Copley Art Winter Sale 2012

www.copleyart.com | COPLEY FINE ART AUCTIONS | 617.536.0030

The Winter Sale 2012JANUARY 16 | 980 PARK AVENUE | NEW YORK, NEW YORK

Winter 2012

I recently came across this rather amusing photograph of me while cleaning out adrawer of old photographs. I find it amazing that at the age of three I possessed thestrength to lift what appears to be a sixteen pound gander. Upon seeing this photo,the first question that came to my mind was “Could I have ever ended up in a non-waterfowl related field?” With an avid hunter as a father and the past Chairmanof National Audubon Society as my uncle and Godfather, the sporting field was aprofession I couldn't refuse. Little has changed in the last forty years, I still lovepicking up Canada Geese. As goose-related lots 44, 254, 302 and others in this catalog attest, we at Copley have once again picked up some grand ganders.

We are excited to return to Wallace Hall in New York with our major offering of top-notch sporting art. Copley’s Winter Sale broughtrave reviews last year, and with an additional one hundred lots, the event will be even bigger this year. Our specialists have canvassedthe United States in search of the best artwork that the sporting field has to offer and their findings will not disappoint.

Carl Rungius’s In the Cedar Swamp, a large fresh-to-market oil of a bull moose and its mate leads the herd in the painting section.Alexander Pope’s oil of a dutiful English setter in Awaiting Its Master is an eminent canine work and Louis Agissez Fuertes’ Wild Turkeyrises to the same level in the gamebird realm. Stunning works by Frank W. Benson, George Browne, R. LeBarre Goodwin, Bob Kuhn,Ogden Pleissner, Aiden Lassell Ripley, and John Whorf offer us timeless renderings of days spent in the field.

Exceptionally rare preening life size carvings by Elmer Crowell include a curlew, greater yellowlegs, and black duck. A complete set ofperhaps the finest twenty-five Crowell miniature waterfowl carvings ever to cross the auction block is sure to turn heads as will a fullsize green-winged teal that appears to soar across the wall. World class gunning birds by Charles Birch, John Blair, Jr., Newton Dexterand Dr. Clarence Gardiner, Bert Graves, Ira Hudson, Gus Moak, Harry V. Shourds, Herman Trinosky (rig), Obediah Verity, and the Wardbrothers read like a Who's Who in the decoy carving Hall of Fame. The Mason Factory offerings in this sale are truly spectacular withcarefully curated examples of mallards, canvasbacks, black ducks, golden plover, robin snipe, and willet occupying the realm of rarefiedair amongst Mason and folk art collectors.

Wood carvings by Gus Wilson, John Halley Bellamy, Oscar Peterson, Charles Hart, Charles Perdew, and Lawrence Irvine offer the collector of folk art numerous possibilities. Navajo blankets, Nantucket baskets, and sporting books round out a sale that contains overfive hundred hand-selected lots.

My advice, get to New York and make it for our Scotch and Smoked Salmon Preview Party on Saturday the 14th. Enjoy all that New York has to offer and kick off Americana Week with friends and like-minded collectors in a relaxing setting befitting the sportingtradition. This auction and weekend is not to missed. We hope to see you there!

Sincerely,

Stephen B. O’Brein, Jr.Chairman

Welcome

AUCTION to be held at WALLACE HALL AT THE CHURCH OF ST. IGNATIUS LOYOLA

980 PARK AVENUE | NEW YORK, NEW YORK

SATURDAY, JANUARY 14

Auction Preview 10 AM - 8 PM

SUNDAY, JANUARY 15

Auction Preview 10 AM - 8 PM

MONDAY, JANUARY 16

Auction Preview 8 AM - 10:30 AM

Auction 11 AM

CONTACTS THE DAY OF THE SALE

On Site: 617.536.0030

Cinnie O’Brien: 617.501.7544

ABSENTEE AND TELEPHONE BIDS

Please visit www.copleyart.com to leave absentee or telephone bids

or use the bid forms on page 238 in the back of this catalog.

Please review the conditions of sale in the back of this catalog.

For further information please contact us at 617.536.0030.

The Winter SaleSchedule of Events

268 Newbury Street | Boston, Massachusetts 02116 | 617.536.0030 | www.copleyart.com

CATALOG

Stephen B. O’Brien Jr., Chairman, Fine Art Specialist, Decoy Specialist

Cinnie O’Brien, Chief Financial Officer

Aimee Stashak-Moore, Auction Coordinator

Kathryn Robinson, Fine Art Specialist

Jim Parker, Decoy Specialist

Colin McNair, Decoy Specialist

Nancy Hershberg, Executive Assistant

Alizzandra Baldenebro, Intern

Georgia Dixon, Intern

PHOTOGRAPHY David Allen

DESIGN Kim Noonan

WEBSITE Smallfish Design, www.smallfish-design.com

Printed in the USA on recycled paper by Spire Boston, MA

© Copley Fine Art Auctions, LLC 2010. All rights reserved.

Front Cover: Lot 291

Inside Front Cover: Lots 25, 27, 29, 32, 35, 30

Inside Back Cover: Lot 256

Left Table of Contents: Lot 290 (detail)

Title Page: Lots 32, 31, 30, 33

Left Properties: Lot 194

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Table of Contents

2 Chairman’s Welcome

3 Schedule of Events

6 Important Notices

10 Session 1: Decoys and Folk Art

146 Session 2: Paintings, Works on Paper, and Books

232 Bibliography

234 Index of Artists and Makers

236 Terms and Conditions of Sale

237 Buyer Pre-Registration Form

238 Absentee/Telephone Bid Form

239 Authorized Shipping Release Form

6 268 Newbury Street | Boston, Massachusetts 02116 | 617.536.0030

1. Consign to our next saleCopley Fine Art Auctions, LLC is accepting consignments forour upcoming Sporting Sale. Please contact us by phone at617.536.0030, or by email at [email protected]

2. Please be advised that all persons wishing to bid at this auctionshould read, and be familiar with the Terms and Conditions ofSale on page 236 of this catalog prior to bidding.

3. Pre-registrationAlthough you may register at the time of sale, we stronglyencourage pre-registration to save you time at check-in.Preregistration forms are available online, as well as in this cata-log. If you wish to pre-register, please be certain that we receiveyour registration form no later than 10 am EST, Saturday,January 14, 2012.

4. Absentee and telephone biddingIf you plan to place absentee bids or to bid by telephone, pleasemake sure that we receive your absentee/telephone bid form by10 am EST, Saturday, January 14, 2012. Any bids received afterthis date cannot be guaranteed. You will receive confirmation ofyour absentee bid(s) within 24 hours of receipt. If you do notreceive confirmation, please call our office at 617.536.0030. Thisform is located on page 238 of the catalog.

5. Sales TaxPurchases picked up at the auction will be subject to the NewYork State and local tax of 8.875% unless purchaser provides avalid New York State resale certificate or copy thereof while reg-istering. Purchases delivered to New York after the auction willbe subject to the applicable New York state and local taxes andpurchases picked up or delivered to Massachusetts after thesale will be subject to the 6.25% Massachusetts Sales Taxunless exempted by applicable law.

6. Inspection of items offered at this auctionAll items are sold as is and should be inspected either personallyor by agent before a bid is placed. Prospective buyers should sat-isfy themselves by personal inspection as to the condition of eachlot. Although condition reports may be given on request, suchreports are statements of opinion only. Regardless of whether ornot a condition report is given, all property is sold as is. Theabsence of a condition report does not imply that the property isin good condition. All dimensions are approximate. Copley FineArt Auctions, LLC reserves the right at its sole discretion to refusecondition requests.

7. Buyer’s premiumA buyer’s premium of 15% (18% for online bidding) of the finalbid price up to and including $1,000,000, plus 10% of the finalbid price over $1,000,000, will be applied to each lot sold, to bepaid by the Buyer to Copley Fine Art Auctions, LLC as part ofthe purchase price.

8. Decoy standsPlease be aware that decoy stands are not included with itemspurchased.

9. Flat Art DimensionsPlease be aware that all flat art dimensions are rounded to thenearest quarter inch.

10. Condition Description of Gunning WearGunning wear may include all types of wear and damage thatcan be inflicted and is to be expected on a decoy that has beenused in the field. This may include, but is not limited to, paintwear, flaking, dings, scratches, checks, cracks, age lines, dents,chips, rubs, blunts, cracked eyes, shot scars, seam separations,popped grain and rust.

11. Item Pick Up Buyers wishing to pick up items at the sale must do so by 8 pm January 16th, 2012. Buyers wishing to pick up items afterthe auction may do so only by appointment after January 24,2012 and as per schedule announced by the auction house atthe conclusion of the sale.

12. Auction resultsUnofficial auction results will be available online approximatelyone week after the auction at www.copleyart.com.

13. Auction day contact numbersOnsite: 617.536.0030Cinnie O’Brien: 617.501.7544

Auctioneer: Michael Grogan, NY License #1377121

268 Newbury Street, Boston, MA 02116Tel: 617.536.0030 Fax: 617.266.4896 www.copleyart.com

The Winter SaleImportant Notices

The Winter SaleJANUARY 16, 2012NEW YORK, NEW YORK

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Properties from

A GREAT-GRANDSON OF FRANK W. BENSON

JIM AND DEB ALLEN COLLECTION

JOHN CLAYTON COLLECTION

OAKLEY BLAIR COLLECTION

CHARLIE CHAPIN III COLLECTION

REV. CLAUDE C. CURTIS COLLECTION

PHILLIP Y. DENORMANDIE COLLECTION

GEORGE DEVOE COLLECTION

THE ESTATE OF ANTHONY ELLIOT

BETSEY BURHAMS FOWLER COLLECTION

ALAN G. HAID COLLECTION

DONALD KIRSON COLLECTION

JOHN E. LENNON COLLECTION

A DESCENDANT OF RICHARD W. LISLE

NANCY D. MITTON COLLECTION

THOMAS W. SHEPPARD COLLECTION

DON STILWELL COLLECTION

WILLIAM V. TRIPP III COLLECTION

LEE WULFF COLLECTION

PRIVATE COLLECTION, CALIFORNIA

PRIVATE COLLECTION, FLORIDA

PRIVATE COLLECTION, CAPE COD, MASSACHUSETTS

PRIVATE COLLECTION, MARTHA’S VINEYARD, MASSACHUSETTS

PRIVATE COLLECTION, MIDWEST

PRIVATE COLLECTION, NEW YORK

PRIVATE COLLECTION, RHODE ISLAND

SESSION I

Decoys and Folk Art

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1 Swordfish WeathervaneMark S. McNair (b. 1950)Craddockville, VA, c. 2010

A unique thirty-three-inch long billfish weathervane with a wind-driven spinningtail and inserted fins. Over the last thirty-five years the artist has made onlythree other fish weathervanes. A swordfish without a moving tail served as theprototype for this model and resides in a private collection. An Atlantic salmonremains in the family and the fourth resides in a private collection in theMidwest. This fork art carving was inspired by the artist’s recent travels alongthe Atlantic seaboard. Signed by the maker with an incised “McNair” on theunderside. The McNair crafted base is included. Original condition.

ESTIMATE: $4,000-$6,000

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Mark McNair in his studio circa 1985

2 Preening Whistling Swan

Mark S. McNair (b. 1950)Craddockville, VA, c. 1985

A solid-bodied life-size decoy with tack eyes, a mortised bill, and themaker’s “McNair” signature incised in the bottom. A related exampleresides in the Shelburne Museum Collection, Shelburne, Vermont.Original condition.

PROVENANCE: Don Stilwell Collection

ESTIMATE: $5,000-$10,000

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∆ 5 Eskimo CurlewMark S. McNair (b. 1950)Craddockville, VA, c. 1990

Signed with the maker’s incised “McNair” signature on theunderside. Original condition.

ESTIMATE: $800-$1,200

6 DoveMark S. McNair (b. 1950)Craddockville, VA, c. 1980

A mourning dove decoy with carved raised primaries and anincised “McNair” signature on the underside. Original condition.

ESTIMATE: $600-$900

3 YellowlegsMark S. McNair (b. 1950)Craddockville, VA, c. 1985

A hollow shorebird with carved raised wings, glass eyes, asplined bill, and a dove-tailed neck which allows the head to beremoved from the body. The bird is signed with an incised“McNair” signature on the underside and also bears threemarks from the J. B. French Collection. Original condition.

PROVENANCE: Joseph B. French Collection Private Collection, Connecticut

ESTIMATE: $1,000-$2,000

4 Eskimo CurlewMark S. McNair (b. 1950)Craddockville, VA, c. 1990

A split-tail shorebird decoy with carved raised wings and anincised “McNair” signature on the underside. Original condition.

ESTIMATE: $800-$1,200

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7 Canvasback DrakeCameron McIntyreNew Church, VA, c. 1995

An alert, turned head decoy exhibiting carved bill detail andswirled paint that shows Mason Factory influence. Signed with the maker’s “CTM” incised initials on the bottom.Original condition.

ESTIMATE: $2,000-$4,000

8 Red-Breasted Merganser PairRobert “Bob” White (b. 1939)Tullytown, PA, 1974

An early pair of decoys from the carver’s hunting rig. Bothhave slightly turned heads, his early engraved “Bob WhiteDecoys” weights, a pencil written rig identification statement,and are signed and dated. Original paint with a coat of sealer.

ESTIMATE: $2,000-$4,000

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10 Twelve Puddle DucksGeorge Strunk (b. 1958)Glendora, NJ, c. 1990

A rig of contemporary hunting decoys, consisting of six black ducks, four mallards, and a pair of pintails.The head positions vary and each has a stamped “GStrunk” weight on the bottom. Original condition.


ESTIMATE: $4,000-$6,000

9 Redhead PairGeorge Strunk (b. 1958)Glendora, NJ, 2008

A slightly over-sized pair of hollow, preening decoyswith carved wings and tails. This pair shows thetalented southern New Jersey carver at the top of hiscraft. The drake exhibits superb comb-painted detailand the hen has finely delineated painted feathers.Each is signed and dated by the maker and retains astamped “G Strunk” weight on the bottom. This is oneof the finest Strunk pairs ever offered for sale. Originalcondition.


ESTIMATE: $1,000-$1,500

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13 Swimming MerganserClarence Miller (b. 1936)Brockville, Ontario, Canada, c. 1970

A competition grade red-breasted merganser hen decoy withcarved primaries and tail feathers. Original paint with a hair-line age crack along one side of the bottom into the breast.

ESTIMATE: $1,000-$1,500

13a Life-Size Running WhimbrelKeith Mueller (b. 1956)Killingworth, CT, 2011

An alert, slightly turned head curlew decoy with raised wingsand blended paint feather detail. The underside displays themaker’s “Keith Mueller” signature brand. Original condition.

ESTIMATE: $1,000-$2,000

11 Snow GooseJames P. Hand (b. 1953)Cape May, NJ, c. 1980

An early, hollow, life-size decoy out of the Cape May CourtHouse Rig. Branded “CMCH NJ” and “J P Hand.” Original paint with light wear from handling.

ESTIMATE: $200-$400

12 Green-Winged Teal HenNew Jersey, c. 1960

A lower Barnegat Bay decoy with a rectangular weight affixedwith countersunk screws. Original paint with in-use repaint onthe bottom, minor gunning wear and an age line in the neck.


ESTIMATE: $100-$200

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14 Calling Mallard DrakeFrank Finney (b. 1947)Pungo, VA, c. 1990

This decoy represents a pinnacle carving for the maker and is one of the most intri-cate standing decoy carvings by any carver. A hollow, mechanical, articulated decoywith hand-turned and carved boxwood wheels and pulleys in its interior. The tworear pulley strings have antler buttons which when extended turn the bird’s head toone side and open the bill as if calling. The feet are carved from cherry with themaker’s incised “F” signature on the bottom of each. The bird is set upon, butmaybe removed from its hard wood base. Original condition.

PROVENANCE: Private Collection, New York

ESTIMATE: $2,000-$4,000

15 Ruddy Turnstone PairFrank Finney (b. 1947)Pungo, VA, 1995

A pair of shorebirds with raised wing feather carving,signed and dated on the bottom of the base. The basealso displays an incised “F” and the maker’s ink stamp.Original condition.


ESTIMATE: $1,000-$2,000

16 Hooded Merganser DrakeJim SchmiedlinBradford Woods, PA, 1980

A decorative decoy in a slightly turned-head, swimmingposture, with carved feather detail and slightly raisedwing tips. Signed “Hooded Merganser, Jim Schmiedlin,Bradford Woods, PA, 1980” on the bottom. Originalcondition.

ESTIMATE: $1,000-$2,000

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17 Over-sized Red-Breasted Merganser DrakeKeith Mueller (b. 1956)Killingworth, CT, 2011

A swimming decoy with carved raised crossed primaries andincised tail feathers. The underside displays the maker’s “Keith Mueller” signature brand and an oval maker’s brand.Original condition with light gunning wear.

ESTIMATE: $1,000-$2,000

18 Turned-Head Black DuckKeith Mueller (b. 1956)Killingworth, CT, 2011

A traditional Stratford School preening decoy displaying carvedbill detail, scratch paint head feathering and subtle blendedpaint on the body. The underside displays the maker’s “Keith Mueller” signature brand. Original condition.

ESTIMATE: $1,000-$ 2,000

19 Old Squaw DrakeKeith Mueller (b. 1956)Killingworth, CT, c. 1985

A hollow Stratford School decoy with a mortised long tail. The underside is signed and bears the maker’s “Mueller”brand. Original paint with light gunning wear.

ESTIMATE: $1,000-$1,500

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20 Green-Winged Teal DrakeKeith Mueller (b. 1956)Killingworth, CT, c. 1980

A tucked-head decoy with the maker’s “Mueller” brand on thebottom. Original paint with minor wear and flaking.

ESTIMATE: $600-$900

21 Miniature Bobwhite Quail in FlightEddie Wozny (b. 1959)Cambridge, MD, 2011

A pair of bobwhite quail with detailed wing and tail feathercarving, signed and dated by the maker on the bottom of thebase which measures 14.5 inches tall.

Eddie Wozny, a native of Maryland’s Eastern Shore, is a professional wood-carver and wildlife conservationist. Hisinterest in woodcarving stems from his appreciation of wildlifeand the environment as well as his enjoyment of working withhis hands.

After receiving a degree in Biological Sciences from SalisburyState College, his interests compelled him to try to reproducethe abundance he saw in nature. Basically self-taught, Woznydeveloped his own techniques and unique carving style.Without detailed carving and texturing, his works conveyrealism and capture the movement of his subjects.

Original mint condition.

ESTIMATE: $1,000-$2,000

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22 Flying Widgeon PairEddie Wozny (b. 1959)Cambridge, MD, 1991

A life-size pair of widgeon or baldpate with life-like billdetail and carved wing and tail feathers. A dynamic pairthat conveys a sense of motion mounted on the wall.Both birds are signed and dated. Original condition.

ESTIMATE: $2,000-$4,000

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23 Widgeon DrakeEddie Wozny (b. 1959)Cambridge, MD, 2011

A hollow, slightly turned head decoy with detailed bill, wing,and tail feather carving. Signed and dated on the bottom.Original condition.

ESTIMATE: $800-$1,200

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24 Preening Black DuckEddie Wozny (b. 1959)Cambridge, MD, 2011

A turned-head decoy with a raised wing, displaying life-like billdetail, carved wing and tail feathers. Signed, dated, and identi-fied on the bottom by the maker. Original condition.

ESTIMATE: $800-$1,200

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MASON DECOY FACTORY (1896-1924)

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25 Mallard Drake Salesman’s SampleMason Decoy Factory (1896-1924)Detroit, MI, c. 1910

An exceedingly rare, premier grade, two-thirds-size salesman’s sample. Thisdecoy exhibits all of the carved features and the paint pattern of the MasonDecoy Factory’s finest Premier line, but on a smaller scale. Of the few Masonsalesman’s samples known to exist, only two premier grades are believed tohave surfaced. For the folk art, decoy or Mason collector this lots rarity cannotbe overstated. Outstanding original paint with a tight age line along the bottomand a minor rub to the neck.

PROVENANCE: Jim and Deb Allen Collection, acquired from Alan. G. Haid

LITERATURE: Russ Goldberger and Alan Haid, Mason Decoys, A Pictorial Guide,Lewes, DE, 1993, pp. 139-140, similar “salesman’s” decoys illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 46-47,similar salesman’s decoy illustrated.

ESTIMATE: $10,000-$15,000

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26 Premier Grade Snakey Head Mallard PairMason Decoy Factory (1896-1924)Detroit, MI, c. 1905

An exceedingly rare and important pair of hollow mallards inunused condition. According to decoy author Donna Tonelli,there are only a dozen of these Schmidt rig mallards known toexist. Of the twelve known, only four are hens. This perfectlymatched pair with their superb condition, beautifully swirledpaint, ‘ribbon candy’ speculums, snakey neck form, andimpeccable historic provenance ranks amongst the finestMason Decoys known to exist.

The rig was commissioned by George K. Schmidt (1869-1939),the president of the Prudential State Savings Bank in Chicago.From approximately 1930 to 1970 the rig of decoys resided inthe basement of a bank. This pair was purchased in St. Charles,Illinois in 1971 and was again stored in a safety deposit box until1987, when they were purchased by the consignor. This “out ofthe box” pair still retains faint remnants of the newsprint fromthe papers that were used in packing and shipping from thefactory. Both birds are branded “G. K. Schmidt,” and the henhas an additional smaller “G. K. Schmidt” brand. Near mintcondition. The hen has a hairline crack just above the neck seam and a small old nick to top of bill. Weights removed.

PROVENANCE: George K. Schmidt Collection Private Collection, acquired in St. Charles, Illinois, 1971 Ronald Zelnick Collection, acquired from the above, 1987

LITERATURE: Russ J. Goldberger, and Alan Haid, Mason Decoys:A Pictorial Guide, Lewes, DE, 1993, p. 23, rigmate illustrated. Donna Tonelli, Fish and Fowl of the Great Lakes, Atglen, PA,2002, p. 41, rigmate illustrated.

ESTIMATE: $50,000-$70,000

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27 Premier Grade Merganser HenMason Decoy Factory (1896-1924)Detroit, MI, c. 1900

From the decoy rig ordered by John Ware Willard (1859-1914),grandson of the famous Colonial Massachusetts clockmaker,Simon Willard (1753-1848). This historic Massachusetts rigcontained goldeneyes and red-breasted mergansers by A. ElmerCrowell and the Mason Decoy Factory. The decoy displays heavyswirled paint and Willard’s “J. W. W.” brand on the bottom. Theprovenance of the Willard decoy rig is discussed by noted decoyauthors Linda and Gene Kangas in the March 2010 issue ofDecoy Magazine and this exact decoy is illustrated on the top ofpage 31 in “Connecting the Dots: Exploring the Provenance ofElmer Crowell’s Decoys.” Original paint with minor gunning wear,a reset neck, and repair to two shot scars in the bill.

PROVENANCE: John Ware Willard Rig, Massachusetts Jim and Deb Allen Collection, acquired from Alan G. Haid

LITERATURE: Linda and Gene Kangas, “Connecting the Dots:Exploring the Provenance of Elmer Crowell’s Decoys,” DecoyMagazine, Lewes, DE, March/April, 2010, p. 31, exact decoy illustrated. Russ Goldberger and Alan Haid, Mason Decoys, A PictorialGuide, Lewes, DE, 1993, p. 72, similar decoy illustrated.

ESTIMATE: $10,000-$15,000

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Illustration from an original Mason Decoy Factory catalogue

29 Premiere Grade Canvasback DrakeMason Decoy Factory (1896-1924)Detroit, MI, c. 1910

A rare Mammoth Chesapeake Bay model in untouched condition. With its graceful form and exceptional swirled paint,this example has few peers. A related example sold in this firm’sWinter Sale 2011, lot 165. Untouched original paint with minorgunning wear and an age line along the bottom.

LITERATURE: John and Shirley Delph, Factory Decoys, Exton, PA,1980, p. 55, rigmate illustrated. Russ J. Goldberger and Alan G. Haid, Mason Decoys: A CompletePictorial Guide, Lewes, DE, 2003, p. 52, similar decoy illustrated.

ESTIMATE: $8,000-$12,000

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30 Exceedingly Rare Salesman’s Sample Golden PloverMason Decoy Factory (1896-1924)Detroit, MI, c. 1905

A one of a kind Mason shorebird salesman’s sample decoydisplaying the inscription “Golden Plover, $7.50 . Dz.” on theunderside. This decoy exhibits fall to winter plumage in itspainted feather detail as well as an early swirled, stippled, andoutlined speculum.

The only doucumented evidence of this golden plover’s formand plumage comes from the orginal Mason Factory catalog, on page thirteen, as an “A-1” grade shore bird.

Historically, salesmen would carry examples of the decoysillustrated in the catalog in their pursuit of orders for theircompany. This example was one of six salesman’s sampledecoys, each a different species, acquired by famous NewJersey collector Mort Hanson.

For the collector of Mason Factory decoys, shorebirds, or folk artthis lot represents a rare opportunity to acquire one of the mostelusive Mason species and forms known to exist. Outstandingoriginal paint with a few minor paint rubs from handling.

PROVENANCE: Mort Hanson Collection Jim and Deb Allen Collection, acquired from Alan G. Haid

LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: APictorial Guide, Lewes, DE, 1993, p. 101, related bird illustrated insummer plumage. Byron Cheever, Mason Decoys, Spanish Fork, UT, 1974, p. 132,related decoy illustrated in the Mason Factory catalog.

ESTIMATE: $12,000-$16,000

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31 Robin SnipeMason Decoy Factory (1896-1924)Detroit, MI, c. 1910

In superb condition with rich color, this Mason “A-1” grade shore-bird in spring plumage stands as one of the finest robin snipe orred knots by the maker ever offered. Outstanding original paint.

PROVENANCE: Private Collection, Midwest

LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: APictorial Guide, Lewes, DE, 1993, p. 99, similar decoy illustrated

ESTIMATE: $8,000-$12,000

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Detail from a Mason Decoy Factory catalogue c. 1910 from Mason Decoys – A Complete Pictoral Guide. Courtesy of RussGoldberger and Alan Haid.

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32 Rare Robin SnipeMason Decoy Factory (1896-1924)Detroit, MI, c. 1910

A red knot or, as they were historically known, a robin snipe shorebirddecoy in rare fall-winter plumage. The decoy, in Mason’s finest “A-1”grade, displays swirled paint, glass eyes, an iron bill and three smallshot holes. Excellent original paint with minor gunning wear.

PROVENANCE: Jim and Deb Allen Collection, acquired from Russ J.Goldberger

LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: APictorial Guide, Lewes, DE, 1993, pp. 98-99, similar bird illustrated. Byron Cheever, Mason Decoys, Spanish Fork, UT, 1974, p. 125, similardecoy illustrated in spring plumage.

ESTIMATE: $6,000-$9,000

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33 Lesser YellowlegsMason Decoy Factory (1896-1924)Detroit, MI, c. 1905

An exceedingly rare tack-eyed shorebird decoy. Only ten-and one-half incheslong, this petite decoy is shorter and more delicate than most Masons ofthis species. Outstanding original paint with minor gunning wear.

PROVENANCE: Alan and Elaine Haid CollectionJim and Deb Allen Collection, acquired from the above

LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A PictorialGuide, Lewes, DE, 1993, pp. 102-103, similar decoys llustrated. Byron Cheever, Mason Decoys, Spanish Fork, UT, 1974, p. 121, plate 9-13,similar larger decoys illustrated.

ESTIMATE: $5,000-$8,000

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34 DowitcherMason Decoy Factory (1896-1924)Detroit, MI, c. 1910

An exceptional example of a tack-eye dowitcher in fall plumage. This exactshorebird decoy is illustrated in Goldberger and Haid’s Mason Decoys.Outstanding original paint with minimal gunning wear.


LITERATURE: Russ J. Goldberger and Alan Haid, Mason Decoys: A PictorialGuide, Lewes, DE, 1993, p. 109, exact decoy illustrated.

ESTIMATE: $8,000-$12,000

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35 Tack-Eye WilletMason Decoy Factory (1896-1924)Detroit, MI, c. 1910

An early untouched Mason shorebird example in fall plumage. This exact bird isillustrated in Fleckenstein’s Shorebird Decoys. In fine original paint with minimalgunning wear.

PROVENANCE: Jim and Deb Allen Collection

LITERATURE: Henry A. Fleckenstein, Jr., Shorebird Decoys, Exton, PA, 1980, plates L and37, exact bird illustrated. John Levinson and Somers Headley, Shorebirds: The Birds, The Hunters, The Decoys,Centerville, MD, 1991, p. 120, plate 9-10, similar decoy illustrated. Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE,1993, p. 105, similar bird illustrated. Byron Cheever, Mason Decoys, Spanish Fork, UT, 1974, p. 116, similar decoy illustrated.

