice by Joseph B. French. The Italians who used this decoy guided Earnest Hemingway (1899-1961), who likely shot over it. The underside has painted “Signor Hemingway.” Original paint with even gunning wear.

PROVENANCE: Joe French Collection William J. Mackey Collection Private Collection, Dallas

LITERATURE: Joseph B. French, “A Collector Tours Europe,” Decoy Collector’s Guide, July-Sept., 1965, pp. 7-8, rigmates illustrated.

$1,000 - $2,000

140 Rare Wood Duck Anton “Tony” Chiado (1909-1997) Granville, IL, c. 1940 10 3/4 in. long

A rare and well-documented wood duck decoy showing the summer duck’s distinct high-head posture. In addition to carving, Chiado was the manager of the East End Gun Club. Like many carvers from the region, he outsourced his painting to a professional, using Raymond Mason to apply his paint. Original paint with some minor flaking and some faint age lines in neck.

PROVENANCE: Joe and Donna Tonelli Collection Private Collection, Dallas

LITERATURE: Alan G. Haid, Decoys of the Mississippi Flyway, Exton, PA, 1981, p. 178, exact decoy illustrated. Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 247, exact decoy illustrated. Linda and Gene Kangas, Decoys, Paducah, KY, 1992, p. 286, exact decoy illustrated.

$3,000 - $5,000

THOMAS BLINKS

1860-1912

141 Thomas Blinks (English, 1860-1912) English Pointers signed “T Blinks” lower left oil on canvas, 14 by 18 in.

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

This painting depicts two attentive pointers, taut with anticipation, set against an atmospheric landscape of gentle hills. A master of perspective, the dog in front feels as if it is almost surging out of the canvas.

Regarded as one of Great Britain’s finest canine painters, in 1998 a related Blink’s sporting dog work realized $564,000, setting a new auction record for the artist.

PROVENANCE: Private Collection, Florida

$30,000 - $50,000

John Martin Tracy was born in Rochester, Ohio. His father was an abolitionist preacher who was killed in an anti-slavery demonstration. His mother, Maria Conant Tracy, was a journalist who covered the Crystal Palace Explosion in London. Tracy attended Oberlin College and Northwestern University. He enlisted in the 19th Illinois Infantry in 1861. After the Civil War, he husbanded his resources from teaching and farming to attend the Ecole de Beaux Arts in Paris. He studied there

for a year, after which he traveled extensively throughout the United States. He returned to Paris in 1874 for further study and exhibited at the Paris Salon that year. In 1881 he settled in Greenwich, Connecticut, where his paintings were esteemed for being exceptionally accurate.

$1,000 - $2,000

142 John Martin Tracy (1844-1893) English Setter signed “J.M. Tracy” lower right oil on board, 5 by 9 in.

143 Andre Harvey (1941-2018) The Eavesdropper - Labrador Retriever, 1974 signed, titled, numbered, and dated on underside of base bronze, 8 1/2 by 6 by 12 in. edition 9 of 60 $1,000 - $2,000

Churchill Ettinger was born in New Jersey in 1903. After studying at Columbia University, the National Academy of Design, and the Arts Students League, he embarked on a career as a commercial artist. A dedicated sportsman, his artwork graced the covers of sporting magazines and books published by the Derrydale Press, such as The Happy End Ettinger moved to Vermont in the 1950s and focused on his

sporting art. His works are in the permanent collections of the Boston Public Library, Dartmouth College, and the Nelson-Atkins Museum in Kansas City, among other institutions.

This bright work, depicting a pointer and setter mid-hunt, is one of Ettinger’s strongest dog works.

PROVENANCE: Private Collection, Florida Private Collection, Tennessee

$6,000 - $9,000

144 Churchill Ettinger (1903-1984) On the Scent, or Pair of Aces signed “Churchill Ettinger” lower right oil on board, 20 by 24 in.

PROVENANCE: Private Collection, Massachusetts

$1,000 - $2,000

145 Marguerite Kirmse (1885-1954)

Point! signed “Marguerite Kirmse” lower right etching, 8 by 9 1/2 in. titled lower left and on J. Assenheim & Son, New York label on back edition of 100

$300 - $500

PROVENANCE: Private Collection, Massachusetts

$1,000 - $2,000

147 Frank W.

My Pointer, 1915 etching, 6 by 7 3/4 in. signed “Frank W Benson” lower left Paff #51, edition of 50 titled on Staton Brothers, Philadelphia, PA, label on back

PROVENANCE: Private Collection, Massachusetts

$3,000 - $5,000

146 Frank W. Benson (1862-1951) Pointer Dog, 1925 signed “Frank W Benson” lower left etching, 5 3/4 by 7 3/4 in. Paff #251, edition of 150

Benson (1862-1951)

148 Frank W. Benson (1862-1951) Duck Hunter, 1914 signed “Frank W Benson” lower left etching, 5 3/4 by 7 3/4 in. Paff #27, edition 40 of 50 numbered lower right

PROVENANCE: Private Collection, Massachusetts

$3,000 -

149 Frank W. Benson (1862-1951)

The Retriever, 1916 signed “Frank W Benson” lower left etching, 7 3/4 by 5 3/4 in. Paff #99, edition 10 of 80 numbered 10 lower right

$4,000

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

150 Mark Hopkins (b. 1953) Downriver Run, 1993 signed and dated “Mark Hopkins © 93” on base bronze, 14 1/4 by 19 by 7 in. edition 136 of 450

151 William H. (b. 1943) and David H. Turner (b. 1961) Leaping Trout signed “© Turner” on base bronze, 11 1/2 by 11 by 8 in. titled in water on right

The father and son team of William and David Turner presented a bonefish sculpture to President George H.W. Bush in 1992.

152 Dave Hodges (b. 1949) Net Flicks signed “Hodges © 2014 8/30” on back of base bronze, 17 by 20 by 9 in.

to Bronze

Brett J. Smith was born on March 19, 1958, in New Orleans, Louisiana. His early introduction to sporting art came from his father who worked professionally as an illustrator and moonlighted as a fine artist, contributing paintings for covers of the early outdoor and western magazines. Sportsmen nationwide collect Smith’s work because it is not only visually exciting, but also authentic and brings to bear his intimate knowledge of his sporting experience. His work has been featured in such publications as Gray’s Sporting Journal, Ducks Unlimited Magazine, Sporting Classics, Shooting Sportsman, and Double Gun Journal. He has also been recognized for his work with such organizations as Gulf Coast Conservation

Association, Atlantic Salmon Federation, Ruffed Grouse Society, Ducks Unlimited, and many others.

One fly fisherman casts from an island in a river while his companion waits, ready with a net, in an evocative mountain setting.

PROVENANCE: Private Collection, Texas

$6,000 - $9,000

153 Brett James Smith (b. 1958) Island Pool, 1997 signed and dated “Brett J Smith © ‘97” lower right oil on board, 20 by 30 in.

As a conservationist and an outdoorsman, Milton C. Weiler lived the life he painted, and his watercolors have authenticity as a result.

According to John T. Ordeman and Bud Weiler, “Milt Weiler was a watercolorist who could recreate in his paintings the look and feel of a winter waterfowl marsh, autumn upland bird cover, a spring trout stream and a summer salmon river in the manner of the tradition established by the artist whose works had inspired him, Winslow Homer. Weiler was also a carver of decoys, ducks of such sculptural beauty that they won him top awards in the most prestigious working decoy and decorative bird carving competitions...Weiler created covers and illustra-

tions for many sporting magazines, and he earned accolades as an illustrator of volumes by many of the foremost authors of sporting books—Eugene Connett...among them.”

Nelson Bryant of The New York Times comments, “Weiler was considered one of the most accomplished painters of hunting and fishing scenes in the country, and he was also an expert carver of decoys.”

PROVENANCE: Private Collection, Massachusetts

LITERATURE: John T. Ordeman & M. C. “Bud” Weiler Jr., The Art of Milton C. Weiler: A Sportsman’s World, Sugar Hill, NH, 2001.

$4,000 - $6,000

154 Milton C. Weiler (1910-1974)

First Run Salmon on the St. Anne signed “M.C. Weiler” lower right watercolor, 19 1/2 by 27 1/2 in. titled on verso

155 Ogden M. Pleissner (1905-1983)

Early Spring Fishing watercolor, 6 3/4 by 9 3/4 in.

Charles “Buzz” Eichel was Ogden Pleissner’s attorney, friend, and neighbor for many years. Born in Brooklyn, he attended Williams College and New York University School of Law. Like Pleissner, he was an avid fisherman. His obituary notes, “He enjoyed the Florida Keys for the beauty of tarpon and bonefish, the Goodnews in Alaska for giant salmon and steelhead, and his back yard on the Battenkill, where he fished for lunch. He was a founding member of Fly Fishing Magazine, and is a Trustee Emeriti of the American Museum of Fly Fishing.” Eichel

loved to ski at Bromley, serving as the oldest active ski patrol member in the country in 2013. He also collected and sold antiques, co-owning an antiques store with his wife, Annaick.

PROVENANCE: Estate of Charles Eichel, Esq. Private Collection, Nevada

LITERATURE: “Charles Eichel, Esq.,” The Manchester Journal, January 9-30, 2015.

$3,000 - $5,000

156 Ogden M. Pleissner (1905-1983) Country Road signed “Pleissner” lower right watercolor, 6 1/2 by 9 1/2 in.

PROVENANCE: Estate of Charles Eichel, Esq. Private Collection, Nevada

$2,000 - $3,000

JOHN AND DHUIE TULLY

1862-1931 AND 1862-1950 | FOCHABERS, SCOTLAND

157 Atlantic Salmon

John Tully (1862-1931)

Fochabers, Scotland, c. 1895 44 in. long

Carved by John and painted by his wife, Dhuie Tully (18621950). John apprenticed under John Bucknell Russell (18191893), who pioneered fish model making in the 1870s. Isabella “Dhuie” Tully was Russell’s daughter.

$6,000 - $9,000

This forty-four-inch-long salmon carving has intricate detail and exceptional paint and reflects the artist’s best work.

Born in Brooklyn in 1893 and raised in Ridgewood, New Jersey, Henry studied at the New York School of Fine and Applied Arts, founded by William Merritt Chase, where he also taught after graduating. He joined the Army’s Camouflage Corps during World War I, served in France, and returned to develop a successful career as an artist and illustrator. His work appeared in Saturday Evening Post and Collier’s, among other magazines, and his drawing of the first College Football game between Princeton and Yale was reproduced by Currier & Ives in 1930. Also in the 1930s, Henry created murals for corporate clients like Ford and the Pennsylvania Railroad, and had a side business painting pictorial estate plans of private clients’ homes and property.

On top of this vibrant career, Henry was known as a pictorial cartographer. He created exuberant, detailed, and beautiful maps, such as The New Map of the World in 1928 and a series of literary maps based on classic literature like Tom Sawyer, Ivanhoe, and Moby Dick in the 1950s. He lived in New Canaan, Connecticut, and Amagansett, New York, where he died in 1961.

This detailed and stunning map of the Matapedia River in Quebec identifies named pools, like Jim’s Rock Pool, Three Island Pool, and the Gulch Pool. It shows the Cold Spring Camp’s location on the bend near Clark’s Brook, and identifies the shoreline by owner, including the Restigouche Salmon Club at the mouth of the river. It also shows the train tracks that connect Montreal to the village of Matapedia. This historic overnight train would leave in the evening, allowing salmon anglers to wake up and go fishing early the next morning.

The painted map is peppered with fish species, deer, porcupine, moose, quail, duck, and rabbit typical of the area, with salmon flies at the lower right and a faux-birch scroll cartouche at lower center.

PROVENANCE: Private Collection, Connecticut

$10,000 - $20,000

158 Edward Everett Henry (1893-1961) Cold Spring Camp, 1939 signed and dated “EVERETT HENRY N.Y.C. 1939” upper left oil on canvas, 40 by 60 in. inscribed “Cold Spring Camp and the Salmon Waters of George Washington Hill on the River Matapedia Quebec” lower center

160 Willis H. Plummer (1838-1935) Leaping Brook Trout signed “W. Plummer.” lower left watercolor, 13 1/2 by 21 in.

159 Samuel A. Kilbourne (1836-1881) Atlantic Salmon signed “S.A. Kilbourne” lower left watercolor, 13 1/2 by 20 in.

1903-PRESENT

161

161 Outstanding Salesman’s Sample Canoe

Old Town Canoe Company (1903-present)

Old Town, ME, c. 1925

48 in. long

The Old Town Canoe Company of Old Town, Maine, is a historic maker of canvas-covered wooden canoes. Incorporated in 1901, Old Town is the largest and most well-known American canoe maker and they are still in business today. The individual build records for Old Town’s canoes that were built prior to 1976 still exist and disclose that approximately thirty-five forty-eight-inch-long samples were made between 1922 and 1927. It is believed that Old Town rewarded its wholesale distributors with a free forty-eight-inch sample if they ordered a railway boxcar load of canoes, about forty full-size canoes. Distributors received two forty-eightinch-long samples or one eight-foot sample if they ordered two boxcar loads. Thus, the samples were really used as “premiums” to recognize favored distributors, not routinely handed out to salesmen, though they are often called such. Old Town Canoe Co. was by far the greatest maker and distributor of “display” samples, which were also often referred to as “sign” canoes.

Display samples were not sold to individual buyers. Most were distributed prior to the 1930s and were placed in window displays or hung prominently in outfitter stores. Given the relatively low production numbers and disappearance through attrition, they are scarce and highly sought-after collectibles today. This represents one of the finest examples to come to market. Very good condition with even wear.

LITERATURE: Stephen B. O’Brien Jr. Fine Arts, American, Sporting & Western Paintings, Antique Decoys & American Folk Art, 2004 Catalog, Boston, MA, 2004, lot 35, related canoe illustrated. Susan Audette & David Baker, The Old Town Canoe Company: Our First Hundred Years, 1998, pp. 1-3, 70, 72.

162 Stan Bogdan #50 Reel

Stan Bogdan #50 reel, in a leather pouch and never used, right-hand wind.

PROVENANCE: Purchased from Bob Selb

$2,000 - $3,000

163 Bogdan Salmon Reel

One Bogdan small Salmon reel, right-hand wind.

$1,000 - $2,000

164 Otto Von Kienbusch’s Framed Flies 1997 mounted flies, 6 1/2 by 21 in.

Carl Otto Kretzschmar von Kienbusch (1884-1976) was a New York businessman, armor collector, and avid fisherman. He donated his impressive angling book collection to the Princeton University Library, where he was a graduate of the class of 1906.

Adding to his fly fishing bona fides, Kienbusch owned forty-five miles of the Patapedia River near the Restigouche, one of his Garrison bamboo rods is in the collection of the American Museum of Fly Fishing, and he was a member of the Anglers’ Club of New York.

LITERATURE: Dale R. Roylance, “The Angler as Bibliophile: Princeton University’s Kienbusch Collection,” The Princeton University Library Chronicle, vol. 50, no. 2, Winter 1989, pp. 169-188.

165 Bogdan Reel

One large Bogdan Salmon Reel with extra spool, right-hand wind.

$1,500 - $2,500

166 Wakeman Holberton (1839-1898) Fly Fishing Illustration, 1884 signed and dated “W. Holberton del.1884” lower right watercolor, 7 by 10 in. flies are numbered 266 to 284

Wakeman Holberton was an avid salmon fisherman and angler, as well as a member of the Brooklyn Art Association. He created three fishing flies: the “Fluttering Fly,” the “Lottie,” and the “Holberton.” He also wrote and illustrated multiple books and articles related to fishing, including The Art of Angling, How and Where to Catch Fish in 1887, and Standard American Black Bass and Lake Flies in 1884.

167 Atlantic Salmon Model

Barry Coull

Cascapedia River, Quebec, 2009 plaque is 41 in. long inscribed “16.5 Lbs, Little Camp Pool, July 13, 2003. Angler: Ron Swanson, Guide: Barry Coull.” inscribed in pencil on reverse “Handcrafted for Ron Swanson by Barry Coull, 2009” with attached photographs of the catch

A thirty-five-inch-long, carved and painted salmon model mounted to a rectangular backboard. Original paint, as found.

PROVENANCE: Ronald S. Swanson Collection

168 Brook Trout Carving George Gillett

England and Pawtucket, RI plaque is 8 by 18 1/2 in.

A well-documented, fourteen-inch, wood-carved and painted brook trout mounted on a half-circle plaque. As found.

PROVENANCE: Ronald S. Swanson Collection Private Collection

LITERATURE: Ronald S. Swanson, Fish Models, Plaques & Effigies, Far Hills, NJ, 2009, p. 95, fig. 144, exact fish illustrated. Ronald S. Swanson, “Fish Models, Plaques & Effigies,” Decoy Magazine, July/August 1996, cover and p. 13, exact fish illustrated.

$600 - $900

169 The Modest Town Shop Fish Weathervane

Mark S. McNair (b. 1950) Craddockville, VA, c. 1980 24 1/2 in. long

This weathervane resided on the crest of McNair’s workshop in Modest Town, Virginia. Fortuitously, Jerry Albright purchased the piece off of the rooftop shortly before the building was lost to a fire. Made from a single cedar board, the weathered surface has incised detail from head to tail. The underside bears an incised “McNair” signature. Original paint with wear and reset cracks in pectoral and caudal fins.

PROVENANCE: Collection of the Artist Jerry Albright Collection

Private Collection, acquired from Alan Haid

$3,000 - $5,000

170 Fin Whale Clark Voorhees (1911-1980) Weston, VT, c. 1960 18 in. long

This fin whale carving is signed in the back with a conjoined “CV” and also stamped “C VOORHEES.” While he generally painted these with a white belly, this rare variation is all black. Original paint with light wear and minor chip to top fluke tip.

PROVENANCE: Private Collection, Nantucket

171 American Egret c. 1900

45 in. tall and bird is 26 in. long

This silhouette was carved from a three-quarter-inch board and could be made to represent and egret, stork, or crane. It has a lively weathered surface from substantial exposure as a confidence decoy or a outdoor decorative, or perhaps both. This carving relates to the Mackey-Colio egret and its mate in the Shelburne Museum. Original paint with moderate wear, a tail chip, some age lines, and appealing craquelure.

PROVENANCE: Private Collection, New York

LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, 1965, pl. 36, related carving illustrated.

Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 83, related carving illustrated.

This grand tarpon carving measures seventy-five inches from tip to tail. It is mounted on a beveled-edge wooden base which displays the maker’s plaque on the bottom left.

After master carver Steve Smith completed this striking carving, the artist said it was the first one of the species he’d done, and likely the last. In 2019 the American Museum of Fly Fishing held an exhibition of the carver’s works titled Commemorating the Catch: Fish Carvings by Stephen R. Smith

“Close examination of Smith carvings helps explain what sets his work apart. He is recreating specific great fish, rich in distinctive individual detail…There are elements of both realism and impressionism in his work…the colors of these carvings are remarkably lifelike, but trompe l’oeil shadings suggest dimensionality and even interior structures glimpsed through translucent flesh. This blending of techniques is masterful yet so subtle that it creates a unique visual experience,” writes Jim Brown.

David Nichols writes, “One can see the influence of his predecessors—particularly John Russell, John Tully, and Dhuie Russell Tully—in Steve’s work, which itself ranks alongside the best carvings of the nineteenth and early-twentieth centuries.”

“There is reverence for nature at the heart of all Smith’s work,” according to Brown, and this grand approximately onehundred and sixty pound trophy model represents the finest tarpon carving we’ve ever come across.

$20,000 - $30,000

172 Tarpon Carving Stephen R. Smith (b. 1942) Jamestown, NY base is 88 in. long, 38 in. wide

LITERATURE: Jim Brown, “Stephen R. Smith: Trophy Fish Carver,” The American Fly Fisher, Vol. 45, No. 3, Summer 2019, pp. 14-16.

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

the Old Lyme Art Association. He was the Ducks Unlimited Artist of the Year in 1982, the Atlantic Salmon Federation Artist of the Year in 1982 and 2001, and the Bonefish & Tarpon Trust Artist of the Year in 2018. There are two books published on Reneson’s work, Shadow on the Flats and The Watercolors of Chet Reneson

A tarpon explodes out of the water in this vivid flats fishing scene.

$5,000 - $7,000

173 Chet Reneson (b. 1934) Surging Silver signed “Reneson” lower right acrylic on board, 21 by 35 in.

174 Chet Reneson (b. 1934) Setting Out signed “Reneson” lower right acrylic on board, 21 by 35 in.

A classic snowy blowy duck hunting scene with two hunters and an attentive black lab.

$5,000 - $7,000

175 Chet Reneson (b. 1934) River Lunch signed “Reneson” lower left acrylic on board, 12 by 35 in.

This atmospheric fishing scene depicts a duo of fishermen taking a break from their pursuit.

$5,000 - $7,000

176 Chet Reneson (b. 1934) Out of Reach signed “Reneson” lower left acrylic on board, 21 by 35 in.

A bright Bahamas bonefishing scene that captures the sunlight and bright blues and greens of flats fishing.

$5,000 - $7,000

178 Eldridge Hardie (1940-2021)

Pheasant

Eldridge Hardie grew up in Texas between a Hill Country ranch and El Paso. After his uncle, a commercial illustrator, inspired him to take up painting, Hardie attended art school at Washington University in St. Louis. In 1966 he settled in Denver and has enjoyed a long and successful career as a sporting and wildlife artist.

“In a sense, a sporting artist must be three painters in one, rendering convincing landscapes, dogs and wildlife that are both accurate in detail and lively, and believable human figures,” Grudowski writes. “It’s little surprise that Hardie’s immersion in the sporting life that he paints--his intuitive feel for his subjects--strikes a chord.”

177 Chet Reneson (b. 1934)

Winter Duck Hunting, 1976 signed and dated “Reneson 76” lower right

watercolor, 17 by 27 1/4 in.

PROVENANCE: Private Collection, New Jersey

Hardie’s paintings can be found in the National Museum of Wildlife Art in Jackson, Wyoming, the Fresh Water Fishing Hall of Fame in Hayward, Wisconsin, the National Bird Dog Museum in Grand Junction, Tennessee, and the El Paso Museum of Art, to name several important collections and institutions that support and exhibit the artist’s work. Hardie has been Artist of the Year for the Atlantic Salmon Federation and Trout Unlimited, and Featured Artist at the Plantation Wildlife Arts Festival and the Southeastern Wildlife Exposition, among other honors.

PROVENANCE: Private Collection, Massachusetts

LITERATURE: The Sporting Art of Eldridge Hardie, Mechanicsburg, PA, 2019.

Mike Grudowski, “Master of the Hunt,” Garden & Gun, December 2014–January 2015, p. 98.

$3,000 - $5,000

Hunt signed “Eldridge Hardie” lower left watercolor, 9 by 12 in. signed and titled on back

ROBERT KENNEDY ABBETT

179 Robert Kennedy Abbett (1926-2015)

Bo and Duke, 1981

signed and dated “R. Abbett © 1981” lower right oil on board, 21 by 36 3/4 in. signed, titled, and inscribed on back

This painting depicts two of the artist’s own dogs, Duke of Oakdale and Bo Jangles. In A Season for Painting, Abbett recalls that his setter Duke “graced our family for his lifetime as hunting dog and artist’s model and all-around pal.”

Remembering his Labrador, Abbett writes, “Bo’s worst problem was his unlimited energy; he should have belonged to someone who hunted ducks with him at least twice a day, twelve months a year, with an occasional field trial or two thrown in. As a pup, he would sit in the studio watching me, crouched like a leopard about to spring, and I would tell him, ‘Look, Bo, I’m

sorry, but there’s just not a lot going on right now.’ Perhaps I should have named him ‘Patton:’ his charge was unstoppable.”

Bill Webster selected this iconic painting to make into a limited-edition print by Wild Wings in 1982.