ESTIMATE: $4,000-$7,000

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37 DoveMason Decoy Factory (1896-1924)Detroit, MI, c. 1905

A rare, glass eye, iron-billed decoy. Clearly taken down to original paint withgunning wear. Traces of overpaint still visible especially on the bill and onereplaced eye.

ESTIMATE: $2,000-$3,000

36 Split-Tail DowitcherMason Decoy Factory (1896-1924)Detroit, MI, c. 1900

Originally collected by decoy author John Delph, this tack-eyed, split-tailed, wooden-billedshorebird is one of the earliest identified Mason shorebird examples. Original paint with lightgunning wear.

PROVENANCE: John Delph Collection Private Collection, Midwest

LITERATURE: John and Shirley Delph, Factory Decoys of Mason, Stevens, Dodge, and Peterson,Exton, PA, 1980, p. 145, similar decoy illustrated. Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 109,similar decoy illustrated.

ESTIMATE: $7,000-$11,000

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38 BrantMason Decoy Factory (1896-1924)Detroit, MI, c. 1900

An early, solid bodied decoy with strong swirled brushstrokes from the Hard rig, Long Island, New York,branded “Hard” on the bottom. Original paint withsome in-use white overpaint, gunning wear and areplaced bill tip.

ESTIMATE: $2,500-$3,500

38

39 Premier Grade Canvasback PairMason Decoy Factory (1896-1924)Detroit, MI, c. 1910

A pair of hollow decoys from the Brannum rig. Originalpaint with gunning wear. Both decoys have minor neckrepairs. Hen has minor touch-up to head and sides. Drakehas an attached aluminum Brannum rig tag.

LITERATURE: Russ J. Goldberger and Alan Haid, MasonDecoys: A Complete Pictorial Guide, Lewes, DE, 2003, p. 50, similar decoys illustrated.

ESTIMATE: $2,500-$4,500

4040 Premier Grade Mallard PairMason Decoy Factory (1896-1924)Detroit, MI, c. 1910

The hen is branded “F.D.” on the bottom and isstamped “Penn,” possibly for the collection of pioneerMidwest decoy collector Willis Pennington. Originalpaint with gunning wear. Both have touch-up to bill and tail chips.

ESTIMATE: $2,000-$4,000

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41 Premier Grade Broadbill DrakeMason Decoy Factory (1896-1924)Detroit, MI, c. 1910

A wide-billed, large-body style hollow decoy with a“Raymond Lead Co., Chicago” lead strip weight andthe initials “EG” carved in the bottom. Original paintwith light gunning wear, touch-up to neck filler andseam separation.

ESTIMATE: $500-$800

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42 Challenge Grade Goldeneye HenMason Decoy Factory (1896-1924)Detroit, MI, c. 1910

Goldeneye hens by this maker are a difficult species tofind. Original paint with gunning wear and touch-up toneck filler and a small bill chip.

LITERATURE: Russ J. Goldberger and Alan Haid, MasonDecoys: A Pictorial Guide, Lewes, DE, 1993, p. 65,similar decoy illustrated.

ESTIMATE: $200-$400

43 Two Factory Decoys

A pintail drake by the Evans Duck Decoy Co. (1921-1932), Ladysmith, WI, c. 1925. A premier grade blackduck by the Mason Decoy Factory (1896-1924), Detroit,MI, c. 1920. The pintail is in original paint with gunningwear and flaking, most notably on the head. The blackduck has been restored and repainted possibly by CharlesMoore of DeKalb, Illinois.

ESTIMATE: $200-$300

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44 Swimming Canada GooseThe Ward Brothers, Lemuel T. (1896-1983) and Stephen(1895-1976) Crisfield, MD, c. 1936

In the 1930s the Ward Brothers received a custom order for goose decoys from Colonel Albanus Phillips for his gunclub just south of Cambridge, Maryland. Phillips was widelyknown throughout the Eastern Shore and Presidents TeddyRoosevelt and Franklin Roosevelt were known to have beenguests at his lodge.

Historically, Phillips used dozens of live goose decoys at hisBishops Head Gun Club in Dorchester County, however, in 1935the Federal Government banned the use of live decoys. Followingthis announcement Lem, Steve, and the Colonel met to designand create the Wards’ very best gunning model for his club.

Bishops Head was a two-story lodge with its own man-madetidal pool. Phillips originally purchased the eight square mileproperty in 1921 for the sole purpose of using it as a privategame preserve. The lodge had a large great room with a fireplace, a locker room and bedrooms on the second level.There was also a caretaker's house, live decoy pens, kennels,and a boat dock. The boat dock was often used by members ofthe Cambridge Yacht Club, which Phillips also founded. An avidhunter, this camp provided Phillips, his brother Levi, and W.Grayson Winterbottom (their business partner) with a place ofrespite from their booming food canning business. At the timeBishops Head was considered one of the Eastern Shore's greathunting clubs.

Of the numerous goose patterns designed by the Ward brothers,the Bishops Head Gun Club model is the most coveted. Itexhibits a long reaching neck that gracefully moves the headforward in an appealing swimming position. This example withits bold body possesses Lem’s deep ice groove and highlydefined carving under the tail. With its full cheek carving, articu-lated bill profile, and crescent shaped cheek delineations, thisbird exemplifies the finest of the Bishops Head style.

The decoy displays an appealing dry surface with tight craquelure.The back and sides of the bird have detailed feather paint, whichis more visible on one side. The bottom bears three of theWard’s rubber ink stamps as well as the original rigging.Acquired by the consignor directly from John H.Hillman, thisCanada goose resided on the fireplace hearth of the Hillmanhome for many years. The consignor had always admired thedecoy on his visits to the Hillman’s home and after a day ofhunting together at the Sandy Island Gun Club, Hillman finallyrelented and sold the decoy to the consignor. Original paint withgunning wear, and touch up to white on cheeks.

LITERATURE: Robert H. Richardson, Chesapeake Bay Decoys: TheMen Who Made and Used Them, Burtonsville, MD, 1991, dustjacket and p. 119.Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego,CA, 1990, pp. 148-149, rigmate illustrated.

PROVENANCE: John H. Hillman CollectionPrivate Collection, New Jersey, acquired from the above c. 1975

ESTIMATE: $30,000-$50,000

The dust jacket cover of Richardson’s book Chesapeake Bay Decoys displays anold photo of W. Grayson Winterbottom, Walter P. Chrysler and Col. AlbanusPhillips at the Bishops Head Gun Club at days end in 1936. Photograph courtesy of Decoy Magazine.

“…the reputation of Lem and Steve spread throughout the Chesapeake region,and they produced decoys for gunners in the Upper Bay as well. A few of thegunning clubs ordered Ward decoys, and in some cases a particular Ward stylebecame associated with a specific club. One example is the Canada goosemodel carved for the Bishops Head Gun Club of Dorchester County.”

– C. John Sullivan “Waterfowling on the Chesapeake, 1819-1936”

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45 Pintail HenThe Ward Brothers, Lemuel T. (1896-1983) and Stephen (1895-1976) Crisfield, MD, 1945A classic 1940’s Ward with turned head, superb dry original paint, and the Ward Brothers best “razor sharp” bill carving. A few rubs and an age line at the neck seam.Keel has been removed.

ESTIMATE: $5,000-$10,000

46 Black DuckThe Ward Brothers, Lemuel T. (1896-1983) and Stephen (1895-1976) Crisfield, MD, c. 1936 A solid cedar decoy with a “P” and a “WHP JR” brand for theWilliam Purnell collection. Retains a second coat of Ward paint,c. 1950, an old reset tail chip and a bill chip.

PROVENANCE: William H. Purnell Jr. Collection Private Collection, Maryland

ESTIMATE: $3,000-$4,000

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47 High-Head CanvasbackUpper Chesapeake Bay, MD, c. 1890

An outstanding high-head Susquehanna Flats decoy.Mix of original and very early working paint.


ESTIMATE: $2,000-$4,000

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48 Black DuckLeonard E. Pryor (1876-1967)Elkton, MD, c. 1930

Exhibiting carved eyes, bill detail, and raised primaries,this exemplary Pryor is illustrated in Richardson’s bookChesapeake Bay Decoys. Original paint with lightgunning wear.

LITERATURE: Robert H. Richardson, Chesapeake BayDecoys: The Men Who Made and Used Them,Burtonsville, MD, 1991, p. 39, exact decoy illustrated.

ESTIMATE: $2,000-$4,000

48

4949 SwanCecil County, MD

Made in the second half of the 20th century, this swanclosely resembles the work of Horace D. Graham(1893-1981) from Charlestown, Maryland. A CecilCounty confidence decoy with a removable head andheavily weighted swing keel. The swan displays a lami-nated neck and head like that seen in the constructionof the famous Holly swan decoys. Solid body withsome age cracks. Branded “CAPH” on the bottom.Original paint with heavy gunning wear.


ESTIMATE: $3,000-$6,000

50 Hollow BrantIra D. Hudson (1873-1949)Chincoteague, VA, c. 1925

An exceptional hollow Hudson brant decoy, this early two-piece brantdisplays carved bill detail, tack eyes, strong feathering and a rare whitestripe across the tail. A probable rigmate is featured in “Call to the Sky”featuring the decoy collection of Dr. James M. McCleery. Excellent originalpaint with even gunning wear.

LITERATURE: Henry H. Stansbury, Ira D. Hudson and Family: ChincoteagueCarvers, Lewes, DE, 2002, pp. 74-79, similar decoys illustrated. Barry R. and Velma A. Berkey, Chincoteague Carvers and Their Decoys,Gettysburg, PA, 1981, p. 45, fig. 59, similar decoy illustrated. Henry A. Fleckenstein, Jr., Southern Decoys of Virginia and the Carolinas,Exton, PA, 1983, p. 35, plate VII, p. 36, plate VIII, p. 53, plates 46 and 47, p. 56, plates 49 and 50, similar decoys illustrated. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleeryM.D., Houston, TX, 1992, p. 80, probable rigmate illustrated.

PROVENANCE: Jack Cathcart Collection, Beach Haven, New JerseyPrivate Collection, New Jersey, acquired from the above c. 1980

ESTIMATE: $5,000-$7,000

44

Ira Hudson c. 1930, photograph courtesy of Henry Stansbury

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50

51 Bluebill DrakeIra D. Hudson (1873-1949)Chincoteague, VA, c. 1920

An example of Hudson’s fat-bodied football-style decoywith tack eyes and a fluted paddle tail. Original paintwith gunning wear, minor flaking at neck seam and tail,and two age cracks along the bottom. Tip of bill may be reset.


ESTIMATE: $1,000-$2,000

51

52 Black DuckIra D. Hudson (1873-1949)Chincoteague, VA, c. 1920

A full-bodied, solid decoy with tack eyes, carved billdetail, and fluted tail carving. Retains a branded “P” onthe bottom, for the William Purnell collection. Originalpaint with gunning wear and a few age cracks.

PROVENANCE: William H. Purnell Jr. Collection Don Stilwell Collection

ESTIMATE: $1,000-$1,500

52

5353 Hutchins GooseIra D. Hudson (1876-1949)Chincoteague, VA, c. 1920

A tack-eye brant decoy with raised wing carving andtwo-piece, pegged body construction. Painted for useas a Canada goose. Originally collected by William J.Mackey, Jr. of New Jersey in the middle of the twentiethcentury and retains his collection ink stamp on thebottom. Old in-use repaint with gunning wear includingbody seam separation and a neck crack.

PROVENANCE: William J. Mackey, Jr. Collection Don Stilwell Collection

ESTIMATE: $300-$500

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54 Canada GooseDave “Umbrella” Watson (1851-1938)Chincoteague, VA, c. 1928

Goose decoys by this maker are extremely rare. A bold, hollow carving with pronounced eyegrooves, glass eyes, and V-carved raisedprimaries. This decoy was part of a rig of geeseand black ducks ordered from Watson by aHampton Bay, Long Island bayman in 1928. His rig brand “ACP” is impressed twice in thebottom. A hole in the bottom reveals that it wasalso used as a field decoy. Mostly original paintwith touch-up to areas of filled nails and someoverpaint professionally removed. Gunning wearincluding a neck crack and seam separation.

LITERATURE: Henry A Fleckenstein, Jr., SouthernDecoys of Virginia and the Carolinas, Exton, PA,1983, pp. 77-78, plate 98, exact decoy illustrated.

ESTIMATE: $10,000-$15,000

55 Punt Gun with MountNew England, c. 1850

A fifty-five-inch long, three bore, muzzle-loading percussion market gun, set on abread board, antique-style mount. Overallgood condition with nice patina.

PROVENANCE: George Combs Jr. Collection Don Stilwell Collection

ESTIMATE: $5,000-$6,000

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55

CHARLES BIRCH (1867-1956)

56 detail

56 SwanCharles Birch (1867-1956)Willis Wharf, VA, c. 1920

There are only a handful of Birch swan decoys known to exist. Born in Maryland andraised on Chincoteague, Birch moved south to Willis Wharf, Virginia in NorthamptonCounty at age thirty-nine where he was a boat builder, waterman and decoy carver.This hallow swan, with its graceful down-turned head and long slender neck featuresan inserted oak bill, tack eyes and a raised neck seat. Its bold form places it amongstthe top tier of the known Birch swan examples.

Used at the Gooseville Gun Club in Hatteras, North Carolina, this confidence decoycame out of the rig of the club’s founder, George Albert Lyon (1882-1961), an industrialist, avid sportsman and long-time friend of the sporting author Van CampenHeilner, who documented the club and wrote A Book on Duck Shooting.

Charles Birch swans have achieved a coveted status amongst decoy collectors today,as few carvers made more graceful designs. The hollow patterned birds with theirproud breasts and sweeping arched necks have long captured the attention of folk art collectors.

Working Swan decoys of any type are exceptionally rare as most were used as confindence decoys. When they were employed in a rig, which was not that frequent, it would typically only be a single decoy. Old working repaint with light gunning wear.Weights removed.

PROVENANCE: George Albert Lyon Rig, Gooseville Gun Club, North Carolina Private Collection, by descent in the Lyon family Private Collection, Martha’s Vineyard, Massachusetts

LITERATURE: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 213,similar decoy illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 160-161,similar example illustrated. Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983,color plate 3, similar decoy illustrated.

ESTIMATE: $90,000-$120,000

50

57 BrantHarry V. Shourds (1861-1920)Tuckerton, NJ, c. 1900

A hollow Barnegat Bay brant in a swimming posture, with carvedbill detail, tack eyes, strong painted flank striping and an inlettedweight. A probable rigmate is illustrated on page 99 of HenryFleckenstein’s New Jersey Decoys. Original paint with even gunningwear including paint worn to wood around weight and a smallrepaired check to one side of neck crack.

LITERATURE: Gene and Linda Kangas, Decoys, Paducah, KY, 1992, p.125, plate 189, similar decoy illustrated. Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, pp.98-100, plates 198-202, similar decoys illustrated. Henry A. Fleckenstein, Jr., Decoys of the Mid-Atlantic Region,Exton, PA, 1979, p. 48, similar decoy illustrated.

PROVENANCE: Jack Cathcart Collection, Beach Haven, New JerseyPrivate Collection, New Jersey, acquired from the above c. 1980

ESTIMATE: $5,000-$7,000

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58 Canada GooseNathan Rowley Horner (1882-1942)West Creek, NJ, c. 1920

Extremely rare Canada goose with schooner-like construction byone of New Jersey’s crowned makers. There is a refined simplicityto Horner’s work that mirrors Joseph W. Lincoln’s decoys. Horner,like Lincoln, captured the essence of a swimming goose leavingonly that which he felt was necessary to create an impression ofthe real bird. This elegant carving was meticulously hollowed to itsfeatherlight state. The bottom bears the “EDT” brand for the“Townsend” rig. Original paint with touch up to cheeks, lightgunning wear including a chip under the bill, two very old tail chiprepairs and one-inch-thick section of the neck professionally replaced.

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville,KY, 2011, plate 192, p. 97, rigmate illustrated.

ESTIMATE: $12,000-$18,000

58 detail

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60 Black DuckHarry M. Shourds (1890-1943)Ocean City, NJ, c. 1925

A hollow, tack-eye decoy with scratch-paintedfeathering. Original paint with even gunningwear and an age line along the back.


LITERATURE: James R. Doherty, Classic NewJersey Decoys, Louisville, KY, 2011, plate 309,p. 152, similar example illustrated.

ESTIMATE: $1,500-$2,500

59 Black DuckDaniel G. English (1883-1962)Florence, NJ, c. 1930

A superb black duck decoy by this DelawareRiver maker originally acquired by Bob Whiteof Tullytown, Pennsylvania. English oftenrepainted his decoys and it is difficult to finduntouched examples in original paint. Thisvirtually pristine example is one of the finestDan English black ducks known to exist.Outstanding original condition with minimalgunning wear.

PROVENANCE: Robert L. White Collection Private Collection, Midwest

ESTIMATE: $6,000-$9,000

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61 detail61 BuffleheadHarry V. Shourds (1861-1920)Tuckerton, NJ, c. 1890

An extremely rare Shourds decoy out of the famed Hazelhurst Club rig. Branded“Hazelhurst” and retains the “Hillman Collection” ink stamp. This museum qualitydecoy exhibits the graceful, ship-like traits that New Jersey decoy and folk art collectorscovet and has been featured in no less than three books. Outstanding original paintwith minor gunning wear; two very fine stress cracks in the neck, slight body seam sepa-ration, otherwise the condition is near mint.

PROVENANCE: Hazelhurst Rig John Hillman Collection Private Collection, Cambridge, Massachusetts

LITERATURE: Henry A. Fleckenstein, Jr., Decoys of the Mid-Atlantic Region, Exton, PA,1983, p. 140, exact decoy illustrated. Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton, PA, 1983, color plate XIV, p. 38,exact decoy illustrated. Gary Guyette and Frank Schmidt, Inc., The Hillman Collection: Rare Antique WaterfowlDecoys, St. Michaels, MD, April 25-26, 1996, lot 635, p. 153, exact decoy illustrated.

ESTIMATE: $30,000-$50,000

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62 Black DuckDaniel G. English (1883-1962)Florence, NJ, c. 1930

An early hollow Delaware River decoy with a low head, incisedwing feathers with outlined paint detail, raised primaries, anda notched tail. Painted “H. Lynn, Bristol, PA” on underside.Original paint with gunning wear.


ESTIMATE: $500-$800

63 Black DuckJohn English (1852-1915)Florence, NJ, c. 1890

A classic Delaware River decoy. In old repaint with heavygunning wear.


ESTIMATE: $300-$500

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64 Black DuckWilliam KuhnTullytown, PA, c. 1900

A low-head Delaware River decoy with glass eyes, a squarenotched tail, and raised primaries. The decoy has a roundedkeel, the bottom portion of which is a lead weight stamped “H Updyke Tullytown.” Old repaint and keel by John “Tuffy”Updike (1886-1955).

PROVENANCE: Jack Morris Collection Don Stilwell Collection

ESTIMATE: $300-$500

65 Black DuckJoe Thomas Paul (1881-1951)Manahawkin, NJ, c. 1920

A tack-eye swimming black duck with original square weight.Original paint with gunning wear including seam separationand a neck crack.


ESTIMATE: $200-$400

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66 Preening Canvasback PairHurley Conklin (1913-1983)Manahawkin, NJ, c. 1940

A very early pair of turned head, painted eye, hollow decoyswith carved bill detail and incised tail feathers. Original paint with some shrinkage, even gunning wear and minor seam separations.

ESTIMATE: $2,000-$3,000

67 CanvasbackJohn W. McLoughlin (1911-1985)Bordentown, NJ, c. 1940

A high-head Delaware River diver decoy with ink signature bythe carver and inscribed “Appraised $1,500.00 1987” in markeron the bottom. Outstanding original condition.


ESTIMATE: $1,000-$1,500

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68 Canada GooseJoseph Bounds (1851-1938) (attr.)Manahawkin, NJ, c. 1900

An early hollow decoy in a swimming posture. Working repaintwith gunning wear.

ESTIMATE: $750-$950

69 Merganser PairJ. Eugene Hendrickson (1896-1971)Northfield, NJ, c. 1920

The drake has the maker’s initials stamped in the inlettedweight and the hen is branded with his “JEH” on the under-side of the tail. The hen is in original paint, the drake appears to be repainted and both have minor gunning wear.


ESTIMATE: $600-$900

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70 Preening BrantBirdsall Ridgeway (1912-1982)Barnegat, NJ, c. 1935

An early, hollow, preening brant decoy by thisBarnegat carver, who was influenced by SamSoper (1863-1943). A brant with similar paintand form, and two Canada geese by this makerare held in the Shelburne Museum Collectionin Vermont. A mixture of original paint and in-use repaint with gunning wear.

LITERATURE: David S. Webster and WilliamKehoe, Decoys at Shelburne Museum,Shelburne, VT, 1961, p. 95, similar exampleillustrated.

ESTIMATE: $6,000-$9,000

71 Redhead DrakeJohn S. KimbleColumbus, NJ, c. 1910

An extremely hollow Delaware River decoy withstylized carved raised wings and incisedsecondary feather detail. The head exhibitssmall glass shoe button eyes, and carved billdetail, including a carved mandible. Old paintwith craquelure and light gunning wear.


LITERATURE: H. Harrison Huster and DougKnight, Floating Sculpture, Spanish Fork, UT,1982, p. 151, similar decoys illustrated.

ESTIMATE: $1,000-$1,500

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72 Canada GooseJoe Tom Cranmer (1864-1944)Manahawkin, NJ, c. 1910

A traditional hollow decoy with the maker’sclassic eye grooves, bold body and apronounced paddle tail. Illustrated in Doherty’sbook, Classic New Jersey Decoys, this is one ofthe finest Cranmer goose decoys known toexist. Original paint with light gunning wear. Atight crack in the neck has been professionallyreset.

LITERATURE: James R. Doherty, “Classic NewJersey Decoys,” Louisville, KY, 2011, plate 309,p. 152, exact decoy illustrated.

ESTIMATE: $3,000-$6,000

73 Green-Winged Teal PairLloyd Johnson (1910-1965)Bay Head, NJ, c. 1960

The birds have forty-five-degree turned headsand display raised wing and tail carving. Thehen exhibits intricate feather painting and thedrake has very fine comb painted detail. Bothare branded “Lloyd Johnson” on the bottom.Original paint.


ESTIMATE: $2,000-$2,500

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74 Swimming Bluebill Drake and Antique GunJohn Blair, Jr. (1881-1953)Philadelphia, PA, c. 1920

This bluebill drake decoy was made by John Blair, Jr. and identified by Blair’s grandson, who inherited thepiece. It exhibits a two-piece body with a beveled edge rectangular weight, subtle painted feathering, agently curved lower mandible, and glass eyes.

The exquisite form of this Delaware River carving, with its elegant swimming attitude, raised hump andpaddle tail is virtually unsurpassed. The bird’s superb dry paint, incredible condition, and impeccableprovenance place it amongst the finest bluebill decoys ever to come to market.

This bluebill decoy is offered with John Blair Sr.’s (1843-1929) Belgian side-by-side, muzzle loading,eight gauge shotgun which he brought with him when he left Scotland and emigrated to Pennsylvaniain 1864. It is a high-quality engraved guild gun with thirty-two inch barrels, a Liege “E,L,G,star” proof mark, dog head hammers, a walnut stock with a checkered wrist and steel butt plate. Original condition with minor gunning wear to include an age line in the neck.

PROVENANCE: John Blair Jr. Rig Private Collection, by descent in the family

LITERATURE: H. Harrison Huster and Doug Knight, Floating Sculpture, Spanish Fork, UT, 1982, pp. 40-41, similar decoys illustrated.

ESTIMATE: $20,000-$40,000

John Blair, Jr., Elkton, MD, 1940, photograph courtesy of the Blair family.

60

John Blair, Sr., photograph courtesy of the Blairfamily. (please note the gun in this photograph isnot the one offered with this lot).

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75 No Lot

76 Green-Winged Teal DrakeJohn Blair, Sr. (1843-1929)Philadelphia, PA, c. 1910

A hollow round-bottomed Delaware River decoy with glass shoe button eyes.The decoy is held together with four-plugged screws. “A. B. Vance, Nov 12 1875”is written in pencil inside the top half of the bird. Judge Vance was a 19thcentury court justice in Philadelphia, PA. Original paint with wear to the woodand gunning wear including two small holes in the underside.

LITERATURE: H. Harrison Huster and Doug Knight, Floating Sculpture, SpanishFork, UT, 1982, pp. 31-36, similar decoys illustrated.

ESTIMATE: $3,000-$6,000

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77 Pintail DrakeAnthony Bianco (1915-1968)Bordentown, NJ, c. 1940

A hollow Delaware River decoy with extensive comb painting,raised primaries, and the maker’s “Bianco” brand on thebottom. Original paint with minor gunning wear.


ESTIMATE: $1,000-$1,200

78 Canvasback DrakeAnthony Bianco (1915-1968)Bordentown, NJ, c. 1950

A hollow low-head Delaware River decoy with carved wingfeather groups. Retains the maker’s “Bianco” brand andcollector’s initials “DSC” on the bottom. Original paint with anage line in the bill and a tail edge dent.

PROVENANCE: Jack Morris Collection Don Stilwell Collection

LITERATURE: Henry A. Fleckenstein, Jr., New Jersey Decoys, Exton,PA, 1983, p. 252, exact bird illustrated.

ESTIMATE: $1,000-$1,200

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80

79 Bluebill DrakeAnthony Bianco (1915-1968)Bordentown, NJ, c. 1940

A hollow Delaware River decoy with a comb-painted back,incised primaries, and the maker’s “Bianco” brand on thebottom. Original paint with minor gunning wear.


ESTIMATE: $1,000-$1,200

80 Two Widgeon HensWilliam H. Cranmer (1917-2008)Beach Haven, NJ, c. 1950 & 1965A life-size, turned head, widgeon hen with an inletted roundweight on the bottom.

A miniature baldpate decoy signed and dated by the maker on the bottom. Original paint withlight wear.


ESTIMATE: $600-$900

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81 YellowlegsCapt. J. Lewis Barkalow (1875-1960)Forked River, NJ, c. 1900

A delicate shorebird decoy that retains the maker’s “LB” brand onone side and on the underside. This shorebird was once in thecollection of New Jersey decoy collector John Hillman, whosigned the bottom of the base and wrote “Yellow leg made for &used for gunning on Meadows near Cape May Court House, NJ, J. A. Hillman Collection.” Original paint with craquelure and evengunning wear. The bill has been replaced and the base’s dowel isglued into the bird’s stick hole.

PROVENANCE: Capt. J. Lewis Barkalow rig John Hillman Collection Private Collection, Florida

LITERATURE: James R. Doherty, Classic New Jersey Decoys, Louisville,KY, 2011, plate 365, p. 171, similar decoy illustrated.

ESTIMATE: $4,000-$6,000

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82 Black-Bellied Plover PairBill HarrisAtlantic City, NJ, c. 1890

Originally known as “Brigantine Bullheads,” these exactshorebirds are illustrated in Doherty’s book, Classic NewJersey Decoys. Singularly unique amongst the ranks ofshorebird decoys, these beetle heads are great examplesof American folk art. Both are in original paint with evengunning wear. One has a chip to the bill and tail.

PROVENANCE: Dr. Jack Conover Collection John Clayton Collection

LITERATURE: James R. Doherty, Classic New Jersey Decoys,Louisville, KY, 2011, plate 380, p. 173, exact decoys illustrated.

ESTIMATE: $6,000-$8,000

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83 YellowlegsHarry V. Shourds (1861-1920)Tuckerton, NJ, c. 1890

A good example of Shourd’s work with provenancefrom a famed collection. Marked on the underside witha conjoined “JF” and other marks from Joe French’scollection. Original paint with touch-up to the cheeksand painted eye areas.

PROVENANCE: Joseph Bard French Collection Private Collection, Midwest

LITERATURE: James R. Doherty, Classic New Jersey Decoys,Louisville, KY, 2011, plate 113, p. 66, similar decoy illus-trated.

ESTIMATE: $3,000-$5,000

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8484 Yellowlegs FlattieHarry V. Shourds (1861-1920)Tuckerton, NJ, c. 1890

A rare Shourds silhouette shorebird decoy, one of only five known, displaying the maker’s earliest style of painted feathering. Original paint with minorgunning wear.