LITERATURE: Robert K. Abbett, A Season for Painting: The Outdoor Art of Robert K. Abbett, Dallas, TX, 2001, pp. 32, 48, 71, and 178, print illustrated.

$8,000 - $12,000

Luke Frazier is one of the West’s top wildlife artists. Born and raised in the mountains of northern Utah, Frazier spent much of his youth hunting and fishing. His early forays into nature inspired a passion for the outdoors. As a child, Frazier spent countless hours sketching and sculpting wildlife, demonstrating not only a passionate interest, but also an instinctive ability. Later, he received his formal art training at Utah State University, where he earned a bachelor of fine arts degree in painting and a master of fine arts degree in illustration. Frazier cites the influence of Winslow Homer, Edgar Payne, Bruno Liljefors, Carl Rungius, and Bob Kuhn in his work. This bright and charming fox nestles into powdery snow.

$3,000 - $5,000

Peggy Watkins was drawn to animals from a young age. She studied at the Atlanta College of Art and lives and works in the Carolinas, creating sporting and wildlife art paintings in the “impressionistic realism” category. Among other honors, her work is in the permanent collection of the Bennington Center for the Arts in Vermont.

This painting of two setters captures the keen attention and anticipation of adept hunting partners.

$3,000 - $5,000

180 Peggy Watkins (b. 1963) Common Scents, 2022 signed “Watkins” lower right oil on linen, 20 by 30 in.

181 Luke Frazier (b. 1970) Circle of Warmth signed “l. frazier” lower right oil on board, 12 by 16 in.

$800

Daniel Loge was inspired by the work of Winslow Homer. He spent much of his youth exploring the outdoors in Upstate New York. Along with his passion for the outdoors, his interest in painting began when he was introduced to oil painting by his mother at a young age.

$300 - $500

182 Daniel Loge (b. 1954) Snowy Shelter - Blue Jay signed “D Loge” lower left oil on board, 12 by 16 in. titled on back

183 Leo B. Blake (1887-1976) Partners signed “Leo B. Blake” lower right oil on canvas, 20 by 24 in. titled on Vixseboxse Art Galleries, Inc. label on back

- $1,200

Vantage Point, 1981

signed and dated “C E Monroe 81” lower right oil on board, 15 1/2 by 20 1/2 in.

C. E. Monroe, father of landscape and wildlife artist Lanford Monroe (1950-2000), was a successful artist in his own right. Trained at the Howard Pyle School of Illustration Art, Monroe created covers for Tarzan books, among many other magazine and commercial commissions. In 1994, he was honored by the Hunstville Museum of Art in Alabama for his wildlife and sporting art.

Sun Up - Snipe, 1981

signed and dated “C E Monroe Jr ‘81” lower left oil on board, 15 by 20 in.

184 Charles Edmund Monroe Jr. (1918-1999)

185 Charles Edmund Monroe Jr. (1918-1999)

CAPT. JOHN C. SCHWEIKART

1870-1954 | STRAWBERRY ISLAND, MI

186

High-Head Canvasback

Capt. John C. Schweikart (1870-1954)

Strawberry Island, MI, c. 1910

15 1/2 in. long

This decoy was selected for Walsh and Jackson’s Waterfowl Decoys of Michigan and the Lake St. Clair Region. One of the finest Schweikart canvasbacks known, its bull-head is the highest of any. John Schweikart lived and worked in Detroit. He and his brother Carl were motorboat and racing yacht builders. In addition to serving as the president of Schweikart Boat Works, John would sail his own boat, The Huntress, to victory in regattas and to his camp on Strawberry Island on Lake St. Clair to hunt and fish.

This drake exhibits a high version of Schweikart’s signature bull neck. His construction is meticulous and unique; the wing

tips are aluminum, a two-piece copper bottom plate provides a winged keel, and even the head was hand hollowed. The underside is branded “Kangas.” Old paint with moderate gunning wear.

PROVENANCE: Kangas Collection of International Folk Art and Decoys Private Collection

LITERATURE: Clune Walsh Jr. and Lowell G. Jackson, Waterfowl Decoys of Michigan and the Lake St. Clair Region, Detroit, MI, 1983, pl. 2-3, and p. 29, exact decoy illustrated. Guyette & Deeter, North American Decoys at Auction April 21 & 22, 2016, Portsmouth, NH, p. 77, lot 139, exact decoy illustrated.

$10,000 - $20,000

187 High-Head Canvasback

St. Clair Flats, MI, c. 1920

16 1/2 in. long

A rigmate to this canvasback is illustrated on the inside covers and pages 7-8 of Clune Walsh and Lowell Jackson’s book of Michigan decoys. They referred to these decoys as “snakey head...restless, nervous, and very wild.” A collector’s notation on the bottom of the decoy refers to the decoy as a “Long Neck Can” found on Harsen’s Island. Old working paint with gunning wear.

PROVENANCE: Ronald S. Swanson Collection Private Collection

LITERATURE: Clune Walsh Jr. and Lowell G. Jackson, Waterfowl Decoys of Michigan and the St. Clair Region, Detroit, MI, 1983, pp. 6-7, pl. 17 and inside cover, rigmate illustrated. Gene and Linda Kangas, Great Lakes Decoy Interpretations, Concord, OH, 2011, p. 158, rigmates illustrated. Ronald Swanson, “The Decoy as Folk Sculpture,” Cranbrook Academy of Art Exhibition Catalog, January 1987, p. 34, fig. 50, exact decoy illustrated.

EXHIBITED: Bloomfield Hills, Michigan, The Decoy as Folk Sculpture, Cranbrook Academy of Art, January 27-February 22, 1987.

$2,000 - $4,000

188 “Pinch-Neck” Canvasback Pair Point Mouilee, MI, c. 1900 15 in. long

A grand pair of canvasbacks with exceedingly thin necks and extensive stylized head and bill detail. Decoys from this distinct rig have captivated top collectors for decades with examples in the Mackey and O’Brien Collections and one illustrated in Quintina Colio’s 1972 volume. Mix of original and repaint with heavy gunning wear and neck cracks.

PROVENANCE: Donal C. O’Brien Jr. Collection Private Collection, Dallas

LITERATURE: Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 25, rigmate illustrated.

$1,000 - $2,000

189 Two Tucked-Head Decoys Henry “Budgeon” Sampier (1856-1938) Pearl Beach, MI, c. 1900 13 1/2 in. long

Two tucked-head ducks from Michigan, including a goldeneye by Sampier and an unknown bufflehead from that region. As found.

LITERATURE: Bernard W. Crandell, Decoying: St. Clair to St. Lawrence, Erin, ON, 1988, p. 31, exact decoy illustrated. Clune Walsh Jr. and Lowell Jackson, Waterfowl Decoys of Michigan and the Lake St. Clair Region, Detroit, MI, 1983, pp. 140-141, related decoys illustrated.

$800 - $1,200

190 Redhead Drake Thomas Schroeder (1886-1976) Detroit, MI, 1958

13 in. long

According to author Bernard Crandell, Schroeder was motivated to make his finest works in the hope of competing against the top competitive carver of the day, Charles E. “Shang” Wheeler (1872-1949). Schroeder’s desire never came true as Wheeler passed away the year Schroeder first entered the New York show.

Although made as a working decoy, this carving is comparable to the maker’s finest contest winners. A maker’s label is affixed to the bottom. Excellent original paint with gunning wear, some touch-up to lower sides, neck seam, and around eyes.

PROVENANCE: Donal C. O’Brien, Jr. Collection Private Collection

LITERATURE: Bernard W. Crandell, Decoying: St. Clair to St. Lawrence, Erin, ON, 1988, p. 51.

$1,500 - $2,000

191 Canvasback Thomas Schroeder (1886-1976) Detroit, MI, c. 1950

17 in. long

An oversized drake with a hollowed-out underside. Signatures on the side and bottom have been sealed over. Old Schroeder paint with moderate gunning wear, including an age line on left side.

192 Two Michigan Canvasback Drakes c. 1950 16 in. long

The tucked head is by Tom Schroeder of Detroit and the turned head is by Frank Cummings of Harsen’s Island. As found.

193 Miniature Long-Tailed Pair

Benjamin S. Schmidt (1884-1968)

Centerline, MI, c. 1930 11 in. long

The original owner of this pair and the following miniature Schmidt lots was a foundry owner in Detroit who acquired the birds directly from the maker as gifts. In exchange, Schmidt was able to source the sugar pine used at the foundry for his decoy carvings. Original paint with light wear.

PROVENANCE: Private Collection, Detroit, gifted from the maker Private Collection, by descent from the above

$800 - $1,200

194 Miniature Pintail Pair

Benjamin S. Schmidt (1884-1968)

Centerline, MI, c. 1930 9 1/2 in. long

Original paint with light wear and drake’s bill is reset with glue residue visible.

PROVENANCE: Private Collection, Detroit, gifted from the maker Private Collection, by descent from the above

195 Miniature Green-Wing Teal Pair

Benjamin S. Schmidt (1884-1968)

Centerline, MI, c. 1930 8 in. long

The drake has a slightly turned head and both exhibit carved feather detail. Original paint with light wear.

PROVENANCE: Private Collection, Detroit, gifted from the maker Private Collection, by descent from the above

196 Miniature Mallard Hen and Canvasback Drake

Benjamin S. Schmidt (1884-1968)

Centerline, MI, c. 1930 10 1/2 in. long

Original paint with light wear; hen’s bill is reset.

PROVENANCE: Private Collection, Detroit, gifted from the maker Private Collection, by descent from the above

197 Miniature Black Duck Pair

Benjamin S. Schmidt (1884-1968)

Centerline, MI, c. 1930 10 1/2 in. long

This hen and drake pair are identified by their green and yellow bills, respectively. Original paint with light wear.

PROVENANCE: Private Collection, Detroit, gifted from the maker Private Collection, by descent from the above

198 Miniature Redhead Pair

Benjamin S. Schmidt (1884-1968)

Centerline, MI, c. 1930 7 1/2 in. long

PROVENANCE: Private Collection, Detroit, gifted from the maker Private Collection, by descent from the above

CHARLES AND EDNA PERDEW

(1874-1963) AND (1882-1974) | HENRY, IL

199 Masterworks Preening Pintail Hen

Charles Perdew (1874-1963) and Edna Perdew (1882-1974)

Henry, IL, c. 1925

14 1/4 in. long

“This graceful decoy is rare,” writes Perdew author Ann Lacy of the nearly identical rigmate and the only known comparable. She continues, “...both as a Pintail sleeper and as an unusually fine example of Edna’s subtle yet distinctive painting style. Note the wispy curls of the white along the bars of the speculum and the bold delineation of the feathers across the back between the wings… Judging by its condition this decoy may never have been placed in the water.”

Of their many styles, the Perdews are most revered for Charlie’s masterful preening decoys finished with Edna’s best paint. Both Robert Elliston and Charles Perdew felt that the presence of these turned-head forms added a suggested calm to the rig that was more enticing to waterfowl. Whether this actually made any difference to the circling birds is subject to debate; however, the graceful pose inherent in these styles is certainly desirable among collectors.

While this decoy and its lone comparable have been widely published and publicly exhibited, this represents the first time either has been offered at auction. Along with its rigmate many consider it to be the finest Perdew pintail known to exist. Excellent original paint with minimal wear and a faint age line in the bill.

PROVENANCE: Joe and Donna Tonelli Collection Jim Cook Collection, acquired from the above Masterworks of the Illinois River Collection, acquired from the above

LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 79, exact decoy illustrated. Ann Tandy Lacy, Perdew: An Illinois River Tradition, Muncie, IN, 1993, front dust-jacket cover, related mallard illustrated, p. 147, Cook Collection rigmate illustrated.

EXHIBITED: Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9–April 28, 2019. Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2-November 13, 2005.

$70,000 - $100,000

CHARLES AND EDNA PERDEW

(1874-1963) AND (1882-1974) | HENRY, IL

200 The Perdew Preening Black Duck

Charles Perdew (1874-1963) and Edna Perdew (1882-1974)

Henry, IL, c. 1910

15 in. long

This early three-piece preening black duck is a singular decoy with no peers. Indeed, it is rare on several separate accounts, including its early three-piece construction, the preening pose, and as a black duck. The closest Illinois River comparable is an oversized black duck by Robert Elliston held in the Elaine and Alan Haid Collection. Rarity aside, Charlie’s sublime preening form was finished with Edna’s finest brushwork with embellishments only seen on her earliest work, including brushed-out feathering within the primary delineations.

Earl W. Poggemoeller of Portage des Sioux, Missouri was the first collector to claim this decoy. After his passing in 1984, his birds were sold as “the finest collection of Illinois River decoys to ever come at auction.” This standout preener has been celebrated in numerous publications and museum exhibitions since it was acquired at the Poggemoeller sale. Overall excellent original paint with light gunning wear and some areas of touch-up including right body seam.

PROVENANCE: Earl W. Poggemoeller Collection

Masterworks of the Illinois River Collection

LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 67, exact decoy illustrated.

Tandy Lacy, The Wooden Bird: Heritage Bird Carvers of the Upper Illinois River Valley, Washburn, IL, 1989, p. 11, exact decoy illustrated.

Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 117, exact decoy illustrated.

Jackson Parker, “Fine collection of Illinois River decoys tops Maine auction,” Decoy Magazine, Winter 1986, p. 21, Poggemoeller sale discussed.

EXHIBITED: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2-November 13, 2005.

Peoria, Illinois, The Wooden Bird Exhibition, Lakeview Museum of Arts and Sciences, January 7–February 18, 1990.

Springfield, Illinois, The Wooden Bird Exhibition, The Illinois State Museum, March 3–April 22, 1990.

Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9–April 28, 2019.

$40,000 - $60,000

Cover photo of The Decoy Hunter, Nov.-Dec. 1984, showing the related Elliston preening black duck.

WALTER “TUBE” DAWSON

1882-1955

201 High-Head Mallard Pair

Walter “Tube” Dawson (1882-1955)

Putnam, IL, c. 1920

17 in. long

Dawson learned carpentry from his father and began carving decoys at age seventeen. Over his long career in wood, he proved to be a diverse maker. In addition to these standout high-head models, he made imaginative preeners, a mechanical goose, flying mallards, duck calls, and boats.

Hunting was his passion, and from 1905 until 1918 Dawson took full advantage of the then legal market shooting of the region’s plentiful waterfowl. On Lake Senachwine, he served as a hunting guide to hotel guests.

The distinctive style seen here resulted in his being known as “Tube” among decoy enthusiasts. The high heads, like on the Kankakee pintails, have been attributed to application in tall marsh grasses. These decoy are quite rare with only six believed to have survived. Original paint with moderate gunning wear, working paint from the waterline down on the drake. Hen has tight neck crack, age line at left crown, and working paint to grey on very bottom. Both have some flaking.

PROVENANCE: Masterworks of the Illinois River Collection

LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 108, exact pair illustrated. Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 57, exact pair illustrated.

Alan G. Haid, Decoys of the Mississippi Flyway, Exton, PA, p. 168, related pair illustrated.

Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 246, pl. 377, rigmate pair illustrated.

EXHIBITED: Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9–April 28, 2019. Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2-November 13, 2005.

$10,000 - $20,000

| PUTNAM, IL

A singular early and refined preening drake showcasing the distinct Lacon style in an elegant pose. The uplifted wing tips and dramatic head position distinguish this sleek decoy from other birds from this region.

Lane is one of the earliest recorded Midwestern decoy makers. He was also a talented woodworker who professionally constructed everything from houses to wagons to furniture. Born in Good Luck, New Jersey, his family moved to a farm in Lacon, Illinois, while he was in his teens. The farm was near prime duck hunting habitat and it did not take Lane long to immerse himself in the growing market gunning movement.

Early working paint with moderate gunning wear. Old restoration to left end of tail.

PROVENANCE: Masterworks of the Illinois River Collection

LITERATURE: Stephen O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 25, exact decoy illustrated. Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2-November 13, 2005.

$15,000 - $25,000

202 Early Sleeping Mallard Drake Stephen Lane (1843-1900) (attr.) Lacon, IL, c. 1890

13 in. long

1897-1956 | MACOMB, IL

— Ann Tandy Lacy, Perdew: An Illinois River Tradition, discussing this fine goldeneye

Macomb,

11 1/2 in. long

This is not only the finest Cheeseman decoy, but one the finest goldeneye decoys from the Midwest.

From Macomb, Illinois, Verne Cheeseman was a guide for the Sanganois Duck Club. He made decoys primarily for his own use and hunted a good deal with his friend and fellow carver Ross Murphy on Millman Lake, a part of the timbered bottomlands of the Mississippi River.

An acquaintance of Charles and Edna Perdew, Cheeseman often began his decoys using Perdew decoy patterns. He employed the services of Edna Perdew to paint many of his decoys, and, at times, it can be challenging to distinguish between a Cheeseman and a Perdew.

A noticeable difference is the manner in which Cheeseman finished his heads. Cheeseman heads tend to have longer necks and reared-back heads with rather pronounced cheek carving. This drake demonstrates Cheeseman’s variation on Perdew at its very finest, with the cocked posture and full, rounded breast. While Perdew also created birds with firmly cut cheeks, Cheeseman’s decoys tend to have a more serene look. The bold carving is finished with strong Edna Perdew paint. Original paint with moderate gunning wear.

PROVENANCE: Vern Cheeseman Rig Joe French Collection, acquired from the above Joe and Donna Tonelli Collection

William Humbracht Collection

Masterworks of the Illinois River Collection, acquired from the sale of the above, 1988

LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 126, exact decoy illustrated.

Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 33, exact decoy illustrated.

Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 247, exact decoy illustrated.

Ann Tandy Lacy, Perdew: An Illinois River Tradition, Indianapolis, IN, 1993, pp. 126-127, exact decoy illustrated.

Tandy Lacy, The Wooden Bird: Heritage Bird Carvers of the Upper Illinois River Valley, Washburn, IL, 1989, p. 18, exact decoy illustrated.

EXHIBITED: Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9–April 28, 2019.

Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2-November 13, 2005.

Peoria, Illinois, The Wooden Bird Exhibition, Lakeview Museum of Arts and Sciences, January 7–February 18, 1990.

Springfield, Illinois, The Wooden Bird Exhibition, The Illinois State Museum, March 3–April 22, 1990.

$20,000 - $30,000

“The carver Verne Cheeseman, from Macomb, Illinois, had many of his decoys painted by Edna, including Mallards, Canvasbacks, Bluebills, and one especially fine Goldeneye that is known to be extant.”

203 The Cheeseman Goldeneye Drake

Verne Cheeseman (1897-1956)

IL, c. 1930

MASTERWORKS BLUE-WINGED TEAL PAIR

204 Masterworks Blue-Winged Teal Pair

Charles Perdew (1874-1963)

Henry, IL, c. 1940

11 in. long

A rare rigmate pair in bright breeding plumage with thin necks, full bodies, strong paint, and a rich exhibition history. The drake has a slightly turned head. Excellent original paint with light wear. Drake has faint age line and minor abrasion to bill, tight neck crack, and some minor flaked paint to rear.

PROVENANCE: Masterworks of the Illinois River Collection

LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 82, exact decoy illustrated.

EXHIBITED: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2November 13, 2005.

$20,000 - $30,000

204

MASTERWORKS GREEN-WINGED TEAL PAIR

205 Masterworks Green-Winged Teal Pair

Charles Perdew (1874-1963)

Henry, IL, c. 1940

11 in. long

A rare rigmate pair with thin necks, full bodies, strong paint, and a rich exhibition history. Original paint with minimal wear, flaked paint to left side of drake, and less than half-inch of hen’s bill tip professionally restored.

PROVENANCE: Masterworks of the Illinois River Collection

LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 83, exact decoys illustrated.

EXHIBITED: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2November 13, 2005.

$20,000 - $30,000

205

HIRAM “HY” HOTZE

1886-1977 | PEORIA, IL

206 Rare Canvasback Pair

Hiram “Hy” Hotze (1886-1977)

Peoria, IL, c. 1930

15 in. long

Canvasbacks by this maker are rare and the hens are especially so. The undersides of these rigmates are marked with an “EC.” Gunning paint with original feathering and moderate gunning wear.

LITERATURE: Stephen O’Brien and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 115, related decoy illustrated.

$5,000 - $7,000

206

207 Mallard Drake Charles Perdew (1874-1963) Henry, IL, c. 1940 15 in. long

A turned-head “green head” with scratch comb paint and feather detail by the maker. It features a “Perdew, Henry, Ill” weight on the bottom. Excellent original paint with light wear. $5,000 - $7,000

207

208 Canvasback

Robert Elliston (1847-1925)

Bureau, IL, c. 1890

15 3/4 in. long

This exact decoy is illustrated in Mackey’s American Bird Decoys, where the author notes the rarity of this example and that “Robert Elliston’s work in original condition ranks with the best produced in the Midwest.” Original paint with heavy gunning wear, chips to tail, and cracks in breast.

PROVENANCE: William J. Mackey Jr. Collection

Ronald S. Swanson Collection Private Collection

LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 181, pl. 146, exact decoy illustrated.

$2,000 - $3,000

209 Preening Mallard Pair

Benton “Burt” Lange (1896-1967)

Horicon, WI, c. 1930

14 in. long

A bold pair of preening decoys used on the Horicon Marsh. Original paint with gunning wear, cracks, and some touch-up to flaked areas.

PROVENANCE: Donna Tonelli, Fish and Fowl Decoys of The Great Lakes, Atglen, PA, 2002, p. 210, rigmates pictured.

$3,000 - $5,000

210 Bluebill

Carriage House Rig

Lacon, IL, c. 1880 12 1/4 in. long

A very hollow decoy, with raised upper wing delineations, originating from the Carriage House rig. This celebrated rig was found in a carriage house on the Ernest Lehmann estate, in Lake Villa, Illinois. Like other birds from this rig, the hollow construction is superb. Birds from this group are known for their animation in form and this bluebill shows nice attitude. Original paint with even gunning wear.

PROVENANCE: Ronald S. Swanson Collection Private Collection

LITERATURE: Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey Jr. of Belford, New Jersey, Hyannis, MA, Session I, 1973, lot 83, rigmate illustrated.

$1,000 - $2,000

211 Preening Goldeneye

Fritz Geiger (1882-1957)

Oshkosh, WI, c. 1910

11 in. long

Discussing Geiger’s work, Alan Haid notes, “For years they were confused with Fred Allen’s decoys from Monmouth, Illinois.” This rare, if not unique, preening drake distinguishes itself with highly-articulated turned-head carving. The broad and hollow body is finished with a thin paddle tail. Nice old paint with moderate gunning wear, even craquelure, and a paint drip on breast.

LITERATURE: Alan Haid, Decoys of the Mississippi Flyway, Exton, PA, 1981, pp. 30 and 47, Geiger discussed and illustrated.

$2,000 - $3,000

James Robinson is a prominent Texas painter of the America West, wildlife, and animals. Born in Houston, he earned his BFA degree from University of Houston before setting out as a commercial artist. Before too long, Robinson could support himself by painting full-time. Among many other honors, he was Ducks Unlimited Artist of the Year in 1990.

PROVENANCE: Private Collection, Texas

$4,000 - $6,000

212 James Robinson (1944-2015)

Canada Geese and Whitetail Buck on the Texas Coast signed “Robinson ©” lower right oil on panel, 22 by 30 in.

EDGAR BURKE

1889-1950

This painting was a gift from Burke to Derrydale Press founder, Eugene V. Connett III. The two were lifelong friends from childhood.

PROVENANCE:

$800 - $1,200

Dr. Edgar Burke was a surgeon, avid outdoorsman, and artist. He practiced medicine for many years at Jersey City Medical Center and raced pigeons, among his many sporting pursuits.

PROVENANCE: Private Collection, Texas

$3,000 - $5,000

$800

213 Edgar Burke (1889-1950) Woodcock Pair, 1928 signed and dated “Edgar Burke - 1928.” lower left watercolor, 13 1/2 by 16 1/2 in.

The artist Eugene V. Connett III Collection Private Collection

214 Edgar Burke (1889-1950) Flying Grouse, 1930 signed and dated “Edgar Burke-1930” lower right gouache, 12 1/2 by 12 in.

- $1,200

215 Edgar Burke (1889-1950) Flying Black Ducks, c. 1928 signed “Edgar Burke” lower left oil on canvasboard, 18 by 14 in.

Lynn Bogue Hunt was born in rural Honeoye Falls, New York, into a family that ran a small sawmill operation. He grew up with modest means, but spent hours outside exploring the natural surroundings in the woods near his home. He often collected birds and practiced taxidermy, a hobby that led to his accurate portrayal of his wildlife subjects. Hunt contributed illustrations to his own articles as well as cover illustrations to magazines, such as Field & Stream, Sports Afield, and Free Press. During his lifetime, Hunt painted for private collectors and companies such as DuPont, illustrated over forty books, and produced roughly 250 magazine covers. Though he spent much of his life far from nature in

New York City, Hunt had a strong foundation as a knowledgeable outdoorsman, bird hunter, and fisherman, enabling him to accurately capture the essence of the outdoors.

This lot includes an edition of An Artist’s Game Bag by Lynn Bogue Hunt, published by The Derrydale Press in 1936, and a letter from October 17, 1936, signed “Lynn Bogue Hunt.”

PROVENANCE: Private Collection, Georgia

$7,000 - $9,000

216 Lynn Bogue Hunt (1878-1960) Wood Duck Pair signed “Lynn Bogue Hunt” lower center gouache, 24 by 17 1/2 in.

RICHARD E. BISHOP

217 Richard E. Bishop (1887-1975)

Skyward Bound

signed “Richard E Bishop ©” lower right oil on canvas, 24 by 27 in.

A well-depicted “gray duck” set against a vivid blue cloud-filled sky. This important illustration was published alongside Bishop’s iconic Ready for Landing, Ceiling Zero, and Headed South, in his The Ways of Wildfowl.

PROVENANCE: Private Collection, Texas

LITERATURE: Richard E. Bishop and Russ Wilson, The Ways of Wildfowl, Chicago, IL, 1971, p. 48, illustrated.

$5,000 - $8,000

Roland Clark was known as a premier waterfowl painter. He was born in New Rochelle, New York, and studied at the Art Students League in Manhattan. After living in the Tidewater region of Virginia for several years, where he was able to enjoy hunting and other outdoor pursuits, Clark returned to New York City and devoted himself to painting and illustrating fulltime.

Beginning in 1937, the Derrydale Press reproduced two of Clark’s watercolors of wildfowl every year in limited edition prints. In addition, he submitted illustrations to Ducks Unlimited, a booklet that was published by the More Game

Birds in America Foundation. In 1938 one of Clark’s images of pintail ducks was chosen as the fifth Federal Duck Stamp design. Clark’s devotion to and execution of waterfowl subjects places him among the elite depicting the genre.

PROVENANCE: Private Collection, Texas

$10,000 - $15,000

218 Roland H. Clark (1874-1957) Black Ducks signed “Roland Clark” lower right oil on canvas, 20 by 24 in. titled on Abercrombie and Fitch label on back

219 Owen J. Gromme (1896-1991)

Wild Turkeys, 1943 signed and dated “Owen Gromme 43” lower right oil on canvas, 30 by 24 in.

The successful reintroduction of the wild turkey to nearly the entirety of its historical range of North America is one of the great conservation stories of the last century. The onslaught of this majestic bird began with the landing of the Pilgrims at Plymouth, Massachusetts, in 1620. The number of wild turkey at the time of their arrival was, by some estimations, as many as ten million birds. Clear-cutting, a common practice in the colonies, destroyed the forests where the turkey made its home. As a result of the loss of its habitat, by 1700 local bird populations had dwindled. Benjamin Franklin was an early admirer of the wild turkey and in a letter to his daughter in 1784, he pronounced his displeasure over the choice of the bald eagle as the national bird instead of the iridescent bronze game bird.

John James Audubon (1785-1851) reported seeing wild turkeys by the hundreds along the Upper Mississippi in 1810. By 1951 the entire population in North America was estimated at a little over 300,000 birds with a legal annual harvest in fifteen states of 47,000 birds. This clearly unsustainable quota placed the bird in dire straits. Due to the tireless effort of conservation groups and hunters around the country, by 1999 the wild turkey population had rebounded to over five million birds, present in forty-nine of the fifty United States.

This work, completed in 1943, was painted at a time when turkey stocks were at near collapse. The Spanish moss in the background places the work in the South, which due to its extensive habitat, was one of the wild turkey’s last bastions for the surviving population.

Owen Gromme was born in Wisconsin in 1896, and he spent much of his childhood hunting in the wetlands and forests near his home. Gromme made his career as the Curator of Birds and Mammals at the Milwaukee Public Museum, staying in this position for over four decades. In this capacity, he traveled across the United States, as well as to Africa, documenting the wildlife he encountered. Although he was a high-school dropout, by the time of his death in 1991 Owen Gromme had received five honorary doctorates, as well as published Birds of Wisconsin, which he also illustrated. Known for his conservation activism, his paintings reflect his love of the outdoors.

PROVENANCE: Private Collection, Georgia Private Collection, Wisconsin, acquired from the Sporting Sale 2011, lot 24

LITERATURE: James E. Cardoza, The Wild Turkey: An Astonishing Success Story, MA, 2002.

$15,000 - $25,000

OWEN J. GROMME

220 Owen J. Gromme (1896-1991)

Horicon Marsh - Canada Geese, 1949 signed “Owen J. Gromme” lower right oil on canvas, 29 3/4 by 39 3/4 in.

According to the Webster family, “The Horicon Marsh was fairly close to where Owen lived, and he was a big supporter of conservation efforts there. Each fall upwards of 200,000 Canada geese migrate through, and Owen was fond of telling stories of his painting research outings, and the clouds of geese that darkened the skies.”

Bill Webster writes, “[I] was amazed at all the Canada geese in one painting and the different attitudes of the birds. Owen had built a wooden goose model with wire between the wooden pieces. Dad thought that was amazing because Owen could manipulate the model to show the bird in different stages of flight.”

In his notes on Horicon Marsh - Canada Geese, Bill Webster discusses how he acquired the painting, saying, “In the Late 1960’s, exact date unknown, but probably before founding

Wild Wings in 1967, I received a phone call from an elderly Mrs. Nick Kahler. She explained that someone told her I buy paintings by Owen J. Gromme. Her husband, the owner of the two largest Sports Shows in the country, Minneapolis and Kansas City, had recently passed away, and she had moved from a large home in the suburbs to a high rise condominium in downtown Minneapolis; and in the closet taking up a lot of room was a large painting of ducks or geese by Owen J. Gromme that her husband bought from Mr. Gromme in 1947 or 1948. It was a good fit in their big house, but she didn’t want it nor had any room to hang it in her new apartment.

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

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

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

“I’m sure that in a lifetime of buying and selling, this 10 minutes was by far the quickest to ‘seal a deal’ for a painting. I had it cleaned and varnished, and have spent

40 plus years thoroughly enjoying it hanging on the wall and seeing the painting every time I walk in my office.”

PROVENANCE: Collection of Mr. and Mrs. F. W. Kahler

William B. Webster III Collection, purchased from the above in 1971 Private Collection, Wisconsin, acquired from The Winter Sale 2016, lot 46

LITERATURE: Fred Ott, The Milwaukee Public Museum Presents a Retrospective Exhibition, The Wildlife Art of Owen J. Gromme, Milwaukee, WI, 1980, p. 11, illustrated.

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

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

$12,000 - $18,000

221

Owen J. Gromme (1896-1991)

Rising Black Ducks, 1962 signed and dated “O.J. Gromme 62” lower left oil on canvas, 18 by 24 in.

PROVENANCE: Private Collection, Wisconsin

$5,000 - $7,000

222 Harry Curieux Adamson (1916-2012)

Emperor Geese signed “Harry Curieux Adamson” lower left oil on canvas, 20 by 30 in.

Harry Adamson was one of the premier waterfowl painters of the last fifty years. Born in Seattle in 1916, he studied under Paul J. Fair who is best known for his wildlife photography. Adamson began painting after serving in World War II, selling a painting to the president of Mexico within the first decade of his career. His success continued and he was honored as the first California Waterfowl Association Artist of the Year, as well as the 1979 Ducks Unlimited Artist of the Year. His works have been included in shows at the Smithsonian American Art Museum, the British Museum, and the Carnegie Museum

of Natural History. Admired by his fellow artists, Adamson had a knack for capturing birds in their natural habitats. His thoroughly detailed landscapes are the perfect backdrop for his accurately painted waterfowl.

PROVENANCE: Private Collection, Texas

LITERATURE: Diane K. Inman, From Marsh to Mountain: The Art of Harry Curieux Adamson, San Francisco, CA, 1999, pp. 50-51, illustrated.

$4,000 - $6,000

223 Hugh C.C. Monahan (1914-1970) Blue and Snow Geese Landing, 1955 signed and dated “H Monahan 1955” lower right oil on canvas, 20 by 30 in.

Hugh Monahan moved to Vancouver, Canada, with his wife, Agnes, and children in 1956, where he painted full-time and was a staunch supporter of Ducks Unlimited and the British Columbia Waterfowl Society, among other conservation groups. Monahan died in 1970 while painting on the Fraser River, near the George Reifel Waterfowl Sanctuary, which he helped found, with his loyal yellow Labrador retriever “Happy” by his side.

With its impressionistic marsh grasses and moody sky, this fine painting of flying ducks is reminiscent of Dawn,

PROVENANCE:

$10,000

224 Roland H. Clark (1874-1957) Mallards Coming In signed “Roland Clark” lower right oil on canvas, 25 1/4 by 20 1/4 in.

one of Clark’s standout waterfowl paintings.

Allan and Helen Inglis Collection, aquired in a New York gallery in the 1950s, by descent in the family

- $15,000

225 Rare Mallard Pair

Richard “Fresh Air Dick” Janson (1872-1951)

Sonoma Creek, CA, c. 1930

16 1/4 in. long

A rare mallard pair by this premier West Coast maker who is predominantly known for his pintail and canvasback. With bold features, raised wing tips, and incised tail feather detail they embody Janson’s hallmark look. The male bears a faint owner’s marking on the underside. Original paint with moderate gunning wear and the drake has a tight neck crack.

$7,000 - $10,000

225

Richard “Fresh Air Dick” Janson (1872-1951)

Sonoma Creek, CA, c. 1940 17 1/2 in. long

A pair of classic West Coast decoys with layered primary feathers. The drake is hollow. Original paint with even wear and minor spot-touch-up to bill tips.

PROVENANCE: Bob Olson Collection Private Collection

LITERATURE: Michael R. Miller and Frederick W. Hanson, Wildfowl Decoys of the Pacific Coast, Davis, CA, 1986, cover and pp. 142-152, related decoys illustrated.

$4,000 - $6,000

RICHARD "FRESH AIR DICK" JANSON 1872-1951 | SONOMA CREEK, CA

Richard “Fresh Air Dick” Janson (1872-1951)

Sonoma Creek, CA, c. 1940 15 1/2 in. long

This canvasback drake bears raised-wing detail, and Janson’s signature skeg under the tail. Original paint with even gunning wear and touch-up to a tight age line in neck.

$3,000 - $5,000

226 Pintail Pair

227 Canvasback

FRANK W. BENSON

1862-1951

228 Frank W. Benson (1862-1951) Snowy Herons, 1917

signed “Frank W Benson” lower left etching, 4 3/4 by 4 in.

Paff #118, edition 46 of 150 numbered lower right

PROVENANCE: Private Collection, Massachusetts

229 Frank W. Benson (1862-1951) Eagle Alighting, 1933

signed “Frank W Benson” lower left drypoint, 7 3/4 by 5 in.

Paff #335, state b, edition of 5 inscribed “To Bessie Ingalls Hussey 1933” lower center

Benson also designed a bookplate for his Salem neighbor Bessie Hussey in 1933, Paff #336. She lived at 43 Chestnut Street and was known for her garden.

PROVENANCE: Private Collection, Massachusetts

$3,000 - $5,000

230 Frank W. Benson (1862-1951) A Cup of Water, 1920 signed “Frank W Benson” lower left etching, 6 3/4 by 5 in.

Paff #196, edition of 150

PROVENANCE: Private Collection, Massachusetts

231 Frank W. Benson (1862-1951)

November Moon, 1931

signed “Frank W Benson” lower left etching and aquatint, 9 3/4 by 8 in.

Paff #316, edition of 150

PROVENANCE: Private Collection, Massachusetts

EXHIBITED: Salem, Massachusetts, The Art of Frank W Benson American Impressionist, Peabody Essex Museum, September 29, 2000-February 18, 2001, no. 48.

232 Frank W. Benson (1862-1951)

Black Breast Plover, 1915 signed “Frank W Benson” lower left etching, 6 1/2 by 10 3/4 in. Paff #71, edition 32 of 50 numbered lower right

PROVENANCE: Private Collection, Massachusetts

233 Frank W. Benson (1862-1951)

The Anchorage, 1915 signed “Frank W Benson” lower left etching, 3 3/4 by 5 3/4 in. Paff #57, edition of 25

PROVENANCE: Private Collection, Massachusetts

LITERATURE: Faith Andrews Bedford, Impressionist Summers: Frank W. Benson’s North Haven, New York and Rockland, Maine, 2012, fig. 30, p. 35, illustrated.

234 Frank W. Benson (1862-1951)

Duck Blind, 1925 signed “Frank W Benson” lower left etching, 7 1/2 by 10 3/4 in. Paff #245, edition of 150

PROVENANCE: Private Collection, Massachusetts

235 Frank W. Benson (1862-1951)

Two Canoes, 1927 signed “Frank W Benson” lower left etching, 5 3/4 by 7 3/4 in. Paff #266, edition of 150

PROVENANCE: Private Collection, Massachusetts

FRANK W. BENSON

1862-1951

236 Frank W. Benson (1862-1951)

, 1920 signed “Frank W Benson” lower left

6 by 4 in.

#195, edition of 150

PROVENANCE: Private Collection, Massachusetts

237 Frank W. Benson (1862-1951)

, 1914 signed “Frank W Benson” lower left etching and drypoint, 8 3/4 by 7 in.

Paff #26, edition 8 of 50

lower left

PROVENANCE: Private Collection, Massachusetts

$2,000 - $3,000

238 Frank W. Benson (1862-1951) Dusk, 1914 signed “Frank W. Benson” lower left

9 1/4 by 10 3/4 in. Paff #34, edition 9 of 50

239 Frank W. Benson (1862-1951) Rising Geese, 1924 signed “Frank W Benson” lower left

6 3/4 by 8 3/4 in.

#238, edition of 150

PROVENANCE: Private Collection, Massachusetts

Riverman

etching,

Paff

Sunset

numbered

etching,

drypoint,

Paff

240 Frank W. Benson (1862-1951) Study of Geese, 1917 signed “Frank W. Benson” lower left drypoint, 3 7/8 by 5 7/8 in.

Paff #117, edition 54 of 57 numbered lower right

PROVENANCE: Private Collection, Massachusetts

241 Frank W. Benson (1862-1951) The Guide, 1920 signed “Frank W Benson” lower left drypoint, 6 3/4 by 10 3/4 in. Paff #185, edition of 150

PROVENANCE: Private Collection, Massachusetts

242 Frank W. Benson (1862-1951) Hurry, 1915 signed “Frank W. Benson” lower left drypoint, 3 by 4 in.

Paff #86, edition 8 of 50

PROVENANCE: Private Collection, Middleburg, Virginia

243 Aiden Lassell Ripley (1896-1969) American Widgeon 1942 Federal Duck Stamp Print, 1941-1942 signed “A. Lassell Ripley” lower right drypoint, 6 by 8 1/4 in. titled lower left framed with Ripley’s 1941 Massachusetts’ sporting license and two United States Federal Hunting Duck Stamps Guild of Boston Artists and Cape Cod Museum of Art exhibition labels on back

PROVENANCE: Private Collection, Georgia

LITERATURE: Stephen B. O’Brien Jr. and Julie Carlson Wildfeuer, The Art of Aiden Lassell Ripley, p. 51, illustrated.

EXHIBITED: Guild of Boston Artists, Aiden Lassell Ripley Retrospective, September 10-28, 1976.

Cape Cod Museum of Art, Aiden Lassell Ripley (1896-1969): A Retrospective, August 2-October 5, 2008.

$800 - $1,200

THE SPORTING SALE 2023

LOTS 244-517

DAY 2 | JULY 14 | 10AM

Additional images for each lot are available through the online bidding platforms.

Howard Hill was Norman Rockwell’s grandfather, who immigrated to the United States in the 1860s. From New York, he created sporting and genre scenes, exhibiting at the National Academy of Design in 1865 and 1866. Rockwell kept a small painting of quail and chicks by Hill in his studio, now the Norman Rockwell Museum in Stockbridge, Massachusetts.

PROVENANCE: Private Collection, Minnesota

$5,000 - $8,000

244 Howard L. Hill (1822-1888)

Quail signed “H. Hill” lower right oil on canvas, 14 by 20 in.

This accurate depiction of a bobwhite quail represents one of the finest works by this mid-19th century artist to ever come to market.

CHARLES MORRIS YOUNG

1869-1964

245 Charles Morris Young (1869-1964)

On Darby Creek, 1925

signed and dated “Chas Morris Young” lower right oil on canvas, 29 1/4 by 40 in.

Edward T. Stotesbury P.A.F.A. Prize, 1925

Charles Morris Young’s enduring legacy is for fox hunting scenes in the Pennsylvania countryside. Born in Gettysburg in 1869, Young saved for years to attend the Pennsylvania Academy of the Fine Arts in Philadelphia (PAFA), where he enrolled in 1891. During his time there, he was awarded the Charles Toppan Prize for the most promising student. In 1897 Young traveled to Paris for further training, at the Academie Colarossie and through studio visits. He married fellow artist Eliza Coxe in 1903, spent two summers at Giverny, and returned to live in Jenkintown, Pennsylvania, in 1905.

Beloved for his Impressionist landscape compositions often featuring wintry sporting scenes, Young moved to Radnor, on the Main Line. He was a member of the National Academy of Design in New York, where he exhibited regularly until the 1950s. He won at least five awards at major exhibitions throughout the early 1900s, and showed at the Boston Art Club and the Art Institute of Chicago, among other important venues.

In 1925, Young exhibited this painting at PAFA and won the Stotesbury Award. “This award was established by Edward T. Stotesbury, a member of the board of directors. It was given

to the artist whose painting, or group of paintings, was, in the opinion of the jury, the most important contribution to the exhibition,” PAFA notes. Consequently, a photograph of the work is in the archive, along with several original paintings by Young in the permanent collection, including Fox Hunters at White Horse. Tragically, a good portion of Young’s paintings, brought together from private collectors for a biographical film, burned in a house fire towards the end of his life.

On Darby Creek is a masterwork of sporting art by this important regional art specialist. The Darby Creek watershed flows through Radnor and into the Delaware River. It is a much-loved freshwater artery. Young’s vigorous brushstrokes capture the light and shadow on the snowy ground, and the red coat of the hunter reflects in the creek. The quintessential architecture of the house and stone bridge further capture the essence of the landscape.

PROVENANCE: Private Collection, Nantucket

EXHIBITED: Philadelphia, Pennsylvania, Annual Exhibition, Pennsylvania Academy of the Fine Arts, 1925.

$25,000 - $35,000

JACK LORIMER GRAY

Lobsterman

signed “Jack L. Gray” lower left oil on canvas, 26 by 36 in.

Jack Lorimer Gray was one of America’s premier marine artists. Born in 1927 in Halifax, Gray was drawn to art early in life and grew up sketching the local boats. He studied at the Nova Scotia College of Art and at the Montreal Museum of Fine Art, but was consistently pulled to the sea. He worked on fishing fleets during his summers, and frequently lived on boats until he moved to New York in the mid-1950s. In New York, Gray found representation at the Kennedy Galleries.

For the next thirty years of his career, the peripatetic artist moved between Maine, Nova Scotia, and Palm Beach, finding significant success and commission work in the seaside communities. Today, Gray’s paintings can be found in many

prominent museums and collections, including the Peabody Essex Museum in Salem, Massachusetts, the U.S. Marine Corps Museum, and the Museum of the City of New York. A related painting, Dressing Down the Gully, was a gift to President John F. Kennedy in 1962 and is now in the John F. Kennedy Presidential Library and Museum in Boston.

Lobsterman is a classic scene by this artist, displaying the characteristic turbulent seas, soaring gulls, and hardworking watermaen define Gray’s work.

PROVENANCE: Private Collection, Maine

$8,000 - $12,000

246 Jack Lorimer Gray (1927-1981)

Heywood Hardy was born in 1842 in Sussex, England to a large, artistic family. His first artwork was accepted to the Royal Academy in London when he was twenty-two years old, in 1864. This same year Hardy traveled to Paris to study at the Ecole des Beaux Arts, where he stayed for four years before returning to England to establish himself and his studio. From St. John’s Wood, he developed his career and reputation as a sporting, animal, and genre scene artist.

Hardy maintained popularity throughout his lifetime, exhibiting at the Royal Academy over fifty-five years. He was especially

known for his countryside hunt scenes, which capture the excitement and glamor of the gentry’s rural way of life. In this fox hunting painting, the pack of hounds in the foreground, the vibrant red-coated riders in the middle ground, and the vine-covered manor behind combine to create a vivid tableau of the pursuit.

PROVENANCE: Private Collection, California

$8,000 - $10,000

247 Heywood Hardy (British, 1843-1933) Fox Hunting signed “Heywood Hardy” lower left oil on canvas, 18 1/4 by 27 in.

WILLIAM H. D. KOERNER

1878-1938

248 William H. D. Koerner (1878-1938)

Remington Arms Illustration, 1914 signed and dated “W H D Koerner 1914” lower left oil on canvas, 37 by 24 in.

Born in Germany, Koerner moved to Iowa with his family when he was three years old. At twenty, he began his artistic career as an illustrator for the Chicago Tribune. He attended the Art Institute of Chicago before moving with his wife to New York City and enrolling in the Art Students League. Koerner then completed his formal education in Delaware with famed illustrator Howard Pyle (1853-1983), whose other students included N. C. Wyeth (1882-1945), Philip R. Goodwin (18821935), and William Harnden Foster (1886-1941). Koerner’s artwork can be found in museums across the country, including the American Museum of Western Art in Denver and the Whitney Western Art Museum in Cody, Wyoming, where his studio is replicated.

This charming painting was an important illustration for the Remington Arms Company, one of the oldest gun manufacturers in the country, founded in 1816. In it, a hunter and his setter companion take a water break with a friend, showing off the Remington-made pump-action shotgun and shells. Koerner captures the generous camaraderie among sportsmen as the image centers on the pair of shells and gun.

This lot includes the original oil painting, a reproduction tin of the same image, and a poster celebrating the 100th anniversary of the Remington shotgun from 2008.

PROVENANCE: Private Collection, New Jersey

$20,000 - $30,000

HENRY SUMNER "HY" WATSON

1868-1933

Quail Hunting signed “Hy S. Watson” lower left oil on canvas, 23 by 34 in.

Known for his illustrations of fishing and hunting, Watson was an editor at Field & Stream. He studied at the Académie Julian in Paris and also under Thomas Eakins at the Pennsylvania Academy of Fine Arts.