ESTIMATE: $1,000-$2,000

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85 CurlewSwain FamilyCape May, NJ, c. 1890

A superb tack-eyed shorebird decoy with gracefullines, including a slightly dropped tail that mirrorsthe arch of the intact original bill. This, along withone other example are the only two curlew formsby this maker to have surfaced. Original paintwith light gunning wear to include minor flaking,mostly under the tail.

PROVENANCE: John Clayton Collection

ESTIMATE: $5,000-$8,000

86 Ruddy TurnstoneWilliam Roberts (attr.)Cape May, NJ, c. 1880

This drop-tail, tack-eye shorebird decoy is branded “J. W. McCray” onthe underside. The bird has a stringing hole through the tail and itwas recently discovered with lots 88 and 89 in a Cape May residence.Old in-use repaint with gunning wear and an old bill replacement.

ESTIMATE: $1,000-$3,000

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87

87 CurlewWilliam RobertsCape May, NJ, c. 1880

Though curlews were common in Cape May, few, if any, matched the quality of those by WilliamRoberts. This observation was first documented in American Bird Decoys, when William J. Mackey,Jr. discussed a Roberts curlew in his colection which he had endearingly named “Ol’ Hookbill.”

This full-bodied bird with drop-tail carving and a hook bill measures over 16 inches from bill tipto tail and displays bold lines. The dramatic 90 degree bend in the bill is perfectly mirrored in the bill-to-throat carving and creates an appealing negative space not typically seen in shorebird decoys.

The oak bill of this bird would have been soaked or steamed while it was still green so that itcould be easily bent and held in a form until it dried. Upon drying the bill would retain both thestrength of its straight grain and its new curved shape. Original paint with light gunning wearincluding a chip to the top edge of the original bill.

PROVENANCE: Bill Staplin Collection Davidson Hawthorne Collection, Salisbury, Maryland Private Collection

LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 134, plate 114,similar bird illustrated. Gary Guyette and Frank M. Schmidt, North American Bird Decoys at Auction, St. Michaels, MD,2010, p. 80, lot 364, similar bird illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 55, similar bird illustrated.

ESTIMATE: $20,000-$30,000

88 Ruddy TurnstoneCape May, NJ, c. 1880

An early running shorebird decoy with an old pattern ofpaint similar to birds attributed to the Roberts Familyfrom Cape May. The bird has a stringing hole throughthe tail and was recently discovered along with lots 86and 89. Old in-use repaint with gunning wear and thetip of the original bill missing.

ESTIMATE: $600-$900

88

89 Curlew PairCape May, NJ, c. 1880

Two curlew shorebirds, each with a “J.D. Bennett”brand on the underside. One also retains a partial “....J. P or B” brand. Both had glass shoe button eyesand rear stick-holes which were filled. These birds wererecently discovered with lots 86 and 88 in a Cape Mayresidence. Old in-use repaint with gunning wear. One has an age crack on one side and both have one eye missing.

ESTIMATE: $800-$1,200

89

9090 Red KnotNew Jersey

A painted eye, iron-billed, flat-bottomed, robin snipe foruse as a stick-up or beach bird. Original paint withsignificant restoration to sides of head and tail.


ESTIMATE: $300-$600

68

69

91 Black-Bellied PloverVirginia, c. 1900

A carved eye shorebird with a tenoned bill. Amixture of original and in-use repaint withgunning wear including a reset neck.

ESTIMATE: $1,500-$2,500

92 DowitcherCoastal Virginia, c. 1890

A two-piece root-head shorebird decoy.Original paint worn to the wood in one area,gunning wear, and a bill repair.

PROVENANCE: Vince O’Neal Collection

ESTIMATE: $1,500-$2,500

91

92

70

93

93 Two Early YellowlegsDavid S. Goodspeed (1862-1943) (att.)Duxbury, MA, c. 1880

A nicely matched rigmate pair both in alert positions, one hasglass eyes and the other has painted eyes. Original paint with lightgunning wear, one has professional touchup to a reset neck.

ESTIMATE: $2,000-$4,000

71

94

94 Sanderling PairA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

Rare matched pair of sanderlings by New England’s most famous maker. Very few of these “palm sized”gunning birds are known to have survived. A famous example resides in a private New England collectionand another example resided in the John H. Hillman Collection. Remnants of original paint mostly wornto bare wood along their backs. One bird has a bill tip missing, a few age lines along the breast and somepossible minor putty fill around eyes.

ESTIMATE: $6,000-$9,000

94a Black-Bellied Plover George Boyd (1873-1941) Seabrook, NH, c. 1910

An excellent example of a Boyd plover decoy in winter or non-breeding plumage. Originalpaint with a very minor tail chip.

PROVENANCE: Private Collection, Connecticut

LITERATURE: Joe Engers, ed., The Great Book of Wildfowl Decoys, Lewes, DE, 1990, p. 68, rigmate illustrated. Jim Cullen, Finely Carved and Nicely Painted: The Life, Art and Decoys of George H. Boyd, Seabrook, NH,1873-1941, Rye, NH, 2009, p. 23, similar examples illustrated.William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, plate 52, similar bird illustrated.

ESTIMATE: $3,000-$5,000

94a

95 Hollow Turned Head WilletDr. Clarence T. Gardner (1844-1907) and Newton Dexter (d. 1901) Little Compton, RI, c. 1885

In the 1930s Frank D. Lisle, the grandfather of the consignor of this shorebird, purchasedthe summer home of Dr. Clarence Gardner. The summer home built in 1883 wasperfectly located on the productive shores of Sakonnet Point ideal for fishing andhunting. Soon after the purchase, Lisle discovered Gardner and Dexter’s rig of shorebirdsin an out-building on the property.

Newton Dexter was an excellent taxidermist and both gentlemen carved shorebirds whileDexter painted them. Information regarding this important rig was first published by thefather and uncle of the consignor in Hal Sorenson’s 1966-67 Decoy Collector’s Guide.

This boldly carved shorebird decoy is of the same quality and exhibits the same three-piece, pegged-body construction as its rigmates, the famous dowitchers collected by the late Dr. James M. McCleery of Texas. This bird has a slightly turned head, with individually carved raised wings and a superb dry original surface. This grand shorebirddecoy ranks as one of the finest willet decoys to ever come on the market. Outstandingoriginal paint with very minor seam shrinkage.

PROVENANCE: Frank D. Lisle Collection Richard W. Lisle Collection Private Collection, by descent in the family

LITERATURE: Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D.,Houston, TX, 1992, pp. 32-33, similar examples illustrated. Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The DistinguishedCollection of Dr. James M. McCleery, New York, NY, January 22, 2000, lots 541 and 542,similar examples illustrated. Hal Sorensen ed., Decoy Collector’s Guide: 1966-67 Annual, Burlington, IA, pp. 63-67,similar examples illustrated.

ESTIMATE: $40,000-$60,000

72

95 detail

73

95

95

74

96 DunlinCape Cod, MA, c. 1900

A rare species of shorebird decoy with tack eyes and an alloybill. The size, bill shape and paint also suggest that this couldbe an even rarer curlew sandpiper decoy. Previous to this birdsdiscovery only a handful of these alloy-billed shorebirds by thistalented Cape Cod carver have surfaced. The tail retains acurved metal wire insert, designed for stringing the decoy, forcarrying it in the field. Original paint with an appealing, oldsecond coat of white on the underside with gunning wear andage cracks to head and neck.

ESTIMATE: $3,000-$6,000

97 Hollow Golden PloverCharles F. Coffin (1835-1919) Nantucket, MA, c.1880

A hollow shorebird decoy with tack eyes and detailed paintedsurface, lightly hit by shot. Original paint with light gunningwear. Half inch chip to underside of tail, replaced bill.

PROVENANCE: Donal C. O’Brien Jr. Collection Joseph B. French Collection Private Collection, Massachusetts

ESTIMATE: $1,000-$2,000

97

99

98 Three Eskimo Curlew DecoysCoastal New England, c. 1900

These three split-tail shorebird decoys from the same NewEngland rig have high heads with small glass shoe buttoneyes, one has a slightly turned head. All three are in originalpaint with gunning wear. Two have reset necks and half-restoredbills.

ESTIMATE: $1,500-$2,500

99 Golden PloverGibbs FamilyNantucket, MA, c. 1880

A solid-bodied shorebird decoy with tack eyes. Original paintwith gunning wear and a replaced bill.

ESTIMATE: $1,000-$2,000

96

98

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100 Black-Bellied PloverCharles Morey LewisNantucket, MA, c. 1890

A hollow, four-piece laminated shorebird decoy from thistalented Nantucket craftsman, who also made lightshipbaskets. The bird exhibits a split tail, tack eyes, detailedpainted feathering and a baleen bill. Marked on theunderside with a small conjoined “JF” for the Joe FrenchCollection. Original paint with minor gunning wear.

PROVENANCE: Joseph Bard French Collection Private Collection, Massachusetts

ESTIMATE: $3,500-$5,500

102 High Head YellowlegsNantucket, MA, c. 1830A shorebird decoy from Nantucket’s early nineteenthcentury High-Head rig. Decoys from this family ofmakers represent some of the earliest documentedshorebird decoys known to exist. One example in aprivate collection dates to 1808. Original paint withgunning wear including a re-set neck and possible wire bill replacement.

ESTIMATE: $1,000-$2,000

101 Golden PloverNantucket, MA, c. 1900

An extremely hollow shorebird decoy exhibiting a verticallylaminated three-piece body joined with square pegs. Thebird has glass shoe button eyes and displays intricatelystippled green and white painted feathering. Original paintwith minimal gunning wear and a small wing chip.

ESTIMATE: $5,000-$8,000

100 101

102

∆

76

103 Black-Bellied PloverElisha Burr (1839-1909)Hingham, MA, c. 1880

The Burrs were masters of capturing the postures of live birds,and their decoys were carved in animated poses with complexwing and tail treatments. This carving style, coupled with theirlively brush strokes, created decoys that seem alive with move-ment. When Adele Earnest curated the World’s Fair in 1967, she selected a rigmate to this decoy, which now resides in thecollection of the American Folk Art Museum in New York. Thisrunning shorebird decoy has small glass shoe button eyes setin a deeply carved eye groove. The split wing tips, with detailedprimaries and drop tail carving, have remained whole despitethe bird’s gunning past, as shown by the few shot holes in thedecoy. A great majority of Burr’s decoys were never hunted andwere sold as decorative objects. Original paint with minimalgunning wear. Working touch-up to breast and very tip of bill.

LITERATURE: Quintina Colio, American Decoys, Ephrata, PA, 1972,p. 72, similar decoy illustrated. William J. Mackey, Jr., American Bird Decoys, New York, NY,1965, plate 69, similar bird illustrated. Richard A. Bourne Co. Inc., Very Rare and Important AmericanBird Decoys, From the Collection of the Late William J. Mackey,Jr. of Belford, New Jersey, Boston, MA, 1973, Session II, Lot 481,similar decoy illustrated. Hal Sorenson ed., Decoy Collector’s Guide: 1968 Annual,Burlington, IA, pp. 113-114, similar decoy illustrated. John and Shirley Delph, New England Decoys, Exton, PA, p. 89,similar decoy illustrated. Jeff Waingrow, American Wildfowl Decoys, New York, NY, 1985,similar decoy illustrated.

ESTIMATE: $5,000-$8,000

104 Black-Bellied PloverCoastal New England, c. 1890

A New England, possibly Nantucket, shorebird decoy withglass shoe button eyes, a split tail, and a few shot scars.Original condition with light gunning wear.

ESTIMATE: $400-$800

105 YellowlegsCoastal New England, c. 1890

A rigmate to the black-bellied plover decoy in the previous lot. This New England shorebird decoy displays shoe-buttonglass eyes, a reset original bill, a slightly split tail, a stringinghole through the wings and numerous shot scars. Originalcondition with heavy gunning wear.

ESTIMATE: $400-$800

103

104 105

∆

106 No Lot

107 Nantucket Lightship BasketCapt. Andrew Jackson Sandsbury (b. 1830)Nantucket, MA, c. 1880

An open oval basket with the top opening measuring fourteen bynine inches. Most likely woven at sea aboard the Nantucket NewSouth Shoal Lightship #1 on which Sandsbury was a captain. Thebasket displays a slightly carved handle attached with a brass rivetand a copper burr, a finely riveted brass handle ear, slightly bevel-edged staves and an inside baseboard carved with a smooth edge.Original condition with fine patina with one missing weaver.

ESTIMATE: $1,000-$2,000

108 Nantucket Lightship BasketDavis Hall (attr.)Nantucket, MA, c. 1870

An open round basket with the top opening measuring six inchesin diameter. Most likely woven at sea aboard the Nantucket NewSouth Shoal Lightship #1 where Hall was a crew member. Thebasket displays a slightly carved handle attached with a copperrivet and a brass burr, a carved handle ear beveled to a point,wide staves, a baseboard carved with a smooth edge inside andout, and a circular row of fine tacks on the bottom. Originalcondition with a couple missing weavers and a fine age crack onone side of the base.

ESTIMATE: $800-$1,200

77

107 108

109

109 Swordfish WeathervaneCape Cod, MA, c. 1920

A twenty-eight-inch long, one-inch thick, wooden silhouette weather-vane with lightly carved eyes and incised gill and mouth detail. Oldpaint with minor touch-up to the tip of the dorsal fin.

PROVENANCE: Found in a boathouse, Orleans, Massachusetts

ESTIMATE: $3,000-$5,000

111

110 Flying Old Squaw HenJames Walter Folger (1851-1918)Nantucket, MA, c. 1905

A relief carving on board measuring 9.5 by 18.5 inches. Signedlightly in pencil on the back, “James Walter Folger” and appearsto be titled “Quandy from Nantucket- Brant Point.” Severalexamples of Folger’s work currently reside in the NantucketWhaling Museum. Two other relief-carved flying duck plaquesreside in private Cape Cod collections. This old squaw repre-sents an important folk art carving from this historic island.

Folger took his inspiration from his surroundings on the island.During the fall months, flocks of old squaw by the tens of thou-sands fly near the south facing beaches from the east offSiasconset to the west off Madaket. This impressive migrationwas no doubt part of the inspiration behind this importantNantucket carving. Original paint with light craquelure, superbpatina and even wear.

LITERATURE: Michael A. Jehle, Picturing Nantucket: An Art Historyof the Island With Paintings from the Collection of the NantucketHistorical Association, Mystic, CT, 1999, pp. 108-110.

ESTIMATE: $10,000-$15,000

110

78

111 Great Horned OwlHerter’s Manufacturing Inc. (Est. 1890s)Waseca, MN, c. 1940

A balsa-bodied great horned owl decoy. Originalpaint with gunning wear and a one and a half-inch dent in the breast.

LITERATURE: Robert Shaw, Bird Decoys of NorthAmerica, New York, NY, 2010, p. 100, similardecoy illustrated.

ESTIMATE: $1,000-$2,000

James Walter Folger at work in his studio, 1912. A related merganser carving isvisible top center. Photo courtesy of the Nantucket Historical Association.

79

113 Four Flying MallardsWisconsin, c. 1925

Four stick-up field decoys, three mallard drakes and a hen, displaying unique three-dimensional,crossed-wood construction. These decoys were mounted on tall stakes in the rushes and attachedto cords which, when pulled, would simulate landing mallards. One pair was originally discoveredat a Green Bay, Wisconsin flea market. Two other drakes from this same rig are featured in therecently published “Great Lakes Decoy Interpretations” by Gene and Linda Kangas. Original paintwith light craquelure and even gunning wear.

PROVENANCE: William Birch Collection

LITERATURE: Gene and Linda Kangas, Great Lakes Decoy Interpretations, Louisville, KY, 2011, p. 189,rigmate decoys illustrated.

ESTIMATE: $8,000-$12,000

113

112112 Isaiah C. Wagner (b. 1876)Bluefish, 1917Signed “Wagner” lower right Wood, 24 by 35 inches

Isaiah C. Wagner followed in the footsteps of fellow New Bedford artist,Leander Allen Plummer (1857-1914). Plummer was one of the pioneersof modern “relief painting” as a result of his dual expertise in paintingand wood carving. His “relief paintings” were well received, particularlyby members of the Eastern Yacht Club in Marblehead in 1902. Hecompleted forty or fifty relief paintings by 1906.

Few examples of Plummer’s work remain intact today, as many ofthem were dismantled in the late 20th century. This piece by Wagnershows the same detail and process of his predecessor, and it is highlylikely that Wagner was familiar with Plummer’s work. The two artistshad similar interests in depicting aquatic scenes and Wagner’s pieceshows the same attention and animated detail. The hatch marksalong the body of the bluefish create a realistic scale pattern that looksas if the fish is immersed in water. A work with the same title wasincluded in a 1916 exhibit at the New Bedford Art Club. Also includedin the exhibit were two other works by Wagner entitled The Trout andThe Deluge. In 1917, the same year this carving was made, anotherwork by Wagner depicting bluefish was exhibited titled Fishing.

LITERATURE: Mary Jean Blansdale, Artists of New Bedford, NewBedford, MA, 1990, pp. 144-145, pp. 198-199.

ESTIMATE: $3,000-$5,000

114 Flying Bufflehead PairChauncey Wheeler (1888-1945)Alexandria Bay, NY, c. 1920 and 1930

In his 2002 biography of Chauncey Wheeler, Harold Reiser writes of this exacthen, “This half-flying bufflehead is the only bufflehead hen known to havebeen made by Wheeler.” The hen measures 15 inches from bill to tail tip. Thedrake, measuring 17 inches, is an earlier carving than the hen and is identifiedon the back, “Male Butter Ball.” Reiser’s thoroughly researched book onWheeler’s carvings did not include an illustration of a drake, and it is considered to be as rare as the hen.

The drake exhibits a vertically laminated three-piece body and is suspended bytwo hand-cut copper hangers. In original paint. The drake has a scrape on thewing and some touch-up under and in front of the wing seam, with the footprofessionally replaced. The hen has touch-up to the the top of the wing seam.

LITERATURE: Harold W. Reiser III, Chauncey Wheeler, Lewes, DE, 2002, p. 88,exact hen illustrated.

ESTIMATE: $20,000-$40,000

114

80

115 Goldeneye DrakeLothrop Holmes (1824-1899)Kingston, MA, c. 1880

An exceedingly rare decoy from the personal rig of one of New England’s most respecteddecoy carvers. Only two examples of this species by Holmes have ever surfaced. Thissolid-bodied decoy exhibits a gently sloped breast, a finely sculpted body and tail, and awell-patterned head with glass shoe button eyes. The bottom of the decoy displays theseldom seen “L.T. Holmes” brand applied twice, designating his personal rig. A “TWD”brand for the later rig of T. W. Douglas, also from Kingston, Massachusetts, and a “Q”brand for the Quandy collection also appear on the bottom. A mixture of original paint,in-use repaint, and professional touch-up showing nice even craquelure, with lower third ofbill replaced.

PROVENANCE: Lothrop T. Holmes Rig T. W. Douglas Rig Quandy Collection Private Collection, New York

LITERATURE: George Ross Starr, Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974,p. 173, figure 87, only other known Holmes goldeneye drake illustrated.

ESTIMATE: $10,000-$20,000

115

81

82

116 GullAugustus Aaron Wilson (1864-1950)South Portland, ME, c. 1920

A rare, life-size, standing gull carving by this important Mainedecoy and folk art carver. The bird exhibits an inserted bill,carved raised eyes, an inletted head, raised wings, and heavywire legs with looped wire feet. Original paint with an old coatof sealer and thin gray touch-up to areas of wear. Expected agelines and tight cracks.

LITERATURE: Gene Kangas, Gus Wilson, Folk Artist, DecoyMagazine, Lewes, DE, November/December 1994, p. 10,similar carving illustrated.

PROVENANCE: Private collection, Masschusetts

ESTIMATE: $3,000-$6,000

117 Sandhill CraneAugustus Aaron Wilson (1864-1950)South Portland, ME, c. 1920

An exceedingly rare life-size crane carving with two woodenlegs tenoned into a base board. The only other large wadingbird believed to have been made by this carver is a heroncarving, which is in the collection of the Abby AldrichRockefeller Folk Art Museum in Williamsburg, Virginia. Surfaceis a mix of original paint, varnish, and overpaint. Missing a wingtip, the body has been broken from the legs and needs to bereset. A larger base board was added to the original base toincrease stability.

LITERATURE: Gene Kangas, Gus Wilson, Folk Artist, “DecoyMagazine,” Lewes, DE, November/December 1994, p. 10,similar carving illustrated.

PROVENANCE: Private collection, Masschusetts

ESTIMATE: $8,000-$12,000

Lot 116 shown atop a slant top desk with bookcase,along with two other Wilson carvings. c. 1960

Lot 117 sandhill crane (lower left) on display in the original owner’s library. c. 1960

83

117116

84

118 Surf ScoterAugustus Aaron Wilson (1864-1950)South Portland, ME, c. 1890

A wide-bodied, Monhegan Island sea duck decoy with carvedeyes, a rocked-back head, and carved raised wings. Workingrepaint with gunning wear.

ESTIMATE: $1,500-$2,500

119 Eider DrakeAugustus Aaron Wilson (1864-1950)South Portland, ME, c. 1900

A down-east sea duck decoy from the rig of Alger Pike fromSouth Lubec, Maine. Displays an inletted head, carved eyesand bill detail. Working repaint with gunning wear.

ESTIMATE: $400-$800

119

121

120 Black DuckAugustus Aaron Wilson (1864-1950)South Portland, ME, c. 1910

In a swimming posture, this decoy displays Wilson’s signaturecarved head detail and raised wings. The decoy retains its orig-inal rigging on the underside. Original paint with in-use touch-up and gunning wear.

ESTIMATE: $400-$600

121 Green-Winged TealMaine, c. 1940

A slightly turned head decoy found in a down-east hunting rig.Mixture of original and in-use paint with light gunning wear.

ESTIMATE: $200-$400

118

120

85

122 Eider DrakeAmos G. Wallace (1882-1968)West Point, ME, c. 1910

A full-bodied sea duck displaying incised bill and eyedetail with tack centers, an inletted head and a curlediron rod weight. Amos and his son, Alton (1909-1995)were boat builders as well as decoy carvers. The WestPoint Skiff, originally designed by Amos, is still beingmade in Maine by Richard Nichols, who knew bothmen and continues their maritime tradition. Workingre-paint with gunning wear and a repaired bill.

LITERATURE: Joe Engers, ed., The Great Book of WildfowlDecoys, San Diego, CA, 1990, p. 43, similar decoy illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, p.28, similar decoys illustrated. John and Shirley Delph,“New England Decoys,” Exton, PA, 1990, pp. 36-37,similar decoy illustrated.

ESTIMATE: $6,000-$8,000

122

123 Stick-Up BrantPrince Edward Island, Canada

A life-size decoy exhibiting a two-piece head with tackeyes, carved raised wings, mounted on a steel rod anda partial oak beam base. Old in-use repaint withgunning wear and an old gouge on one side of thebreast.


ESTIMATE: $200-$400

123

124124 Goldeneye DrakePete Mitchell (attr.)Coastal Maine, c. 1920

Displays an inletted head and an unusual top board.Original paint with heavy gunning wear and newer eyes.

ESTIMATE: $200-$400

125

87

126

125 Emperor PenguinCharles Hart (1862-1960)Gloucester, MA, c. 1930

An eighteen-inch high standing penguin with carved eyes andincised detail on an inserted bill. The bird also exhibits themaker’s classic, stylized attached wings, and a rare inletted tail.The mortised legs are inserted into the body and extend throughthe gently chamfered edge base. A large Hart carving presentedto Admiral Byrd, noted South Pole explorer, was exhibited in aMassachusetts decoy exhibit at the Peabody Essex Museum inSalem, Massachusetts. Old paint with appropriate wear for itsage, a vertical age crack and missing feet.

PROVENANCE: Donald Kirson Collection

LITERATURE: Richard Bishop, American Folk Sculpture, New York,NY, 1985, p. 177, similar carving illustrated.

ESTIMATE: $6,000-$9,000

126 Standing Wood Duck DrakeCharles Hart (1862-1960)Gloucester, MA, c. 1900

An exceptional stick-up decoy showcasing Hart’s intricatecarving ability. This bird displays an anatomically correctcarved bill, a carved crest, inset wings with layered primaryfeathers, and incised tail detail. It was originally acquired by a Virgina gentleman whose collection was noted for itsexceptional southern decoys and noteworthy examples ofwood ducks. This stick-up along with a standing black areconsidered to be two of the makers very best waterfowl carvings. Outstanding original condition. The base is not original to the carving.

PROVENANCE: Private Collection, Virginia Private Collection, Rhode Island

ESTIMATE: $10,000-$20,000

Norma Hart Anderson on the steps of her grandfather,Charles Hart’s, home in Gloucester, MA, c. 1940s.Photo courtesy of Norma Hart Anderson.

127 Framed Silk Butterflies24 by 34.5 inches

Nine silk panels, each measuring seven by eleveninches. One central panel depicting red-crownedcranes in a feeding position in their natural landscape.The eight surrounding panels depict seventy-two handpainted insects and other smaller creatures common in crane diets. Most striking in this work are the butterflies, which overlap and are oriented in variousdirections, sizes, and colors.

ESTIMATE: $500-$1,000

127

128 “Mammy” DoorstopHubley Manufacturing Inc. (attr.)Lancaster, PA, c. 1920

A ten-inch high hollow cast iron doorstop. Originalpaint with some old in-use white repaint and wear.

PROVENANCE: Presented to a gentleman from Maineprior to 1954 Private Collection, Massachusetts, by descent in thefamily from the above

ESTIMATE: $400-$600

129 Hound DoorstopEngland, c. 1890

A fourteen-inch patinated brass doorstop on a break-front plinth base with a raised British registration markand #19 on the reverse. Original with patina.

ESTIMATE: $800-$1,200

128

130

129

130 Canada Goose PairMississippi Flyway, c. 1920

Two hand-stitched, high-head stuffed canvas geese.Original surface with gunning wear including old darnedrepairs to the larger goose.

ESTIMATE: $500-$700

88

89

131 Carved EagleJohn Haley Bellamy (1836-1914)Kittery, ME, c. 1890

This classic carved eagle and banner, measuring eight andthree-quarter by twenty-six inches, displays the famous inscription from Oliver Hazard Perry's (1785-1819) naval battleflag, “Don’t Give Up The Ship!” With its patriotic banner andfine original colors and surface, this eagle ranks amongst themaker’s best work. Original paint with minor restoration to beak and one banner tip.

PROVENANCE: Private Collection, New Hampshire By descent in the family to Judge Douglas Gray Private Collection, Maine, aquired from the above

ESTIMATE: $20,000-$30,000

132 Relief Carved Brook TroutOscar W. Peterson (1887-1951)Cadillac, MI, c. 1935

This folk art carving shows the vibrant colors of the species withcustom made glass eyes and splined back board. Original paintwith professional restoration to body and water.

LITERATURE: Ronald J. Fritz, Michigan’s Master Carver; Oscar W. Peterson; 1887 - 1951, Boulder Junction, WI, 1987, pp. 77-78 similar examples illustrated,

ESTIMATE: $10,000-$15,000

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132

133 Duck CallClyde “Sharpie” ShawReelfoot Lake, TN, c. 1930

A seven-inch walnut duck call with the maker’s “Sharpie Shaw”stamp on the side of the barrel. Original condition.

ESTIMATE: $1,500-$2,000

134 Duck CallJohn “Sandy” Alexander MorrowFlint, MI, c. 1925

A six-inch Shotgun Sight or Baby Butt model wooden duck callwith flattened sides on the stopper and raised carving on thebarrel. Original condition.

ESTIMATE: $2,500-$3,500

135 Duck CallJohn “Sandy” Alexander MorrowFlint, MI, c. 1930

A five and one-half inch “Pocket Model” or “6-Ring” modelwooden duck call. Original condition.

ESTIMATE: $1,500-$2,000

136 Duck CallTom TurpinMemphis, TN, c. 1930

A six and one-half inch walnut duck call with three embossedflying ducks on the barrel and the letter “P” on the possiblelater Turpin stopper. Turpin and Shaw both hunted and testedtheir calls on Reelfoot Lake in Tennessee. Original condition.

ESTIMATE: $1,000-$1,500

90

133-134-135-136

137 138 139

91

140 140 verso 140 verso

137 Shotgun Box

A nine-inch by four-inch walnut lift top desk box with a double-barreled brass Parker-style shotgun applied to the top andinverted brass shells in the corners. The interior of the box isdivided into three compartments. In original condition withlight wear.