PROVENANCE: Private Collection, New Jersey

$3,000 - $5,000

249 Henry Sumner “Hy” Watson (1868-1933)

251 Peter Corbin (b. 1945) Covey Rise, 1981 signed and dated “Peter Corbin 1981” lower left acrylic on canvas, 20 by 30 in. titled on Crossroads of Sport Inc., New York, NY label on back

Peter Corbin, born in 1945, is among the leading contemporary sporting artists. He studied and trained at Wesleyan University and the California College of Arts and Crafts. He aims for asymmetrical balance and to capture the landscape as well as the essence of the hunting or fishing experience in his work.

PROVENANCE: Private Collection, Georgia, acquired from Copley Fine Art Auctions, The Winter Sale 2014, lot

341

LITERATURE: The Crossroads of Sport, Inc., New York, 198182, p. 5, illustrated

$3,000 - $5,000

250 Stanford Fenelle (1909-1995) On Point, c. 1940s signed “Fenelle” lower left oil on canvas, 22 by 30 in.

Stan Fenelle was born in Minneapolis and trained at art schools locally. He worked for the Works Progress Administration and the Walker Art Center in the 1930s, taught at the St. Paul School of Art, and created illustrations for many years for Brown and Bigelow.

PROVENANCE: Private Collection, Texas

$1,500 - $2,500

ALEXANDER POPE JR.

1849-1924

252 Alexander Pope Jr. (1849-1924) Springer with Pheasant signed “Alexander Pope” lower left oil on canvas, 20 by 26 in. Hirschl & Adler Galleries, Inc. label on back Thomas Nygard Gallery label on back

Alexander Pope, Jr. was born in Boston, Massachusetts, and began his art career as a young boy carving animals from the spare wood of his father’s lumber business. Although Pope had some formal instruction under Boston artists Walter Rimmer and William Copley, he was for the most part self-taught. Pope lived the entirety of his life in Boston, painting and sculpting works that revolved around hunting and fishing. According to author Alfred Frankenstein, Pope was “of the back-slapping, club-going variety who spent his entire life in and around Boston.”

An avid outdoorsman, Pope belonged to the Laurel Brook Club, a fly fishing and shooting club in Uxbridge, Massachusetts. A member from 1902 to 1908, he served on its Executive Committee with Aiden Lassell Ripley (1896-1969). He was passionate about fishing and hunting and chose these subjects for his paintings and sculptures. Along with his contemporaries R. LaBarre Goodwin (1840-1910) and George Cope (18551929), Pope created “trompe l’oeil” still lifes, often featuring game birds.

During his lifetime, art critics not only admired his still lifes, but increasingly recognized Pope’s skill at painting dogs. Citing his ability to bestow intelligence and personality on his canine subjects, the Boston Pilot, The Courier, and the Boston Post all praised his work in their reviews. Describing the pieces exhibited by Pope in December of 1886, a writer from The Courier noted, “The excellence of the composition, the attractiveness of the subject, the technical ability shown, and perhaps more than all, the verve and dash of the work arouse enthusiasm to an unusual degree.”

Springer with Pheasant displays these attributes, with its deep hues and balanced composition. This is a classic portrait of a proud dog with its colorful quarry.

$30,000 - $50,000

ARTHUR BURDETT FROST

1851-1928

253 Arthur Burdett Frost (1851-1928)

Grouse on a Log, 1916 signed “A.B. Frost” lower left gouache, 7 1/2 by 12 1/4 in.

“In the woods near the house ruffed grouse are found”

This work accompanied the story “Good Hunting” in Scribner’s Magazine in 1916.

PROVENANCE: Henry M. Reed Collection Private Collection, New York

LITERATURE: Jesse Lynch Williams, “Good Hunting,” Scribner’s Magazine, November 1916, p. 526, illustrated.

$3,000 - $5,000

254

Winter Golf - Play the Like in Four, c. 1899 signed “A.B. Frost” lower right gouache, 17 1/2 by 25 1/2 in.

This important self portrait of the artist golfing and his two sons as caddies appeared as a full-page spread in Harper’s Weekly in 1899, between articles on hunting big and small game in the American West, competitive trap shooting, and brook trout fishing.

In the same year as this painting, Frost published a portfolio of images with Harper’s titled Sports and Games in the Open Henry M. Reed writes, “To anyone who thinks of Frost solely as an artist of men with guns and dogs, this portfolio dispels that

notion. All are outdoor images, but the portfolio mixes hunting scenes with numerous examples of fishing pictures, bicycling scenes, a few genre pictures, and illustrations of one of Frost’s favorite pastimes--the game of golf.”

Located just a couple of miles from the Frost family home in Convent Station, “Moneysunk,” the Morris County Golf Club in Morristown, New Jersey, has a number of Frost’s original golf paintings. Frost was a member of the club, which opened in 1894, and the artist posted a course-record scorecard in 1903. Interestingly, Morris County Golf Club was founded and operated by women, who made up the thirty-two regular members.

The title of this work includes the phrase “play the like,” which originated from an early method of scoring match play. To “play the like” is to come even in strokes with an opponent.

PROVENANCE: Private Collection, New York, acquired from Ernest Hickok, c. 1980

Literature: Harper’s Weekly, Vol. XLIII, No. 2208, April 15, 1899, p. 371, illustrated.

Gary Schwartz, The Art of Golf, 1754-1940: Timeless, Enchanting Illustrations, and Narrative of Golf’s Formative Years, 1990, p. 42, illustrated.

Peter Dobereiner, The Glorious World of Golf, New York, 1973, p. 16, illustrated.

Henry M. Reed, The A.B. Frost Book, Charleston, SC, 1993, p. 106. “New Morris County Golf Score,” New York Times, June 28, 1903.

$30,000 - $50,000

Arthur Burdett Frost (1851-1928)

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

256 Decorative Wigeon Pair

Lemuel T. Ward (1896-1984)

Crisfield, MD, 1960

12 in. long

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

PROVENANCE: Norris Pratt Collection Dr. Morton D. Kramer Collection, acquired from the above, 1964 Private Collection, Florida

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

$3,000 - $5,000

256

255 Preening Mallard

Lemuel T. Ward (1896-1984)

Crisfield, MD, 1965

13 in. long

A decorative preener with excellent paint and a hollow body. The underside displays the date, the maker’s metal plate, and Lem’s signature. Original paint with light wear, slight chew to right wing tip, and some craquelure mostly to front of wings.

PROVENANCE: Private Collection, Florida

$3,500 - $5,500

257 Sleeping Bluebill Pair

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1972 13 in. long

An exceedingly rare life-size pair of bluebill carvings in sleeping postures. The bottom of the carvings bear both brothers’ inked signatures along with the inscription “L. T. Ward Bros. - 1972 -.” Original paint with minimal wear, hen has sap bleeds.

PROVENANCE: Private Collection, Maryland (drake) Private Collection, Florida

LITERATURE: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 84, pl. 77, sleeping mallard illustrated.

$3,000 - $5,000

258 Surf Scoter

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1970 14 1/2 in. long

The underside of this hollow decoy displays the inked inscription “Surf Scoter by Steve Ward Painted by Lem Ward, WARD BRO. CRISFIELD, MD. -1970- For Dr. Morton Kramer Collection,” and the “MK” brand. Excellent original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection, acquired from the Wards in 1970 Private Collection, Florida

LITERATURE: Glenn Lawson, The Story of Lem Ward, West Chester, PA, 1984, p. 60, exact decoy illustrated. Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pl. 48, related decoy illustrated.

$2,500 - $3,500

259 Merganser Drake

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1966 15 in. long

The underside of the hollow body displays the date and Lem and Steve’s signatures. Original paint with light wear.

PROVENANCE: Private Collection, Florida

$2,000 - $3,000

1896-1984 AND 1895-1976 | CRISFIELD, MD

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD 260

260 Outstanding Ruddy Duck

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1931

16 1/2 in. long

An oversized ruddy duck hen with a broad bill and tail. The underside is inscribed “-1931- L.T. Ward - Bro. Crisfield, Md.” with Lem’s signature underneath. The style and exceptional paint and condition of this singular decoy relate closely to the mint group of Ward’s collected by a Connecticut gentleman around 1930. Original paint with light wear.

PROVENANCE: Private Collection, Florida

LITERATURE: Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, p. 160, related wigeon illustrated.

$12,000 - $18,000

261

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, 1967

15 in. long

The undersides display the date, the species, the makers’ ink stamp, and Lem and Steve’s signatures. Original paint with light wear and craquelure around tails and to hen’s breast.

PROVENANCE: Private Collection, Florida

$2,000 - $3,000

The Ward Brothers Lemuel T. (1896-1983) and Stephen (1895-1976)

Crisfield, MD, c. 1936

22 in. long

A cedar-bodied decoy with detailed bill carving. The bottom of the decoy displays “Lem - Steve, Ward Bro., Crisfield, MD.1936-.” and “P” and “WHP JR” brands for the Purnell Collection. This bird was the first pick out of a rig of a dozen. Original paint with even gunning wear, a neck crack, age lines in back and underside have touch-up, and bill has tight crack.

PROVENANCE: Dr. Price Wilson Rig

William H. Purnell Jr. Collection, acquired from the above’s estate via Lem Ward, c. 1970

Private Collection, Florida

$1,800 - $2,400

262

261 Redhead Pair

262 1936 Canada Goose

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, c. 1948

17 1/2 in. long

A classic 1940s Ward gunning decoy with excellent paint feathering. This turned-head balsa-bodied decoy bears Lem’s signature and date on the underside and a Richardson Collection ink stamp. Original paint with heavy gunning wear and some darkened areas of wood.

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, c. 1948

16 1/2 in. long

A classic 1940s Ward pintail with no touch-ups or repairs. The underside of the balsa body displays the date, the makers’ ink stamp, and Lem and Steve’s signatures. Original paint with moderate gunning wear.

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, 1963

9 in. long

The undersides bear the species name, makers, and date. Original paint with light wear.

266

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976)

Crisfield, MD, 1957

8 1/2 in. long

Both bear the “SGH” stamp on the underside of their balsa bodies designating the Somers G. Headley Collection. The underside of the hen is marked “best grade” in ink and, indeed, they are fine early mini pair. Original paint with minimal wear.

PROVENANCE: Somers G. Headley Collection

Private Collection, Florida

263 Black Duck

264 Pintail

265 Miniature Black Duck Pair

Miniature Mallard Pair

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD 267

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1965 16 3/4 in. long

A hollow decorative with raised wings, a cranked head, and extensive carved and painted detail. The underside is signed, tagged, and designated “DeLuxe Grade” by Lem. Original paint with light wear and areas of craquelure.

PROVENANCE: Private Collection, Florida

LITERATURE: Byron Cheever, Ward Bros, Spanish Fork, UT, 1966, color pl. 8, related carving illustrated.

Glenn Lawson and Ida Ward Linton, The Story of Lem Ward, Exton, PA 1984, p.113, related carving illustrated.

$3,500 - $5,500

267 Preening Pintail

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

The

Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1971

15 in. long

A decorative brant displaying uplifted wing tips, a turned and tucked head, and incised wing, tail, and bill detail. The hollow body is signed “Lem Ward,” inscribed “Made for the William K. du Pont Collection,” dated, and bears the species’ common and Latin names on the underside. Original paint with minimal wear.

PROVENANCE: William K. du Pont Collection, acquired directly from the maker Private Collection, Massachusetts

$8,000 - $12,000

268 The du Pont Tucked-Head Brant

Ward Brothers

A closely related Canada goose from the William K. du Pont Collection

William Heverin (1860-1951)

Charlestown, MD, c. 1920

15 1/2 in. long

This pair represents two of the maker’s best decoys known to exist. Though made as gunning decoys, they were never rigged, accounting for their sublime condition. Outstanding original paint with minimal wear.

PROVENANCE: Dr. Morton D. Kramer Collection Private Collection

WILLIAM HEVERIN

1860-1951 | CHARLESTOWN, MD

LITERATURE: J. Evans McKinney, Decoys of the Susquehanna Flats and their Makers, Ocean City, MD, 1978, p. 47, related examples illustrated.

R. H. Richardson, Chesapeake Bay Decoys, Cambridge, MD, 1991, p. 68, rigmates illustrated.

$7,000 - $10,000

269 Canvasback Pair

269

WENDELL

Wendell Gilley (1904-1983)

Southwest Harbor, ME, c. 1950 6 in. tall, 11 in. long

A fine miniature pair with long tails and the maker’s signature on the underside of the base. Original paint with light wear. Cock’s branch is slightly loose on base.

Wendell Gilley (1904-1983)

Southwest Harbor, ME, c. 1960 10 1/2 in. tall

A life-size pair mounted on a signed base with a natural branch. Original paint with moderate wear, some loss to texture on base and signature, and touch-up to some flaking.

$3,500 - $4,500

Wendell Gilley (1904-1983)

Southwest Harbor, ME, 1966 base is 37 in. tall, gulls 8 in. long

A very well-presented pair of one-third-size gull carvings attached to a wall-mounted driftwood base. Each bird has fine carving detail, including incised primary feathers. The base is signed and dated by the maker and has a hanging wire. Original paint with light wear and minor flaking to feet.

270 Miniature Pheasant Pair

271 Cardinals

272 One-Third-Size Gull Pair on Driftwood

King’s work as a taxidermist in Providence gave him a thorough understanding of the anatomy of a variety of animals. This knowledge is exhibited in the maker’s fine attention to detail. This exquisite grouse pair is mounted on a signed burl base. Original paint with minimal wear.

$2,000 - $3,000

4

1878-1963 | NORTH SCITUATE, RI

An exquisite miniature bobwhite pair with four chicks. Signed on the edge of the base. Original paint with light wear.

LITERATURE: Joseph H. Ellis, Birds in Wood and Paint, Lebanon, NH, 2009, p. 108, fig. 11.7, related carving illustrated.

$5,000 - $8,000

273

274

273 Miniature Quail Family Allen J. King (1878-1963) North Scituate, RI, c. 1940

in. long

274 Miniature Ruffed Grouse Pair Allen J. King (1878-1963) North Scituate, RI, c. 1940

3 in. tall

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

The Crowell miniature shorebirds from lot 275 though 280 are from a single set. They are making their market debut after being held in the Batchelder and Crocker families since they were acquired from Crowell in 1933.

275 Miniature Turnstone

A. Elmer Crowell (1862-1952)

East Harwich, MA, 1933 3 in. long

This turnstone bird displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear.

PROVENANCE: Acquired from Crowell by a member of the Batchelder Family, 1933 Crocker Family Collection, gifted from the above Private Collection, by descent from the above

LITERATURE: Stephen B. O’Brien Jr. and Chelsie

W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 239-241, miniatures illustrated and discussed.

$1,200 - $1,800

276 Miniature Lesser Yellowlegs

A. Elmer Crowell (1862-1952)

East Harwich, MA, 1933 2 3/4 in. long

The bird displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear.

PROVENANCE: Acquired from Crowell by a member of the Batchelder Family, 1933 Crocker Family Collection, gifted from the above

Private Collection, by descent from the above

LITERATURE: Stephen B. O’Brien Jr. and Chelsie

W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 239-241, miniatures illustrated and discussed.

$1,200 - $1,800

277 Miniature Red Knot

A. Elmer Crowell (1862-1952)

East Harwich, MA, 1933 3 1/4 in. long

The bird displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear.

PROVENANCE: Acquired from Crowell by a

member of the Batchelder Family, 1933 Crocker Family Collection, gifted from the above

Private Collection, by descent from the above

LITERATURE: Stephen B. O’Brien Jr. and Chelsie

W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 239-241, miniatures illustrated and discussed.

$1,200 - $1,800

278 Miniature Piping Plover

A. Elmer Crowell (1862-1952)

East Harwich, MA, 1933

2 3/4 in. long

The bird displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear.

PROVENANCE: Acquired from Crowell by a member of the Batchelder Family, 1933 Crocker Family Collection, gifted from the above

Private Collection, by descent from the above

LITERATURE: Stephen B. O’Brien Jr. and Chelsie

W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 239-241, miniatures illustrated and discussed.

$1,200 - $1,800

279 Miniature Pectoral Sandpiper

A. Elmer Crowell (1862-1952)

East Harwich, MA, 1933

2 1/2 in. long

The bird displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear.

PROVENANCE: Acquired from Crowell by a member of the Batchelder Family, 1933 Crocker Family Collection, gifted from the above Private Collection, by descent from the above

LITERATURE: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 239-241, miniatures illustrated and discussed.

$1,200 - $1,800

280 Miniature Sanderling

A. Elmer Crowell (1862-1952)

East Harwich, MA, 1933

2 1/2 in. long

The bird displays the maker’s rectangular stamp on the bottom. Original paint with minimal wear.

PROVENANCE: Acquired from Crowell by a member of the Batchelder Family, 1933 Crocker Family Collection, gifted from the above Private Collection, by descent from the above

Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 239-241, miniatures illustrated and discussed.

$1,200 - $1,800

281 Miniature Brown Thrasher

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910 3 1/2 in. long

Original paint with wear and restored bill, wing tips, and tail.

$1,000 - $1,500

282 Miniature Long-Tailed Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 1/2 in. long

The bird displays the maker’s rectangular stamp and species identification on the bottom. Original paint with light wear.

283 Miniature Pintail Pair

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 base is 6 in. long

A special miniature double-mount pintail pair with the maker’s inked signature and rectangular stamp on the bottom of the base. Like his full-sized decoratives, the feet of this duo were built with putty, rather than painted like his standard miniatures. Original paint with light wear.

$1,800 - $2,400

284 Miniature Ruddy Turnstone

George Boyd (1873-1941)

Seabrook, NH, c. 1930

4 1/2 in. long

A rare and refined three-inch-tall shorebird carving with a split tail mounted on a beveled-edge base. Original paint with moderate wear, including a few paint rubs.

PROVENANCE: Wade and Sharon Wander Collection

$3,500 - $4,500

285 Miniature Curlew

Russ P. Burr (1887-1955)

Hingham, MA, c. 1940 4 in. long

A rare species by this revered carver of folky miniatures. The maker’s stamp is on the underside of the base. Original paint with light wear.

286 Miniature Wood Ducks

Russ P. Burr (1887-1955)

Hingham, MA, c. 1930 5 in. long

A particularly fine duo bearing the maker’s ink stamp signature on the underside. Original paint with light wear, including minor flaking.

PROVENANCE: Michael Boxer Collection

288

287 Miniature Quail Pair c. 1960 case is 8 in. tall

A miniature bobwhite pair, displayed in a glass dome case with natural flora. As found.

288 Miniature Pheasant Pair c. 1960 case is 8 in. tall

A miniature pheasant pair done in the style of Allen J. King (1878-1963). Displayed in a glass dome case with natural flora. As found.

289 Miniature Falcon Anthony Hillman Cape May Court House, NJ, 2009 4 3/4 in. long

The underside of the bird is signed and dated. The underside of the base bears a Lytles of Shreveport, Inc. ink stamp. Original paint with light wear.

290

14 in. tall

A highly detailed life-size hawk mounted on a removable custom base. The underside of the base is signed, numbered, and dated “F.L. SCHOLZ / #0252, 6-94” Original paint with light wear. Two wooden sticks on base are reset.

Hancock, VT, 1988

20 1/2 in. tall with base

A decorative life-size eagle bust with extensive feather detail by a world renowned raptor specialist. Signed, numbered, and dated “F.L. Scholz / #0184/1988” on the side of base. Original paint with light wear.

291

291 Sharp-Shinned Hawk Floyd Scholz (b. 1958) Hancock, VT, 1994

290 Bald Eagle

Floyd Scholz (b. 1958)

Dwyer is a competitive decorative bird carver with numerous championships to his name, including the World Championship four years after this bird was made.

$600 - $900

292 Grouse on a Birch Limb Lionel Dwyer Toronto, Ontario, Canada, 2007

29 1/2 in. tall on base

This carving is signed and dated on the bottom of the simulated birch branch. Original paint with light wear and some broken crest tips on top of head.

292

293

293 Decorative Green-Winged Teal Pair Jeffery Moore 1998 9 in. long

Two raised-wing carvings with intricate carved and painted detail. Signed and dated by the maker on the undersides. Original paint with minimal wear, hen has one reset primary.

Lots 294-296 are part of Reneson’s island series inspired by the artist’s annual trips to The Bahamas.

294 Chet Reneson (b. 1934) Girl with a Garden Hoe signed “Reneson” lower left watercolor, 13 3/4 by 20 in.

296 Chet Reneson (b. 1934) Shade Tree signed “Reneson” lower left watercolor, 14 by 20 in.

295 Chet Reneson (b. 1934) Penny signed “Reneson” lower right watercolor, 14 1/2 by 22 in.

Ewoud de Groot lives and works in Egmond aan Zee, a coastal village in the Northern Netherlands. After receiving a degree in illustration and painting from the Minerva Academy of Art, he began illustrating nature books for a period before pursuing painting full time in 1999. Today, de Groot is recognized as a rising star in wildlife painting, bringing a truly unique perspective to the genre. His work strives to find both a balance and a tension between the representational and the

abstract, the traditional and the contemporary. For de Groot, painting wildlife is not an exercise in rendering all the exact details. Instead, his work is an ongoing experiment of composition, color, and technique, concerned with conveying a sense of mood and atmosphere found in the natural world.

$8,000 - $12,000

297 Ewoud de Groot (b. 1969) Oystercatchers signed “Ewoud” lower right oil on canvas, 27 1/2 by 39 1/4 in.

BOB KUHN

298 Bob Kuhn (1920-2007) The Cougar, 1977 signed “Kuhn” lower left acrylic on illustrator’s board, 17 by 25 1/2 in.

This painting graced the cover of Fred King’s Sportsman’s Edge Catalog in 1978.

Born and raised in Buffalo, New York, Bob Kuhn enjoyed visiting the Buffalo Zoo and sketching its inhabitants as a child. After studying design, anatomy, and life drawing at the Pratt Institute in New York City, Kuhn made his living working as an illustrator for various wildlife and outdoor magazines. Kuhn’s

work is featured in the permanent collections of the National Museum of Wildlife Art in Jackson, Wyoming; the National Cowboy Hall of Fame in Oklahoma City, Oklahoma; and the John L. Wehle Gallery of Sporting Art at the Genesee Country Village and Museum in Mumford, New York. A rare opportunity to own one of Kuhn’s big cat paintings.

$30,000 - $40,000

Cover of Sportsman’s Edge Ltd Catalog, 1978.

Born in 1937, Ken Carlson spent his early life in Minnesota, where he developed a love of nature and art. His artistic training took place at the Minneapolis School of Art. Today, Carlson is among the leading wildlife art painters. His works have been featured at exhibitions and in the collections of the National Wildlife Art Museum in Jackson, Wyoming, the Steamboat Art Museum in Steamboat Springs, Colorado, and

the Leigh Yawkey Woodson Museum in Wausau, Wisconsin. Among other honors, he was granted the Bob Kuhn Wildlife Award from the Autry Museum of the American West in Los Angeles in 2008 and the Prix de West in 1999. He is a regular supporter of wildlife conservation organizations, such as Ducks Unlimited and the Rocky Mountain Elk Foundation.

$18,000 - $24,000

299 Ken Carlson (b. 1937)

Touched by Light - Mute Swans signed “Ken Carlson” lower right oil on board, 22 by 38 in.

Eight Portraits of Big Game Animals

Vignettes of buffalo, bear, caribou, deer, moose, elk, and big horn sheep each signed “Weber” lower right or left ink, watercolor, and gouache, each 4 by 6 in.

Walter Weber was a staff artist for National Geographic for many years. In the late 1920s, as a young man, he participated in the Crane Pacific Expedition to the Galapagos and on around the globe as team artist. Weber received the Conservation Service Award from the U.S. Department of the Interior in 1967 and his artwork was selected for the Federal Duck Stamp in 1944 and 1950.

Big Horn Ram oil on canvas, 7 1/2 by 7 1/2 in. estate stamp on back

Alaskan Wilderness, 1928 signed “C. Rungius” lower right etching, 7 3/4 by 10 3/4 in.

LITERATURE: Donald E. Crouch, Carl Rungius: The Complete Prints, Missoula, MT, 1989, p. 141, pl. 26, illustrated.

300 George Browne (1918-1958)

301 Walter A. Weber (1906-1979)

302 Carl Rungius (1869-1959)

303

Fly Fishing Dilemma signed “Harold Anderson” lower left oil on canvas, 28 by 37 in.

Harold Anderson was a talented and successful American illustrator who created covers and illustrations for the Saturday Evening Post, books and magazines, and other commercial outlets. Born in Boston, he trained at the Fenway School of Illustration Art. He was a member of the Society of Illustrators, the Westport Art Association, and the Old Greenwich Art Association.

PROVENANCE: Private Collection, Texas

$4,000 - $6,000

304

Fly Fishing Scene signed “Hardie Gramatky” lower right watercolor, 15 1/2 by 11 1/2 in. signed and inscribed “For Abercrombie & Fitch” on back American Artist Co., New York stamp on back

$800 - $1,200

Harold Anderson (1894-1973)

Hardie Gramatky (1907-1979)

PROVENANCE: Private Collection, Texas

$2,000 - $3,000

305 John Henry Hintermeister (1869-1945) Home After Hunt, c. 1920 oil on canvas, 30 by 20 in.

Born in 1869, John immigrated to the States from Switzerland after training at the University of Zurich and had a successful career as a commercial artist, working for magazine and companies like Brown & Bigelow.

306 William J. Schaldach (1896-1982)

Flying Grouse signed “Wm J. Schaldach” lower right watercolor, 16 by 13 in.

$700 - $900

307 William J. Schaldach (1896-1982)

A Chance for a Double, 1941 signed “Wm. J. Schaldach” lower right watercolor, 18 by 13 3/4 in. signed, titled, and inscribed “Painted for Kenneth Roberts, distinguished author and keen sportsman. With the kindest regards of William J. Schaldach. October 18th, 1941” on back

PROVENANCE: Private Collection, Connecticut

$600 - $800

308 Phillip Brown Parsons (1895-1977)

Hunter and Gordon Setter signed “P B Parsons” lower left watercolor, 15 by 21 1/2 in. titled on Doll & Richards, Inc., Boston label on back

Phillip Parsons was a popular sporting artist and illustrator from the Boston area. Born in 1896, he studied at the Boston School of Painting and went on to create cover artwork for magazines such as National Sportsman, calendars for Remington Arms, and work for L.L. Bean, Colt Firearms, and Parker Brothers. In addition to his own sporting pursuits, Parsons taught art and was a member of the Guild of Boston Artists, the Boston Watercolor Society, and the Concord Art Association for many years.

PROVENANCE: Private Collection, Massachusetts

$1,000 - $1,500

309 David A. Hagerbaumer (1921-2014)

Two Watercolors, 1959 each watercolor, 12 1/4 by 16 1/4 in.

Pintails signed and dated “David Hagerbaumer 1959” lower left Mallards signed and dated “David Hagerbaumer 1959” lower right

PROVENANCE: Private Collection, New York

$2,000 - $3,000

310 David A. Hagerbaumer (1921-2014)

Flying Wigeon signed “David Hagerbaumer” lower left watercolor, 14 1/4 by 21 in.

PROVENANCE: Private Collection, Georgia

$2,000 - $3,000

311 David A. Hagerbaumer (19212014)

Pheasant Hunting, 1959 signed and dated “David Hagerbaumer 1959” lower right oil on board, 16 by 24 in.

A very early work and a rare medium for the artist.

$1,500 - $2,500

312 Chet Reneson (b. 1934) Two Watercolors, 1969 each signed and dated “Reneson 69” lower left

In the Marsh 18 1/2 by 26 1/4 in. Setting Out Decoys 21 1/4 by 28 1/4 in.

312.1 312.2

Mike Stidham spent his early years in Palm Desert, California, where he dreamed of becoming a desert painter. As a young teen, he began trout fishing in Colorado, selling his early watercolors through local fly shops, and he worked as a fishing guide in Idaho. Among his honors and accomplishments, in 1992 the artist produced the Saltwater Sportfishing Stamp for Texas and, for a time, held the IGFA record for a hammerhead shark taken on a fly rod. He says, “To me the painting is about

the sense of place, the feeling of being there, the various colors of the rocks and rhythm and movement of the gravel bed.” Today, Stidham paints from his Sandy, Utah, studio as well as on the many fishing trips he takes to see, study, and pursue his subjects in their natural environment.

LITERATURE: Norman Kolpas, “Artist Spotlight: Mike Stidham,” Western Art and Architecture, December 2022-January 2023.

$7,000 - $10,000

313 Mike Stidham (b. 1954)

A Lone Single - Bonefish on a Fly, 2023 signed “M. Stidham” lower left oil on linen on board, 24 by 36 in.

FRED M. NICHOLS 1854-1924 | LYNN, MA

314 Exceptional Merganser

Fred M. Nichols (1854-1924)

Lynn, MA, c. 1890

17 in. long

Ongoing research has identified this decoy and its two rigmates as the work of Massachusetts master carver Fred Nichols. This hollow merganser is among the finest decoys discovered in decades. Like the goose, the red-breasted merganser has been a muse for many of the great known and unknown Atlantic carvers. A thorough review of the finest mergansers confirms that this carving stands on its own as one of the greatest extant, and it is certainly second-to-none among all hollow examples of this species.

The sleek body is topped with a serpentine neck on a raised neck seat topped by a highly refined head. The delicate bill is constructed with a hardwood mortise-and-tenon fit and is trimmed with precise mandible carving. Topping the head is a ridged crest running from the crown to the nape with a rasp finish, capturing the texture of the wet, shaggy feathers after a dive. The lightweight hollow body has slight shoulder separation and a thin paddle tail. A thin bottom board completes the underside of the decoy and it appears to have had a wooden keel at one time. The surface is finished with softly

blended paint and sharp wing patches. Given its fragile features, the decoy has survived in remarkably good condition.

Obvious comparisons have been made to the merganser rig of Captain Samuel A. Fabens, while a deeper review focuses on the grand willet attributed to Fred Nichols. While more fluid and detailed than a Fabens merganser, the form and construction show a common origin with Nichols. Gigi Hopkins reveals that Fabens and Nichols were both guests at the prestigious Ives Camp in Rowley, Massachusetts, which was co-founded in 1853 by none other than Capt. Charles C. Osgood (1820-1886). Original paint with even gunning wear. Neck seam is loose.

PROVENANCE: Private Collection, Massachusetts

LITERATURE: Gwladys Hopkins, Massachusetts Masterpieces: The Decoy As Art, Lincoln, MA, 2016, pp. 76-77, Osgood, Fabens and Nichols discussed.

Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 150-151, lost Fabens merganser illustrated and Massachusetts discussed.

$40,000 - $60,000

Eight Nichols decoys lined up showing their white throats, and bill and tail construction.

GEORGE H. BOYD

George H. Boyd (1873-1941)

Seabrook, NH, c. 1920

26 in. long

Boyd is recognized as New Hampshire’s most celebrated decoy carver. A classic Boyd goose featuring his canvasover-slat construction. This fine example with its head turned slightly to the left hails from the Batchelder rig. Original paint with craquelure, gunning wear, and age cracks in breast. Wear to wood in a couple spots and bill tip.

PROVENANCE: Howard Batchelder Rig, acquired directly from George Boyd

Private Collection by descent in the family Private Collection

LITERATURE: Jim Cullen, Finely Carved and Nicely Painted: The Life, Art and Decoys of George H. Boyd, Seabrook, NH, 1873-1941, Rye, NH, 2009, pp. 49 and 50, rigmate illustrated. John and Shirley Delph, New England Decoys, Exton, PA, 1980, p. 41, similar decoys illustrated.

Copley Fine Art Auctions, The Sporting Sale 2013, July 31, 2013, lot 129, rigmate illustrated.

$8,000 - $12,000

1873-1941 | SEABROOK, NH

315 Canada Goose

Accord, MA, c. 1910 22

A special-order black duck made for a major patron. This decoy approaches Lincoln’s typical twenty-five-inch-long goose pattern in size. In addition to the bird’s grand scale, it also displays scalloped speculum paint, a sharp flared bill, and sculpted shoulder carving. Attesting to the rarity of this unrigged, near-mint example, Cap Vinal illustrates and features a related “EARLY ROUND HIGH HEAD-TACK EYESNOTCHED BILL TIP-SCULPTURED WING SEPARATION-PARTIAL REPAINT” model in his book on the maker. Excellent original paint with minimal wear and Lincoln check in the bottom.

PROVENANCE: Chester F. Spear Rig, acquired from the maker By descent in the Spear Family Private Collection

LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 29, related decoy illustrated.

Copley Fine Art Auctions, The Winter Sale 2019, Hingham, MA, lot 196, exact decoy illustrated.

$12,000 - $16,000

316 Oversize Spear-Rig Black Duck Joseph W. Lincoln (1859-1938)

in. long

317 Long-Tailed Duck

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1918

17 in. long

Very few Lincoln canvas long-tailed ducks are believed to have survived. Lincoln was a distinguished canvas decoy maker, and examples can be seen on both the front and back covers of Cap Vinal’s monograph on the maker. The back cover features a 1918 photograph of a newly-made canvas sea duck rig which likely includes this decoy. A white wash was removed to reveal mostly original paint with moderate gunning wear, down to the wood on the head.

LITERATURE: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, back cover and p. 18, rig illustrated.

Gene Kangas, “Canvas Decoys of Massachusetts: A regional emergence of uniquely designed lures,” Decoy Magazine, Nov/Dec 2013, p. 26, rigmate illustrated twice.

$3,000 - $5,000

318 Gadwall Pair

D. J. Sullivan

New Jersey, 1958

14 in. long

A hollow pair of raised-wing gadwalls with “D. J. Sullivan” and the date stamped on the undersides. These carvings appear to have been influenced by Clark Madera, with the maker going even further with highly detailed paint. Original paint with light wear, a neck crack in hen, and tight age line in drake’s tail.

PROVENANCE: Joe French Collection

Joe and Donna Tonnelli Collection Private Collection

$2,000 - $3,000

Burr’s best reaching plover, including this one from the Elaine and Alan Haid Collecion, have been held in high regard by the top collectors for generations with related examples acquired by William J. Mackey Jr., Dr. James M. McCleery, and Donal C. O’Brien Jr.

A master at capturing the postures of live birds, many of Elisha Burr’s works were carved in animated poses with complex wing and tail treatments as seen in this darting model. This dynamic example also showcases the artist’s best paint with lively, yet deliberate, feathering laid on a softly blended back. Glass eyes are set under crisp brows. Excellent original paint with even gunning wear, patch of fill with restoration around stick hole.

PROVENANCE: Alan Haid Collection Private Collection

LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 88, pl. 69, related example illustrated.

$7,000 - $10,000

319 Running Black-Bellied Plover

Elisha Burr (1839-1909)

Hingham, MA, c. 1880 11 1/2 in. long

319

320 Hollow Curlew Winslow Family (attr.) Nantucket, MA, c. 1870

14 1/2 in. long

Few hollow shorebirds were made beyond those found on Nantucket, lending to the island’s reputation for fine craftsmanship. Indeed, this early featherweight decoy retains a tight body seam, even without the use of nails or fasteners. Mix of original and gunning paint with wear and one-half bill repair.

PROVENANCE: Richard Mueller Collection

L. H. LaMotte Collection Private Collection

$3,500 - $4,500

321 Golden Plover Nantucket, c. 1880 10 1/2 in. long

An excellent plover decoy with crisply carved V-shaped wing tips. It was finished with soft blended paint and tight gold speckling in breeding plumage. Original paint with light gunning wear, old working fill to some shot holes, and touch-up to right edge of crown and right side of back.

PROVENANCE: Joe French Collection Private Collection, Virginia

$4,500 - $6,500

320

322 Golden Plover

Capt. William J. Wyer (1822-1913)

Nantucket, MA, c. 1870 10 3/4 in. long

This decoy features exceptional form, fine blended feather paint, and split-tail carving. Original paint with moderate gunning wear and a replaced bill. Two inch area of discoloration along lower left flank.

PROVENANCE: Wade and Sharon Wander Collection

$2,500 - $3,500

323 Plover F. P. Smith Duxbury, MA, c. 1890 11 1/4 in. long

An elegant plover in winter plumage with a rare long wing tip. Birds from this refined rig have been acquired by discerning shorebird collectors, including Donal C. O’Brien Jr., Grant Nelson, and Windsor White. Like its rigmates, it has a carefully sculpted metal bill and “F. P. SMITH” stamped in the underside of its two-inch wide body. Original paint with moderate gunning wear and a restored wing-tip chip.

$1,000 - $1,500

324 Trio of High-Head Yellowlegs South Shore, MA, c. 1880 9 in. long

An lively trio with distinctly high heads. This group is part of a recently discovered rig and is offered here in its as-found state. Original paint with moderate gunning wear and replaced bills.

LITERATURE: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 41, related preener illustrated.

325 Black-Bellied Plover

George H. Boyd (1873-1941)

Seabrook, NH, c. 1910

11 1/4 in. long

A classic Boyd with tight stippling from head to tail. Original paint with moderate gunning wear and some wood-grain discoloration including to right of head, and under tail and breast. Some flaking to original bill.

PROVENANCE: Private Collection, acquired from John Clayton

LITERATURE: Jim Cullen, Finely Carved and Nicely Painted: The Life, Art and Decoys of George H. Boyd, Seabrook, NH, 1873-1941, Rye, NH, 2009, p. 22, related decoy illustrated.

$2,500 - $4,500

326 Mackey Boyd Yellowlegs

George H. Boyd (1873-1941)

Seabrook, NH, c. 1910

11 in. long

A classic Boyd yellowlegs with a faint Mackey Collection ink stamp. Original paint with light wear and an original neck crack.

PROVENANCE: William J. Mackey Collection

Private Collection

LITERATURE: Richard A. Bourne Co. Inc., Very Rare and Important American Bird Decoys, From the Collection of the late William J. Mackey, Jr. of Belford, New Jersey, Boston, MA, 1973, Session IV, lot 122, exact decoy illustrated.

$2,000 - $3,000

327 Rig of Nine Peeps

William J. “Red” Madden (1910-2005)

Chatham, MA, c. 1960

6 3/4 in. long

A rare mid-century working rig of shorebirds in a variety of different poses. Madden is remembered as a game warden on Cape Cod who enjoyed decoying shorebirds on Nauset Beach. These birds all show evidence of use. Each has an inlaid head, good feather paint, and is signed with an incised “M.” They have wire bills and legs. Original paint with wear from use.

PROVENANCE: Private Collection, acquired in Chatham, Massachusetts

$3,000 - $5,000

328 Large Ruddy Turnstone South Shore, MA, c. 1880 13 in. long

A split-tail shorebird with “WLW” incised on the underside. It was likely made as large sandpiper and converted for hunting turnstone. This bird is part of a recently discovered rig and is offered here in its as-found state. Old paint with heavy gunning wear, reset crack through head, and a replaced bill.

329 Running Yellowlegs South Shore, MA, c. 1880 13 1/2 in. long

A large running shorebird with raised wing tips. This bird is part of a recently discovered rig and is offered here in its as-found surface. Original paint with moderate gunning wear, white spatter, and a replaced bill.

330 Dowitcher South Shore, MA, c. 1880 9 3/4 in. long

This rotund bird is part of a recently discovered rig and is offered here in its as-found surface. Original paint with heavy gunning wear and a replaced bill.

331 Golden Plover Nantucket, MA, c. 1890 10 in. long

A two-piece Nantucket plover with wire bill. Original paint with even gunning wear.

$1,000 - $1,400

332 Running Golden and Black-Bellied Plovers Nantucket, MA, c. 1880 11 in. long

Two plovers that show similar characteristics to the carvings attributed to Captain James Wyer (1816-1899) of Nantucket, MA. The black-bellied plover has an “X” rig mark on the underside. The golden has original paint with moderate wear and some uneven varnish. The black-bellied has gunning wear mostly to the left side and a replaced bill.

PROVENANCE: Private Collection, Nantucket

$1,000 - $2,000

333 Curlew Coffin Family Nantucket, MA, c. 1880 14 in. long

A grand two-piece shorebird decoy measuring fourteen inches in length. The head is fit to the teardrop body with a removable mortise-and-tenon joint. Old working paint with heavy gunning wear and a replaced bill.

PROVENANCE: Private Collection, Nantucket

$1,000 - $2,000

334 Plover Lothrop T. Holmes (1824-1899) Kingston, MA, c. 1865 10 1/2 in. long

Holmes carved few decoys, making the offering of this gunned-over example a rare opportunity to own one of the world’s most heralded maker’s works. Mix of original and mostly repaint, bill is likely a replacement.

335 Golden Plover with Raised Wings Cape Cod, MA, c. 1870 10 in. long

An early well-carved decoy. Old gunning paint with moderate gunning wear.

PROVENANCE: Found in a Wellfleet home in the 1920s

336 Plover Cape Cod, MA, c. 1900 9 1/2 in. long

Original paint with gunning wear.

PROVENANCE: Found in a Wellfleet home in the 1920s

337 Dowitcher Flattie Cape Cod, MA, c. 1900 11 in. long

This reddish decoy has a stringing hole in the side Original paint with light gunning wear.

PROVENANCE: Found in a Wellfleet home in the 1920s

338 Rig of Seven Flattie Golden Plover South Shore, MA, c. 1880 11 in. long

This group is part of a recently discovered rig and is offered here in its as-found state. As found.

339 Rig of Six Flattie Upright Plover and One Feeder South Shore, MA, c. 1880 11 in. long

This group is part of a recently discovered rig and is offered here in its as-found state. As found.

340 Dowitcher with Split Wings

South Shore, MA, c. 1880 10 3/4 in. long

This bird is part of a recently discovered rig and is offered here in its as-found surface. Old paint with moderate gunning wear and a replaced bill.

341 Dowitcher

South Shore, MA, c. 1880 10 3/4 in. long

This bird is part of a recently discovered rig and is offered here in its as-found surface. Old paint with moderate gunning wear and a replaced bill. Wing tips and tail were re-carved.

342 Dowitcher

South Shore, MA, c. 1880 10 in. long

This bird is part of a recently discovered rig and is offered here in its as-found surface. Original paint with heavy gunning wear, including flaking to back and a replaced bill.

343 Lesser Yellowlegs

South Shore, MA, c. 1880 8 1/2 in. long

This bird is part of a recently discovered rig and is offered here in its as-found surface. Original paint with moderate wear and a replaced bill.

344 Mackey Red Knot

Cape May, NJ, c. 1860 10 in. long

This bold running decoy displays a hard chine, a chip-carved breast, and an underside with provenance markings. There is a Joe French Collection white label and the inked notion “#178,” denoting the bird’s place in the Shiller Martin Collection at one time.

The red knot flies over 3,500 miles from Brazil to feed on the shores of the Delaware Bay as part of a 9,000-mile journey from Tierra del Fuego to the Arctic. This decoy resembles a plump red knot after fueling up on its favorite food, horseshoe crab eggs. Mostly original paint with heavy gunning wear, working black overpaint to breast, and a possibly replaced bill.

PROVENANCE: William J. Mackey Jr. Collection

Donal C. O’Brien Jr. Collection

Joe French Collection

Shiller Martin Collection

Private Collection, Cambridge, Massachusetts

Private Collection

LITERATURE: Copley Fine Art Auctions, The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions III, Plymouth, MA, July 19, 2018, lot 101, rigmate illustrated. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 135, pl. 114, rigmate illustrated.

345 Yellowlegs

Thomas H. Gelston (1851-1924)

Quogue, Long Island, NY, c. 1890 12 in. long

This painted-eye shorebird decoy was carved from a one-anda-half-inch sheet of cork. Original paint with moderate gunning wear and some loss under tail.

346 Swimming Long-Tailed Drake

North Shore, MA, c. 1900 13 in. long

A pert hollow diver with a reaching head. In mix of repaint with heavy gunning wear and a replaced bottom board.

347 Red-Breasted Merganser

Gilbert Rafuse (b. 1908)

Chester Basin, Nova Scotia, Canada, c. 1980 18 in. long

A drake merganser with a leather crest and slight wing carving behind the breast. Rafuse was a carpenter and he began carving decoys in the 1930s. Original paint with light wear.

LITERATURE: Dale and Gary Guyette, Decoys of Maritime Canada, Exton, PA, 1983, p. 55, related example illustrated.

$1,000 - $1,500

348 Bufflehead Pair

Winsor White (1902-1975)

Duxbury, MA, c. 1940 10 in. long

Winsor White was an early collector from Duxbury, Massachusetts and a contemporary of Dr. George Ross Starr Jr. The cork bodies have wooden tails and bottom boards. Original paint with light gunning wear.

$600 - $900

349 Merganser Drake

A. Bradford Salmons (1864-1928)(attr.)

Stafforville, NJ, c. 1890 16 1/2 in. long

Old paint with minor darkening to wear, gunning wear, and cracks and restoration to neck.

350 Swan with Doughty Goose Body

Doughty Family

Hog Island, VA, c. 1870 25 1/4 in. long

This decoy began as a part of the famous goose rig that William J. Mackey attributed to a Walter Brady. This bird, which retains its original stick-hole, was reheaded and painted as a swan. Head replacement and repaint with heavy gunning wear.

351 Three Mergansers

Hooper’s Island, MD 16 1/2 in. long

A trio of mergansers by, or related to, Alvin “Gunner” Meekins (1883-1960). As found.

352 Swimming Mallard Hen

Mitchel LaFrance (1882-1979)

Phoenix-Davant, LA, c. 1935

16 3/4 in. long

A classic early LaFrance decoy with crisp paint, raised wings, and full cheeks on its slightly turned and swimming head. Original paint with moderate wear, including puppy chew to bill and original filler loss to line in left wing. Touch-up to reset neck.

LITERATURE: B. Cheramie, Louisiana Lures and Legends, Golden Meadows, LA, 1997, p. 185, related mallards illustrated.

$2,000 - $3,000

353 Early Bluebill

Ira Hudson (1873-1949)

Chincoteague, VA, c. 1920

16 in. long

As found.

354 Swimming Black Duck

Delbert Hudson (1928-1981) (attr.)

Chincoteague, VA, c. 1940 17 1/4 in. long

A rare swimming Chincoteague black duck with scratchpainted feathering. Original paint with moderate gunning wear, touch-up to top of bill, head, and to patch on each side.

355 Yellowlegs

William J. Matthews (1855- 1930s) Rig Assawoman Island, VA, c. 1890 9 1/4 in. long

Mackey acquired the Matthews rig from the hunter’s estate. The underside of this decoy is marked with the Mackey Collection ink stamp. Working paint by the maker with heavy gunning wear and added eyes.

PROVENANCE: William J. Mackey Jr. Collection

Private Collection

LITERATURE: Richard A. Bourne Co. Inc., Very Rare and Important American Bird Decoys, from the Collection of the late William J. Mackey, Jr. of Belford, New Jersey, Hyannis, MA, Session V-VI, July 9-10, 1974, lot 518, exact decoy illustrated.

MARK S. MCNAIR B. 1950 | CRADDOCKVILLE,

VA

356 Green-Winged Teal

Mark S. McNair (b. 1950)

Craddockville, VA, 2017

11 3/4 in. long

A refined teal with incised primaries and excellent paint detail. The underside of the hollow body bears the maker’s incised signature and a dated inscription to legendary collector Ron Gard. Original paint with minimal wear.

$1,500 - $2,500

357 Long-Tailed Drake

Mark S. McNair (b. 1950)

Craddockville, VA, c. 1980

15 in. long

An exceptional early McNair with a storied history. As a fledgling decoy carver, McNair made a pilgrimage to Crisfield where he found Lem Ward in his workshop. After picking this plump carving up by its inlaid locust tail, Lem conceded that it was a “good decoy.”