ESTIMATE: $200-$300

138 A Dozen Wooden Corn Cob DecoysBedard and Morency Mill Co.Oak Park, IL, c. 1935

An original set of eleven wooden “Cobbe Decoys” along withtheir original printed canvas drawstring bag and a hand-carvedwooden ear of corn with an older “Cobbe Decoy” canvas bag.These wooden cobs were used along with field decoys, toattract ducks and geese to land in harvested corn fields.Original condition with light wear and nice patina.

LITERATURE: Donna Tonelli, Fish and Fowl Decoys of the GreatLakes, Atglen, PA, p. 107, similar decoys illustrated.

ESTIMATE: $1,000-$2,000

139 Shotgun BoxCincinnati, OH, late 19th century

A wooden cased shotgun shell reloading kit, featuring oldbrass shells, an empty tin of Kings FFG Semi-smokelesspowder from the King Powder Co. of Cincinnati, Ohio, a tin ofWinchester primers, a box of cardboard wads, and other guntools. As found condition.

ESTIMATE: $100-$200

140 Pair of CallsCharles Perdew (1874-1963)Henry, IL, c. 1940

According to collector and author Donna Tonelli, this matchedset of fancy duck and crow calls is one of only four known setsby Charles Perdew. It’s comprised of a carved duck calldisplaying Perdew’s triple mallard design and a carved crowcall displaying a crow and nest in a tree with a brass schim-stock band. Both calls have stylized “LW” carved raised initialsdesignating those of the original owner. Original condition.

LITERATURE: Donna Tonelli, Fish and Fowl Decoys of the GreatLakes, Atglen, PA, 2002, p.145, one of four matched call setsillustrated. Ann Tandy Lacy, Perdew: an Illinois Tradition, Muncie, IN, 1993,pp. 195-197, similar calls illustrated.

ESTIMATE: $10,000-$20,000

3893

141 High Head Pintail HenHerman R. Trinosky (1874-1956) rigKankakee Marsh, IN, c. 1895

Defined by its elegant, singular form, this decoy displayssweeping lines. The bird’s refined head features subtlecheek carving and a highly unusual flared bill that widenstoward the tip. The graceful neck is extended, accurate forthe species and the body exhibits a smooth humped backthat tapers to a long thin tail. The bird’s intact survival isremarkable given the three major areas (bill, neck, andtail) that were prone to potential damage while beinghunted and transported.

Only seven of these Kankakee pintails have surfaced todate, of these there are three drakes and three other hens.The body’s surface features strong swirled paint withappealing craquelure. The right side has two wood screwsoriginal to the construction. The bottom retains threescrew-eyes for rigging with a swing-weight.

Throughout history, decoy carvers often amended or alto-gether discarded early patterns in favor of sturdierdesigns. A perfect example of this evolution is HenryKeyes Chadwick (1865-1958) of Martha’s Vineyard whoseearliest redheads started out with stylish thin necks, longbodies, and thin sharp paddle tails. Later he modified hisdesigns to have shorter bodies and thicker necks thusacknowledging the flaws of his earlier designs. Withlimited output, easily broken heads and tails, few of theseintact redheads exist today. These early flawed designshowever are the ones most coveted by collectors today. Agood early Chadwick decoy will command ten times thatof his middle or late period birds. While no examples ofmiddle period or late period Kankakee pintails are knownto exist, more conventional and less fragile examples ofKankakee mallards and bluebills attest to the makersmore practical side.

In original paint with gunning wear. An old age linethrough base of neck, and another on right side of body isoriginal to the construction and typical of other birds in therig. Two paint drips under the right speculum were profes-sionally removed. Minor darkening to areas of primer onneck and around screw holes.

PROVENANCE: Herman R. Trinosky (1874-1956) Hunting RigRon Gard Collection Private Collection, Midwest

LITERATURE: Gene and Linda Kangas, Great LakesInterpretations, Concord, OH, 2011, p. 182, exact decoyillustrated, front cover, similar examples illustrated Gene and Linda Kangas with Ron Gard, “Kankakee MarshPintails: The Magnificent Seven,” from Hunting andFishing Collectibles Magazine, Lawsonville, NC, July-August 2009, pp. 16-26, exact bird illustrated on p. 22.Christie’s “Important American Furniture, Folk Art, Silver,Prints and Decoys,” New York, NY, January 18-19, 2007,lot 365, exact decoy illustrated.

ESTIMATE: $50,000-$70,000

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141 detail

141

“In the early 1800s, the Grand Kankakee Marsh was recognized asthe largest fresh water wetland in the Midwest, extending forapproximately a million acres mostly through northwest Indiana(600,000 acres) and partially into Eastern Illinois. The fertile,ancient marshland provided a welcomed safe haven for migratingwaterfowl. It was once a winding, thriving wetland providing lushhabitats for a diverse menagerie of creatures from insects to fish,birds, and buffalo. Ducks that migrated through that area morerecently are descendants of millions of transient waterfowl whichonce frequented the Grand Marsh.

Some prominent notables who regularly visited Kankakee Marshwere Theodore Roosevelt, Grover Cleveland, Benjamin Harrison,and Civil War General, Lew Wallace (author of Ben Hur – 1880). Infact, the original name of the Valley Hunt Club was changed to theWhite House Hunt Club because of the frequent presidential visitsby Grover Cleveland.”

Gene and Linda Kangas with Ron Gard

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142 Hooded Merganser PairHarold Haertel (1904-1995)Dundee, IL, 1963

These two decoys were gifted with the inscription on the bottom:“To Bill Mackey from Harold Haertel, 1963.” This forward-preeninghen and a slightly turned-head drake represent two of the mostimportant Haertel decoys to ever come on the market. In hispioneer decoy collecting book, Mackey writes, “The unsung folkart of decoy making has survived with all its traditions and haspassed into a fresh phase in the work of eminent contemporarycarvers as Lloyd Johnson and Harold Haertel of Dundee, IL.” Near mint original condition.

PROVENANCE: William J. Mackey, Jr. Collection Private Collection, Massachusetts

LITERATURE: Richard A. Bourne Co. Inc., Collection of the LateWilliam J. Mackey, Jr., Hyannis, MA, July 10, 1974, lot 585, exactdecoys illustrated. William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965,p. 248.

ESTIMATE: $5,000-$10,000

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142 detail

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143 Redhead PairEdward Keller (1888-1963)Bartonville, IL, c. 1940

An exceptional pair of redhead decoys from Keller’s own rig with his“EK” initials painted on the bottom of each. Original paint with lightgunning wear. The drake has a faint seam separation at the neck, thehen has a faint age line on one side of the neck. Each has its keelremoved.

LITERATURE: Stephen B. O’Brien, Jr. and Julie Carlson, Masterworks ofthe Illinois River, Boston, MA, 2005, p. 119, similar decoy illustrated.

ESTIMATE: $4,000-$8,000

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144 Mallard DrakeHiram “Hy” Hotze (1886-1977)Peoria, IL, c. 1930

This hollow Illinois River mallard decoy displays all the aspects of the maker’s master craftsman-ship including its original rigging. Hotze often signed and dated the inside of his hollow decoys,and this unusual identification placement attests to the pride the maker took in creating these life-like gunning decoys. As seen on this example, the most elaborate paint detailing is found on hismallard decoys. Originally collected by Illinois doctor E.C. Burhans, in lieu of payment for medicalservices. This decoy descended to his daughter, Betsey Fowler, wildlife artist and the spouse of JimFowler, noted zoologist and host of the Emmy Award-winning Mutual of Omaha’s Wild Kingdom.Original paint with gunning wear.

PROVENANCE: Dr. E. C. Burhans Collection Betsey Burhans Fowler Collection

LITERATURE: Stephen O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA,2005, p. 114, similar decoy illustrated. Alan Haid, Decoys of the Mississippi Flyway, Exton, PA, 1981, p. 172, similar decoy illustrated.

ESTIMATE: $3,000-$5,000

145 Mallard DrakeGeorge A. Kessler (1868-1955)Pekin, IL, c. 1910

An early tack-eyed, hollow Illinois River decoy with a two-pieceneck and original lead strip weight. An exemplary example bythis maker in all respects. Original paint with light craquelureand gunning wear.

ESTIMATE: $800-$1,200

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146 Swimming Mallard DrakeHector Whittington (1907-1981)Oglesby, IL, 1949

This hollow, over-sized bird, carved and painted for competition by the maker, exhibits a turnedhead, detailed bill carving, fine comb painting, carved raised primaries, and a curled metal tailsprig. This boldly carved decoy was awarded a first place ribbon at the 1949 International Decoycontest in New York City. Inscribed “Entered International Decoy Contest at Grand Central PalaceNew York, N.Y.” on the bottom. Original paint with wear from handling and minor touch-up to ageline in head and underside of bill.


ESTIMATE: $2,500-$3,500

147 Mallard PairIowa, c. 1930

Two hollow Mississippi Flyway decoys with carved and slightlyraised primaries. Original paint with light gunning wear. Thehen has a tight crack in the neck.

ESTIMATE: $600-$900

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148 Pintail PairBert Graves (1880-1956)Peoria, IL, c. 1925

A pair of Illinois River pintails carved by Bert Graves and paintedby Catherine Elliston. The hen is one of the finest examples knownto exist and is comparable to the famous hen illustrated on page103 in O’Brien and Carlson’s Masterworks of the Illinois River. Itretains its original “G.B. Graves. Decoy. Co. Peoria. Ill.” lead stripweight and was originally collected by William J. Mackey and laterby Dr. James McCleery. The drake was originally collected byJoseph B. French. Original paint with minor gunning wear includinga tail chip on the hen and both have bill dents.

PROVENANCE: Hen: William J. Mackey Jr. Collection Dr. James M. McCleery CollectionPrivate Collection, Midwest

Drake: Joseph B. French Collection Private Collection, Midwest

LITERATURE: Robert Shaw, Call to the Sky: The Decoy Collection ofJames M. McCleery, M.D., Houston, TX, 1992, p. 105, exact decoyillustrated. Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the IllinoisRiver, Boston, MA, 2005, pp. 97 and 103, similar decoys illustrated.

ESTIMATE: $15,000-$25,000

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100

149

149 Canvasback DrakeAugust Moak (1852-1942)Tustin, WI, c. 1920

An exceptional example of this maker’s work, this hollow decoyhas a bottom board, a slightly turned head, carved bill detail, anddisplays the maker’s most desirable paint pattern. Original paintwith minor gunning wear.

PROVENANCE: Ron Koch Collection Donald Kirson Collection

LITERATURE: Donna Tonelli, Fish and Fowl Decoys of the Great Lakes,Atglen, PA, 2002, p. 211, similar decoy illustrated.

ESTIMATE: $8,000-$12,000

101

150 Blue-Winged TealWilliam L. Schultz (1923-2009)Milwaukee, WI, 1968

Inscribed “Blue-Wing Teal Drake, Eclipse Plumage,Carved Spring 1968, For Dick Steinman, by William L.Schultz” by the maker on the bottom of the decoy nextto its keel. The decoy exhibits finely carved bill andwing detail. Original paint with minor sap bleeds alongthe waterline of the right side and two faint rubs on theleft side.


ESTIMATE: $2,000-$4,000

150

151 Shoveler DrakeWilliam L. Schultz (1923-2009)Milwaukee, MN, 1967

This decoy exhibits vivid blended brush strokes, aslightly turned head, and raised wings. The undersidehas a felt bottom and is inscribed “Shoveler Drake,Spatula Clypeata, Carved For Bill Anderson, William L.Schultz, Second Place-Decorative, International DecoyShow 1967.” Original paint with very minor scrapes.


ESTIMATE: $3,000-$5,000

151

152152 Herring Gull William L. Schultz (1923-2009) Milwaukee, WI, c. 1965

A rare confidence decoy by this national championcarver, one of only three gulls that Schultz is known tohave carved. Original paint with light wear from handling.


ESTIMATE: $2,500-$3,500

102

153 Swimming BluebillThomas Schroeder (1886-1976) (attr.)Detroit, MI, c. 1950

A hollow decoy, possibly made by Schroeder when he wascarving for mid-twentieth century national decoy competitions.Original condition with minor wear from handling.


ESTIMATE: $300-$600

154 Canvasback DrakeDannie Scriven (1880-1942)Detroit, MI, c. 1911

A classic lower Detroit River bobtail with refined head and billcarving. This fine example by the maker retains its originalkeel. Original paint with even gunning wear.

ESTIMATE: $400-$600

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156

155 Canvasback DrakeRealistic Decoy Company (attr.)Kewaunee, WI, c. 1935

A rare factory decoy. The company closed in 1939 and was inbusiness for less than a decade. Painted tack eyes, carved billdetail, a weighted keel and a dry original surface. Original paintwith minimal gunning wear.

ESTIMATE: $600-$900

156 Canvasback DrakeRalph Reghi (1910-1995)Detroit, MI, c. 1990

One of the last decoys carved and painted by Reghi. The birdwas collected from the vise of Reghi’s workbench and retainsthe wooden block on the bottom that secured the decoy inthat vise. The slightly turned head decoy has detailed bill andprimary feather carving. Original condition with an age linealong the bottom board.

ESTIMATE: $300-$600

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157 Brown TroutLawrence C. Irvine (1918-1998)Winthrop, ME, 1976

After weighing and tracing his client’s trophies Irvine producedcustom fish carvings as reminders of their successful daysafield. The twenty-two-inch carving is mounted on a faux birchbark painted oval with a beveled edge. The back of the plaquereads “Brown Trout, Feb. 1, 1976, 4 lb., 22” long, RoundPond.” Original condition.


ESTIMATE: $2,000-$4,000

157

158158 SalmonLawrence C. Irvine (1918-1998)Winthrop, ME, c. 1970

A twenty-five-inch Atlantic Salmon carving mounted on a rarelyfound twenty-nine by fifteen-inch, framed painting on board.“Carved & Painted by Lawrence C. Irvine, Winthrop, Me.” isinscribed in ink on the back of the painting. Original condition.


ESTIMATE: $3,000-$5,000

Lawrence Irvine, c. 1960, busy filling orders in his workshop. Photo courtesy of Morning Sentinel Newspaper, Waterville, Maine, StaffPhotograph Archives.

159 Preening Mallard DrakeEdward “Ted” Mulliken (1896-1964)Old Saybrook, CT, c. 1940

A solid-bodied decoy with a presentation felt bottommade by Wildfowler Decoy founder Ted Mulliken.Illustrated in Decoys of the Atlantic Flyway by Dr. Starr,in color plate 29 and sold as lot number 635 in the1986 sale of his collection. Original paint with minorflaking and wear.

PROVENANCE: Dr. George Ross Starr, Jr. Collection Don Stilwell Collection

LITERATURE: George Ross Starr, Jr., M.D., Decoys of theAtlantic Flyway, Tulsa, OK, 1974, p. 61, plate 29, exactdecoy illustrated.

ESTIMATE: $2,000-$4,000

159

160 Preening Canvasback DrakeEdward “Ted” Mulliken (1896-1964)Old Saybrook, CT, c. 1940

A solid-bodied decoy with a presentation felt bottommade by Wildfowler Decoy founder Ted Mulliken. Thisrare decoy was made at the same time as the mallardpreener illustrated in Decoys of the Atlantic Flyway byDr. Starr. Original paint with light wear from handling.


ESTIMATE: $2,000-$4,000

160

161161 Black DuckJoel Barber (1876-1952)Wilton, CT, c. 1940

A classic Barber designed decoy with scratch-paintedfeather detail on the head. This decoy was sold as lot625 in the 1986 sale of Dr. Starr’s collection and hisstamp is on the bottom. Original paint with wear fromhandling and head reset with minor touch-up.


LITERATURE: George Ross Starr, Jr., M.D., Decoys of theAtlantic Flyway, Tulsa, OK, 1974, p. 211, figure 110,similar decoy illustrated. Richard A. Bourne Co. Inc., The Rare Decoy Collectionof George Ross Starr Jr., M.D., Hyannis, MA, 1986, p. 153, lot 625, exact decoy illustrated.

ESTIMATE: $1,000-$2,000

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105

162 Broadbill PairJoel Barber (1876-1952)Wilton, CT, c. 1940

A paper label on the bottom of the drake reads “Lloyd JohnsonCollection, Joel Barber Broadbill.” The hen is inscribed “acquired12/1960, made by Joel Barber, as per Lloyd Johnson, @1940”and displays the Headley “SGH” collection stamp and the J.B.French Collection stamp on the underside. Original conditionwith gunning wear. The hen’s eyes have been reset.

PROVENANCE: Lloyd Johnson Collection Somers G. Headley Collection Joseph B. French Collection Don Stilwell Collection

ESTIMATE: $3,000-$6,000

162

163 Bronze Black Duck HeadJoel Barber (1876-1952)Wilton, CT, 1927

Of this bronze black duck head, Joel Barber writes in Wild FowlDecoys, “In Plate No. 99 I show a decoy head cast in bronze. I whit-tled it myself but used as a model an old decoy from the lowerJersey Coast. The body of this decoy was little more than a float toreceive a skin but the head was very fine. My jackknife copy of thishead reproduced in bronze was sold by art galleries over a period ofseveral years and in considerable numbers. I have always consideredthe unknown original maker a real artist. Even though he lived andworked, unknown on the Jersey barrens, his Black Duck head hasbeen perpetuated. The feather of accomplishment does not belongto me. I merely whittled what he conceived. After a fashion, however,it vindicates my interest in the art of decoy making. The decoy itselfis now a highly prized item of my collection. After my coveting it forseveral years, the former owner, Mr. J. H. Phillips of Babylon, gave itto me for my records of Barnegat Bay.”

This bronze is believed to be one of an edition of 26. On the righthand side of the base is “B/26(c)” and on the left hand side of thebase is “Gorham Co. Founders OFSV.” Very few of these pieceswere ever cast and this represents one of only a handful that havesurfaced in the last fifty years. This bronze duck head was given byBarber to his friend and co-worker John Blair, Jr., son of famousDelaware River decoy carver, John Blair. Original polished surface.

PROVENANCE: John Blair, Jr. Collection Private Collection, Virginia

LITERATURE: Joel Barber, Wild Fowl Decoys, Garden City, NY, 1937,plate 99.

ESTIMATE: $1,000-$2,000

164 Bluebill HenJoel Barber (1876-1952)Wilton, CT, c. 1940

A slightly turned head decoy with a “Barber Decoys” brand and a Dr. Starr collection stamp on the bottom. This decoy is illus-trated in Dr. Starr’s book Decoys of the Atlantic Flyway on page211, and was lot 623 in the 1986 sale of his collection. Originalpaint by the maker, possibly two coats at the time the bird wasmade, with light gunning wear.


LITERATURE: George Ross Starr, Jr., M.D., Decoys of the AtlanticFlyway, Tulsa, OK, 1974, p. 211, figure 111, exact decoy illustrated.

ESTIMATE: $1,000-$1,500

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164

165 Wood Duck HenEugene “Chief” Cuffee (1866-1941)Shinnecock Reservation, Long Island, NY, c. 1910

The decoy displays intricately carved eyes, raised wingsand subtle patina. Original condition with minor wear.

ESTIMATE: $2,000-$4,000

165

166 Two MergansersSt. James, NY, c. 1880

Originally collected on the north shore of Long Islandnear Stony Brook Harbor, these two early folk art carv-ings were possibly crafted by Native Americans. Theyexhibit carved bills, brass octagon eyes fastened with acentral tack, raised tails and raised carved wings.Original paint with small areas of flaking.

PROVENANCE: Private Collection, Massachusetts

ESTIMATE: $500-$1,000

166

167167 Preening BrantH. O. KrugerPatchogue, NY, c. 1920

A backward-turned, high-head, Long Island decoy withblack glass shoe button eyes. Original paint withgunning wear.


ESTIMATE: $5,000-$8,000

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107

168 Two Old Squaw HensLong Island Sound, c. 1930

This pair displays painted eyes, delicate bill carving andtwo-piece body construction. Original paint with whiterepaint to the heads and gunning wear.

ESTIMATE: $300-$500

168

169 Redhead DrakeWildfowler Decoys (1939-1957)Old Saybrook, CT, c. 1945

A superior hollow grade decoy with an inletted head,bottom board, and a circular factory stamp. Originalpaint with gunning wear and flaking.

ESTIMATE: $200-$400

169

170170 Mallard PairWildfowler Decoys (1958-1961)Quogue, Long Island, NY, c. 1960

A pair of balsa-bodied, low-head decoys with their orig-inal keels. The hen bears a Wildfowler Decoys, Quogue,Long Island, NY circular brand. Original paint with lightwear from handling.

ESTIMATE: $400-$600

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171 Black-Bellied PloverVerity SchoolLong Island, NY, c. 1890

This full-bodied shorebird decoy displayscarved and raised wings, incised primariesand a bill that is tenoned and splined.Original paint with light gunning wear.

PROVENANCE: Alan G. Haid Collection

ESTIMATE: $5,000-$8,000

172 YellowlegsAndrew Verity (1881-1976) (attr.)Seaford, NY, c. 1915

A Long Island shorebird decoy with carvedeyes, raised wings and through-splined bill.

Original paint with light gunning wear.

ESTIMATE: $1,000-$2,000

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172

109

173

173 detail

OBEDIAH VERITY (1813-1901)

173 Black-Bellied PloverObediah Verity (1813-1901)Seaford, NY, c. 1880

A plump bird with fine square beetle head form, deeply carved heart-shaped wings, forward-looking, deeply incised eyes and a tenoned-through and splined hardwood bill. This alert shore-bird displays the makers very best stippled feather paint and is one of the finest straight-headVerity carvings to come on the market. This bird is nearly identical in form and patination to thefour black-bellied plovers illustrated in E. Jane Townsend’s Gunner’s Paradise. Retains dry originalpaint, with the typical second coat of black to the breast and bill. A few shot marks and evengunning wear. Beautiful tight, even craquelure throughout. A hairline crack runs through one wing.

PROVENANCE: Peter Brams Collection, acquired from Bud Ward Private Collection, Martha’s Vineyard, Massachusetts

LITERATURE: Henry Fleckenstein, Jr., Shore Bird Decoys, Exton, PA, 1980, pp. 42-43, color plates XII,XIV and XVI, similar birds illustrated. Quintina Colio, American Decoys, New York, NY, 1972, p. xiii, similar birds illustrated. William Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 102, similar birds illustrated. E. Jane Townsend, Gunner’s Paradise: Wildfowling and Decoys on Long Island, Lanham, MD, 1988,pp. 115-116, similar birds illustrated.

ESTIMATE: $25,000-$40,000

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111

112

after John James Audubon (1785-1851), Long billed Curlew. Hand-colored engraving by R. Havell (detail). Image courtesy of the Audubon Gallery.

173a

113

A. ELMER CROWELL (1862-1952)

Lot 195 detail

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173a Standing Preening Black DuckA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1915

A rare life-size turned-head black duck mantel carving retaining themaker’s oval brand on the bottom. This exceptional carving exhibitsblended detailed feather painting, life-like bill detail, carved primarywing feathers and fluted tail carving. Crowell made far fewer life-sizedecorative waterfowl carvings than shorebirds and miniatures. Thescale and detail required far more time, and as a result the numberof life-size waterfowl carvings can only be counted in the dozens.Original paint with craquelure on the fore and aft end grain. A smallpiece of one gesso foot and some toes are missing.


LITERATURE: Brian Cullity, The Songless Aviary: The World of A.E.Crowell & Son, Sandwich, MA, 1992, p. 82, figure 44, similar birdillustrated.

ESTIMATE: $30,000-$60,000

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174 Miniature OrioleA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stamp andspecies identification on the bottom of thebase. Original paint with a chip to beak tip.

LITERATURE: Joseph H. Ellis, Birds in Woodand Paint: American Bird Carvings and TheirCarvers, 1900-1970, Lebanon, NH, 2009,dust jacket cover, pp. 70-72, similar minia-tures illustrated. Brian Cullity, The Songless Aviary: The Worldof A.E. Crowell & Son, Sandwich, MA, 1992,p. 52, plate XII, similar bird illustrated.

ESTIMATE: $1000-$2000

175 Miniature BluebirdA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stamp onthe bottom of the base. Original paint withminor wear including a chip to the beak tipand some roughness to the tail edges.

LITERATURE: Joseph H. Ellis, Birds in Woodand Paint: American Bird Carvings and TheirCarvers, 1900-1970, Lebanon, NH, 2009, pp. 70-72, similar miniature illustrated. Brian Cullity, The Songless Aviary: The Worldof A.E. Crowell & Son, Sandwich, MA, 1992,p. 52, plate XII, similar bird illustrated.

ESTIMATE: $1,000-$2,000

176 Miniature TowheeA. Elmer Crowell (1862-1952)East Harwich, MA, c.1929

Retains the maker’s rectangular stamp andspecies identification on the bottom of thebase. Original condition.

LITERATURE: Joseph H. Ellis, Birds in Woodand Paint: American Bird Carvings and TheirCarvers, 1900-1970, Lebanon, NH, 2009, pp. 70-72, similar miniatures illustrated.

ESTIMATE: $1,000-$2,000

177 Miniature GoldfinchA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stamp andspecies identification on the bottom of thebase. Original paint with a chip to beak tipand a rub on the crown.


ESTIMATE: $1,000-$2,000

178 Miniature Scarlet Tanager

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1929

Retains the maker’s rectangular stamp andspecies identification on the bottom of thebase. Original paint with minor wear to edgeof tail and beak tip.


ESTIMATE: $1,000-$2,000

179 Miniature Red-Headed Woodpecker



Retains the maker’s rectangular stampand species identification on the bottomof the base. Original paint with lightcraquelure, minor wear to edge of tail,crown, and beak tip.


ESTIMATE: $1,000-$2,000

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176

179178

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180 Miniature FlickerA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stampand species identification on the bottomof the base.

Original paint with a beak and tail chip.The tail has been reset and both legs needto be reset.

LITERATURE: Joseph H. Ellis, Birds in Woodand Paint: American Bird Carvings andTheir Carvers, 1900-1970, Lebanon, NH,2009, pp. 70-72, similar miniatures illus-trated.

ESTIMATE: $1000-$2000

181 Miniature RobinA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stampand species identification on the bottomof the base. Original paint with a chip tobeak.


ESTIMATE: $1,000-$2,000

182 Miniature KingbirdA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929



ESTIMATE: $1,000-$2,000

183 Miniature Hooded WarblerA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929



ESTIMATE: $1,000-$2,000

184 Miniature Red-Winged BlackbirdA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stampand redwing species identification on thebottom of the base. Original paint with abeak chip.


ESTIMATE: $1,000-$2,000

185 Miniature CatbirdA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stampand Blue Cat Bird species identificationon the bottom of the base. Original paintwith craquelure, a minor chip to beak anda loose leg.


ESTIMATE: $1,000-$2,000

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186 Miniature Downy WoodpeckerA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stampand species identification on thebottom of the base. Original paint witha minor chip to beak.

LITERATURE: Joseph H. Ellis, Birds inWood and Paint: American BirdCarvings and Their Carvers, 1900-1970,Lebanon, NH, 2009, pp. 70-72, similarminiatures illustrated.

ESTIMATE: $1,000-$2,000

187 Miniature ChickadeeA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stampand species identification on thebottom of the base. Original paint withchips to the beak tip and tail.

LITERATURE: Joseph H. Ellis, Birds inWood and Paint: American BirdCarvings and Their Carvers, 1900-1970,Lebanon, NH, 2009, pp. 70-72, similarminiatures illustrated. Brian Cullity, The Songless Aviary: TheWorld of A.E. Crowell & Son, Sandwich,MA, 1992, p. 52, plate XII, similar birdsillustrated.

ESTIMATE: $1,000-$2,000

188 Miniature Tree SwallowA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stampand species identification on thebottom of the base. Original paint withrubs to wingtip and beak and a minorscratch on a primary feather.

LITERATURE: Joseph H. Ellis, Birds inWood and Paint: American BirdCarvings and their Carvers, 1900-1970,Lebanon, NH, 2009, pp. 70-72, similarminiatures illustrated.

ESTIMATE: $1,000-$2,000

189 Miniature Golden-Winged WarblerA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the Maker’s rectangular stampand species identification on thebottom of the base. Original paint witha minor chip to beak tip.


ESTIMATE: $1,000-$2,000

190 Miniature Brown ThrasherA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stampand species identification on thebottom of the base. Original paint witha chip to beak tip.


ESTIMATE: $1,000-$2,000

191 Miniature PeweeA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the maker’s rectangular stampand species identification on thebottom of the base. Original paint witha minor chip to beak tip.


ESTIMATE: $1,000-$2,000

192 Miniature Oven BirdA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Retains the Maker’s rectangular stampand species identification on thebottom of the base. Original paint witha rub to the beak tip and the tail edge.