This was Mark’s first long-tailed duck and is marked as such with an incised roman numeral “I” under the incised signature. The bird remained in the carver’s collection for years, where it acquired a “NOT FOR SALE” ink stamp. It was later gifted to his father. Original paint with even wear.

PROVENANCE: Collection of the artist

Robert McNair Collection, acquired from the above John Hagan Collection

$2,500 - $3,500

358 Caines-Style Black Duck

Mark S. McNair (b. 1950)

Craddockville, VA, c. 1990

17 1/2 in. long

A one-of-a-kind grand black duck with a sweeping neck and heart-shaped wings made in the spirit of the Caines Brothers’ decoys. The maker’s incised signature is on the underside. Original paint and wear.

$2,000 - $3,000

359 Root-Head Coot Mark S. McNair (b. 1950) Craddockville, VA, 2023 11 in. long

A rare McNair species with a root head and heart-shaped raised wings. Original paint with light wear.

360 Early Wigeon Mark S. McNair (b. 1950) Craddockville, VA, c. 1980 13 1/2 in. long

The underside bears McNair’s incised signature and the collection stamp of his late friend Dr. Jack Conover. Original paint with light wear.

PROVENANCE: Jack Conover Collection Private Collection

361 Yellowlegs Mark S. McNair (b. 1950) Craddockville, VA, c. 2010 11 in. long

A refined yellowlegs with a split tail and an incised “McNair” signature on the underside. Original paint with light wear.

362 Two Drop-Wing Dowitcher Mark S. McNair (b. 1950) Craddockville, VA, c. 1980 largest is 11 1/2 in. long

One is an early McNair with inserted oak wing tips and an incised “McNair” signature. The other is smaller bird with a small “M” signature stamped under the tail. Original paint with light wear, the larger bird has a check along the left side and smaller bird has hairline crack in bill.

PROVENANCE: Estate of Paul W. Masengarb

363 Outstanding Pintail Drake

Robert “Bob” White (b. 1939)

Tullytown, PA, 1994

19 in. long

A raised-wing pintail displaying the maker’s quail lead weight on the underside of the hollow body. Original paint with light wear and hairline crack in tail.

PROVENANCE: D. Slipp Collection

Private Collection, New Jersey

$1,200 - $2,000

364 Eider with Mussel

Frank S. Finney (b. 1947)

Capeville, VA, c. 1980

19 1/2 in. long

A grand mussel-bearing sea duck displaying carved eyes, bill detail, and raised wings. The weight exhibits the maker’s stamped signature. Original paint with even wear and age split in underside.

$2,000 - $3,000

365 Life-Size Swan

Frank S. Finney (b. 1947)

Capeville, VA, c. 1980

32 in. long

A large and refined hollow decoy with an exceptionally long neck. Signed with the maker’s incised “F” on the bottom of the decoy. Original paint with moderate wear and touch-up to reset neck and some flaked areas.

366 Preening Mallard

William Gibian (b. 1946)

Onancock, VA, c. 1990

15 1/2 in. long

A Crowell-inspired raised-wing decorative with the maker’s incised signature on the underside. Original paint with light wear, faint spatter, and white line on breast.

PROVENANCE: Wade and Sharon Wander Collection

$2,000 - $3,000

367 Kingfisher

William Gibian (b. 1946) Onancock, VA, c. 2000

13 in. long

A rare, if not unique, special-order kingfisher with incised wing and crest details and the maker’s incised signature on the underside. Original paint with light wear.

PROVENANCE: Thomas Lee Saltonstall Collection

$800 - $1,200

368 Roseate Tern

William Gibian (b. 1946) Onancock, VA, c. 2000

12 1/2 in. long

This special commission has crossed and incised primary feather detail. The carving is signed by the maker on the bottom. Original paint with light wear.

PROVENANCE: Thomas Lee Saltonstall Collection

$800 - $1,200

369 Willet Family Pair

William Gibian (b. 1946) Onancock, VA, c. 2000 13 in. long

This adult and juvenile willet are the product of a special commission. This elaborately carved and painted pair of shorebirds have incised signatures on the bottoms. Original paint with minimal wear.

PROVENANCE: Thomas Lee Saltonstall Collection

$1,000 - $1,500

WILLIAM GIBIAN B. 1946 | ONANCOCK, VA

370 Semipalmated Plover

William Gibian (b. 1946)

Onancock, VA, 2013

7 1/2 in. long

A small plover with incised wing detail and the maker’s incised “GIBIAN.” Original paint with light wear.

PROVENANCE: Thomas Lee Saltonstall Collection

371 Dunlin

William Gibian (b. 1946)

Onancock, VA, c. 2000

8 1/2 in. long

This raised-wing shorebird is signed by the maker with an incised “GIBIAN” on the bottom. Original paint with light wear.

PROVENANCE: Thomas Lee Saltonstall Collection

372 Feeding Peep

William Gibian (b. 1946)

Onancock, VA, c. 200

7 1/2 in. long

A well-carved peep with an incised signature on the bottom. Original paint with light wear.

PROVENANCE: Thomas Lee Saltonstall Collection

Mike Borrett (b. 1960)

Madison, WI, c. 2010 32 in. long, 34 1/2 in. wide

Signed and dated by the maker. Original paint with light wear.

$1,500 - $2,500

374 Miniature Merganser Pair

Steve Weaver (b. 1950) Sandwich, MA, c. 2020 6 in. long

A miniature pair signed by the maker on the undersides. Original paint with minimal wear.

375 Miniature Beluga Whale

Frank S. Finney (b. 1947) Capeville, VA, c. 2020 6 in. long

A whale carving signed with the maker’s incised “F” on the underside and an ink stamp signature on the bottom of the base. Original surface with minimal wear.

376 Miniature Owl

Ronald S. Swanson Bloomfield Hills, MI 5 1/2 in. tall

The owl is carved from a single block with a natural finish and an attached beak. The underside is branded with a “R S S” signature. Original condition with minor loss to edge of beak.

373 Flying Canada Goose Pair

MASON DECOY FACTORY

1896-1924 | DETROIT, MI

377 Rig of Three Willet Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1900

12 in. long

A newly discovered rig of three early glass-eye willet which are coming off of Cape Cod. This untouched group shows Mason’s best shorebird paint detail with tight stippling and painted primaries. Original paint with moderate gunning wear, one has age line along right side, old black paint to bills and black dabs around stick holes.

PROVENANCE: Discovered in Wellfleet, Massachusetts

LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Updated Edition, Lewes, DE, 2014, p. 104, related example illustrated.

$5,000 - $8,000

Detroit, MI, c. 1900

14 in. long

A recently discovered pair of early goldeneye with especially pronounced crowns and uplifted heads. These lively heads are rarely seen beyond the idealized pages of the early Mason sales catalogs. These challenge-grade rigmates remain in dry paint with storage imprints including newsprint. Original paint with moderate gunning wear, including chew to drake’s bill tip, and some flaked paint on hen’s back. Minor darkening to neck seams and one small flake on drake’s back.

LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Updated Edition, Lewes, DE, 2014, pp. 64-65, related examples without lifted heads illustrated.

$7,000 - $10,000

378 Early Goldeneye Pair Mason Decoy Factory (1896-1924)

MICHAEL VALLERO (ATTR.)

1906-1992 | SPRING VALLEY, IL

Michael Vallero (1906-1992) (attr.)

Spring Valley, IL, c. 1920

27 1/2 in. long

This iron-headed field goose is stamped “DWV” for the rig of Daniel W. Voorhees, a member of the Duck Island Club and president and general manager of the Peru Plow and Wheel Company. It is likely he oversaw the manufacture of this decoy’s iron head. He is credited with employing the talented decoy maker Michael Vallero (1906-1992) of Spring Valley, Illinois. In fact, a Vallero decoy has been found with the “DWV” initials. This connection indicates that Vallero may have been involved with making his employer’s unique field rig. Original paint with moderate gunning wear, including some flaking. Residue drip from back by left side of tail.

PROVENANCE: Daniel W. Voorhees Rig

Masterworks of the Illinois River Collection

LITERATURE: Stephen O’Brien and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 141-144, rigmate illustrated.

$6,000 - $9,000

379 Standing Goose

Selections from the Terry Smart Collection of Evans Factory Decoys featured in

the 2021

Ducks Unlimited Exhibition (Lots 380-409)

A resident of Memphis, Tennessee, Terry Smart (1946–2022) was an avid outdoorsman who hunted and fished the world over. That said, he enjoyed world-class waterfowling at his camp just across the Mississippi River in Arkansas.

He is well remembered for his participation in the “other duck season” as an active member of the collecting community. Smart was a founding member and past president of the Evans Society. In 2017 he and Andy Schoneich co-authored the definitive book on Evans

decoys, Evans Duck Decoy Factory: A Collectors

Comprehensive Pictorial Reference Guide, and many of the following lots are featured in the volume.

Smart worked closely with Ducks Unlimited curator Katie Burke to select choice examples from his collection for a featured Evans decoy exhibition at DU’s museum at the Memphis Pyramid. The exhibit opened in 2021 and a selection of Terry’s own picks are presented here, including rare and one-of-a-kind examples.

380 Rare and Early Blue-Winged Teal Pair

Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1921

13 1/2 in. long

“Considering the number of Evans teal that come to market over the years,” writes Terry Smart, “it appears that Evans made very few teal.” This species has been far and away the most popular among collectors over the years. Original paint with even gunning wear. Drake has restoration to left edge of bill and hen has age line along right side.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 55, exact pair illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

EVANS DUCK DECOY CO.

381 Rare Evans Canada Goose

Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 17 in. long

This decoy is one of only two known. The plump body is hollow and finished with a bottom board. While the Evans book suggests these geese may have been used as “yard art,” a review of the underside suggests otherwise as there are distinct rig markings fore and aft that strongly suggest it was hunted. Old paint with heavy wear, including some age lines and loss to filler in original crack in back. Glue at reset neck seat.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 70, exact decoy illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

382 Mammoth-Grade Mallard Pair

Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1930 18 1/2 in. long

A grand pair of mallards with the hen in crisp combed paint. Original paint with light even gunning wear. Hen has hairline neck crack and some chews to bill tip.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, pp. 20 and 110, exact decoys illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

383 Mammoth-Grade Canvasback Pair

Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 18 in. long

The drake bears the Evans stamp and the hen has a “JAF” brand. Original paint with moderate gunning wear, hen has reset neck and three holes from a bill crack repair.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 127, exact decoys illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

384 Early Mammoth-Grade Black Duck Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1921 19 in. long

Original paint with heavy gunning wear, crack along right side, and restoration to tail chip.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 140, exact decoy illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

385 Mammoth-Grade Pintail Pair Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1930 19 in. long

The drake bears an Evans ink stamp and has been struck twice with a “P.G.C.” brand. Mix of original and repaint with heavy gunning wear. Hen has neck chip and screw.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 63, exact pair illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

386 Oversize-Mammoth-Grade Bluebill Pair Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1930 17 in. long

This is believed to be the only pair of this extra-large model known. As found.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 87, exact drake illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

EVANS DUCK DECOY CO.

1921-1932 | LADYSMITH, WI

387 Early Standard-Grade Blue-Winged Teal Pair

Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1921 13 in. long

Drake is in original paint with moderate gunning wear including rub to head. Hen is as found.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 54, exact decoys illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

388 Mammoth-Grade Bluebill Pair

Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1930 16 in. long

Both bear the Evans stamp and the drake has a two-piece hollow body. Mostly original with some repaint and heavy gunning wear.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, pp. 86-87, exact pair illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

389 Standard-Grade Bluebill Pair

Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1920 14 1/2 in. long

Both hollow decoys bear an Evans ink stamp. Original paint with heavy gunning wear, cracks and some touch-up.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 94, exact decoys illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

390 Mammoth-Grade Canvasback Pair

Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 17 in. long

This large pair has a stylized brand on the undersides. Original paint with heavy gunning wear and some reset cracks.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 124, exact pair illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

391 Standard-Grade Canvasback Pair Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 14 1/2 in. long

Both decoys bear an Evans ink stamp. The drake is hollow. Both have original laminated sides. Original paint with gunning wear and drake has age line in head.

PROVENANCE: Terry Smart Collection

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

392 Standard-Grade Mallard Pair Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 15 1/2 in. long

Both bear the Evans stamp and the hen is marked “W.W.W.” Original paint with moderate gunning wear and both have some cracks and fill. Drake has a few shot scars to head.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, pp. 116-117, exact decoys illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

393 Standard-Grade Pintail Pair Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 17 in. long

The drake bears an Evans ink stamp. Original paint with heavy gunning wear and some repaint.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 67, exact hen illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

394 Standard-Grade Redhead Pair

Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 15 in. long

The drake displays the Evans stamp and each have early matched pricing written on the underside. Mostly original paint with heavy gunning wear.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 44, exact decoys illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

EVANS DUCK DECOY CO.

1921-1932 | LADYSMITH, WI

395 Early Mallard Pair Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1921 18 in. long

An early, two-piece, hollow-body pair showing a strong Mason influence. Original paint with heavy gunning wear. Hen has crack in bottom and loose neck seam.

PROVENANCE: Terry Smart Collection

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

396 Coot Evans Duck Decoy Co. (1921-1932) Ladysmith, WI, c. 1925 14 in. long

The decoy bears an Evans ink stamp and an “E. Fessenbecker” tag. Original paint with moderate gunning wear and gunning repaint to white.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 154, exact decoy illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

397 The Evans Ring-Necked Drake Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 15 in. long

This hollow-body decoy is the only Evans example of this species known. Mix of original and repaint with heavy gunning wear, including an age line in the head.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 72, exact decoy illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

398 Early Mammoth-Grade Redhead Pair Evans Duck Decoy Co. (1921-1932) Ladysmith, WI, c. 1921 16 in. long

Original paint with heavy gunning wear.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 38, exact drake illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

399 Competitive-Grade Bluebill Pair Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 14 3/4 in. long

Original paint with moderate gunning wear and cracks in hen.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 96, exact pair illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

400 Competitive-Grade Mallard Pair Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 16 in. long

The hen is branded “PGC.” Drake appears to be original paint with heavy gunning wear. Hen is as found.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, pp. 31 and 118, exact drake illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

401 Competitive-Grade Redhead Pair Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 14 1/2 in. long

Original paint with heavy gunning wear and some cracks with touch-up.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017,p.

46, exact decoys illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

402 Two Canvasback Hens Evans Duck Decoy Co. (1921-1932) Ladysmith, WI 15 in. long

The competitive-grade hen has been struck with a “G.W.P.” brand. Original paint with heavy gunning wear.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, pp. 131 and 136, exact decoys illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

403 Early Mammoth-Grade Mallard Pair Evans Duck Decoy Co. (1921-1932) Ladysmith, WI, c. 1921

18 in. long

As found.

PROVENANCE: Jim Wilder Collection (drake) Terry Smart Collection

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

404 The Evans Bufflehead Drake Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925

14 in. long

This is the only known example of an Evans bufflehead. Original paint with heavy gunning wear.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 71, exact decoy illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 2021-2023.

405 Three Diver Decoys Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 largest is 18 in. long

The mammoth-grade canvasback hen is branded “OA,” the standard-grade canvasback hen bears the Evans stamp, and the mammoth-grade redhead drake bears the Evans stamp. Original paint with heavy gunning wear and some cracks and dings.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 133, exact hen illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

406 Goldeneye Hen Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 15 in. long

The Evans book goes in depth on the mysteries of what is called a goldeneye hen. Indeed, there are no known Evans drake whistlers. This decoy bears a bolt as a weight on the underside. Original paint with heavy gunning wear and a re-glued neck.

PROVENANCE: Terry Smart Collection

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

407 Coot Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925 13 1/2 in. long

The underside of this green-billed decoy has the factory stamp. Original and working paint with heavy gunning wear, including bill and tail chips.

PROVENANCE: Terry Smart Collection

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

408 Three Rare Black Ducks Evans Duck Decoy Co. (1921-1932) Ladysmith, WI, c. 1925 15 in. long

“Walter Evans black duck decoys are the most prized decoys of Evans collectors,” reports the Evans book. As found.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, pp. 141-142, two exact decoys illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023.

409 Toy Ducks, Yellow Duck, and Bluebill

Evans Duck Decoy Co. (1921-1932)

Ladysmith, WI, c. 1925

16 in. long

A lot of four Evans decoys including a yellow duck, a toy duck, a restored toy duck, and a repainted mammoth grade Bluebill with Evans stamp. As found.

PROVENANCE: Terry Smart Collection

LITERATURE: Andy Schoneich and Terry Smart, Evans Duck Decoy Factory, Lawsonville, NC, 2017, p. 169, exact yellow duck illustrated.

EXHIBITED: Memphis, TN, Ducks Unlimited Waterfowl Heritage Center, Evans Duck Decoy Factory: Collection of Terry Smart, 20212023

410 Green-Winged Teal Pair

Portland, OR, c. 1890

10 in. long

“These are significant decoys, with a somewhat stately air,” write the Detroit Decoy Dynasty authors discussing birds by this unnamed Portland, Oregon, area maker, who was inspired by the work of Jasper Dodge. Several West Coast makers, including this unknown carver and Charles Bergman, surpassed the standard of the factory birds whose patterns they drew from. The hen bears a “KANGAS” brand on the underside. Original paint with moderate gunning wear, the hen’s neck seam is re-glued.

LITERATURE: Ron Sharp and Bill Dodge, Detroit Decoy Dynasty: The Factory Decoys of Petersen, Dodge, and Mason, Lawsonville, NC, 2009, pp. 250-251, related examples illustrated.

$5,000 - $7,000.

411 Bluebill Drake Jasper N. Dodge Decoy Co. (1884-1894) Detroit, MI, c. 1885

14 in. long

The underside bears “A.H. Buhl” and “F.H. Walker” brands. Original paint with heavy gunning wear, partial restoration to bill, left side has original lamination.

PROVENANCE: Walker and Buhl Rigs, St. Clair Flats Shooting Co. Harry Seitz Collection

Barney Crandall Collection

412 Challenge-Grade Mallard Mason Decoy Factory (1896-1924) Detroit, MI, c. 1905 17 in. long

An untouched example with strong swirl paint. Original paint with moderate gunning wear, age line along bottom.

413 Swan Wildfowler Decoy Co. Point Pleasant, NJ (est. 1939), c. 1970 32 in. long

A hollow Point Pleasant swan with a circular factory stamp on the underside. Original paint with light wear and some spotting.

$500 - $800

414 Bufflehead St. Clair Flats, MI, c. 1900 11 1/2 in. long

An alert hollow butterball. Heavy gunning wear with traces of old paint.

415 Redhead and Canvasback Michigan 15 1/4 in. long

A Ben Harsen redhead drake and Fred Unger canvasback hen with an “Unger” brand. As found.

416 Sunfish Decoy

Harold E. “Rick” Rickert (1923-1990)

Mt. Clemens, MI, c. 1955

8 1/2 in. long

Rickert hails from the fish decoy capital of Mt. Clemens, Michigan, where he began to learn the local art form from his uncle Hans Janner Sr. and the Vandenbossche brothers, Dan and Ted. In their article on the maker, the Kangas thoroughly chronicle the extraordinary and inventive efforts Rickert exerted to produce the very finest decoys in the tradition of his family and townsfolk.

This large cedar-bodied panfish has an open mouth, is finished with Rickert’s tight stamped scales, hammered metal fins, and detailed glass eyes. The underside of the right pectoral fin is signed with a stamped “R.” This decoy is from Rickert’s special set of his best carvings. Original paint with light wear.

PROVENANCE: Rickert Collection

Kangas Collection of International Folk Art and Decoys

LITERATURE: Gene and Linda Kangas, Great Lakes Interpretations, Concord, OH, 2011, p. 264, exact decoy illustrated.

Gene and Linda Kangas, “Harold E. Rickert: Building a legacy of excellence in a set of spearing decoys,” Decoy Magazine, March/ April 2009, p. 11, exact fish illustrated.

417 Sunfish Decoy

Harold E. “Rick” Rickert (1923-1990)

Mt. Clemens, MI, c. 1955 8 1/2 in. long

A bright sunfish decoy with stamped scales and textured fins. Signed with a stamped “R” under the right pectoral fin. This

decoy is from Rickert’s special set of his best carvings. Original paint with light wear.

PROVENANCE: Rickert Collection

Kangas Collection of International Folk Art and Decoys

418 Herring Decoy

Harold E. “Rick” Rickert (1923-1990)

Mt. Clemens, MI, c. 1955 11 1/4 in. long

An open-mouth carving with painted metal fins, stamped scales, and the maker’s stamped “R” signature under the right pelvic fin. This decoy is from Rickert’s special set of his best carvings. Original paint with light wear.

PROVENANCE: Rickert Collection

Kangas Collection of International Folk Art and Decoys

419 Grayling Decoy

Harold E. “Rick” Rickert (1923-1990)

Mt. Clemens, MI, c. 1955 12 1/2 in. long

It has an open mouth, stamped scales, painted metal fins, and an “R” signature under the right pelvic fin. This decoy is from Rickert’s special set of his best carvings. Original paint with light wear.

PROVENANCE: Rickert Collection

Kangas Collection of International Folk Art and Decoys

LITERATURE: Gene and Linda Kangas, “Harold E. Rickert: Building a legacy of excellence in a set of spearing decoys,” Decoy Magazine, March/April 2009, p. 8, exact fish illustrated.

HAROLD E. "RICK" RICKERT

1923-1990 | MT. CLEMENS, MI

420 Striped Bass Decoy

Harold E. “Rick” Rickert (1923-1990)

Mt. Clemens, MI, c. 1955

13 in. long

A striped bass with stamped scales, textured fins, and an open mouth. Signed with a stamped “R” on the anal fin. This decoy is from Rickert’s special set of his best carvings. Original paint with light wear.

PROVENANCE: Rickert Collection

Kangas Collection of International Folk Art and Decoys

LITERATURE: Gene and Linda Kangas, “Harold E. Rickert: Building a legacy of excellence in a set of spearing decoys,” Decoy Magazine, March/April 2009, p. 11, exact fish illustrated.

421 Pike and Muskie Decoy

Harold E. “Rick” Rickert (1923-1990)

Mt. Clemens, MI, c. 1955

13 3/4 in. long

This lot consists on one decoy carving made to simultaneously represent two types of fish. The paint the right side has the bars of a muskie and the left side has the spots of a pike. It has

textured metal fins and stamped feathering. Signed under the right pelvic fin with a stamped “R.” This decoy is from Rickert’s special set of his best carvings. Original paint with light wear.

PROVENANCE: Rickert Collection

Kangas Collection of International Folk Art and Decoys

LITERATURE: Gene and Linda Kangas, “Harold E. Rickert: Building a legacy of excellence in a set of spearing decoys,” Decoy Magazine, March/April 2009, p. 10, exact fish illustrated. Gene and Linda Kangas, Great Lakes Interpretations, Concord, OH, 2011, p. 264, exact decoy illustrated.

422 Bass Hybrid Decoy

Harold E. “Rick” Rickert (1923-1990)

Mt. Clemens, MI, c. 1955 13 1/4 in. long

A bass perch hybrid with an open mouth, stamped scales, and textured metal fins. Signed with a stamped “R” on the anal fin. This decoy is from Rickert’s special set of his best carvings. Original paint with light wear.

PROVENANCE: Rickert Collection

Kangas Collection of International Folk Art and Decoys

LITERATURE: Gene and Linda Kangas, “Harold E. Rickert: Building a legacy of excellence in a set of spearing decoys,” Decoy Magazine, March/April 2009, p. 8, exact fish illustrated.

423 Pike Decoy

Harold E. “Rick” Rickert (1923-1990)

Mt. Clemens, MI, c. 1955 14 1/4 in. long

A pickerel with stamped scales, textured metal fins, and a stamped “R” signature under the right pelvic fin. This decoy is from Rickert’s special set of his best carvings. Original paint with light wear.

PROVENANCE: Rickert Collection

Kangas Collection of International Folk Art and Decoys

424 Perch Decoy

Harold E. “Rick” Rickert (1923-1990)

Mt. Clemens, MI, c. 1955 8 1/4 in. long

A perch painted with yellow, green, and white shades. It has an open mouth, stamped scales, and an “R” signature under the right pelvic fin. This decoy is from Rickert’s special set of his best carvings. Original paint with light wear.

PROVENANCE: Rickert Collection

Kangas Collection of International Folk Art and Decoys

425 Wood Duck

Harry Vinuckson Shourds II (1930-2017)

Seaville, NJ, 1983 13 in. long

A turned-head drake with the maker’s brand, inked signature, and date on the underside. Original paint with light wear and minor white spatter.

PROVENANCE: Robert Shisler Collection, acquired from the maker

426 Long-Tailed Duck

Harry Vinuckson Shourds II (1930-2017)

Seaville, NJ, 1982 13 in. long

The underside bears the maker’s signature and date. Original paint with even wear.

PROVENANCE: Robert Shisler Collection, acquired from the maker

HARRY VINUCKSON SHOURDS II

1930-2017 | SEAVILLE, NJ

427 Seagull Pair

Harry Vinuckson Shourds II (1930-2017)

Seaville, NJ, 1987 18 in. long

Two Barnegat Bay-style decoys with turned heads and raised wing tips. The undersides are branded “HVS” and bear the maker’s inked signature and date. Original paint with light wear.

PROVENANCE: Robert Shisler Collection, acquired from the maker

428 Hooded Merganser Pair

Harry Vinuckson Shourds II (1930-2017)

Seaville, NJ, 1980 and 1988 14 in. long

The undersides bear the maker’s inked signature and date. Original paint with light wear and the hen has a cracked bill.

PROVENANCE: Robert Shisler Collection, acquired from the maker

429 Green-Winged Teal Pair

Harry Vinuckson Shourds II (1930-2017)

Seaville, NJ, c. 1960 9 1/2 in. long

A hollow pair with the maker’s stamped signature. Original paint with light wear.

PROVENANCE: Robert Shisler Collection, acquired from the maker

430 Goose

William “Bill” Hammerstrom (1931-2018)

Waretown, NJ, c. 1960

25 in. long

The livelihood for William “Bill” Hammerstrom Sr., who grew up and lived in Waretown, New Jersey, was that of a bayman. As clamming was seasonal work and Bill had six children to care for, he started working for Johnson Brothers Boatyard in Bayville and eventually began to build boats. Bill also became a charter boat captain and a duck hunting guide. He started carving decoy rigs from local cedar in the 1940s. It was a natural progression to supplement his income. The maker’s brand is on the underside. Original paint with even gunning wear.

PROVENANCE: Robert Shisler Collection

431 Loon

Jim Gale (1899-1971)

New Jersey, c. 1960

22 in. long

A hollow decoy with the maker’s stamped signature. Original paint with light wear.

PROVENANCE: Robert Shisler Collection

432 Cinnamon Teal

George Strunk (b. 1958)

Seaville, NJ, c. 1990 12 1/2 in. long

A rare hollow teal species with a stamped “GS” signature. Original paint with light wear.

PROVENANCE: Robert Shisler Collection, acquired from the maker

433 Oversized Duck Call

Faulk’s Game Calls

Lake Charles, LA 12 in. long

A jumbo promotional call by Faulk’s Game Calls, which was established over fifty years ago by “Dud,” Faulk’s father, who was a professional guide and World Champion goose caller. Original condition with light wear.

PROVENANCE: Robert Shisler Collection

434 Swan

J. Eugene Hendrickson (1899-1971) Northfield, NJ, c. 1960 35 in. long

This “Gene” Hendrickson swan is considered a rare species for this carver, who was most known for the carving of brant, bluebills, and black ducks. The underside bears the maker’s cold-stamped initials. Original paint with light wear.

PROVENANCE: Robert Shisler Collection, acquired from the maker

435 Goose Pair

J. Eugene Hendrickson (1899-1971)

Northfield, NJ, c. 1960 21 in. long

Knowing that “Gene” Hendrickson was most known for carving bluebills, black duck, and brant, this pair of geese, with the maker’s “JEH” stamp on the undersides, is rare. Original paint with light wear.

PROVENANCE: Robert Shisler Collection, acquired from the maker

436 Wood Duck Pair

J. Eugene Hendrickson (1899-1971)

Northfield, NJ, c. 1965 13 in. long

Original paint with light wear and some knots showing.

PROVENANCE: Robert Shisler Collection, acquired from the maker

437 Seagull

J. Eugene Hendrickson (1899-1971)

Northfield, NJ, 1970 18 in. long

This rare species is initialed and dated on the underside. Original paint with light wear.

PROVENANCE: Robert Shisler Collection, acquired from the maker

438 Pintail Drake

J. Eugene Hendrickson (1899-1971)

Northfield, NJ, c. 1960 16 in. long

A hollow drake with the maker’s “JEH” stamp on the underside. Original paint with light wear.

PROVENANCE: Robert Shisler Collection, acquired from the maker

LOUIS AGASSIZ FUERTES

1874-1924

Three Crows signed “Louis Agassiz Fuertes” lower right watercolor, 14 by 8 1/2 in.

This work appeared in a 1919 issue of Bird-Lore, which was the magazine of the Audubon Societies for over forty years. It depicts three varieties of crows: 1. Crow, 2. Fish Crow, 3. Northwest Crow.

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

PROVENANCE: Eddie Woodin Collection

LITERATURE: Bird-Lore, Vol. XXI, No. 2, March-April 1919, frontispiece, illustrated.

$3,000 - $5,000

440

Nuthatch

signed

PROVENANCE:

$2,000 - $3,000

439 Louis Agassiz Fuertes (1874-1924)

440 Louis Agassiz Fuertes (1874-1924)

“Louis Agassiz Fuertes” lower left watercolor, 5 1/2 by 7 1/2 in.

Eddie Woodin Collection

Richard David Kristupas is known for his paintings of wild birds in landscape settings. Born in 1954 and based in the United Kingdom, he works in watercolor, gouache, and oil on canvas, featuring striking jewel tones and peaceful pastel color palettes. His paintings reveal fascination, appreciation, and thoughtful investigation of the natural world, capturing a wide array of settings and seasons. Kristupas’ paintings recall the work of sporting wildlife master Archibald Thorburn (British, 1860-1935).

$3,000 - $4,000

441 Richard David Kristupas (b. 1954) Red Grouse in Highland Loch signed “RD Kristupas” lower right gouache, 20 by 28 in. titled on label on back

442 Richard David Kristupas (b. 1954) Mallard - Morning Flight signed “RD Kristupas” lower left gouache, 20 by 28 in. titled on label on back $3,000 - $4,000

RICHARD DAVID KRISTUPAS

443 Richard David Kristupas (b. 1954) Pheasant - Bluebell Wood signed “RD Kristupas” lower left gouache, 20 by 15 in. titled on label on back

$2,500 - $3,500

444 Richard David Kristupas (b. 1954) Green-winged Teal Pair signed “RD Kristupas” lower right gouache, 12 1/4 by 9 1/2 in. $1,000 - $2,000

PROVENANCE:

PROVENANCE:

$1,000 -

445 Bernard Scott (British, 1918-1990) Puffins signed “Bernard C. Scott ©” lower right oil on board, 11 by 14 in.

Eddie Woodin Collection

446 Tomas Miller (20th century) Turkey, 1990 signed and dated “Tomas Miller” ‘90” lower right watercolor, 14 1/2 by 12 3/4 in.

Eddie Woodin Collection

447 Maurice Day (1892-1983) Mt. Katahdin and Deer signed “Maurice Day” lower right watercolor, 15 1/4 by 21 in.

$1,500

447

446

$2,000 -

448 John James Audubon (1785-1851) Eider Duck (No. 6-2, Plate 405) Fuligula Mollissima chromolithograph, 26 1/4 by 39 1/4 in. “Drawn from Nature by J.J. Audubon, F.R.S. F.L.S.” lower left “Chromolith’y by J Bien, New York, 1860” lower right

$3,000

449 Eugene V. Connett (1891-1969) Hunt Scene with Dog signed “G Connett” lower right watercolor, 21 by 28 in.

Eugene V. Connett III ran the famous Derrydale Press during Sporting Art’s golden age.

450 Eugene V. Connett (1891-1969) Fly Fishing Scene signed “G. Connett” lower left watercolor, 21 by 28 in.

449

Striped Bass signed “H. A. Driscole” lower right oil on canvas, 14 by 20 in.

Harry A. Driscole was a renowned “piscatorial” artist who lived in Peekskill, New York. A 1910 biography on the artist in Field and Stream notes, “He paints nothing else but fish and loves to pose them in the act of being captured in their native haunts.”

Born in Somerville, Massachusetts, Robinson studied painting at the Ecole des Beaux Arts and the Academie Julian in Paris before setting up his art studio in Malden. He exhibited with Childs Gallery in Boston and, in addition to still lives, such as this hanging merganser, painted White Mountain landscapes and other scenes.

PROVENANCE: Private Collection, Texas

$800 - $1,200

signed “Allan Brooks” lower left watercolor, 13 3/4 by 10 1/2 in.

Allan Cyril Brooks was born in 1869 in India, educated as a boy in England, and moved to Canada in 1881 where his father had become a farmer, eventually settling in British Columbia. He started out as a specimen hunter and collector for museums; however, after being encouraged to pursue his art by William Brewster, he became the Canadian contemporary to Louis Agassiz Fuertes. Due to his accurate shot, Brooks served as a sniper in World War I, achieved the rank of Major, and was awarded the Distinguished Service Order for conspicuous gallantry.

His ornithological art appears in John C. Phillips’ The Natural History of Ducks and Forbush’s Birds of Massachusetts, among many other publications.

PROVENANCE: Dr. Frank M. Chapman Collection Private Collection, Texas

$800 - $1,200

451 Harry A. Driscole (1861-1923)

452 William T. Robinson (1852-1934) Hanging Merganser signed “W.T. Robinson” lower right oil on canvas, 15 1/4 by 23 in.

453 Allan Brooks (Canadian, 1869-1945) Ducks

453

452

Black Ducks, 1923 signed and dated “Courtenay Brandreth 1923” lower right oil on board, 17 1/2 by 21 1/2 in. titled on back

Brandreth, born in Ossining, New York, was a bird artist and an industrialist who studied at Cornell University. He grew up spending summers in the Adirondacks on land now known as Brandreth Park, near Raquette Lake. In 1920, Frank Chapman wrote, “Mr. Brandreth’s success in portraying form, pose, and expression is due to his natural gifts, to genuine love of birds which sends him to nature for his subjects, and to a course of study under Louis Agassiz Fuertes, master painter of bird portraits.”

PROVENANCE: Estate of Ludlow Griscom, ornithologist Private Collection, Maine

LITERATURE: Frank M. Chapman, “Courtenay Brandreth’s Bird Paintings,” Bird-Lore, Vol. XXIV, No. 1, JanuaryFebruary 1922, pp. 1-6.

New England Farm by a River, 1885 signed and dated “D.F. Wentworth 1885” lower left oil on canvas, 19 by 28 in.

PROVENANCE: Acquired from Phillips, Americana, January 30, 1979, lot 389

$1,200 - $1,800

454 Daniel F. Wentworth (1850-1934)

455 Courtenay Brandreth (1891-1947)

This drawing appeared in a magazine called The Sportsman in November 1930, illustrating an article by John C. Phillips on birds in flight.

LITERATURE: John C. Phillips, “The Flight Speed of Birds,” The Sportsman, November 1930, p. 59, illustrated.

458

Leaping Trout signed “A. L. Ripley” lower right pencil, 12 1/2 by 9 in.

This drawing appeared in a magazine called The Sportsman in April 1936, illustrating an article by William Bayard Sturgis on fishing. The article was an excerpt from New Lines for Flyfishers, published by the Derrydale Press in 1936.

LITERATURE: William Bayard Sturgis, “Hook Tests and Silkworm Gut,” The Sportsman, April 1936, p. 31, illustrated.

459

This is an original drawing for an article a magazine called The Sportsman

A Pair of Grouse signed “A. Lassell Ripley” lower right etching, 9 1/4 by 14 in.

456 Aiden Lassell Ripley (1896-1969) Golden Plover, 1930 pencil, 9 by 14 in.

457 Aiden Lassell Ripley (1896-1969) Stag and Doe drawing, 7 3/4 by 11 in.

Aiden Lassell Ripley (1896-1969)

Aiden Lassell Ripley (1896-1969)

460 S. Edwin Megargee (1883-1958)

Ch. Speculation of Shotton of Greenfair signed “Megargee” lower right oil on glass, 6 by 8 in.

“Speculation of Shotton of Greenfair, the striking liver and white English springer spaniel owned by Mr. and Mrs. Joseph C. Quirk of Greenwich, Conn., tonight won the honor of best in show. Speculation topped a field of more than 500 in the twenty-first annual exhibition of the Kennel Club of Atlantic City…Tonight’s victory brought championship laurels,” reported The New York Times in 1940.

The artist Edwin Megargee was born in Philadelphia in 1883. He studied at Georgetown University, the Drexel Art Institute in Philadelphia, and the Art Students League in New York and specialized in paintings of domestic animals and sporting subjects. Many of his sporting dog scenes appeared in “Field & Stream” and in his portfolio, Gun Dogs at Work. He is best known as a leading portrayer of prize-winning gun dogs, including pointers, setters, retrievers, and spaniels.

In 1953, Megargee illustrated Julie Campbell Tatham’s World Book of Dogs. In it, he is referred to as “a licensed (and very active) judge of the American Kennel Club and Chairman of its Library Committee. A breeder, judge and owner of first-class sporting and bench show dogs, he brings to his paintings and

illustrations a thorough knowledge of animal structure, color and authenticity of atmosphere.”

LITERATURE: “Speculation of Shotton of Greenfair is Best at Dog Show in Atlantic City,” The New York Times, March 17, 1940.

Julie Campbell Tatham and Edwin Megargee, illus., World Book of Dogs, Cleveland, OH, 1953, p. 126.

461 Marguerite Kirmse (1885-1954)

Three Scottish Terrier Dog Etchings (two shown) each signed “Marguerite Kirmse” lower right each titled lower left

When We Were Very Young, c. 1930 5 3/4 by 8 1/4 in.

Derby and Joan, c. 1926 6 by 8 in.

Bon Voyage, 1931 8 by 5 1/4 in.

462 Boris Riab (1898-1975)

Two Watercolors of Springers each signed “B Riab” lower right each 16 by 13 in.

Springer with Hungarian Partridge Springer with Green-Winged Teal

463 Frank W. Benson (1862-1951)

Salem Harbor, 1882 etching, 5 by 8 in.

Paff #1, edition of 1500

According to John T. Ordeman, “This was made as the frontispiece for the second number of The Art Student, a magazine published by students in The School of Drawing and Painting, Museum of Fine Arts, Boston, of which Mr. Benson was one of the editors.”

PROVENANCE: Private Collection, Middleburg, Virginia

464 Frank W. Benson (1862-1951)

Widgeon Rising, 1920 signed “Frank W. Benson” lower left etching, 11 1/4 by 7 1/4 in.

Paff #172, edition of 150

PROVENANCE: Private Collection, Middleburg, Virginia

465 Frank W. Benson (1862-1951)

Ducks in the Rain, 1918 signed “Frank W. Benson” lower left etching, 7 3/4 by 6 in.

Paff #147, edition of 100 titled on Kennedy & Co., New York label on back

PROVENANCE: Private Collection, Middleburg, Virginia

466 Frank W. Benson (1862-1951)

Frightened Ducks, 1915 signed “Frank W. Benson” lower left drypoint, 4 by 6 in. Paff #53, edition 44 of 50

PROVENANCE: Private Collection, Middleburg, Virginia

467 Frank W. Benson (1862-1951)

Cloudy Dawn, 1922 signed “Frank W. Benson” lower left etching, 9 3/4 by 11 3/4 in.

Paff #215, edition of 150

PROVENANCE: Private Collection, Middleburg, Virginia

468 Frank W. Benson (1862-1951)

Hovering Geese, 1922 signed “Frank W. Benson” lower left drypoint, 13 3/4 by 10 3/4 in.

Paff #213, edition of 150 titled on Arthur H. Harlow & Co., New York label on back

PROVENANCE: Private Collection, Middleburg, Virginia

469 Frank W. Benson (1862-1951)

Reflections, 1920

signed “Frank W. Benson” lower left drypoint, 5 by 8 in.

Paff #197, edition of 56

PROVENANCE: Private Collection, Middleburg, Virginia

470 Frank W. Benson (1862-1951)

The Alarm, 1917

signed “Frank W. Benson” lower left etching, 7 3/4 by 9 3/4 in.

Paff #111, edition 13 of 150

inscribed “To Langdon Warren” lower left

Langdon Warren (1881-1955) was an archaeologist and art historian at Harvard who studied the Silk Road, and is thought to be a model for Indiana Jones.

PROVENANCE: Private Collection, Middleburg, Virginia

471 Frank W. Benson (1862-1951)

Black Ducks Towering, 1930

signed “Frank W. Benson” lower left drypoint, 11 7/8 by 7 7/8 in.

Paff #305, edition of 166, trial proof

PROVENANCE: Private Collection, Middleburg, Virginia

472 Frank W. Benson (1862-1951)

In Island Pond, 1925

signed “Frank W. Benson” lower left etching, 9 3/4 by 7 3/4 in.

Paff #252, edition of 150

PROVENANCE: Private Collection, Middleburg, Virginia

473 Frank W. Benson (1862-1951)

Darkening Sky, 1925

signed “Frank W. Benson” lower left drypoint, 4 3/4 by 6 3/4 in.

Paff #253, edition of 150

PROVENANCE: Private Collection, Middleburg, Virginia

474 Frank W. Benson (1862-1951)

Essex Marshes, 1930

signed “Frank W. Benson” lower left etching, 6 3/4 by 11 3/4 in.

Paff #291, edition of 150

PROVENANCE: Private Collection, Middleburg, Virginia

475 Frank W. Benson (1862-1951)

Geese Drifting Down, 1929

signed “Frank W. Benson” lower left etching, 8 3/4 by 14 in.

Paff #287, edition of 150

PROVENANCE: Private Collection, Middleburg, Virginia

476 Edward A. Morris (1917-c. 2007)

Mallards

signed “Edward A. Morris” lower right lithograph, 11 by 12 1/2 in.

titled and inscribed “Printers Proof” lower left

477 Frank W. Benson (1862-1951)

Dawn, 1924

signed “Frank W. Benson” lower left etching, 6 3/4 by 9 3/4 in.

Paff #232, edition of 150

The Print Club, Cleveland, OH, label on back

PROVENANCE: Private Collection, Middleburg, Virginia

478 Early Sporting Chromolithograph

Sporting, 1845 chromolithograph, 13 1/2 by 18 1/2 in.

In a Goodspeed’s catalogue of 1944, Dr. Charles S. Berry identified this print as printed by Tappan & Bradford in 1845 from a daguerreotype by the noted photographer John Adams Whipple at the request of Daniel Webster for distribution to some of his friends and only twelve copies were made. It stands as one of the best early American sporting prints and the first to represent actual people at a real place. The individuals shown are Captain Berry of the yacht Quarrentine, Alderman Rich and Alderman Cary. The place is Chatham Grove, just north of Boston and the occasion is the Fifth Regatta Race at Shirley Gut in 1844. The lithograph records a shooting party which took place in the morning before the race. Technically it is a multi-stone lithograph, printed in black with multiple stone tints applied in perfect register. The result is amazingly photographic. Shirley Gut can be seen in the background just above the dog; it was completely eliminated by the Hurricane of 1938.

PROVENANCE: Richard Labowskie, M.D. Collection, purchased from Charles Sessler Bookshop, Philadelphia in 1970 or 1971

LITERATURE: Discussed by Harry T. Peters in his America on Stone, p. 76 pl. 4 when it was still considered under his Anonymous category.

479 Roland H. Clark (1874-1957)

Black Ducks signed “Roland Clark” lower right etching, 11 by 8 1/2 in.

480 Clarence Eytinge (1835-1900)

206 Front St NY, 1853-1854

“C.Eytinge, lith” lower left chromolithograph, 18 1/4 by 11 1/4 in. titled lower center

Clarence Eytinge was a lithographer with an office at 218 Fulton Street. His firm, Fern & Eytinge, published views of New York City in the 1850s, and his brother Sol Eytinge Jr. was a noted illustrator.

“Built in the late 1790s and remodeled a century later, No. 206 Front Street was the location of the Howell family businesses for well over 100 years. It first served as a grocery, providing staples such as flour, sugar, and spirits to customers who bought fresh produce at the Fulton Market. It later housed the Howell’s famous military store, one of New York’s leading suppliers of guns and gunpowder at the turn of the century,” according to the plaque on the building. The building is now part of Cannon’s Walk, a pedestrian area across from the Fulton Market in South Street Seaport.

PROVENANCE: Richard Labowskie, M.D. Collection

LITERATURE: Harry T. Peters, America on Stone, New York, 1931, p. 182.

481 Samuel Alken (English, 18th-19th Century)

Two Hunting Drawings each pencil and watercolor, 12 by 18 in. each Arthur Ackermann & Son Inc., London label on back

482 Two Ithaca Featherlight Advertising Signs

Goose

“Ithaca Featherlight Repeaters Ithaca Gun Co., Inc. Ithaca. N.Y.” 14 1/4 by 16 3/4 in.

Turkey

“Ithaca Featherlight Repeaters Ithaca Gun Co., Inc. Ithaca. N.Y.” 16 1/2 by 23 1/4 in.

483 Raven Mask

Douglas Lafortune

Saanichton, BC, Canada 19 1/2 in. long

After working in the logging industry for years, Doug LaFortune shifted his relationship with wood and became a sculptural artist. Mentored by master carver Simon Charlie, he developed own unique style of contemporary and traditional Coast Salish art. The Coast Salish Nation is a group of ethnically and linguistically related indigenous people of the Pacific Northwest Coast. Doug’s work can be found in private and

corporate collections. One of Doug’s top artistic works was a Salish Welcome Figure presented to Queen Elizabeth at the Opening Ceremonies of the XV Commonwealth Games in Victoria in 1994. His most recent work is a thirty-foot-tall totem pole in Butchart Gardens in Brentwood Bay, British Columbia.

The mask is signed on the inside by the artist.

PROVENANCE: Harry and Judy Bextel Collection

$600 - $900

484 Shaman Mask

Joseph Sylvester (b. 1962)

Vancouver Island, BC, Canada 18 in. long

A depiction of Thunder Bird by a renowned Coast Salish artist. A member of Cowichan and Tsawout First Nations, Sylvester started carving when he was eight years old and trained with multiple noted Coast Salish artists, including Charles Elliott and Simon Charlie, among others. He is known for his talking sticks, totem poles, and masks.

PROVENANCE: Harry and Judy Bextel Collection

$600 - $900

485 Lot of Books (not shown)

Currents and Eddies by William Schaldach, 1944. Currents and Eddies by William Schaldach, 1944. Schaldach Etchings: The Sporting Art of William J. Schaldach, Selections by DeCourcy Taylor, edition 343/1000. Coverts & Casts by William J. Schaldach, 1945. The Wind on Your Cheek by William J. Schaldach. William J. Schaldach: Artist, Author, Sportsman by John T. Ordeman, edition 343/1150. William J. Schaldach: Artist, Author, Sportsman by John T. Ordeman, edition 88/1150. Uplaid Gunning by William J. Schaldach. Converts and Casts by W.J. Schaldach, limited edition 26/160. Converts and Casts by W.J. Schaldach, second printing. To Keep A Tryst With The Dawn: An Appreciation of Roland Clark by John T. Ordeman, edition 1075/1000. A. Lassell Ripley Paintings, text by Edward Weeks. Artists of the North American Wilderness: George & Belmore Browne by John T. Ordeman and Michael M. Schreiber. Bishop’s Wildfowl by Earl Prestrud and Russ Williams. The Art of Ogden M. Pleissner by Peter Bergh. The Paintings of Eldridge Hardie–Art of a Life in Sport by Nick Lyons and George Reiger. Wild Harvest: The Animal Art of Bob Kuhn by Tom Davis. The A.B. Frost Book by Henry M. Reed. Frank W. Benson– Etchings, Drypoints and Lithographs by John T. Ordeman. As found.