ESTIMATE: $1,000-$2,000

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194

HARRY V. LONG (1857-1949)

“Jim, Prince & 100 Years.” A mid-day break during an upland shoot. From the journal of Harry V. Long, 1927.

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193 Black-Bellied PloverA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early “dust jacket” plover is painted in emergingplumage. A related example is pictured on the cover ofAmerican Bird Decoys by William J. Mackey, Jr. The bird’sdetails include: raised heartshaped carving to the top ofeach wing, fully carved concave primaries that join at thetips, and deeply carved wing separation between theprimary tips. A hollowed out cut bores through to thedropped tail. There is an original inset metal sleeve insidethe stick hole.

Crowell’s “dust jacket” plovers are amongst the mosthighly sought after shorebird decoys; less than eighteenexamples in original paint are thought to exist. Original paint with even gunning wear; hairline check to rightside of the body – original to the piece; minor paint loss toface around eyes and bill; original bill has a hairline crack.

Provenance: Commissioned by Harry V. Long, Cohasset,MassachusettsPrivate collection, by descent in the family

LITERATURE: Copley Fine Art Auctions, LLC, The Harry V.Long Collection of A. Elmer Crowell Decoys, The SportingSale, Boston, MA, 2009, P. 68, 77-79, exact bird illustrated.Quintina Colio, American Decoys, Ephrata, PA, 1972, pp.48, 51.Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Hyannis, MA, 1992, pp. 43, 49, 59.John and Shirley Delph, New England Decoys, Exton, PA,1990, dust jacket cover and p. 119.Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 53.Guyette & Schmidt, Inc., North American Decoys atAuction, November 8-9, 2004, cover and pp. 82-83.Robert Shaw, Call to the Sky: The Decoy Collection ofJames M. McCleery, M.D., Houston, TX, 1992, pp. 14-15.William J. Mackey, Jr., American Bird Decoys, New York,NY, 1965, dust jacket cover, color plate 3.Donna Tonelli, Top of the Line Hunting Collectibles, Atglen, PA, 1998, p. 87.ESTIMATE: $60,000-$90,000

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194 Preening Greater YellowlegsA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

Magnificent preening greater yellowlegs, with a slightly openbill, cradling an inserted metal feather. The “ticking” on theinner primaries constitutes some of the most intricate painttreatment seen on any Crowell carving and closely relates toan important lesser yellowlegs sold by this firm in July, 2011 atour Sporting Sale. This grand wing-up mantel bird has carvedtail feather detail and is mounted on a carved rock base.Signed by the maker on the bottom of the base “A. E. Crowell,Cape Cod,” also impressed with his rectangular stamp.

This decoy was featured in the 2009 A. Elmer Crowell: Masterof Decoys & More exhibit at the Mass Audubon Visual ArtsCenter in Canton, MA. This exhibit featured some of the finestCrowells known, including the Harry V. Long Collection. Fromthis exhibit this bird was chosen to illustrate the exhibit’sbanner and the cover of the proposed book A. Elmer Crowell:Master of Decoys. Excellent original paint with minimal touch-up to metal feather area and a few toes.

PROVENANCE: Private Collection

LITERATURE: Joseph H. Ellis, Birds in Wood and Paint, AmericanMiniature Bird Carvings and their Carvers, 1900-1970, Lebanon,NH, 2009, p. 55, Fig 5-4 and 5-5, similar bird illustrated. Brian Cullity, The Songless Aviary, Hyannis, MA, 1992, p. 78,plate 35, similar bird illustrated.

ESTIMATE: $40,000-$60,000

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195 Hudsonian CurlewA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1930

An exceptional life-size mantel bird carving displaying agraceful turned-head posture with an arching bill, the finestimported glass eyes, and tail feather detail. The bird’s paint,gently blended, is an accurate portrayal of a jack curlew,hudsonian curlew (historical names) or whimbrel (modernnomenclature), exhibiting intricate feather paint detail, even onthe eyelids. Retains Crowell’s rectangular stamp on the under-side of the base along with written species identification.

One of three preening Crowell curlews with this form believedto exist. In 1982, a preening curlew with a rectangular stampwas illustrated and offered as the cover lot of the Richard A.Bourne Company’s July auction catalog. A second preening

curlew originally in the collection of Constance Crowell residesin an important New Jersey collection. This third example originally resided in the important John S. du Mont collectionof Crowell mantle carvings. Outstanding original condition witha faint age line along the neck seam.

PROVENANCE: John S. du Mont Collection Private Collection, Cape Cod, Massachusetts

LITERATURE: Brian Cullity, The Songless Aviary: The World of A.E.Crowell & Son, Sandwich, MA, 1992, p. 24, figure 25, similarbird illustrated. Richard A. Bourne Co. Inc., Rare American Decoys and BirdCarvings, July, 13 and 14, 1982, lot 529 and front cover, similarexample illustrated.

ESTIMATE: $60,000-$90,000

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196 Complete Set of Twenty-Five Miniature Waterfowl



A very early custom set by the father of bird carving, this group

represents an opportunity for the serious collector of Americana

to obtain perhaps the finest complete set of Crowell miniature

waterfowl carvings ever offered at auction. The set comes with an

original wood and glass case that was custom designed for a

complete set of twenty-five Crowell miniature waterfowl.

Crowell’s typical list for a set of twenty-five waterfowl carvings

included a merganser hen, a mallard hen, a bluebill hen and a

bufflehead drake. In this set, however, theses species were replaced

by Crowell with a goldeneye hen, a green-winged teal, a surf scoter

drake and an eider drake. The last two species are rarely found in

any set, and are difficult to find even as individual works.

Aside from using early names like gooseander and sheldrake to

identify the carvings on the bottom, in this set, Crowell identifies

others as green teal, blue teal, “sea duck” (common eider), and

“skunk scooter” (surf scoter).

Each miniature is stamped with Crowell’s “A. E. Crowell, maker,

East Harwich, Mass” circular ink stamp, and the species is written

in pencil in Crowell’s distinct cursive writing.

The set includes the following species: bluebill drake, old squaw

drake, ruddy duck drake, hooded merganser drake, widgeon drake,

blue-winged teal drake, black duck, mallard drake, green-winged

teal hen, canvasback hen, goldeneye hen, goldeneye drake,

redhead hen, red-head drake, surf scoter drake, eider drake, pintail

drake, canvasback drake, American merganser drake, red-breasted

merganser drake, pintail hen, green-winged teal drake, brant,

Canada goose, wood duck drake. Outstanding original condition

with minor craquelure.

PROVENANCE: George Abercrombie Spaulding, Boston,

Massachusetts, from his South Carolina Plantation

Collectable Old Decoys, South Carolina

Private Collection, Cape Cod, Massachusetts

Private Collection, New England

LITERATURE: A.E. Crowell, “Cape Cod Memories,” in Duck Shooting

along the Atlantic Tidewater, Eugene V. Connett, ed, New York,

1947, pp. 59-60. Brian Cullity, The Songless Aviary, Hyannis, MA, 1992,

pp. 90-99,

similar birds illustrated.

ESTIMATE: $100,000-$150,000

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197 Flying Green-Winged Teal DrakeA. Elmer Crowell (1862-1952)East Harwich, MA, 1931

This rare life-size carving exhibits superb wet-on-wet dry brushfeathering, nicely carved wing and tail feathers, concise nail,nostrils, and mandible bill carved detail. Inscribed “To my DearFriend J.B. Chase from Elmer Crowell 1931” with the maker’srectangular stamp. This teal represents one of the finest life sizeddecorative waterfowl carvings by the maker ever to come toauction. Crowell rarely carved these life size wall mounts. Theincredible detail, full body carving aspect and early date place itamongst the artist’s elite works. Original paint with an area ofprofessional touch-up to a one half-inch seam along the edge ofeach wing where it connects to the body.

PROVENANCE: J.B. Chase Collection Private Collection, Massachusetts

ESTIMATE: $50,000-$70,000

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198 Nineteen Miniature Waterfowl CarvingsA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1920

This grouping offers a rare opportunity to acquire a large group of early matchedCrowell miniatures from an important New England collection. The ducks bear themaker’s early, blue paper label on the bottom, with the label’s center band identifying each species in script. This important group was originally purchased byEdward J. Mitton, one of the founders, of the Jordan Marsh and Company depart-ment store in Boston, Massachusetts. This set includes a Canada goose, brant,canvasback drake, black duck, blue-winged teal drake, blue-winged teal hen, green-winged teal hen, mallard hen, American merganser drake, redhead hen,bufflehead drake, hooded merganser drake, bluebill drake, widgeon drake, bluebillhen, old squaw drake, eider drake, goldeneye hen, and a goldeneye drake. Fourteenof the miniatures are in original condition with minimal wear from handling. Thegreen-wing teal and goldeneye hens have chips to their bills. The eider has a tailchip. The Canada goose and hooded merganser have reset heads. The blue-wingedteal has lost its label. Overall the collection is in very good condition, with each birddisplaying bright colors, fine blended feathering and pleasing patina.

PROVENANCE: Mr. and Mrs. Edward J. Mitton Collection Private Collection, by descent in the family

LITERATURE: Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son,Sandwich, MA, 1992, p. 52, plate X, similar birds illustrated.

ESTIMATE: $30,000-$60,000

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199 Miniature Stilt

A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

A slightly larger four and one-half inches high, minia-ture black-necked stilt. The carving displays finepainted feather detail. “Stilt” is written in script onthe bottom above the maker’s rectangular stamp.Original condition.


LITERATURE: Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Sandwich, MA, 1992,p. 101, figure 82, similar bird illustrated.

ESTIMATE: $2,000-$4,000

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200 Miniature Canada GooseA. Elmer Crowell (1862-1952)East Harwich, MA, c. 1929

With nicely blended paint the number “25”, its setnumber, is written in script on the bottom with themaker’s rectangular stamp. Original condition.


LITERATURE: Brian Cullity, The Songless Aviary: The Worldof A.E. Crowell & Son, Sandwich, MA, 1992, p. 52, plateX, similar bird illustrated.

ESTIMATE: $1,500-$2,500

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201201 Miniature Redhead Drake A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early carving bore the maker’s circular “Maker” inkstamp which has faded. Original paint with touch-up toan age line in the bill and scratch on the top of the head.

PROVENANCE: Rev. Claude C. Curtis Collection Private Collection, by descent in the family.

ESTIMATE: $800-$1,200

202 Miniature Mallard Drake A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early carving bore the maker’s circular “Maker” inkstamp which has faded. Original paint with a reset headand scratches in bill paint.


ESTIMATE: $1,000-$1,500

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203 204 205206 Miniature Goldeneye Drake A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early carving bore the maker’s circular “Maker” inkstamp which has faded. Original paint with touch-up to avery small scratch on the back and a rub on the tail edge.


ESTIMATE: $1,000-$1,500

207 Miniature Bufflehead Drake A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early carving bore the Maker’s circular “MAKER” inkstamp which has faded. Original paint with light craquelure.


ESTIMATE: $800-$1,200

208 Miniature Hooded Merganser Drake A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early carving bore the maker’s circular “Maker” inkstamp which has faded. Original paint with touch-up to areset original bill tip.


ESTIMATE: $800-$1,200

209 Miniature American Merganser Drake A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early carving bore the maker’s circular “Maker” inkstamp which has faded. Original paint with minimal touch-up to the paint on the bill tip.


ESTIMATE: $800-$1,200

210 Miniature Black Duck A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early carving retains a faded maker’s circular “Maker”ink stamp. Original condition.


ESTIMATE: $800-$1,200

211 Miniature Brant. A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early carving retains the maker’s circular “Maker” inkstamp. Original paint with touch-up to a bill crack.


ESTIMATE: $1,000-$1,500

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209 210 211

203 Miniature Red-Breasted Merganser A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early carving bore the maker’s circular “Maker” ink stamp whichhas faded. “A. E. Crowell, East Harwich,” was printed on the bottomat a later date. Original condition.


ESTIMATE: $1,000-$1,500

204 Miniature Bufflehead Hen A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

A rare species of miniature duck carving by Crowell. This early carvingbore the maker’s circular “Maker” ink stamp which has faded on thiscarving. Original condition with minor wear.


ESTIMATE: $1,000-$1,500

205 Miniature Green-Winged Teal Drake A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1910

This early carving bore the maker’s circular “Maker” ink stamp whichhas faded. Original condition.


ESTIMATE: $800-$1,200

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212 Miniature Ruffed GrouseHelen Lay Strong (1915-1995)Seneca Falls, NY, c. 1960

The bird is signed and identified by the maker on the underside ofthe base. These birds were originally purchased from the artist bythe well-known American fly fisherman and conservationist, LeeWulff. They are some of the finest H.L. Strong carvings ever tocome on the market. Original condition.

PROVENANCE: Lee Wulff Collection

ESTIMATE: $200-$400

213 Miniature Bobwhite Quail PairHelen Lay Strong (1915-1995)Seneca Falls, NY, c. 1960

The birds are signed and identified by the maker on the undersideof the base. Original paint with a chip to the crest of the male.


ESTIMATE: $200-$400

214 Miniature Pintail DrakeHelen Lay Strong (1915-1995)Seneca Falls, NY, c. 1960

The bird is signed and identified by the maker on the underside of the base. Original paint with a minor chip to tail tip.


ESTIMATE: $200-$400

215 Miniature Flying Blue-Winged Teal DrakeHelen Lay Strong (1915-1995)Seneca Falls, NY, c. 1960

The bird is signed, dated and identified by the maker on theunderside of the base. Original paint with light wear to wing tips.


ESTIMATE: $200-$400

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216 Miniature Mallard Drake Flyer A. Elmer Crowell (1862-1952)East Harwich, MA, c. 1930

A flying miniature mallard half-model with an inset curvedwing. The bird measures almost seven inches from tip to tail.The inserted foot is made from hammered wire and themaker’s rectangular stamp is on the flat side of the bird.Original paint with a minute rub to wing tip. The plaque is alater addition and detachable from the carving.

ESTIMATE: $2,000-$3,000

217 Miniature Eurasian Widgeon PairAllen J. King (1878-1963)North Scituate, RI, c. 1940

A rare species by the maker signed “A. J. King” on the side ofthe natural wood base. Original paint. The drake has a resethead and the hen has a primary wing tip missing .

PROVENANCE: Eve DuPont Remer Collection, purchased at theCrossroads of Sport Private Collection, by descent in the family

LITERATURE: Joseph H. Ellis, Birds in Wood and Paint: AmericanBird Carvings and Their Carvers, 1900-1970, Lebanon, NH,2009, p. 107, Fig. 11.2, similar pair illustrated.

ESTIMATE: $1,000-$1,500

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218 Miniature Pheasant HenAlbert J. Dittman (1884-1974)Williamstown, MA, c. 1940

Signed with the maker’s AJ within a D mark on the side of thebase. A species identification and signature also appear on thebottom. Original paint with minor touch-up to the tail.

ESTIMATE: $200-$400

219 Miniature Canada GooseJohn Byron GartonSmith Falls, Ontario, Canada, c. 1970

Signed “J.B. Garton” in pencil and with the maker’s brand onthe bottom. Garton is a two-time World Champion bird carver.Original paint with minor wear from handling.

ESTIMATE: $100-$200

220 Two Miniature GeeseRobert G. Kerr (b. 1935)Smith Falls, Ontario, Canada, 1975

A snow goose and a white-fronted goose, each measuringalmost eight inches in length. The snow goose has a signedand dated inscription on the underside. Original paint withminor wear including a small tail chip on the white-frontedgoose.

ESTIMATE: $300-$500

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221 Canada GooseJoseph W. Lincoln (1859-1938)Accord, MA, c. 1920

A life-size solid-bodied decoy by this famed South Shore,Massachusetts carver. A later repaint or restoration withgunning wear and a check along the base.

ESTIMATE: $1,000-$1,500

222 ScoterJoseph W. Lincoln (1859-1938)Accord, MA, c. 1900

A self-bailing sea duck decoy branded on the top and bottom“CGR.” Working repaint with gunning wear.

ESTIMATE: $400-$600

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223 Stacked Sleds of Scoter DecoysJoseph W. Lincoln (1859-1938) (attr.)Accord, MA, c. 1920

A set of white-winged scoter silhouette decoys, joined to theircross-boards with nautical anchor-headed nails. In old gunningpaint with wear, one head has been reset.

ESTIMATE: $400-$800

224 Three Scoter SilhouettesSouth Shore, MA, c. 1920

A white-winged scoter shadow and a pair of scoter shadowssled-rigged. The pair has heavy gunning wear. The other hasheavy gunning wear, neck cracks, and a reset chip on head.

ESTIMATE: $50-$100

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225 Red-Breasted Merganser HenAllen Stuart (b. 1866) (attr.)Martha’s Vineyard, MA, c. 1920

An early, painted eye, solid-bodieddecoy. In-use repaint with some tracesof original paint, gunning wear, andhead and bill reset with bill tip missing.

ESTIMATE: $200-$400

226 Edward Takacs (b.1952)Joseph W. Lincoln brant decoyc. 2000Signed lower right

A painting of a Lincoln brant decoyfrom the famous Dr. James McCleeryCollection. Antique Massachusettsdecoys are often painted by artistsinterested in entering the state’sduck stamp competition.

ESTIMATE: $100-$200

227 Live Bait SignA two-sided vintage advertising sign,c. 1940 Signed “Burrell” lower right Oil on board, 25 by 50 inches

ESTIMATE: $800-$1,200

228 Miniature Duck’s UnlimitedDishesA collection small dishes, mostabout four inches in diameter withdecoy motif centers, made for theNew Jersey Ducks UnlimitedCommittee. The collection includesfour from 1970 and 1971 and dozensof others through to 1990.

ESTIMATE: $50-$100

229 Bald EagleAn immature eagle carving withcarved eyes, laminate woodconstruction and applied wings withincised feather detail. Original surfacewith light wear, seam shrinkage, anda tail chip.

ESTIMATE: $500-$1,000

230 Ivory-Billed WoodpeckerRoy J. Legaux, Sr.Braithwaite, LA, c. 2000

The senior member of the Legauxfamily of Cajun bird carvers hashandcrafted a life-size woodpecker, acritically endangered species. He hasgenerously donated 100% of hisproceeds from the sale of this pieceto the Jimmy Fund to help find acure for cancer in children. Originalcondition.

ESTIMATE: $1,500-$3,000

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230a Canada GooseF. Edward Snyder (b. 1928)Rio Vista, CA, c. 1970

An alert finely detailed decoy with carvedprimary feathers. Titled “Canadian Honker”on the bottom and signed by the maker.Original paint with a reset primary feather.

LITERATURE: Michael R. Miller and FrederickW. Hanson, Wildfowl Decoys of the PacificCoast, Davis, CA, 1989, pp. 286-293, similardecoys illustrated.

ESTIMATE: $750-$1,500

230b Eurasian Widgeon PairFrank C. Willis (1917-1997)Redwood City, CA, 1968

A pair of life-size, slightly turned headdecoys, identified, signed and dated on thebottom. Both are in original paint with minorwear. The hen has a tight age crack in the tail.The drake has a minor tail chip.

ESTIMATE: $300-$600

230c Snow GooseF. Edward Snyder (b. 1928)Rio Vista, CA, 1974

A hollow, life-size decoy with detailed feath-ering carved for competition. Inscribed“2nd Place, Snow Goose, Pacific FlywayDecoy Contest, Santa Rosa, CA, 5/ 22/ 74”on bottom. Original condition.

LITERATURE: Michael R. Miller and FrederickW. Hanson, Wildfowl Decoys of the PacificCoast, Davis, CA, 1989, pp. 286-293.

ESTIMATE: $500-$1,000

230d High Head Pintail and StandingPintail DrakeF. Edward Snyder (b. 1928)Rio Vista, CA, 1973

A high-head pintail drake decoy signed anddated on the bottom and an earlier life-sizestanding pintail drake, unsigned, on a drift-wood base, attributed to Snyder. Originalcondition, the bill of the standing pintail hasbeen reset.

LITERATURE: Michael R. Miller and FrederickW. Hanson, Wildfowl Decoys of the PacificCoast, Davis, CA, 1989, pp. 286-293. Similardecoys illustrated.

ESTIMATE: $600-$1,200

230e Three MergansersFrank C. Willis (1917-1997)Redwood City, CA, 1996 and 1997

A three-quarter-size pair of red-breastedmergansers, the maker’s “model S” size,and a life-size hooded merganser drakecarved from redwood. Each bird identifiedand signed on the bottom. A Willis decoy iscontained in the presidential library ofRichard M. Nixon. The red-breasted pair arein original condition. The hooded merganserhas a reset neck, bill and tail chips.

ESTIMATE: $600-$900

230f White-Winged Scoter Pair and RuddyDuck DrakeFrank C. Willis (1917-1997)Redwood City, CA, 1966 and 1964

Three of his S-model, scaled down decoysconsisting of a pair of slightly turned headsea ducks and a tucked head ruddy duck.Each is identified, signed and dated on thebottom. All three are in original paint andthe drake scoter has a minor tail chip.

ESTIMATE: $400-$800

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231 Two ReelsIngvar Nilsson (attr.) 2 3/4” left-handedtrout reel with wooden tail and head plates.In unused condition.

Ingvar Nilsson 2 1/2” left-handed trout reelwith wooden tail and head plates. Engraved“Ingvar, Sweden.” In wooden box. Inunused condition; one has an irregular wind.

PROVENANCE: Thomas W. SheppardCollection

ESTIMATE: $500-$800

232 Two ReelsOtto Zwarg Model 600 Maximo salt waterreel, St. Petersburg, FL, c. 1950. Zwarg wasa master reel maker at Edward vom HofeCompany. When vom Hofe closed theCompany, Zwarg bought their designs andpatents and continued production underhis own name until 1960. In used, as foundcondition with its original worn leather case.

The Orvis Battenkill 8/9 fly fishing reel,Made in England, c. 1990. In lightly used, asfound, condition with its original case.

ESTIMATE: $200-$400

233 Three ReelsSaracione A 3 3/4” left-handed salmonreel, with 1 1/2” spool width. Stamped“024, Saracione.” Drag adjustment on tailplate. In good condition with light wear fromuse.

Saracione 3 1/4 inch Deluxe Trout Reelstamped “182, Saracione.” Appears to beunused, in original case and box.

Bill Ballan Left-handed trout reel with 33/8” diameter and 7/8” spool width. Inunused condition.

PROVENANCE: Thomas W. SheppardCollection

ESTIMATE: $800-$1,200

233a Five Fishing Rods (not illustrated)An Orvis 7’ 9” HLS graphite two-piece flyrod, five weight.

An A&F 7’ two-piece Coaster 70 H spin rod.One of the two tips is broken.

Two Garcia Conolon 7’ two-piece light spin-ning rods.

A vintage 4.5’ two-piece steel fishing rod. A canvas carrying case. As found.

ESTIMATE: $100-$200

233b Two Bamboo Fly RodsA J.C. Higgins 7’ 6” No. 3048 two-piecebamboo fly rod with two tips. Used condition.

An antique 10’ three-piece bamboo fly rodwith two tips. In used condition; one tip hasa new tip end, which does not affect length,and a broken guide ring.

ESTIMATE: $100-$200

233c Two Bamboo Fly RodsA Goodwin and Granger Company, 9’,three-piece (middle piece missing), 5 1/4oz., “Denver Special” bamboo fly rod withtwo tips. As found.

A F.E. Thomas, Bangor, ME., 9’ 6”,“Special,” three-piece bamboo fly rod withtwo tips. In used condition with one tip, re-tipped and shorter than the other.

233b 233c

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234 Bluebill HenQuebec, Canada, c. 1930

A St. Lawrence River decoy with painted eyes, a slightly turnedhead and extensive chip-carved feather detail. Original paintwith gunning wear.

ESTIMATE: $200-$400

235 Black DuckToronto, Canada, c. 1920

An extremely hollow, high-head Toronto School decoy. Old in-use repaint with crazing and gunning wear.

ESTIMATE: $200-$400

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237

236 Goldeneye HenAlphonse EmondMontreal, Canada, c. 1930

This decoy from Verdun, along the St. Lawrence River, displaysa carved bill, glass eyes, and comb painting with lightly incisedfeather detail. Original paint with gunning wear.

ESTIMATE: $300-$600

237 Black DuckJulius E. Mittlesteadt (1888-1957)Buffalo, NY, c. 1920

A fine example of this carver’s work, out of his personalgunning rig with his initials “JEM” carved in the bottom.Original paint with appealing even craquelure and light gunning wear to include minor neck seam separation.

ESTIMATE: $800-$1,200

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237a Canvasback DrakeThomas Chambers (1860-1948)Wallaceburg, Ontario, Canada, c. 1900

A hollow long-bodied decoy with a lead strip weight. Original paint with even gunning wear.

ESTIMATE: $2,000-$4,000

237b Tucked Head Black DuckThomas Chambers (1860-1948)Wallaceburg, Ontario, Canada, c. 1900

A hollow low-head decoy with a “G NILLUP” brand on the bottom. In old working paint with even gunning wear to include an old reset bill.

ESTIMATE: $800-$1,200

145

238 Bluebill DrakeBlair SchoolDelaware River, c. 1890

An early tack-eye decoy with “WS & JP”stamped on the bottom. Traces of old paint,mostly worn to the wood with gunning wear.


ESTIMATE: $200-$400

239 Swimming Black DuckDelaware River, c. 1980

An over-size, thirty-one-inch long DelawareRiver decoy with tack eyes and raisedprimaries. The decoy has an anchor loopbut was also drilled for use in the field.Original condition.

Provenance: Don Stilwell Collection

ESTIMATE: $200-$400

239a Four Coot DecoysA canvas-covered coot decoy by NickSapone, Wanchese, NC, c. 1980. A narrow-bodied coot by Roy Christiansen, c. 1970 A coot decoy marked “AN-13” on thebottom, c. 1960 A balsa-bodied coot byHerter’s Inc., Waseca, MN, c. 1940. Asfound condition.

ESTIMATE: $100-$200

239b Two Goose DecoysA Canada goose decoy by Arthur Landry (b.1920), Inkerman, New Brunswick, Canada,c. 1950.

A brant decoy from Cape Cod, MA, c.1910 from the Monomoy Brant Club rig.The Canada goose is in original paint with gunning wear. The brant has old in-use repaint, with gunning wear and areplaced bill.

ESTIMATE: $400-$600

239c Two Contemporary Decoys and aShot BoxA Canada goose carved in the MasonDecoy Factory style, c. 1990.

A preening pintail drake with carved raisedprimaries, c. 1980 with an ‘antiqued’ finish.

A wooden shell box, advertising Remingtonammunition, c. 1990, made for DucksUnlimited. As found condition.

ESTIMATE: $200-$400

239d Three DecoysA goldeneye drake by Ferman R. Eyre (1882-1969), Brockville, Ontario, Canada, c. 1930.

A hollow Horner-style brant by theWildfowler Decoy Factory (1961-1977), PointPleasant, NJ, c. 1970.

A turned head canvasback drake by ButchParker, Holtwood, PA, c. 1980 with hisbrand and a metal maker’s tag. All three

are in original paint. The goldeneye hasgunning wear and craquelure.

ESTIMATE: $400-$600

239e Two Vintage Decoys1974

A two-third-size wood duck drake by Dr.David A. Frier (1931-2010), Macomb, IL,signed and dated on the bottom.

A life-size turned head pintail drake byCharles Moore, DeKalb, IL, signed anddated on the bottom. Both are in originalpaint.

ESTIMATE: $200-$400

239f Green-Winged Teal PairRobert BatesShiremanstown, PA, c. 1940

This pair of finely detailed decoys is carvedwith contoured bodies and carved raisedwings. They are signed and dated on theunderside with a stylized initial brand.Original condition.

ESTIMATE: $400-$600

239g Swimming Mallard DrakeMichigan, c. 1950

A swimming mallard with carved wing andbill detail and a weighted keel. Originalcondition.

ESTIMATE: $200-$400

239238 239a

239c239b 239d

239f 239g239e

SESSION II

Paintings, Works on Paper, and Books

240

241

242

147

240 Chet Reneson (b. 1934)Fly FishingSigned “Reneson” lower leftWatercolor, 15.5 by 26.5 inches

PROVENANCE: Charlie Chapin III Collection

ESTIMATE: $3,000-$5,000

241 Chet Reneson (b. 1934)Early Morning on the MarshSigned “Reneson” lower leftWatercolor, 17 by 28 inches

PROVENANCE: Thomas W. Sheppard Collection

ESTIMATE: $3,000-$6,000

242 Chet Reneson (b. 1934)Grouse Moor Shooting, 2005Signed and dated “Reneson 05” lower left Watercolor, 17.5 by 28 inches


ESTIMATE: $3,000-$6,000

148

244 Arthur Shilstone (b. 1922)Fishing Below the Bluffs, 1986Signed “Arthur Shilstone” lower rightWatercolor, 13.5 by 19.5 inches


LITERATURE: Diane K. Inman, The Fine Art of Angling,Incline Village, NV, 2007, p. 135, illustrated.

ESTIMATE: $1,000-$2,000

243 Arthur Shilstone (b. 1922)Almost ThereSigned “Arthur Shilstone” lower rightWatercolor, 17 by 24 inches


ESTIMATE: $2,000-$4,000

243

244

242a Chet Reneson (b. 1934)St. Paul River, QuebecSigned “Reneson” lower rightWatercolor, 19 by 28 inches

ESTIMATE: $3,000-$6,000

242a

149

245 David A. Maass (b. 1929)Green-Winged TealSigned “Maass” lower rightOil on board, 24 by 36 inches

An avid sportsman and ardent contributor to conservation organizations, David Maass has beenactively painting game birds for more than thirty years. In the past twenty years he has designedmore than thirty conservation stamps and prints, a distinction few artists can claim. Over the lastseveral years, Ducks Unlimited, the National Wild Turkey Federation, and the Minnesota WildlifeHeritage Foundation have each named David Maass their Artist of the Year.

Mr. Maass’ original paintings and limited edition prints have been exhibited in galleries and showsthroughout the country, including the Smithsonian Institution’s National Collection of Fine Arts inWashington, D.C., the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, and the annualMinnesota Wildlife Heritage Foundation Show in Minneapolis. An original Canada Goose paintingby David Maass is also part of the Minneapolis Institute of Arts’ permanent collection.


ESTIMATE: $8,000-$12,000

245

246 246 Owen J. Gromme (1896-1991)Canada GeeseSigned “O.J. Gromme” lower rightOil on canvas, 16 by 20 inches

Owen Gromme was born in Wisconsin in 1896, andspent much of his childhood hunting in the wetlandsand forests near his home. Gromme made his careeras the Curator of Birds and Mammals at theMilwaukee Public Museum, staying in this positionfor over four decades. In this capacity he traveledacross the United States and to Africa documentingthe wildlife he encountered. Although he was a highschool dropout, by the time of his death in 1991Owen Gromme had received five honorary doctor-ates, as well as published and illustrated Birds ofWisconsin. Known for his conservation ethos,Gromme’s paintings reflect his love of the outdoors.


ESTIMATE: $5,000-$10,000

247

150

247 Richard Plasschaert (b. 1941)Wood Ducks, 1992Signed “Plasschaert” lower leftOil on masonite, 24 by 36 inches


ESTIMATE: $2,000-$4,000

248

248 Don Kloetzke (b. 1951)Owl, 2005Signed and dated “Kloetzke 05” lower rightOil on board, 25.5 by 37 inches


ESTIMATE: $600-$900

249

250

251

151

249 David Hagerbaumer (b. 1921)Winter Flush, 1962Signed and dated “David Hagerbaumer 1962”lower rightWatercolor, 16 by 22 inches


ESTIMATE: $1,000-$2,000

250 David Hagerbaumer (b. 1921)Mallards, 1959Signed and dated “David Hagerbaumer 1959”lower leftWatercolor, 15 by 21 inches

ESTIMATE: $1,000-$2,000

251 David Hagerbaumer (b. 1921)Canada Geese, 1960Signed and dated “David Hagerbaumer 1960”lower leftWatercolor, 21 by 29 inches

ESTIMATE: $1,000-$2,000

152

252 Richard LaBarre Goodwin (1840-1910)Hanging Game, 1884Signed and dated “R. LaBarre Goodwin 1884” lower rightOil on canvas, 48 by 29 inches

Born in Albany, New York, Richard LaBarre Goodwin was the son of portraitpainter Edwin Wyburn Goodwin (1800-1845). Taking after his father, he paintedportraits before turning to the gibier mort genre. Most famous for his “cabin door”paintings featuring a variety of hanging game birds, Goodwin worked in a highlyrealist style along the lines of Alexander Pope, Jr. (1849-1924) and George Cope(1855-1929).

Goodwin began painting these trompe l’oeil still lifes during the 1880s, when hespent a decade traveling through rural Western New York State. In 1890, Goodwinbegan his itinerant life, first moving to Washington D.C. While there he foundpatronage from California senators Leland Stanford (who is best known as thefounder of Stanford University) and George Hearst (millionaire investor whofounded the Hearst publishing empire with his son William Randolph Hearst). He went to Chicago for the 1893 World’s Fair and stayed for the next seven years.In 1900 he moved west, spending the remainder of his life in California and thePacific Northwest.

An idea for one of his cabin door paintings came about in 1905 when he was inPortland, Oregon, and attended the one-hundreth anniversary fair to commemo-rate the Lewis and Clark Expedition. He saw the exhibit of the door of a cabinwhere Theodore Roosevelt had lived when he was ranching in the Dakotas in1890. Goodwin used it as a model for his painting, Theodore Rossevelt’s CabinDoor.

This work relates closely to Theodore Roosevelt’s Cabin, showing a hunter’s bountyof a woodcock, a ruffed grouse, and mallards hanging from a door. The artistspared no detail, masterfully crafting every feather on each bird. This Goodwin isone of approximately six “cabin door” paintings known to exist.

PROVENANCE: Private Collection, New YorkBy descent in the family to the current owner

ESTIMATE: $20,000-$30,000

252

153

253

154

253 John Whorf (1903-1959)Early Morning East HarborSigned “John Whorf” lower right Watercolor, 14 by 20 inches.

Born in Winthrop, Massachusetts, John Whorf spent many years painting the seascapes around Provincetown,Massachusetts. As a young man, he studied in Boston, at the School of the Museum of Fine Arts and the St.Botolph Studio under Philip Leslie Hale (1865-1931) and Sherman Kidd. Whorf traveled to Europe in 1919,where he gradually made the change from oil painting to watercolors.

Known primarily for his scenes of Cape Cod and the surrounding area, as well as his urban scenes, Whorf isnoted for painting “watercolors with deep hues and striking passages of blue and black.” He was an activemember of the National Academy of Design and the American Watercolor Society. His work is held in the permanent collections of the Museum of Modern Art, the Smithsonian, and the Metropolitan Museum of Art,among many others.

A striking waterfowl composition, Early Morning depicts a Cape Cod gunner picking up a drake mallard on abright windy day.

ESTIMATE: $8,000-$12,000

155

254 Harry Curieux Adamson (b. 1916)Autumn’s Echelon- Canada Geese, 1973Signed “Harry Curieux Adamson” lower leftOil on canvas, 24 by 36 inches

Adamson was born in Seattle, Washington in 1916. After serving four years in WWII, he pursuedpainting full time and today has become internationally known for his wildlife paintings. Amongother accomplishments, Adamson was the first artist to be awarded the California WaterfowlAssociation’s Artist of the Year and in 1979 he was named Ducks Unlimited Artist of the Year.

Known primarily for his dynamic paintings of pintails and mallards, this is a rare subject for theartist. Wild Wings published a print of Autumn’s Echelon in an edition of 480 in 1973.


LITERATURE: Diane K. Inman, From Marsh to Mountain: The Art of Harry Curieux Adamson, San Francisco, CA, 1999, p. 125, illustrated.Wild Wings, Inc., The Wildlife Sporting Collection, Fall 1976-77, Lake City, MN, p. 15, illustrated.

ESTIMATE: $14,000-$18,000

254

255

255 Harry Curieux Adamson (b. 1916)Flight to the BackwatersSigned “Harry Curieux Adamson” lower rightOil on canvas, 18 by 24 inches

ESTIMATE: $8,000-$12,000

156

256 Louis Agassiz Fuertes (1874-1927)Wild Turkey, 1924Signed and dated “Louis Agassiz Fuertes 1924” lower rightOil on canvas, 30 by 50 inches

The successful reintroduction of the wild turkey to nearly its historical range of the entire continent is one of thegreat conservation stories of the last century. The onslaught of this majestic bird began with the landing of thePilgrims at Plymouth, Massachusetts in 1620. The number of wild turkey at the time of their arrival was, by someestimations, as many as ten million birds. Clear-cutting, a common practice in the colonies, destroyed the forestswhere 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 pronouncedhis 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 turkey 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 annualharvest in fifteen states of 47,000 birds. This clearly unsustainable quota placed the bird in dire straits. Due to thetireless efforts of conservation groups and hunters around the country, by 1999 the wild turkey population hadrebounded to over five million birds present in forty-nine of the United States.

Louis Agassiz Fuertes is considered one of the master avian artists of the late nineteenth and early twentieth century. Wild Turkey, seamlessly integrates the birds into the composition in a variety of stances, from feeding topreening. Fuertes’ talent was recognized in his lifetime in exhibitions at the Art Institute of Chicago, thePennsylvania Academy of Fine Art, and the Society of Independent Artists.

Fuertes weaves this southern landscape into a cohesive tapestry, incorporating such details as Spanish Moss andLive Oaks. This spectacular oil is not only one of the most important works by the artist to come on the market,but also one of the best depictions of the American wild turkey, convincingly shown in its natural habitat. Thispainting was originally commissioned by the Mebane family, to hang in the dining room of their country estate.

PROVENANCE: The Estate of Harry Bartlett Mebane Private Collection, acquired from the above

LITERATURE: A. Lassell Ripley and Dana S. Lamb, Sporting Etchings, Barre, MA, 1970, p. 63. James E. Cardoza, The Wild Turkey: An Astonishing Success Story, MA, 2002.

ESTIMATE: $20,000-$40,000

“The turkey ought to be our national bird...The turkey – our geologistscan prove – have been here forty million years. We know the Pilgrimskilled these big bronze birds a half mile from Plymouth Rock. We hopewhere they are now extinct the conservationists can put them backand teach them that they must take care.”

-Dana Lamb

256

157

257

158

257 Quail in Snow, c. 1850Oil on canvas, 24 by 32 inches

ESTIMATE: $8,000-$12,000

159

258.1 258.2 258.3

258.4 258.5 258.6

258.7 258.8 258.9

258.10 258.11 258.12

258 Arthur Burdett Frost (1851-1928)Shooting Pictures, set of twelve, 1895Chromolithographs, 12.25 by 19.25 inches Each inscribed “A.B. Frost” in plate Published by Charles Scribner’s Son Lot includes original folio and information sheets

258.1 Autumn Grouse258.2 Autumn Woodcock258.3 Rail Shooting258.4 English Snipe258.5 Quail Shooting258.6 Bay Snipe258.7 Rabbit Shooting258.8 Shooting Ducks from a Battery258.9 Prairie Chickens258.10 Shooting Ducks from a Blind258.11 Quail, A Dead Stand258.12 Summer Woodcock

Frost is well known for his numerous drawings that appeared inHarper’s Weekly and for the accurate detail in his works. The useof the lighter, French style of chromolithography gives the printsthe warmth and richness of the original watercolors.

LITERATURE: A.B. Frost, Shooting Pictures, New York, 1895. Whitman Bennett, A Practical Guide to Nineteenth CenturyAmerican Color Plate Books, New York, NY, 1949, p. 44. Henry M. Reed, The A.B. Frost Book, Rutland, VT, pp. 79-89, illustrated.

ESTIMATE: $7,000-$10,000

259 William J. Koelpin (1938-1996)Storm Warning, 1990Signed and dated “Wm. J. Koelpin © 90” on baseBronze, 27 by 12 by 11.5 inchesInscribed “Storm Warning” and “1/24” on base

William Koelpin was an avid hunter and fisherman from Wisconsin. He went on to become a celebratedsporting artist, who excelled in a number of mediums including bronze, paint, and wood. Throughouthis career he displayed his passion for the outdoors through his accurate and detailed works. His firstsold out exhibit was at the Midwest Decoy Collectors’ annual show in the mid 1970s.

Koelpin enjoyed many honors in his time, including the “Best in World” award from the Ward Museumin Salisbury, Maryland, and he was also named “One of America’s Premier Artists” by the Leigh YawkeyWoodson Art Museum in Wausau, Wisconsin. Since its creation Storm Warning has been coveted bycollectors, becoming one the most iconic waterfowling bronzes of all time.


ESTIMATE: $10,000-$15,000

259

160

161

260

260 William J. Koelpin (1938-1996)Ruffed Grouse, 1987Signed and dated “Wm. J. Koelpin © 87” on baseBronze, 7 by 9.5 by 15.5 inchesInscribed “Ruffed Grouse” and “8/24” on base


ESTIMATE: $2,000-$4,000

261

261 William J. Koelpin (1938-1996)Le Voyageur, 1991Signed and dated “Wm. J. Koelpin © 91” on baseBronze, 27 by 11 by 12.5 inchesInscribed “Le Voyageur” and “16/24” on base

ESTIMATE: $3,000-$6,000

162

262 William J. Koelpin (1938-1996)Conflict, 1992Signed “Wm. J. Koelpin © 92” above base Bronze, 9 by 13 by 20 inchesInscribed “2/24” above base

Although the edition size is stated as twenty-four, according tothe Koelpin family only two of these bronzes were ever cast.


ESTIMATE: $5,000-$8,000

262

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263 264

265 266

164

165

263 Navajo Late Classic Serape, c. 188072 by 56 inches

A Navajo weaving of yarn from Germantown, Pennsylvania, from aperiod when weavings of this type were still made for Native Americanuse as well as for sale to traders: such as L. Hubbell or C.N. Cotton.The predominant use of deep red made this a very desirable weavingat the time it was created. “Late Classic” refers to blankets wovenshortly after the “Classic” weaving period that ended with the Navajo’sinternment at Bosque Redondo. In excellent condition.

PROVENANCE: Robert Bauver Collection, author of Navajo and PuebloEarrings 1850-1945Nancy D. Mitton Collection

ESTIMATE: $8,000-$12,000

264 Navajo Weaving, c. 195072 by 40 inches

A Navajo weaving with a bold white, black and ochre geometric pat-tern on a variegated gray-brown background. In excellent condition.

PROVENANCE: Nancy D. Mitton Collection

ESTIMATE: $600-$1,200

265 Double Saddle Blanket, c. 189054 by 35 inches

Navajo double saddle blanket, a finely woven textile of Germantownyarn in a pattern of concentric, serrated diamonds and crosselements on a red field. Applied fringe on one end.In excellent condition.

PROVENANCE: Nancy D. Mitton Collection, purchased from ShiprockTrading Company, Santa Fe, New Mexico

ESTIMATE: $6,000-$10,000

266 Navajo Geometric Rug, c. 191057 by 33 inches

Woven in a simplified early 20th century design, in natural brown,ivory and red wool. In excellent condition.


ESTIMATE: $600-$900

267 Storm Pattern Rug, c. 193059 by 40 inches

The central design element represents Navajo Nation. The corner squared lines represent the four sacred mountains of thereservation. The zigzag elements represent lightening, connectingNavajo Nation to the sacred mountains. In excellent condition.


ESTIMATE: $2,500-$4,500

268 Navajo Stripe Diyugi Blanket, c. 187068 by 51 inches Navajo banded Diyugi/wearing blanket, woven of handspun wool innatural fleece. Brown and white with indigo blue and unidentifiedred. In very good condition.


ESTIMATE: $3,000-$5,000

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268

271

269

166

269 Navajo Transitional Weaving, c. 189057 by 45 inches

Transitional weaving with Navajo homespun yarn dyed with import-ed aniline dyes, woven in an “eye dazzler” pattern. These weavingswere woven to be marketed to an off-reservation clientele.No restoration, shows wear on edges and minor fading on one side.

PROVENANCE: Larry Frank Collection, author of Indian Silver Jewelryof the Southwest 1868-1930Robert Bauver Collection, author of Navajo and Pueblo Earrings1850-1945Nancy D. Mitton Collection

ESTIMATE: $2,500-$4,500

270 Navajo Chinle Banded Weaving, c. 193045 by 31 inches

A superb vegetal dyed “Chinle” Navajo weaving. In very good condition.


ESTIMATE: $200-$400

271 Chief Blanket, c. 190048 by 44 inches

Navajo woman’s manta, chief blanket variant, woven of handspunwool in natural brown and white with aniline dyed red. Bandedfield with banded overlay nine spot design comprised of threesquares, two diamonds and four half diamonds. In excellent condition.

PROVENANCE: Steve Getzwiller Collection, author of The Fine Art ofNavajo WeavingNancy D. Mitton Collection

ESTIMATE: $5,000-$8,000

270

167

272 Robert Elmer Lougheed (1910-1982) Alaska Moose Signed “R. E. Lougheed” lower left Oil on board, 12 by 16 inches Inscribed “567” and “Alaska Moose R. E. Lougheed” on back Kennedy Galleries, Inc., New York, New York label on back Kennedy Galleries, Inc., New York, New York exhibition label inscribed “K'Exh: 'Wild Life Paintings' 5/8-6/13/70” on backNational Cowboy Hall of Fame, Oklahoma City, Oklahoma label inscribed “IL.90.1.44 ALASKAMOOSE, oil, by Robert Lougheed, Lender: Mrs. Robert Lougheed” on back

Robert Lougheed worked as an illustrator for several notable publications such as NationalGeographic, Reader's Digest, and Sports Afield. He specialized in depicting animals, and was chosento design the flying red horse logo for the gasoline company Mobil. He was extremely active in theart community and helped to found the National Academy of Art at the National Cowboy Hall ofFame.

ESTIMATE: $8,00-$12,000

272

273 Carl Clemens Moritz Rungius (1869-1959)In the Cedar SwampSigned “C. Rungius” lower rightOil on canvas, 36 by 42 inchesInscribed “In the Cedar Swamp, C. Rungius” on back

Best known for his majestic landscape and wildlife scenes of the North Americanfrontier, Carl Clemens Moritz Rungius was twenty-six when he first saw the West.In the years that followed the artist visited Montana, Wyoming, Arizona,Yellowstone Park, the Yukon, and the Canadian Rockies, capturing big game animals in their natural habitats. In 1922 Rungius built his studio in Banff,Alberta, where he painted every summer until his death in 1959.

In the Cedar Swamp relates closely to a painting titled During the Rut, which hangsat the National Museum of Wildlife Art in Jackson Hole, Wyoming. A slightly small-er canvas, During the Rut also features a bull and cow in a wooded landscape, andwas completed circa 1925. In both images the bull leads the viewer’s eye in towardsthe cow, which stands in three-quarter perspective, bridging the gap between fore-ground and background. These paintings are texturally rich canvases with flawlesscompositions, representing some of the artist’s finest work.

PROVENANCE: The Estate of Harry Bartlett Mebane Private Collection, acquired from the above

LITERATURE: The Carl Rungius Papers, Glenbow Museum, Calgary, Alberta, 1908.

ESTIMATE: $150,000-$250,000

“There is not likely to be another fellow who will have the opportunityto study big game as you are doing, and I think records of us fellowswho are doing the ‘Old America’ which is so fast passing will have anaudience in posterity.”

-Frederic Remington in a letter to Carl Rungius

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170

274 Michael B. Coleman (b. 1946)Moose in Wintry MarshSigned “Michael Coleman ©” lower leftOil on board, 24 by 29 inches


ESTIMATE: $10,000-$15,000

171

275

275 James W. Marshall (1810-1885) Bear, 1848

A thirty-seven-inch high carved wooden cinnamon bear cane stand. The Oakland Tribunenewspaper photographed the bear carving and wrote a feature news article on June 2, 1921. The article states that Mrs. Anna Glud was to donate this treasured relic to the Oakland Chapter of the Women and Girl Workers of the Civil War of 1861 and 1865. The newspaper reports thatengravers prepared a plaque stating “This cinnamon bear was carved by James Marshall in 1848with a penknife out of redwood grown in Yosemite Valley, California,” which is set at the center ofthe base of the carving.

James W. Marshall was the son of a cabinet, coach, and wagon maker in Lambertville, NJ. He wasa skilled carpenter and woodworker, who moved to California, at a doctor's suggestion, for healthreasons. In 1846 he served with Major John C. Fremont during the bear flag revolt. In 1847 he washired to construct and manage Capt. Sutter's mill. In 1848, the year he carved the bear, he discov-ered gold at the mill and he and the Captain were run off their mill site by hoards of gold rushers.

Mrs. Anna Glud (1853-1929) was a girl worker during the Civil War. As a part-time prospector, sheand other prospectors sought out Marshall who was believed to have a nose for gold. In 1895, shediscovered and filed her own gold claim. Anna Guld was a collector, a gardener, and a woman ofhistoric note in the Oakland, CA and "Gold Country." Original surface with patina, minor chips andage cracks.

ESTIMATE: $8,000-$10,000

172

276

276 Francis Lee Jaques (1887-1969)Elk, 1965Signed and dated “F.L. Jaques 65” on baseBronze, 14 by 5 by 19 inches

This elk is one of the only Jaques bronzes known to exist. It belonged tothe owner of the foundry where the artist cast the piece. Jaques kept one ofthe castings for himself, with only five other lifetime castings created. Ofthe original six, only four are believed to remain intact, making this anextraordinarily rare piece.

PROVENANCE: Harry Shannon Collection By descent in the family to the current owner

ESTIMATE: $5,000-$10,000

173

276a

276a Luke Frazier (b. 1970)Pushing to the MeadowSigned “L. Frazier” lower right Oil on board, 34 by 48 inches


ESTIMATE: $10,000-$15,000

174

277 Bob F. Kuhn (1920-2007)A Two Brooks Idyll, 1974Signed and dated “Kuhn 74” lower leftAcrylic on board, 17.75 by 25.75 inches

This classic salmon angling scene depicts famous reel maker Stan Bogdan and hisguide casting on the banks of the Restigouche River. Artist Luke Frazier (b. 1970)describes this work as “A rare one. While Kuhn loved fly fishing, this painting is oneof only a handful of fly fishing pictures he ever completed. The picture is classicKuhn: with the artist’s masterly brush strokes highlighted in his handling of therippling water, the tapestry design on the background trees, and his exquisitecapturing of light.”

LITERATURE: Graydon R. Hilyard, Bogdan, Portland, OR, 2006, p. 87, illustrated.

ESTIMATE: $20,000-$40,000

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279

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278 Brett James Smith (b. 1958)Strike on a Dry, 2006Signed “Brett J. Smith ©” lower rightOil on linen, 20 by 24 inches


LITERATURE: Diane K. Inman, The Fine Art ofAngling, Incline Village, NV, 2007, p. 154,illustrated.

ESTIMATE: $3,000-$6,000

279 Gordon Allen (b. 1953)Village on Flatlands, Restigouche, 1999Signed and dated “G. Allen 99” lower rightOil on board, 11.5 by 14.25 inchesInscribed “Village on Flatlands, Restigouche R” lower right

ESTIMATE: $500-$800

280 Bob F. Kuhn (1920-2007)TigerSigned “K.” lower leftConte crayon drawing, 8 by 6.75 inches

ESTIMATE: $2,000-$3,000

177

281

281 William Joseph Schaldach (1896-1982)Rocky Run, Rainbow TroutSigned “Wm. J. Schaldach” lower rightWatercolor, 12.25 by 16.75 inches

ESTIMATE: $4,000-$6,000

282

282 Henry Emerson Tuttle (1890-1946)Grouse, 1943Signed “Tuttle” lower centerAcrylic on board, 18 by 22 inchesInscribed “Emerson Tuttle 17 Aug 1943”on backESTIMATE: $500-$800

283

178

283 Anton Otto Fischer (1882-1962)Surprised FishermanSigned “Anton Otto Fischer” lower leftOil on canvas, 24 by 30 inches

Anton Fischer began his artistic career as a printer’s devil before working under fellow illustratorArthur Burdett Frost (1851-1928). He studied at the Académie Julian in Paris for two years and wasinfluenced strongly by American painters N.C. Wyeth (1882-1945) and Howard Pyle (1853-1911). In 1910, Fischer moved to New York City to become an illustrator, where he found success selling hiswork to Harper’s Weekly and later to The Saturday Evening Post. Among the full-length novels he illus-trated are Moby Dick, Twenty Thousand Leagues Under the Sea, and Treasure Island.

ESTIMATE: $4,000-$6,000

179

284 Fred T. Everett (early 20th century)Indian Rock, 1936Signed “Fred T Everett” lower rightOil on canvas, 28 by 22 inchesInscribed “Fred T. Everett, Indian Rock, Nyack, NY1936” on back Please note that this work has a tear measuringapproximately three quarters of an inch near thehunter’s head.

ESTIMATE: $2,000-$4,000

284

283a Frank Vining Smith (1879-1967)Bear Cubs Signed “Frank Vining Smith” lower right Oil on board, 16 by 20 inches

PROVENANCE: Jack Tullish Collection

ESTIMATE: $800-$1,200

283a

285

180

285 Robert Nisbet (1879-1961)Raymonds BarnSigned “Robert Nisbet N.A.” lower rightOil on canvas, 30 by 36 inchesInscribed “Raymonds Barn by Robert Nisbet. N/A/ So. Kent Conn.” on back

Born in Providence, Rhode Island, Robert Nisbet studied at the Rhode Island School ofDesign before teaching at Brown University. From 1910 to 1911 he served as presidentof the Art Students League in New York City, and in 1928 was elected as a NationalAcademician. He enjoyed rifle shooting from a young age and his skill earned him firstplace in several competitions, as well as a spot as a rifle instructor during World War II.

Nisbet and his wife settled in South Kent, Connecticut after summering for severalyears at Old Lyme. They built a large home, with a studio, and founded the Kent ArtAssociation. The artist’s works have been exhibited across the United States at YaleUniversity, the Metropolitan Museum of Art, the New York Library, the National Gallery,the Smithsonian Institution, and the Library of Congress in Washington, D.C.

ESTIMATE: $6,000-$9,000

286

Lot 286 Frank Weston Benson (1862-1951)Springing Pintails, 1923Signed and dated “F. W. Benson 1923”Watercolor, gouache and graphite on paper, 20.25 by 14.5 inches

Springing Pintails is a classic waterfowl scene that reveals the artist’s mastery ofcomposition. The viewer’s eye is drawn to the widest section of water in the lowerleft part of the canvas and then vaulted upward. Painting the birds in a rising spiral,the artist uses not only placement, but frontal and back views of the birds in orderto create depth of plane. Painted during one of his most productive periods, thisearly 1920s work shows Benson at his best.

PROVENANCE: Descended within the family of Robert Morse of Boston,Massachusetts Private Collection

ESTIMATE: $35,000-$45,000

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182

287 Ogden Minton Pleissner (1905-1983)Driven Grouse SceneSigned “Pleissner” lower rightWatercolor, 18 by 28 inches

In Peter Bergh’s The Art of Ogden M. Pleissner, the artist discusses some of his driven grouseshooting experiences in the United Kingdom. He writes, “Drumour lodge in Perthshire was ownedby the National Cash Register Company. The Chairman of the Board, Stanley ‘Chick’ Allyn, inviteda group of men over to this moor to shoot red grouse. Directors and business associates and thelike. Well, these men wanted to give him a present to thank him for all the shooting they haddone, and instead of a cigar box with all their signatures etched on it, one of the men asked me tocome over to the moor to paint a picture of the shooting there. They wanted to give it to Chick asa present. I went up there and Chick Allyn and I got along. At the time I was shooting well andthey didn’t have many good shots in the group. Well, anyway, he liked me and my wife and invitedus back a number of times. We went over every year for six years in the early sixties.”


LITERATURE: Peter Bergh, The Art of Ogden M. Pleissner, Boston, MA, p. 98.

ESTIMATE: $30,000-$50,000

183

288

288 Ogden Minton Pleissner (1905-1983)Coming to NetSigned “Pleissner” lower leftWatercolor, 9 by 14 inches

This rare work, depicting the artist and his guide bringing a salmon to net, ranks as one ofPleissner’s most accomplished small works.

ESTIMATE: $20,000-$30,000

184

288b

288b Ogden Minton Pleissner (1905-1983)Wood Duck Still LifeSigned “Pleissner” lower left Watercolor, 20 by 14 inches


ESTIMATE: $8,000-$12,000

288a

288a Ogden Minton Pleissner (1905-1983)Poling Up RiverSigned “Pleissner” lower rightWatercolor, 10 by 16 inches

Pleissner’s subjects range from European landscapes, toquail plantations in Georgia. His style is informed byclassical traditions, including rigorously realistic drafts-manship, perfect perspective, and exacting composition.His work is displayed in more than thirty public collec-tions, including the Metropolitan Museum of Art, theWhitney Museum of American Art, the PhiladelphiaMuseum of Art, the Brooklyn Museum, the MinneapolisInstitute of Arts, and hangs in the offices of thePentagon, West Point, and the Air Force Academy.


ESTIMATE: $10,000-$20,000

185

288c

288c George Browne (1918-1958) Pintails Signed “George Browne” lower left Oil on canvas, 16 by 20 inches

Along with Harry Curieux Adamson (b. 1916), George Browne is considered one of the greatestdepicters of waterfowl of the Pacific Flyway. In his brief life spanning forty years, Brownecreated some of the finest waterfowl paintings of all time.

ESTIMATE: $8,000-$12,000

289

186

289 Aiden Lassell Ripley (1896-1969)Woodcock, 1943Signed and dated “A. Lassell Ripley 1943” lower rightWatercolor, 20.5 by 29.5 inches

“...a depictor of birds in flight, and of sportsmentensed in action, whether in Southern fields or on thesalmon rivers of Canada, he informed his canvaseswith the zest, the love for light and nature which wereinherent in his character.” Edward Weeks

Born in Wakefield, Massachusetts, Aiden LassellRipley was the son of a Boston Symphony Orchestramusician. From an early age he excelled at music, buthe soon discovered a deeper interest in painting. Byhis mid-teens, Ripley was committed to a career inart, commuting into Boston to take classes. Afterreturning from service in World War I, he attended theBoston Museum School where he studied with thecountry’s top artists, including Philip Leslie Hale(1865-1934) and Frank W. Benson (1862-1951).

Ripley was awarded a Paige Traveling Fellowship tostudy in Europe. While abroad, he painted watercolorsen plein air in North Africa, France, and Holland. Onhis return, in 1925, he was elected to the prestigiousGuild of Boston Artists. His work focused on the NewEngland countryside, as well as depictions of city life and railroad commuting scenes. The GreatDepression, however, limited the sales potential forthese works, and following a successful one-manshow in 1930 of his sporting art, Ripley decided tochange his 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 artendorsed his numerous trips to the salmon rivers of NewBrunswick and the quail plantations of Georgia, wherethe artist indulged his passion for hunting and fishingwhile recording material he would use in his art.

Ripley’s technique and style changed over the courseof his career. While the loose Impressionism of theMuseum School marks his early work, his later workis progressively tighter, following a trend in AmericanRealism. Ripley was an expert watercolorist as well asa brilliant draftsman, with an outstanding ability torender natural light. His recognition was abundant.Among his many awards, Ripley was honored withelection into the National Academy of Design andserved as president of the Guild of Boston Artists forthe ten years preceding his death.

His works now hang in the collections of the BostonPublic Library, The Museum of Fine Arts Boston, TheArt Institute of Chicago, and the Atlanta ArtistsAssociation.

PROVENANCE: Private Collection, Texas

LITERATURE: Edward Weeks, A. Lassell Ripley Paintings,Barre, MA, 1972, foreword.

ESTIMATE: $10,000-$20,000

290

290 George Browne (1918-1958)Yellow Birch and New SnowSigned “George Browne” lower rightOil on canvas, 24 by 20 inches

Following in the footsteps of artist sportsmen like Frank W. Benson (1862-1951), CarlClemens Moritz Rungius (1869-1859), and Aiden Lassell Ripley (1896-1969), GeorgeBrowne painted the waterfowl and upland game birds that he also hunted. Like Ripley,his images of grouse are carefully and accurately rendered. Browne’s deft handling of paint and his incredible attention to detail are exemplified in Yellow Birch in NewSnow, with each feather on the birds and each flake of frozen snow masterfully depicted.

PROVENANCE: Melinda Gardner Collection

ESTIMATE: $15,000-$25,000

187

188

291 Alexander Pope (1849-1924)Waiting for its MasterSigned “Alexander Pope” lower leftOil on canvas, 36.5 by 30.5 inches

Alexander Pope, Jr. was born in Boston, Massachusetts, and began his art career as a young boycarving animals from the spare wood of his father’s lumber business. Although Pope had someformal instruction under Boston painter and sculptor Walter Rimmer, he was for the most partself-taught.

An avid outdoorsman, Pope belonged to the Laurel Brook Club, a fly fishing and shooting club inUxbridge, Massachusetts. A member from 1902 to 1908, he served on its Executive Committeewith Aiden Lassell Ripley (1896-1969). He was passionate about fishing and hunting and chosethese subjects for his paintings and sculptures. Along with his contemporaries R. LaBarreGoodwin (1840-1910) and George Cope (1855-1929), 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’sskill at painting dogs. Citing his ability to bestow intelligence and personality on his caninesubjects, 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 unusualdegree.”

Waiting for its Master displays all of these attributes. The deep hues, variation of brushwork,uncluttered composition, and impressive size rank this as one of Pope’s monumental accomplish-ments. The direct gaze of the dog, which is believed to be the same subject from the widelypublicized Brook Hill whiskey advertisements (see lot 292), draws the viewer into this carefully craftedscene. Although the dog is clearly the focus of the work, Pope has not ignored the background.The thoughtful detailing on the leather gloves and hat, and the reflection of the dog’s paws on thefreshly waxed wood floor, add narrative, depth, and texture to the work. His blending of animalwith interior, and of portrait painting with genre painting, is seamless. Of the nearly three dozenPope dog portraits to come on the market in the last twenty years, Waiting for its Master, given itssize and detail, stands in a class by itself.

PROVENANCE: Private Collection, Maine

LITERATURE: Joe French, “Alexander Pope, Jr.,” Decoy Magazine, July/August 1999, pp. 40-43. F. Turner Reuter, Jr., Animal & Sporting Artists In America, Middleburg, VA, 2008, p. 547.

ESTIMATE: $100,000-$200,000

291

189

190

292

292 Alexander Pope (1849-1924)The “Brook Hill” Dog, 1911Signed and dated “Alexander Pope -11” lower right Lithograph on tin, 38 by 29 inches Inscribed “The “Brook Hill” Dog” lower center

These advertising tins were distributed by Friedman, Keiler &Co. Distillers to hang in bars and saloons.

ESTIMATE: $5,000-$8,000

191

293

293 Luke Frazier (b. 1970)Setter with Woodcock, 2011 Signed “L. Frazier” lower leftOil on canvas, 12 by 16 inches

ESTIMATE: $3,000-$5,000

294

294 James Fields (1926-2008)Fly FishingSigned “James Fields” lower rightOil on board, 16 by 20 inchesInscribed “Taos, N.M.” lower right

ESTIMATE: $200-$400

295

192

295 Alexander Pope (1849-1924)Pointer with Grouse, 1887Signed and dated “Alex Pope 87” lower rightOil on canvas, 30 by 24 inches

ESTIMATE: $10,000-$20,000

193

298297

296

296 Brett James Smith (b. 1958)Camp on the FlatheadSigned “Brett J. Smith ©” lower rightOil on canvas, 24 by 40 inches


ESTIMATE: $8,000-$12,000

297 John Frederick Herring, Sr. (attr.) (1795-1865)Ducks with DucklingsOil on canvas, 23.5 by 23.5 inches

ESTIMATE: $2,000-$4,000

298 Charles M. Jenckes (fl. late 19th century) Hanging Golden Plover, 1883 Signed and dated "C.M. Jenckes 1883" lower left Oil on board, 16 by 12 inches

ESTIMATE: $800- $1,200

299

300 301

194

300 Pierre Jules Mêne (1810-1879)Game Plaque with Stag and HeronSigned “P.J. Mêne” lower leftBronze, 14 by 9 inches

ESTIMATE: $500-$1,000

299 Three Dogs (19th century)Oil on canvas, 28 by 40 inches

This thoughtful rendering of dogs shows the skilledhanding of an adept, yet unknown folk artist.

ESTIMATE: $8,000-$12,000

301 Arthur Beckwith (1860-1930)Hunter Retrieving Duck, 1893Signed and dated “A. Beckwith 1893” lower rightOil on canvas, 25.25 by 29.5 inches

ESTIMATE: $500-$1,000

195

302 Frank Vining Smith (1879-1967)Let’s Get Out of HereSigned “Frank Vining Smith” lower leftOil on canvas, 28 by 36 inches

Born and raised in South Abington, Massachusetts, Frank Vining Smith grew up sailing and with a love of other New England outdoor pursuits. After graduating from high school, Smith attendedthe Boston School of the Museum of Fine Arts, where he studied under such notable artists asAmerican Impressionist Frank W. Benson (1862-1951), Phillip L. Hale (1865-1931), and Edmund C.Tarbell (1862-1938). After graduating he worked as an illustrator for several newspapers in New YorkCity and Boston, in addition to painting covers for national publications such as the NationalSportsman.

After working as a staff artist for the Boston Herald for nearly fifteen years, Smith quit his post tofocus on his painting career. He was ultimately rewarded with several one-man shows across theUnited States and a painting career spanning four decades. The striking fall colors and strong com-position make Let’s Get Out of Here one of Smith’s most important works ever to come to market.

ESTIMATE: $8,000-$12,000

302

303

303 David Lazarus (b. 1952)Canada Geese, Taking OffSigned “D. Lazarus” lower rightOil on canvas, 16 by 20 inches

ESTIMATE: $900-$1,200

304

305

306

196

304 Thomas Aquinas Daly (b. 1937)The River in JuneSigned “T A daly” lower leftWatercolor, 12.75 by 19.5 inches

This is a classic Daly Atlantic salmon fishingscene, showing his detailed rocks, canoe, andanglers amid evergreens in the mist.

ESTIMATE: $3,000-$5,000

305 John Swan (b. 1948)Children Fishing by the Brook, 1977Signed and dated “John Swan 1977” lower leftWatercolor, 9 by 13.5 inches

This work is based on a photograph byChansonetta Stanley Emmons (1857-1937), takenat Chesham, New Hampshire, circa 1900.

ESTIMATE: $2,000-$3,000

306 Brett James Smith (b. 1958)Grass BlindSigned “Brett J. Smith” lower leftWatercolor, 17 by 29 inches


ESTIMATE: $2,000-$4,000

197

307 John Swan (b. 1948)Down the KedgwickSigned “John Swan” lower rightOil on canvas, 24 by 36 inches


ESTIMATE: $8,000-$12,000

308 John Swan (b. 1948)Two Loons, 1990Signed and dated “John Swan 90” lower leftOil on board, 21.25 by 37.75 inches

ESTIMATE: $3,000-$6,000

307

308

309

310

311

198

309 Francis Golden (1916-2008)Striped Bass FishingSigned “Francis Golden” lower left Watercolor, 17 by 27 inchesThe Sportsman’s Edge, Ltd., New York, New York label onback


ESTIMATE: $1,000-$2,000

310 James W. Harris (b. 1946)Quiet Repose, 2003Signed “J.W. Harris” lower rightAcrylic on board, 20 by 24 inches

ESTIMATE: $2,000-$3,000

311 Mel Smothers (b. 1947)Dear Andy #218 Signed and dated “Mel Smothers 2011 Lake Tahoe” on back Oil on canvas, 24 by 24 inches Inscribed “Dear Andy #218” on back

“Andy Warhol was the epitome of a non-naturalist, non-outdoors style person. My postcards to him are intro-ducing him to the natural world...I read in the “New YorkTimes” that Andy Warhol’s ocean-side estate at Montauk,Long Island was sold, so I made a point of driving outfrom California to get a feel for the place… I introduce Mr.Warhol to flora, fauna and fish that I’ve found in the areaof his property” – Mel Smothers

ESTIMATE: $800-$1,200

199

312 Charles E. Murphy (fl. 20th century)Mallards, 1976Signed and dated “Charles E. Murphy © 76”Gouache, 20 by 26.25 inches


ESTIMATE: $600-$900

313 Two Hunters and Springer by Fireplace (Mid 20th century)Oil on canvas, 30 by 25 inchesPlease note this painting has a five inch tear in the center of the work.

ESTIMATE: $400-$600

314 Paul Desmond Brown (1893-1958)Congratulations Dam and SireWatercolor, 12 by 9 inchesInscribed “Congratulations Dam and SireSincerely Paul Brown” lower right

ESTIMATE: $500-$700

315 Paul Desmond Brown (1893-1958)Misty Morn, 1932Signed and dated “Paul Brown 32” lower rightPencil and crayon drawing, 13 by 10 inchesInscribed “Misty Morn” lower right

ESTIMATE: $500-$700

313312

315314

316

200

316 Aiden Lassell Ripley (1896-1969)Canada Goose ShootingSigned “A. Lassell Ripley ©” lower rightWatercolor, 17 by 29 inches


LITERATURE: Stephen B. O’Brien Jr. and Julie CarlsonWildfeuer, The Art of Aiden Lassell Ripley, Boston, MA,2009, p.140, illustrated.

ESTIMATE: $10,000-$20,000

317

317 J.D. Knap (20th century)CanvasbacksSigned “J.D. Knap” lower leftWatercolor, 14 by 20.5 inches


ESTIMATE: $100-$300

201

319 William Simmons (1884-1949)Three Cranes, 1909Signed and dated “Will Simmons, 1909” lower left Ink and gouache, 8.5 by 11.5 inchesInscribed “W.H.S. 185” lower right Inscribed “à la - adorahon sit spaso amoroso - 1917”lower left

Translation: “to my adored one her loving husband -1917” lower left

LITERATURE: George Spaulding DeVoe, Will SimmonsAmerican Impressionist, p. 75, illustrated.

ESTIMATE: $800-$1,200

318

319

318 William Simmons (1884-1949)Eagle Feeding Chicks, 1910Signed “Will Simmons Paris 1910” lower rightGouache, 13 by 19 inchesInscribed “Spi**elus Coronalis” lower center


ESTIMATE: $1,000-$1,500

Known primarily as a painter and etcher of natural history subjects, William Simmons was the son ofEdward Emerson Simmons (1852-1931) who was one of the original Ten American Painters. From a distin-guished Massachusetts family, Will’s father was first cousin to Ralph Waldo Emerson and he grew up in theOld Manse, the house in Concord, Massachusetts in which Nathaniel Hawthorne wrote the volumes ofshort stories, Mosses from an Old Manse.

Will Simmons was born in Elche, Spain, while his parents were traveling. His early studies were under hisfather’s tutelage in Baltimore, Maryland, and his formal education followed at the Académie Julian in Paris.With family heritage rich in the arts and observation of the natural world, it is not surprising that Will wasdrawn to painting and etching the wildlife he loved.

Simmons was a member of the Society of American Artists, the Chicago Society of Etchers, California PrintMakers, and Prairie Printmakers. He exhibited at the Art Institute in Chicago, the Whitney Museum ofAmerican Art, and the United States National Museum, of Washington, D.C. His works hang in the NewYork Public Library, Smithsonian Library of Congress in Washington, D.C., the Bibliothèque in Paris, and thePublic Library in Liverpool, England.

320

321

322

202

320 William Simmons (1884-1949)Mallards Taking Flight, 1917Signed and dated “Will Simmons 1917” center rightWatercolor, 12 by 18 inches

ESTIMATE: $400-$800

321 William Simmons (1884-1949)Afternoon on the Seine, 1910Signed and dated “Will Simmons ‘10” lower rightWatercolor, 9.5 by 12.5 inches


ESTIMATE: $800-$1,200

322 William Simmons (1884-1949)Mallards Coming In, 1909Signed “Will Simmons ‘09” upper rightWatercolor and gouache, 9.25 by 12.5 inches

ESTIMATE: $400-$600

323

324

325.1

203

323 Elizabeth Leary Strazzulla (b. 1970)The Competition, 2011Signed “Elizabeth Leary Strazzulla” lower leftOil on canvas, 24 by 30 inches

Boston artist Elizabeth Leary Strazzulla describes her paint-ing method “Having trained classically, I firmly believe inworking from life. Landscapes are worked en plein-air or inthe studio from sketches done on site.”

ESTIMATE: $3,000-$4,000

324 Elizabeth Leary Strazzulla (b. 1970)Returning, 2011Signed “Elizabeth Leary Strazzulla” lower leftOil on canvas, 22 by 28 inches

ESTIMATE: $3,000-$4,000

325 Franz Biberstein (1850-1930)Two paintings

325.1 Mountainous Landscape Signed and dated “Fr. Biberstein 191*” lower right Oil on board, 6 by 9 inches

325.2 Mountain Signed and dated “F. Biberstein 1926” lower right Oil on board, 4 by 5 inches

ESTIMATE: $500-$700

325.2

204

326 Lot of Two PaintingsReed Prescott, IIDead Creek MallardsSigned “Reed A. Prescott” lower right Oil on board, 4.5 by 6.5 inches

Hanging Mallard Pair Gouache on paper, 18 by 10 inches

ESTIMATE: $200-$400

327 John M. Standish (b. 1949)Three WatercolorsA Second ThoughtSigned “JM Standish” lower right Watercolor, 9.5 by 4 inches

A Woman’s TouchSigned “JM Standish” lower right Watercolor, 10.5 by 5 inches

In’s and Out’sSigned “JM Standish” lower right Watercolor, 12.75 by 6.75 inches

ESTIMATE: $300-$600

328 John M. Standish (b. 1949)Three WatercolorsAn Unfinished StorySigned “JM Standish” lower right Watercolor, 9 by 21.25 inches

Come on InSigned “JM Standish” lower right Watercolor, 16 by 10.75 inches

Seeing DoubleSigned “JM Standish” lower right Watercolor, 14 by 9 inches

ESTIMATE: $300-$600

326.1 326.2

327.1 327.2 327.3

328.1 328.2 328.3

205

329 Harry A. Thompson (b. 1946)Four WatercolorsWinter Marsh Scene, 1975 Signed and dated, “Harry A. Thompson III ‘75” lower right Watercolor, 11.25 by 23.5 inches

White Column Doorway, 1978 Signed and dated, “Harry A. Thompson III ‘78” lower right Watercolor, 11.5 by 19.5 inches

Lighthouse Scene, 1997 Signed and dated, “Harry A. Thompson III ‘97” lower right Watercolor, 9.5 by 13.5 inches

Boat on Land, 1997 Signed and dated “Harry A. Thompson III ‘97” lower right Watercolor, 9.5 by 13.5 inches

ESTIMATE: $300-$600

330 John M. Standish (b. 1949)Three WatercolorsLilacs Along the RoadSigned “JM Standish” lower right Watercolor, 11 by 19.25 inches

Just a ThoughtSigned “JM Standish” lower right Watercolor, 10 by 20.5 inches

End of MaySigned “JM Standish” lower right Watercolor, 9.25 by 19.5 inches

ESTIMATE: $300-$600

330.1 330.2 330.3

329.1 329.2

329.3 329.4

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330a.1

∆ 330a Alexander Pope (1849-1924) Set of four prints, c. 1880 Each Chromolithograph, 9.5 by 13 inches 330a.1 Coin Inscribed “#19 - Coin” on back

330a.2 Dan Inscribed “#2 - Dan” on back

330a.3 Trimbush Inscribed “#7 - Trimbush” on back

330a.4 Bow Inscribed “#6 - Bow” on back

This is an exceedingly rare set of sporting dog prints.

ESTIMATE: $800-$1,200

330a.2

330a.3 330a.4

207

331 Percival Leonard Rosseau (1859-1937)Two Prints, c. 1925 Each signed “Percival Rosseau” lower right Lithographs, 13.5 by 21.5 inches

331.1 Pointers

331.2 Setters

The Crossroads of Sport, New York, New York label on back


ESTIMATE: $500-$700

332 Leslie ShawTwo Drawings 332.1 Cocker SpanielSigned “Leslie Shaw” lower right Charcoal drawing, 10 by 13 inches 332.2 Dog Signed “Leslie Shaw” lower right Pencil and charcoal drawing, 5.5 by 7 inchesESTIMATE: $100-$200

333 Marguerite Kirmse (1885-1954)Steady Now!, 1930Signed “Marguerite Kirmse” lower rightEtching, 9 by 6.5 inchesInscribed “Steady Now!” lower left

ESTIMATE: $300-$500

331.2331.1

333

332.1 332.2

334.1

208

334 Complete Set of Federal Duck Stamp Prints(one shown)From 1934-1986

1934 Jay N. “Ding” Darling Signed “Ding Darling” lower right Engraving, 6 by 8.5 inches Inscribed “Design for First Federal Duck Stamp – 1934” lower left

1935 Frank W. Benson Signed “Frank W. Benson” lower left Engraving, 3 by 5 inches

(2) 1936 Richard E. Bishop Signed “Richard E. Bishop” lower right Etching, 5 by 8 inches Inscribed “1936 Federal Duck Stamp Design” lower left

1937 Joseph D. Knap Signed “J.D. Knap” lower right Print, 5.75 by 8.75 inches Inscribed “Federal Duck Stamp 1937” lower left

1938 Roland H. Clark Signed “Roland Clark” lower right Etching, 6.75 by 10.75 inches Inscribed “Duck Stamp Design, 1938” lower left

1939 Lynn B. Hunt Signed “Lynn Bogue Hunt” lower right Lithograph, 7.75 by 10.75 inches Inscribed “# 61 2nd. Ed. Federal Duck Stamp – 1939” lower left

1940 Francis L. Jaques Signed “F.L. Jaques” lower right Lithograph, 8.75 by 11 inches Inscribed “Duck Stamp Design 1940” lower left

1941 Edwin R. Kalmbach Signed “E.R. Kalmbach” lower right Lithograph, 6.75 by 8.75 inches Inscribed “Duck Stamp Design, 1941” lower left

1942 Aiden Lassell Ripley Signed “A. Lassell Ripley” lower right Etching, 6 by 8.5 inches Inscribed “American Widgeon” lower left

1943 Walter E. Bohl Signed “Walter E. Bohl” lower right Etching, 4.75 by 7 inches Inscribed “Federal Duck Stamp Design – 1943” lower left

1944 Walter A. Weber Signed “Walter A. Weber” lower right Lithograph, 7 by 9.25 inches Inscribed “Duck Stamp Design – 1944” lower left

1945 Owen J. Gromme Signed “Owen J. Gromme” lower right Lithograph, 5 by 7 inches Inscribed “Federal Duck Stamp Design 1945” lower left

1946 Robert W. Hines Signed “Rob Hines 1946” lower right Lithograph, 8 by 11 inches Inscribed “A-154 Redheads” lower left

1947 Jack Murray Signed “Jack Murray 1947 ©” lower right Lithograph, 8 by 11.25 inches Inscribed “From Beyond the North Wind” lower left

1948 Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “Duck Stamp Design – 1948” lower left

1949 Roger E. Preuss Signed “Roger E. Preuss” lower right Lithograph, 6.5 by 9 inches Inscribed “American Goldeneye 1949 ©” lower left

1950 Walter A. Weber Signed “Walter A. Weber” lower right Lithograph, 4.75 by 7 inches Inscribed “Duck Stamp Design – 1950” lower left

1951 Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “Duck Stamp Design – 1951 2nd ed.” lower left

209

1952 John H. Dick Signed “John H. Dick” lower right Lithograph, 7 by 9.25 inches Inscribed “Duck Stamp Design 1952”lower left

1953 Clayton B. Seagears Signed “Clayt Seagears” lower right Lithograph, 6.75 by 9 inches Inscribed “Early Express (B. W. teal)”lower left

1954 Harvey D. Sandstrom Signed “Harvey D. Sandstrom” lower right Lithograph, 5 by 7 inches Inscribed “Ring-Necks” lower left

1955 Stanley Stearns Signed “Stanley Stearns” lower right Aquatint etching, 7 by 10 inches Inscribed “Blue Geese” lower left

1956 Edward J. Bierly Signed “Edward J. Bierly” lower right Aquatint etching, 4.75 by 6.75 inches Inscribed “American Mergansers” lower left

1957 Jackson M. Abbott Signed “Jackson M. Abbott” lower right Lithograph, 7.5 by 9.5 inches Inscribed “American Elder” lower left

1958 Leslie C. Kouba Signed “Les C. Kouba” lower right Etching, 6.75 by 9 inches Inscribed “Federal Duck Stamp Design,1958-9” lower left

1959 Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “Labrador Retriever – 1959”lower right

1960 John A. Ruthven Signed “John A. Ruthven” lower right Lithograph, 6.75 by 9 inches Inscribed “Redhead Ducks” lower right

1961 Edward A. Morris Signed “Edward A. Morris” lower right Etching, 6.5 by 9 inches Inscribed “Federal Duck Stamp Design1961-‘62” lower left

1962 Edward A. Morris Signed “Edward A. Morris” lower right Etching, 6.5 by 9 inches Inscribed “Federal Duck Stamp Design1962-‘63” lower left

1963 Edward J. Bierly Signed “Edward J. Bierly” lower right Etching, 6.75 by 9 inches Inscribed “American Brant” lower left

1964 Stanley Stearns Signed “Stanley Stearns” lower right Lithograph, 7.25 by 10.25 inches Inscribed “Nene” lower left

1965 Ron Jenkins Signed “Ron Jenkins” lower right Lithograph, 6.5 by 9.25 inches Inscribed “Canvasbacks” lower left

1966 Stanley Stearns Signed “Stanley Stearns” lower right Lithograph, 7.5 by 10.5 inches Inscribed “257/300 Whistling Swans”lower left

1967 Leslie C. Kouba Signed “Les C. Kouba” lower right Etching, 6.5 by 9 inches Inscribed “Federal Duck Stamp Design,1967-68” lower left

1968 Claremont G. Pritchard Signed and dated “© C. G. Pritchard1968” lower right Lithograph, 6.5 by 9 inches Inscribed “558/750 Federal Duck StampDesign 1968-69” lower left

1969 Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “717/750 Duck Stamp Design –1969- 1st ed.” lower left

1970 Edward J. Bierly Signed “Edward J. Bierly” lower right Lithograph, 6.5 by 9.75 inches Inscribed “419/700 Ross’ Geese” lower left

1971 Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “890/950 Duck Stamp Design –1971- 1st ed.” lower left

1972 Arthur M. Cook Signed “Arthur M. Cook” lower right Color lithograph, 6.5 by 9 inches Inscribed “772/950 Emperor Geese” lower left

1973 Lee LeBlanc Signed “Lee LeBlanc” lower right Lithograph, 6.5 by 9 inches Inscribed “486/1000” lower left

1974 David A. Maass Signed “David A. Maass” lower right Photolithograph, 6.5 by 9 inches

1975 James P. Fisher Signed “James P. Fisher” lower center Color lithograph, 7.5 by 9 inches Inscribed “2737/3150” lower left

1976 Alderson Magee Signed “Alderson Magee” lower right Lithograph, 6.5 by 9 inches Inscribed “201/3600” lower left

(2) 1977 Martin R. Murk Signed “Martin R. Murk” lower left Photolithograph, 6.5 by 9.25 inches Inscribed “469/5800” lower left

1978 Albert Gilbert Signed “Al Gilbert” lower left Color lithograph, 6.75 by 9.75 inches Inscribed “1534/5800” lower right

1979 Ken Michaelson Signed “Ken Michaelson” lower right Color lithograph, 6.75 by 9.75 inches Inscribed “6739/7000” lower left

1980 Richard Plasschaert Signed “Richard Plasschaert” lower right Photolithograph, 6.25 by 9 inches Inscribed “7118/12950” lower left

(2) 1981 John S. Wilson Signed “John S Wilson” lower right Photolithograph, 6.5 by 9 inches Inscribed “284/400 Conservation Edition”lower left

1982 David A. Maass Signed “David A. Maass” lower right Color lithograph, 6.5 by 9 inches Inscribed “1656/22,250” lower left

(2) 1983 Phil Scholer Signed “Phil Scholer” lower right Photolithograph, 6.5 by 9 inches Inscribed “2091/17400” lower left

(3) 1984 William C. Morris Signed “William C. Morris” lower right Photolithograph, 6.5 by 8.75 inches Inscribed “453/11,500” lower center

1985 Gerald Mobley Signed “G. Mobley” lower right Color lithograph, 6.5 by 9 inches Inscribed “785/18,200” lower left

1986 Burton E. Moore Signed “Burton E. Moore Junr” lower right Color lithograph, 6.5 by 9 inches Inscribed “1337/16310” lower left

1992 Joseph Hautman Signed “Joe Haut” lower right Lithograph, 6.5 by 9 inches Inscribed “1298/10500” lower left

ESTIMATE: $15,000-$25,000

335 Richard Evett Bishop (1887-1975)Bog Sprites ( Jack Snipe), 1931Signed and dated “R.E. Bishop © 31” lower rightDrypoint, 8 by 12 inchesInscribed “Bog Sprites” lower left Edition of 65

LITERATURE: Richard E. Bishop, Bishop’s Birds-Etchings of Water-Fowl and Upland Game Birds, Philadelphia, PA, 1936,pl.53, illustrated. Russell A. Fink, Richard E. Bishop Etchings, Drypoints, andAquatints, St. Paul, MN, 2008, p. 140, illustrated.

ESTIMATE: $200-$400

336 Richard Evett Bishop (1887-1975)On the Flats, 1929Signed “R.E. Bishop” lower rightDrypoint, 10.5 by 14 inchesInscribed “On the Flats” lower left and “(HH2257)” lower rightEdition of 65

LITERATURE: Russell A. Fink, Richard E. Bishop Etchings, Drypoints,and Aquatints, St. Paul, MN, 2008, p. 119, illustrated.

ESTIMATE: $200-$400

337 Roland H. Clark (1874-1957)Dropping InSigned “Roland Clark” lower leftAquatint, 19 by 15.5 inchesInscribed “250112.4” lower left and “Roland Clark” lower right

ESTIMATE: $600-$900

338 Roland H. Clark (1874-1957)Drake Widgeon, 1934Signed “Roland Clark” lower rightEtching, 11.75 by 8.75 inchesInscribed “Ed. 75” lower left “Drake Widgeon” lower centerEdition of 75, etched June 1934

LITERATURE: Roland Clark’s Etchings, New York, NY, 1938, no. 6,illustrated.

ESTIMATE: $100-$200

339 Roland H. Clark (1874-1957)Pintail Drake, 1928Signed “Roland Clark” lower right Drypoint, 8.75 by 11.5 inchesEdition of 65

ESTIMATE: $300-$500

336335

338 339337

210

211

340 340 Frank Weston Benson (1862-1951)Old Tom, 1926Signed “Frank W. Benson” lower leftEtching, 15.75 by 9.75 inchesPaff # 246, edition of 150

“By the time this etching [Old Tom] had been done in 1925,Tom Nickerson, the longtime caretaker of Benson’s house onNauset Marsh, had been dead for many years. The etchingwas undoubtedly copied from the 1923 watercolor Bensonhad painted of Tom in the same pose. Both were based onaffectionate memory and perhaps some sketches or photos.Tom made a picturesque and commanding figure in his flap-ping oilskins with his gun clasped firmly in one hand and adead goose dangling limply from the other. The editor of theCrafton Collection book, Charles Morgan, called the etching‘one of the most majestic figure subjects ever etched whichfor eloquence and power can only be compared with thegreatest of [French painter] Millet’s powerful presentations ofthe human form.’” Faith Andrews Bedford

LITERATURE: Faith Andrews Bedford, Frank W. Benson AmericanImpressionist, New York, NY, 1994, p. 205.

ESTIMATE: $8,000-$12,000

341341 Frank Weston Benson (1862-1951)Marsh Gunner, 1918Signed “Frank W. Benson” lower leftEtching, 11 by 9 inchesPaff # 149, edition of 150

ESTIMATE: $7,000-$10,000

342 Frank Weston Benson (1862-1951)Rainbow Cove (trial proof #B-1), 1927Signed “Frank W. Benson” lower leftEtching, 7.75 by 9.75 inchesInscribed “p 263 B-1 Rainbow Cove” lowerleft and appears to be inscribed “Landscapechanged in form, reflections ducks redrawn”lower center Paff # 263, edition of 150

PROVENANCE: Private Collection of Frank W. Benson By descent in the family to his great grandson

ESTIMATE: $300-$600

343 Frank Weston Benson (1862-1951)Canada Goose, 1917Signed “Frank W. Benson” lower leftEtching, 4 by 5 inchesInscribed “Canada Goose #115” lower left Paff # 115, edition of 150


ESTIMATE: $300-$600

344 Frank Weston Benson (1862-1951)Pointer Dog, 1925Signed “Frank W. Benson” lower leftEtching, 5.75 by 7.75 inchesInscribed “251 Pointer Dog 30 -” lower left Paff # 251, edition of 150


ESTIMATE: $1,000-$2, 000

345 Frank Weston Benson (1862-1951)Portrait, 1923Signed “Frank W. Benson” lower leftDrypoint, 7.75 by 6 inchesInscribed “Chin rounded, Light wear ****”lower center and “# 218 portrait F” lower left Paff # 218


ESTIMATE: $200-$400

346 Frank Weston Benson (1862-1951)Sunset at Long Point, 1933Signed “Frank W. Benson” lower leftEtching, 10 by 7.75 inchesInscribed “Sunset at Long Point # 333” lower left Paff # 333, edition of 150


ESTIMATE: $600-$900

347 Frank Weston Benson (1862-1951)Scaling Down, 1917Signed “Frank W. Benson” lower leftEtching, 4 by 3 inchesInscribed “Scaling Down #120” lower left Paff #120, edition of 150


ESTIMATE: $300-$600

342 343 344

345 346 347

348 349 350

212

213

348 Frank Weston Benson (1862-1951)Flying Brant, 1925Signed “Frank W. Benson” lower leftDrypoint, 4.75 by 6.65 inchesInscribed “#241 Flying Brant” lower left Paff # 241, edition of 150


ESTIMATE: $300-$600

349 Frank Weston Benson (1862-1951)The Darkening Sky (trial proof #B-2), 1925Signed “Frank W. Benson” lower leftDrypoint, 4.75 by 6.75 inchesInscribed “B-2 P 253 the Darkening Sky”lower left Paff # 253


ESTIMATE: $300-$400

350 Frank Weston Benson (1862-1951)Rain Squall, 1931Signed “Frank W. Benson” lower leftEtching, 6.75 by 8.75 inchesInscribed “317” lower left Paff # 317, edition of 150


ESTIMATE: $200-$400

351 Frank Weston Benson (1862-1951)Soaring Fish Hawk, 1923Signed “Frank W. Benson” lower leftDrypoint, 5.5 by 7.5 inchesPaff # 225, edition of 150

ESTIMATE: $800-$1,200

352 Frank Weston Benson (1862-1951)Male Whistler, 1915Signed “Frank W. Benson” lower leftEtching and drypoint, 4 by 6 inchesInscribed “16” lower right Paff # 87, edition of 100

ESTIMATE: $800-$1,200

353 No Lot

354 Frank Weston Benson (1862-1951)The Anchorage, 1915Signed “Frank W. Benson” lower leftEtching, 3.75 by 6.75 inchesInscribed “#57 second proof” lower left Paff # 57, edition of 25

ESTIMATE: $1,000-$1,500

355 Frank Weston Benson (1862-1951)Bunch of Bluebills, 1931Signed “Frank W. Benson” lower leftDrypoint, 4 by 5 inchesPaff # 312, edition of 300

ESTIMATE: $400-$600

356 Frank Weston Benson (1862-1951)Ducks Swimming, 1914Signed “Frank W.. Benson” lower leftEtching, 5 by 10 inchesPaff # 30, edition of 50

ESTIMATE: $600-$1,000

351 352

354 355 356

214

357 after John James Audubon (1785-1851)Common Gull, 1834Hand-colored engraving, 21 by 24.75 inches“Engraved, Printed, & Colored by R. Havell, 1834.” lower right “Drawn From Nature by J.J. Audubon, F.R.S.F.I.S.” lower left “Common Gull Larus Canus 1. Adult 2. Young” lower center “No. 43” upper right “Plate CCXII” upper left

ESTIMATE: $2,500-$5,000

357

358

Audubon’s single great passion was the observation and description of birds. The illegitimate son of a French sea cap-tain and a Creole chambermaid, he spent most of his time observing and drawing birds in the Ohio Valley region, aswell as the swamps and bayous of the Mississippi Valley. Audubon drew, painted, and wrote. He hunted, trapped andeven tried domesticating some of the hundreds of birds he studied.

Fascinated by the American wild turkey, great white heron, and Canada goose, Audubon decided to publish a greatornithological treatise describing with illustrations and text every known North American bird in their natural habitatand life-size. An undertaking as grand as the one Audubon envisioned was far from easy. Publishing was enormouslyexpensive and paper and the production of illustrations was costly.

To finance his endeavor Audubon offered his “Birds of America” by subscription, issuing the illustrated plates andaccompanying text in groups of five. Unable to find an American publishing house that could take on a project of thismagnitude, he traveled to England to find an engraver who was able to translate his great vision onto paper. The firstten plates (Plates 1-10) were engraved by William Lizars of Scotland (1788-1859). However, his colorists went on strikeand Lizars was unable to continue. Audubon found another equally talented and like minded engraver in RobertHavell, Jr. of London (1793-1878), whose meticulous workmanship, attention to detail and artistic sensibility was piv-otal to Audubon’s great success.

Havell reproduced Audubon’s drawings on sheets of Whatman paper, (known as double elephant folio–a reference totheir size) using aquatint engraving, a labor intensive process reserved for all but the most expensive publications.“The Birds of America” took twelve years to complete. The four volume work included four hundred thirty-five handcolored illustrations, with text issued separately in an octavo sized publication of five volumes entitled “OrnithologicalBiography”. It is estimated that between one hundred seventy-five and two hundred copies were made in all.

358 after John James Audubon (1785-1851)Mergansers, 1836Hand-colored engraving, 24.5 by 37 inches“Engraved, Printed & Colored by R. Havell, 1836.”lower right “Drawn from Nature by J.J. Audubon, F.R.S.F.I.S.”lower left “Goosander Mergus Merganser L Male 1. Female 2.” lower center

ESTIMATE: $2,500-$5,000

215

359 Aiden Lassell Ripley (1896-1969)Two Drypoints

359.1 Quail ShootingSigned “A. Lassell Ripley” lower right Drypoint, 9 by 14 inches 359.1 Inscribed “Quail Shooting” lower left

LITERATURE: A. Lassell Ripley and Dana S.Lamb, Sporting Etchings, Barre, MA, 1970,pp. 38-39, illustrated.

359.2 Point on QuailSigned “A. Lassell Ripley” lower right Drypoint, 9 by 14 inches Inscribed “Point on Quail” lower left


PROVENANCE: John E. Lennon Collection

ESTIMATE: $300-$500


360.1 Quail ShootingSigned “A. Lassell Ripley” lower right Drypoint, 9 by 14 inches Inscribed “Quail Shooting” lower left

LITERATURE: A. Lassell Ripley and Dana S.Lamb, Sporting Etchings, Barre, MA, 1970,pp. 38-39, illustrated. John T. Ordeman, The American SportingPrint: 20th Century Etchers and Drypointists,Ringwood, NJ, p. 82, illustrated.


360.2 Pointers and QuailSigned “A. Lassell Ripley” lower right Drypoint, 9.75 by 14 inches Inscribed “Pointers and Quail ©” lower left


ESTIMATE: $300-$500

361 Aiden Lassell Ripley (1896-1969)Grouse on a Pine BoughSigned “A. Lassell Ripley” lower rightEtching, 8.75 by 11.75 inchesInscribed “Grouse on a Pine Bough” lower left

PROVENANCE: Private Collection, Rhode Island

ESTIMATE: $200-$400

362 Aiden Lassell Ripley (1896-1969)Woodcock Hunt, 1940Pencil and charcoal on board, 8.5 by 12 inchesStamped “From the Estate of A. LassellRipley” lower center

ESTIMATE: $400-$600

359.1 359.2

360.1 360.2

361 362

216


363.1 Hunting PheasantsSigned “A. Lassell Ripley” lower right Drypoint, 9 by 14 inches Inscribed “Hunting Pheasants ©” lowerleft

Literature: A. Lassell Ripley and Dana S.Lamb, Sporting Etchings, Barre, MA, 1970,pp. 24-25, illustrated.

363.2 BluebillsSigned “A. Lassell Ripley” lower right Drypoint, 8.75 by 14 inches Inscribed “Bluebills ©” lower left



ESTIMATE: $300-$500


364.1 Woodcock ShootingSigned “A. Lassell Ripley” lower right Drypoint, 10 by 14 inches Inscribed “Woodcock Shooting” lower left


364.2 Pheasant HuntingSigned “A. Lassell Ripley” lower right Drypoint, 9.75 by 14 inches Inscribed “Pheasant Shooting” lower right



ESTIMATE: $300-$500

365 Aiden Lassell Ripley (1896-1969)Dove ShootingSigned “A. Lassell Ripley” lower rightDrypoint, 9 by 13.5 inchesInscribed “Dove Shooting ©” lower left


ESTIMATE: $200-$400

366 Aiden Lassell Ripley (1896-1969)Duck HunterSigned “A. Lassell Ripley” lower rightDrypoint, 7 by 9.5 inches



ESTIMATE: $200-$400

363.1 363.2

364.1 364.2

365 366

217


367.1 GeeseSigned “A. Lassell Ripley” lower right Drypoint, 10 by 14 inches Inscribed “Geese ©” lower left


367.2 Goose ShootingSigned “A. Lassell Ripley” lower right Drypoints, 10 by 14 inches Inscribed “Goose Shooting ©” lower left



ESTIMATE: $300-$500


368.1 American WidgeonSigned “A. Lassell Ripley” lower right Drypoint, 6 by 8.5 inches Inscribed “American Widgeon” lower left


368.2 Snipe at DawnSigned “A. Lassell Ripley” lower right Drypoint, 9 by 12 inches Inscribed “Snipe at Dawn ©” lower left



ESTIMATE: $300-$500


369.1 Grouse ShootingSigned “A. Lassell Ripley” lower right Drypoint, 9 by 11.75 inches Inscribed “p316.10.19” lower right


369.2 Grouse Shooting, Artist’s Proof Signed “A. Lassell Ripley” lower right Drypoint, 9 by 11.75 inches Inscribed “a little more tone in theseareas” mid-right


ESTIMATE: $300-$500

367.1 367.2

368.1 368.2

369.1 369.2

218


370.1 Ruffed Grouse in SnowSigned “A. Lassell Ripley” lower right Drypoint, 10 by 12 inches Inscribed “Ruffed Grouse in Winter ©”lower left


370.2 Grouse on a Pine BoughSigned “A. Lassell Ripley” lower right Drypoint, 9 by 12 inches Inscribed “Grouse on Pine Bough” lowerleft



ESTIMATE: $300-$500


371.1 European Street Scene Signed “A. Ripley” lower right Drypoint, 9.5 by 12.75 inches

371.2 Antwerp, 1932 Signed and dated “A. Lassell Ripley, 32”lower right Drypoint, 8 by 10 inches Inscribed “Antwerp” lower left


ESTIMATE: $300-$500

372 Aiden Lassell Ripley (1896-1969)City Winter ScenePencil and charcoal drawing, 8.5 by 13.5inches


ESTIMATE: $200-$400

370.1 370.2

371.1 371.2

372

219

373 Ogden Minton Pleissner (1905-1983)Quail Hunters, 1973Signed “Ogden M. Pleissner” lower leftPrint, 17 by 25.5 inchesPublished by the Crossroads of Sport in alimited edition of 425


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

ESTIMATE: $600-$900

374 Ogden Minton Pleissner (1905-1983)Hillside Orchard, 1975Signed “Ogden M. Pleissner” lower rightPrints, 16.5 by 26 inchesPublished by the Crossroads of Sport in alimited edition of 270

ESTIMATE: $600-$900

375 Ogden Minton Pleissner (1905-1983)The Run Downstream, 1981Signed “Ogden M. Pleissner” lower rightPrint, 18.25 by 27.25 inchesPrinted for the members of the Angler’sClub of New York on the occasion of the75th Anniversary of the club in a limited edi-tion of 300



ESTIMATE: $600-$900

376 Ogden Minton Pleissner (1905-1983)June Trout Fishing, 1967Signed “Ogden M. Pleissner” lower rightPrint, 16 by 19.75 inchesPrinted by Theodore Gordon Flyfishers in alimited edition of 350



ESTIMATE: $600-$900

377 Ogden Minton Pleissner (1905-1983)Woodcock Cover, 1977Signed “Ogden M. Pleissner” lower rightPrint, 16 by 25 inchesPublished by the Crossroads of Sport in alimited edition of 270

ESTIMATE: $800-$1,200

378 Ogden Minton Pleissner (1905-1983)Beaverhill Bridge, 1953Signed “Pleissner” lower rightPrint, 13.5 by 23.5 inchesPrivately printed for the Anglers’ Club ofNew York in a limited edition of 221

LITERATURE: Peter Bergh, The Art of OgdenM. Pleissner, Boston, MA, 1984, p. 107, illustrated.

ESTIMATE: $600-$900

373 374

375 376

377 378

220

379 Aiden Lassell Ripley (1896-1969)Duck Shooting from a Blind, 1963Signed “A. Lassell Ripley” lower rightPrint, 17.25 by 26.25 inchesInscribed “2037 10-9-64” on back


ESTIMATE: $200-$400

380 Arthur Burdett Frost (1851-1928)October Woodcock Shooting, 1933Hand-colored print, 16.5 by 21 inchesPublished by the Derrydale Press, New York.The Derrydale press painted the detailsalong with John Frost, brother of the artist.

ESTIMATE: $1,000-$2,000

381 after John James Audubon (1785-1851)Print, 23.5 by 36 inches“Drawn from Nature by J.J. Audubon.F.R.S.F.I.S.” lower left

“Canvas backed Ducks. Fuliguia Vallisneria1.2. Male 3. Female View of Baltimore” lowercenter


ESTIMATE: $200-$400

382 Frank Weston Benson (1862-1951)Canada GeeseSigned “Frank W. Benson” lower leftLithograph, 11.5 by 16 inches

LITERATURE: John T. Ordeman, Frank W.Benson: His Sporting Art, at The WardMuseum of Wildfowl Art, Hudson, WI,1996, p. 66, illustrated.

ESTIMATE: $400-$600

383 William Joseph Schaldach (1896-1982)Two Etchings (one shown)Pheasant Signed “W.J. Schaldach” lower right Etching, 5 by 3.5 inches

Quail Signed “W.J. Schaldach” lower right Etching, 4 by 5 inches

ESTIMATE: $100-$200

384 Frank Weston Benson (1862-1951)Single Duck, 1917Signed “Frank W. Benson” lower leftDrypoint, 4 by 5.25 inchesInscribed “64” lower right Paff # 123, edition of 95

PROVENANCE: Private Collection of Frank W.Benson By descent in the family to his great grand-son

ESTIMATE: $200-$300

379 380

381 382

383 384

221

385 Frank Weston Benson (1862-1951)Black Ducks No. 2, 1919Signed “Frank W. Benson” lower leftDrypoint, 9.75 by 7.75 inchesPaff # 165, edition of 145 Frederic Keppel & Co., Inc., RareEngravings and Etchings, New York, NewYork label on back


ESTIMATE: $200-$400

386 Frank Weston Benson (1862-1951)Rippling Water, 1920Signed “Frank W. Benson” lower leftEtching, 9.75 by 7.75 inchesPaff # 174, edition of 150 Kennedy & Co Rare Prints, New York,New York label on back


ESTIMATE: $300-$500

387 Frank Weston Benson (1862-1951)On Swift Wings, 1925Signed “Frank W. Benson” lower leftEtching, 11.75 by 9.75 inchesPaff # 264, edition of 150 Kennedy & Co., New York, New York labelon back


ESTIMATE: $400-$600

388 Frank Weston Benson (1862-1951)Ducks at Play, 1923Signed “Frank W. Benson” lower leftDrypoint, 10.75 by 13.75 inchesPaff # 217, edition of 150


ESTIMATE: $200-$400

389 Frank Weston Benson (1862-1951)Ducks at Dawn, 1920Signed “Frank W. Benson” lower leftDrypoint, 7 by 8.75 inchesPaff # 198, edition of 150 Kennedy & Co., New York, New York labelon back


ESTIMATE: $300-$500

390 Frank Weston Benson (1862-1951)Mates, 1918Signed “Frank W. Benson” lower leftEtching, 6 by 8 inchesPaff # 132, edition of 147 Kennedy & Co. Rare Prints, New York,New York label on back


ESTIMATE: $200-$400

385 386 387

388 389 390

222

395 396

391 Hans Kleiber (1887-1967)Duck Shooting from a BlindSigned “Hans Kleiber” lower rightEtching, 5 by 6.25 inches

LITERATURE: John T. Ordeman, “TheAmerican Sporting Print: 20th CenturyEtchers and Drypointists,” Ringwood, NJ,p. 58, illustrated.

ESTIMATE: $100-$200

392 Roland H. Clark (1874-1957)StormSigned “Roland Clark” lower rightEtching, 8 by 11 inches

ESTIMATE: $200-$300

393 Levon West (1900-1968)Early GunnersSigned “Levon West imp.” lower rightEtching and drypoint, 15.75 by 8.75 inchesInscribed “54” lower left

ESTIMATE: $100-$200

393a Levon West (1900-1968)Stem ChristinaSigned “Levon West imp.” lower rightEtching, 15.75 by 8.5 inches

ESTIMATE: $100-$200

394 Reinhold H. Palenske (1884-1954)Two Etchings (one shown)Feeding Time - The Sportsman’s ClubSigned “R.H. Palenske” lower right Etching, 8 by 5.75 inches Inscribed “Feeding Time - TheSportsman’s Club” lower left and “To Albert R. Copeland” lower center

Goodnight Till SpringSigned “R.H. Palenske” lower right Etching, 8 by 9.75 inches Inscribed “Goodnight Till Spring” lower left

ESTIMATE: $100-$200

395 Gordon Allen (b. 1953)Brook TroutSigned “G. Allen” lower rightEtching, 6.5 by 3.75 inchesInscribed “14/160” lower left and “Brook Trout” lower center

ESTIMATE: $50-$100

396 Edward King (1886-1962)PoloSigned “Edward King” lower leftLithograph, 10 by 17.75 inches

ESTIMATE: $100-$200

391 392

393 393a

394

223

397.1 397.2 398

399 400

401 402 403

404 405 406

407 408

224

397 Lyman Byxbe (1886-1980)Two Etchings 397.1 CottonwoodSigned “Lyman Byxbe” lower right Etching, 4.75 by 3 inches Inscribed “Rangers Cabin” lower left

397.2 Ranger’s CabinSigned “Lyman Byxbe” lower right Etching, 5 by 3.5 inches Inscribed “Cottonwood” lower left

ESTIMATE: $50-$100

398 Roland H. Clark (1874-1957)Canada Geese, 1922Signed “Roland Clark” lower rightEtching, 12.75 by 9.25 inchesArthur Ackermann & Son, New York, New York label on back Edition of 75


ESTIMATE: $200-$400

399 Lot of Fourteen Prints (one shown)A.B. Frost (1851-1928) Hunter Poling Boat 18.25 by 27.25 inches Inscribed in plate “A.B. Frost 1901” lower left

Richard E. Bishop (1887-1975) CansSigned in plate “Richard E. Bishop” lower right Talio-crome, 10.5 by 7.25 inches

Flight’s EndSigned in plate “Richard E. Bishop” lower right Talio-crome, 10 by 8 inches

Lake Erie MallardsSigned in plate “Richard E. Bishop” lower right Talio-crome, 9.5 by 7.75 inches

Churchill Ettinger (1903-1984) Mallards RisingSigned “Churchill Ettinger” lower right Etching, 8.75 by 11.75 inches Inscribed “Mallards Rising 1/100”

Honkers Signed “Churchill Ettinger” Etching, 9 by 6.75 inches Inscribed “Honkers ed. 100” lower left

Roland H. Clark (1874-1957) Coming InSigned “Roland Clark” lower right Talio-crome, 10 by 7.75 inches Inscribed “Coming In” lower left

Redheads Signed “Roland Clark” lower right Etching, 10.25 by 8 inches Inscribed “Redheads” lower left

Sir Peter Scott (1909-1989), 1953 Six prints, each 10 by 14.25 inches Canvasbacks on a Still AfternoonCanada Geese After a Squall

Three Pintails at DuskMallards JumpingBroadbills Coming in to RaftBlack Ducks in the Sunshine

ESTIMATE: $200-$400

400 Six State Duck Stamp Prints(one shown)1985 New York, Larry Barton Signed “Larry Barton” lower right Lithograph, 6.5 by 9 inches Inscribed “2952/14,040” lower left

1984 First of State Maine, David A. Maass Signed “David A. Maass” lower right Lithograph, 6.5 by 9 inches Inscribed “1499/11,115” lower left

1986 First of State Vermont, James Killen Signed “James Killen” lower right Lithograph, 6.5 by 9 inches Inscribed “4824/13,910” lower left

1975 Massachusetts, Tom Hennessey Signed “Tom Hennessey” lower right Lithograph, 7 by 10 inches Inscribed “426/500 Massachusetts DuckStamp – 1975” lower left

1989 Rhode Island, Robert Steiner Signed “R. Steiner” lower right Lithograph, 6.5 by 9 inches Inscribed “6888/10,874” lower left

1983 First of State New Hampshire,Richard W. Plasschaert Signed “Richard W. Plasschaert” lower right Lithograph, 6.5 by 9 inches Inscribed “614/5507” lower left

ESTIMATE: $100-$300

401 Nine State Duck Stamp Prints(one shown)Daniel Smith Signed “Daniel Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “3764/10,064” lower left

1982 First of State, North Dakota, RichardW. Plasschaert Signed “Richard W. Plasschaert” lower right Lithograph, 6.5 by 9 inches Inscribed “3086/9939” lower left

1985 First of State, Wyoming, RobertKusserow Signed “Robert Kusserow” lower right Lithograph, 6.5 by 9 inches Inscribed “1934/4750” lower left

1987 First of State, Arizona, Daniel Smith Signed “Daniel Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “1570/10,400” lower left

1986 First of State, Utah, Leon Parson Signed “Leon Parson” lower right Lithograph, 6.5 by 9 inches Inscribed “696/14,028” lower left

1979 First of State, Nevada, Larry Hayden Signed “Larry Hayden” lower right Lithograph, 6.5 by 9 inches Inscribed “995/1990” lower left

1991 New Mexico, Robert Steiner Signed “R. Steiner” lower right Lithograph, 6.5 by 9 inches Inscribed “639/12,000” lower left

1990 Colorado, Robert Steiner Signed “R. Steiner” lower right Lithograph, 6.5 by 9 inches Inscribed “1336/14,500” lower left

1987 First of State, Idaho, Robert Leslie Signed “Rob Leslie” lower right Lithograph, 6.5 by 9 inches Inscribed “2231/13,200” lower left

ESTIMATE: $200-$400

402 Eleven State Duck Stamp Prints(one shown)1981 First of State, Arkansas, Lee LeBlanc Signed “Lee LeBlanc” lower right Lithograph, 6.5 by 9 inches Inscribed “3529/7200” lower left

1990 Louisiana, David Noll Signed “David Noll” lower right Lithograph, 6.5 by 9 inches Inscribed “4304/20,500” lower left

1987 First of State, Kansas, GuyCoheleach Signed “Guy Coheleach” lower left Lithograph, 6.5 by 9 inches Inscribed “1163/10,015” lower left

1979 First of State, Alabama, Barbara Keel Signed “Barbara Keel” left center Lithograph, 6.5 by 8.75 inches Inscribed “446/1750” lower left

1985 First of State, Kentucky, Ray Harm Signed “Ray Harm” lower left Lithograph, 6.5 by 9 inches Inscribed “3415/8189” lower right

1981 First of State, Texas, Larry Hayden Signed “Larry Hayden” lower right Lithograph, 6.5 by 9 inches Inscribed “828/16,500” lower left

1979 Missouri, Charles W. Schwartz Signed “C.W. Schwartz” lower left Lithograph, 6.5 by 9 inches Inscribed “291/2000” lower right

1991 Nebraska, Neal R. Anderson Signed “Neal R. Anderson” lower right Lithograph, 6.5 by 9 inches Inscribed “413/12,000” lower left

1972 First of State, Iowa, Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 11 inches Inscribed “35/500 Iowa Duck StampDesign – 1972 – 1st ed.” lower left

1982 First of State Ohio, John A. Ruthven Signed “John A. Ruthven” lower right Lithograph, 6.5 by 9 inches Inscribed “3004/9000” lower left

225

1975 First of State Illinois, Robert F.Eschenfeldt Signed “Robert F. Eschenfeldt” lower right Lithograph, 7 by 9 inches Inscribed “47-50 AP 1975-76 Illinois DuckStamp Design” lower left

ESTIMATE: $200-$400

403 Eight State Duck Stamp Prints(one shown)1983 First of State North Carolina, Richard W. Plasschaert Signed “Richard W. Plasschaert” lowerright Lithograph, 6.5 by 9 inches Inscribed “5073/13,652” lower left

1981 First of State, South Carolina, LeeLeBlanc Signed “Lee LeBlanc” lower right Lithograph, 6.5 by 9 inches Inscribed “874/4500” lower left

1985 First of State, Georgia, Daniel Smith Signed “Daniel Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “4323/14,100” lower left

1980 First of State, Delaware, Ned Mayne Signed “Ned Mayne” lower right Lithograph, 6.5 by 9 inches Inscribed “428/1980” lower left

1991 Maryland, David T. Turnbaugh Signed “David T. Turnbaugh” lower right Lithograph, 6