486 Trade Catalogue from American Flask & Cap Co. published by Tuttle, Morehouse & Taylor, New Haven, CT, 1864

An illustrated catalogue and price list from the American Flask and Cap Company, Waterbury, Connecticut, 1864, Quarto. Pebbled brown cloth with gilt title. Frontispiece is view of factory. Secondary title page without illustration. Five page price list. Forty-three lithographic full page illustrations, printed versos onlu (rectos blank) of gunpowder flasks, shot pouches, hunting kits, drinking flasks, and flask parts.

One of the rarest and most beautiful of American trade catalogues of the mid-19th century.

PROVENANCE: Richard Labowskie, M.D. Collection

$5,000 - $7,000

487

487

487 History of the Explosives Industry in America by Arthur P. Van Gelder and Hugo Schlatter published by Columbia University Press, New York, 1927

488 Hamilton Powder Company Tin 5 1/2 in. tall

A rectangular tin with label reading “Caribou Gunpowder” and an image depicting a hunter pulling a sled with an ungulate. As found.

PROVENANCE: Private Collection, a descendant of Thomas Coleman du Pont

489 One American Powder Mills Tin 5 1/2 in. tall

A rectangular tin with an image depicting a pointer. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

490 One Warren Powder Mills Snap Shot Tin 6 in. tall

A rectangular tin with label depicting a duck being shot. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

491 Powder Tin 6 in. tall

One tin with a label reading “Oriental Powder Mills” and an image depicting a hawk. As found.

PROVENANCE: Private Collection, a descendant of Thomas Coleman du Pont

492 One Warren Powder Mills Tin 4 3/4 in. tall

A rectangular tin with label bearing an image of a hunter shooting while two men look on. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

493 One King Powder Co. Tin 6 in. tall

A rectangular tin with label reading “Quickshot” and an image depicting a duck. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

494 One Savage Arms Co. Smokeless Rifle Powder Tin 6 1/2 in. tall

A rectangular tin with an image of two guns. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

495 One King Powder Co. Quickshot Tin 4 1/2 in. tall

One tin with a label exhibiting a duck image. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

496 One Dupont Eagle Gunpowder Tin 6 in. tall

A red tin with label reading “Eagle Gunpowder” and an image depicting a hunter shooting a duck. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

497 Two Powder Tins 3 1/4 in. tall

Two cylindrical tins by C. Tryon’s and E.R.T. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

498 Two Powder Tins largest is 5 in. tall

One cylindrical Hazard tin and one Equitable Powder Mfg. Co. tin, both with deer images. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

499 Two Robin Hood Powder Tins largest is 6 in. tall

Two rectangular tins with images depicting Robin Hood hunting with a bow and arrow. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

500 One Schaghticoke Powder Co. Tin 6 1/4 in. tall

A tin with label reading “Eagle Sporting Gunpowder” and an image depicting an eagle. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

501 Two A.C. Fay Potter & Cilley Powder Tins 4 1/2 in. tall

Both tins display an image of a dead deer. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

502 Two Percussion Powder Tins 5 1/4 in. tall

Both tins have labels with images of dogs, deer, and mountains. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

503 Two Powder Tins largest is 5 1/2 in. tall

An Oriental Powder Mills tin and a Laflin & Rand tin. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

504 One Swift, Bliss, Greeley & Co. Powder Tin 4 1/4 in. tall

A rectangular tin an image depicting a hunter and a shot deer. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

505 One Hazard Powder Company Keg 8 1/2 in. tall

Wooden circular keg with “Kentucky Rifle Gunpowder from Hazard Powder Co.” label with image of a hunter and a dog. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

506 One Hazard Powder Company Keg 9 in. tall

Wooden circular keg with “Kentucky Rifle Gunpowder from Hazard Powder Co.” label with image of a hunter and a setter. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

507 One Hazard Powder Co. Keg 9 in. tall

Wooden circular keg with “Hazard’s Trap Powder from Hazard

Powder Co.” label with image of a hunter shooting. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

508 One Hazard Powder Company Keg 8 1/2 in. tall

Wooden circular keg with “Fairlawn Gunpowder from Hazard Powder Co.” label with image of a bird on label. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

509 One Oriental Powder Company Keg 9 1/2 in. tall

Wooden circular keg with “Wildfowl Rifle Powder by Oriental Powder Boston Mills” label. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

510 One Enfield Powder Company Keg 8 1/2 in. tall

Wooden circular keg with “California Rifle Powder from Enfield Powder Co.” label with image of a hunter. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

511 One Laflin & Rand Orange Rifle Powder Keg 8 1/2 in. tall

Wooden circular keg with “Laflin & Rand Orange Rifle” label and a dog label on side. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

512 One Hazard Powder Can 7 1/4 in. tall

Metal circular can with “Hazard’s Trap Powder from Hazard Powder Co.” label with image of a hunter shooting. As found.

PROVENANCE: Private Collection, a descendant of Thomas Coleman du Pont

513 Hazard Powder Keg 9 in. tall

Wooden circular keg with a “Kentucky Riffle Gunpowder from Hazard Powder Co.” label with image of a hunter shooting and a dog beside him. As found.

PROVENANCE: Private Collection, a descendant of Thomas Coleman du Pont

514 Two Dittmar’s Powder Tins 6 in. tall

Two rectangular tins with label reading “New Sporting Powder.” As found.

PROVENANCE: Richard Labowskie, M.D. Collection

515 Three Powder Tins largest is 6 in. tall

One Dupont time with an image depicting a hunter shooting and two cylindrical tins with eagle images. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

516 Two Powder Tins largest is 4 1/2 in. tall

A small square F.G. tin and one Hazard tin with a Native American image on it. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

517 Three Powder Tins 6 in. tall

Laflin S. Smith & Boies, Great Western Powder Co., and Brackett’s Sporting Powder tins. As found.

PROVENANCE: Richard Labowskie, M.D. Collection

Abbett, Robert Kennedy: 179

Ackerly, Lemuel N.: 127

Adamson, Harry Curieux: 222

Alexander, Pennell: 105

Alken, Samuel: 481

American Flask & Cap Co.: 486

American Powder Mills: 489

Anderson, Harold: 303

Audubon, John James: 448

Barkalow, Bradford (attr.): 53

Barnard, Charles Nelson: 78

Benson, Frank W.: 146-149, 228-242, 463-475, 477

Bextel, Harry: 31-33

Bibber, Orlando “Os”: 3

Bishop, Gus: 129

Bishop, Richard E.: 217

Blake, Leo B.: 183

Blinks, Thomas: 141

Bogdan: 162, 163, 165

Borrett, Mike: 90, 373

Boyd, George: 1, 2, 284, 315, 325, 326

Brandreth, Courtenay: 455

Brooks, Allan: 453

Browne, George: 300

Burke, Edgar: 213-215

Burr, Elisha: 319

Burr, Russ P.: 285, 286

Carlson, Ken: 299

Carriage House Rig: 210

Chambers, Thomas: 6

Cheeseman, Verne: 203

Chiado, Anton “Tony”: 140

Clark, Roland H.: 218, 224, 479

Coffin Family: 333

Connett, Eugene V.: 449, 450

Corbin, Peter: 251

Corwin, Wilbur R. (attr.): 130

Coull, Barry: 167

Crowell, A. Elmer: 34-41, 275-283

Cummings, Frank: 192

Dawson, Walter: 201

Day, Maurice: 447

de Groot, Ewoud: 297

Dilley, John: 109

Dittmar’s: 514

Dodge, Jasper N. Decoy Co.: 411

Doughty Family: 352

Driscole, Harry A.: 451

Du Pont: 496

Dwyer, Lionel: 292

Dye, Capt. Benjamin F.: 68, 75, 76

Earnest, Christo: 139

Elliston, Robert: 208

Enfield Powder Co.: 510

English, John: 42

Ettinger, Churchill: 144

Evans Duck Decoy Co.: 380-409

Eytinge, Clarence: 480

Faulk’s Game Calls: 433

Fenelle, Stanford: 250

Finney, Frank S.: 81, 364, 365, 375

Frazier, Luke: 181

Frost, Arthur Burdett: 82, 253, 254

Fuertes, Louis Agassiz: 439, 440

Gale, Jim: 431

Gaskill, Charles (attr.): 51

Geiger, Fritz: 211

Gelston, Thomas H.: 345

Gibian, William: 366-372

Gillett, George: 168

Gilley, Wendell: 270-272

Goodspeed, David (attr.): 54

Gramatky, Hardie: 304

Gray, Jack Lorimer: 246

Gromme, Owen J.: 219-221

Hagerbaumer, David A.: 309-311

Hamilton Powder Co.: 488

Hammerstrom, William “Bill”: 430

Hardie, Eldridge: 178

Hardy, Heywood: 247

Harris, Ken: 134

Harsen, Ben: 415

Harvey, Andre: 143

Hazard Powder Co.: 505-508, 512, 513

Hendrickson, J. Eugene: 434-438

Henry, Edward Everett: 158

Heverin, William: 74

Hill, Howard L.: 244

Hillman, Anthony: 289

Hintermeister, John Henry: 305

Hodges, Dave: 152

Holberton, Wakeman: 166

Holly, James T.: 77, 79

Holmes, Lothrop T.: 334

Hopkins, Mark: 150

Horner, Nathan Rowley: 43

Hotze, Hiram “Hy”: 206

Howlett, Richard T. “Dick”: 73

Hudson, Delbert (attr.): 354

Hudson, Ira: 353

Hunt, Lynn Bogue: 216

Ithaca Featherlight: 482

Janson, Richard “Fresh Air Dick”: 225-227

Johnston, David: 97

Kilbourne, Samuel A.: 159

King Powder Co.: 493, 495

King, Allen J.: 273, 274

Kirmse, Marguerite: 145, 461

Koerner, William H. D.: 248

Kristupas, Richard David: 441-444

Kuhn, Bob: 298

Laflin & Rand: 511

Lafortune, Douglas: 483

LaFrance, Mitchel: 350

Laing, Albert Davids: 121, 124

Lane, Stephen (attr.): 202

Lange, Benton “Burt”: 209

Lincoln, Joseph W.: 7, 316, 317

Loge, Daniel: 182

Madden, William J. “Red”: 327

Mason Decoy Factory: 377, 378, 412

Matinicus Isle: 5

Matthews, William J. Rig: 355

McGaw, Robert “Bob”: 80

McNair, Ian T.: 22

McNair, Mark and Ian: 20

McNair, Mark S.: 17-19, 21, 23-30, 169, 356-362

Meekins, Alvin “Gunner”: 351

Megargee, S. Edwin: 460

Miller, Tomas: 446

Monahan, Hugh C.C.: 223

Monroe Jr., Charles Edmund: 184, 185

Moore, Jeffery: 293

Morris, Edward A.: 476

Nichols, Fred M.: 314

O’Brien Jr., Donal C.: 125, 126

Old Town Canoe Company: 161

Oriental Powder Co.: 509

Parks, Malcolm B. Rig: 137

Parsons, Phillip Brown: 308

Tully, James “Bud”: 136

Tully, John: 157

Turner, Charles W.: 46

Turner, William H. and David H.: 151

Unger, Fred: 415

Vallero, Michael (attr.): 379

Van Gelder, Arthur P.: 487

Verity, Obediah: 110-112

Von Keinbusch, Otto: 164

Voorhees, Clark: 170

ESTATE AND COLLECTION SERVICES

Copley offers a comprehensive program for both auction and private sales. Our team of professionals has over 95 years of combined service dedicated to the fields of American antiques, folk art, fine art, and decoys. We work with law firms, trust and estate professionals, executors, heirs, museums, institutions, clubs, and private clients, assisting with the valuation and sale of single items and entire estates.

Copley offers free confidential auction evaluations, and will be able to advise you on how to achieve the highest prices for your valuable objects. Our specialists will assist you in every step of the process, from the initial valuation of your item or collection to the conclusion of sale. If, for some reason, an item or collection falls outside the parameters of a Copley sale, our vast network of contacts ensures that our clients will be given the appropriate referral. Depending on the number of objects and their location, we offer a complimentary initial walk-through service to determine the extent of the project.

THE DU PONT CROWELL WOODCOCK

TERMS AND CONDITIONS OF SALE

1 Your bidding on items indicates your acceptance of the following Terms and Conditions of Sale by Copley Fine Art Auctions, LLC. These terms are subject to amendment before or during the sale. Copley Fine Art Auctions, LLC operates as an agent of the seller only, and is not responsible in any way in the event the seller or buyer fails to fulfill their respective agreements. In all instances the auctioneer’s interpretation of these conditions is final and binding on all bidders.

2 All bids are per lot as numbered in the catalog unless otherwise announced by the auctioneer. The sales price shall consist of the final bid price plus the buyer’s premium, plus any applicable sales tax. A buyer’s premium of 20% (23% for online bidding) of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the buyer as part of the purchase price.

3 The auctioneer reserves the right to reject any bid that, in his opinion, is not commensurate with the value of the lot.

4 The auctioneer has the sole right to re-offer a lot and/or settle disputed bids. The record of sale kept by the auction house will be taken as final in the event of dispute. Additionally, items may be withdrawn at any time prior to the offering of each lot.

5 Except with respect to the guarantee for decoys as set forth below in paragraph 6, all goods are sold “as is” and all sales are final with no exchanges or refunds. Copley Fine Art Auctions, LLC and its consignors make no representations or warranties as to merchantability, fitness for a particular purpose, the correctness of the catalog or other description of physical condition, quality, size, medium, importance, rarity, provenance or historical relevance of any property, and no statement made at the sale, or in the bill of sale, or invoice, or elsewhere shall be deemed such a warranty or representation or an assumption of liability. The purchaser assumes complete responsibility for items at the fall of the hammer.

6 The Copley decoy team is committed to accurately cataloging all decoys. To this end, all decoy lots in this catalog carry guaranteed condition reports. Copley encourages all potential bidders to contact our decoy specialists at least seven days before the auction with any questions or concerns regarding condition. In many cases, Copley will be able to provide X-ray and UV analysis on select lots. Please note that the auctioneer reserves the right to amend these written reports verbally from the podium at the time of sale. Please note that absentee bids may not be executed on decoys that are affected by any amended condition reports. Since opinions can differ in the matter of condition and age, Copley Fine Art Auctions, LLC will be the sole judge in the matter of refunds. If we fail to identify a flaw that significantly impacts the decoy’s value, the purchaser may return the decoy.

Duration of Guarantee: Any request for refund of any decoy lot in the auction must be within 48 hours of receipt of the decoy. It is the purchaser’s responsibility to examine the decoy and identify in writing any flaw or flaws that significantly impact the value of the lot. In order to be eligible for the guarantee, Copley Fine Art Auctions, LLC must receive payment for the decoy within 7 days of the conclusion of the auction. Receipt of the decoy by the purchaser must take place no more than 21 days after the fall of the gavel. Please note that it is the purchaser’s responsibility to arrange pick-up or shipping of the lot. The guarantee in all cases will end 21 days after the fall of the gavel.

7 Successful bidders are to pay for their purchases during or immediately after the sale or upon receipt of an invoice, unless other arrangements have been authorized in writing by the auction house. Payment may be made by cash or good check payable to Copley Fine Art Auctions, LLC. The auction house reserves the right to hold property until checks clear. A monthly service charge of 1.5% will be added to unpaid balances beginning 30 days after the sale date. A $50.00 fee will be added for returned checks. If a check fails to clear after the second deposit, the purchaser will be held responsible for any and all fees incurred until we have collected good funds.

8 If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Copley Fine Art Auctions, LLC may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale, and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has failed to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale.

9 Condition reports are not included in this catalog. It is the responsibility of prospective bidders to examine lots and decide their level of interest. Neither the auctioneer, Copley Fine Art Auctions, LLC, nor the consignor is responsible for the accuracy of any printed or verbal descriptions. Copley Fine Art Auctions, LLC strongly encourages clients to personally examine lots prior to the auction so as to best determine condition of lots. Due to the high volume of condition requests, Copley Fine Art Auctions, LLC reserves the right to reject requests at its sole discretion. All weights and measurements are approximate.

10 Some of the lots in this sale carry reserves or minimum selling prices. This is a confidential figure set by the consignor and the auction house below which a lot will not be sold. The reserve will not exceed the low estimate, and the auction house will execute the reserve bids by bidding for the consignor. Estimates are subject to change at any time prior to the offering of each lot.

11 Absentee and telephone bids will be executed when possible as a convenience to customers; the auction house will not be held responsible for any errors or failures to accurately execute bids. All absentee and telephone bids must be received at least 24 hours before the start of the sale.

12 Buyers wishing to pick up items after the auction at our office may do so only by appointment. We kindly ask that all items be removed from our warehouse within 30 days of auction end to avoid a $5 daily storage fee.

13 Shipping is the responsibility of the buyer. Upon request, we will provide a list of shippers who deliver within the United States and overseas. Once your payment has cleared, items may be released for shipment. Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyers should allow up to four weeks for shipment.

14 Copley Fine Art Auctions, LLC may, at its discretion and at the buyer’s request, package and ship sold items as directed by the purchaser. In such instances 1) the buyer shall prepay all related expenses, and 2) the buyer agrees that all packaging, handling, and shipment is at the sole risk of the purchaser, and Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyer should allow up to four to five weeks for shipment.

15 Some property sold at auction can be subject to laws governing export from the United States, such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute delay or cancellation in payment for the total purchase price of these lots.

16 Bidding increments will normally follow the pattern below, but may vary at the sole discretion of the auctioneer:

17 Copley Fine Art Auctions, LLC is the owner of the images of each lot offered for sale, and may use such images at any time at its sole discretion for advertising, publicity, and for archival purposes.

18 If you are bidding as an agent for another individual or company, and you execute a bid on behalf of someone else under your bidder number, then you are responsible for the settlement of that account.

19 In no event will the liability of Copley Fine Art Auctions, LLC to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item.

20 Any legal disputes arising from this auction shall be settled in the court system of the Commonwealth of Massachusetts.

BUYER PRE-REGISTRATION FORM

COPLEY FINE ART AUCTIONS | 65 Sharp Street | Hingham, Massachusetts 02043

Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com | copleyart.com

Name:

Company Name:

Agent acting on behalf of:

Invoice Address: City: State:

Zip:

Bids will not be accepted without a completed form, including your signature. Your signature denotes that you have read and agree to be bound by the Terms and Conditions of Sale issued by Copley Fine Art Auctions, LLC for The Sporting Sale 2023.

All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate or a copy thereof while registering. Failure to do so will subject the bidder to a mandatory 6.25% Massachusetts sales tax on purchases.

Telephone (#1):

Telephone (#2):

Telephone (#3): Email:

Signature:

(required)

To be sure that bids will be accepted and delivery of lots not delayed, bidders who do not have an account with Copley Fine Art Auctions, LLC are requested to supply a bank reference prior to bidding.

I authorize you to contact the references below to provide you with any information in their possession including any business or credit experience with me, and I further agree to accept the cost of any charges such references may incur providing such information.

FINANCIAL REFERENCES

Name of Bank(s):

Address of Bank(s):

Account Number(s):

Name of Account Officer(s):

Bank Telephone: Bank Fax:

AUCTION REFERENCES

1. Name of Company: Contact Name: Telephone Number:

2. Name of Company:

Contact Name:

Telephone Number:

ABSENTEE/TELEPHONE BID FORM

COPLEY FINE ART AUCTIONS | 65 Sharp Street | Hingham, Massachusetts 02043 Tel: 617.536.0030 | Fax: 617.266.4896 | info@copleyart.com | copleyart.com

please check one of the following:

ABSENTEE TELEPHONE

1 All bids must be received at least 24 hours before the start of the sale. We cannot guarantee that bids placed after this time will be accepted. A Copley representative will send you an email to confirm receipt. If you have not received confirmation within 24 hours, please call 617.536.0030. Bids will not be accepted without your signature on this form.

2 This service is offered as a convenience at no charge; however, Copley Fine Art Auctions, LLC will not be held responsible for error or failure to execute bids. Copley staff will try to purchase these lots for the lowest possible price taking into account the reserve and other bids.

3 All bids are subject to the Terms and Conditions of Sale listed in this auction catalog. Further, it is the responsibility of the bidder to check with Copley staff whether a sale room notice relates to any lot which they have listed.

a Absentee bids: Absentee bids are executed alternately in competition with phone and internet bidders. It is possible, due to the variations in bidding patterns, that a lot may be won by the audience for the same amount authorized by the absentee bidder. A (+) sign to the right of the bid amount will authorize the absentee bidder to bid one additional bid increment. In the event of identical bids, the first bid received will take precedence.

b Telephone bids: If bidding by telephone, the bidder accepts the inherent risks associated with bidding over the telephone.

4 Payment: If successful, you will be contacted. Payment is due immediately upon notification unless arrangements have been made with Copley prior to bidding. A buyer’s premium of 20% of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the Buyer to Copley Fine Art Auctions, LLC as part of the purchase price.

OUT-OF-STATE DELIVERY AND AUTHORIZED SHIPPING RELEASE FORM

Item(s) will not be released without a signed authorization form from the invoiced Buyer. You may include this form with your payment or email it to info@copleyart.com. Payments of cash, check, or bank transfer must be posted to your account before property is released.

If Copley Fine Art Auctions, LLC (Copley) is required to deliver the items to a purchaser outside of Massachusetts, the sale is exempt from Massachusetts Sales Tax under MGLA 64H §6(b) .

1 Copley is obligated to deliver the items out of the Commonwealth of Massachusetts.

2 Copley is obligated to deliver the items to an interstate carrier as noted below.

3 Title will pass upon delivery to the out-of-state destination.

4 Please be aware that packing and the payment for shipping is the responsibility of the successful Buyer. Upon making the item(s) available for shipping to the Buyer or its Agent, Buyer shall be responsible for the care and packaging of the item(s). The Buyer shall bear the risk of loss from and after Copley making available such item(s) to the interstate carrier, including the insurance of the item(s) against all risks of loss including without limitation, fire, theft, or any other damage to the item(s).

5 Shipping can take up to four weeks and is processed in the order in which payment is received.

6 At your option, you may contact one of the interstate carriers listed below, or one of your choosing, to arrange for shipping. Carriers pick up frequently at our offices.

SHIPPING OPTIONS:

The UPS Store #4423

A.J. Yanakakis, Wakefield, MA 781.224.2500 or store4423@theupsstore.com

Boston Pack and Ship

781.849.8696 or 1.800.400.7204 info@bostonpackandship.com

U.S. Art*

781.986.6500 or 1.800.872.7826

*Specializing in high-value art, large works, and specialty items

Scott Cousins/North South Art Transfer Hand delivery service

978.491.9353 or scottcousins22@aol.com

Johan Westenburg/Mobile Home LLC for Art in Motion Hand delivery service

Print name: (as invoiced)

Shipping Address:

Place and Manner of Delivery:

To an Interstate Common Carrier for delivery out of state: I authorize: to pick up my items(s) (Please specify Name of Common Carrier)

Sale Date:

Lot #s :

Phone:

Email:

Signature:

860.964.9163 or e3asmallgallery@gmail.com (required)

Internal use only

Received by:

Signature: Print Name: Date: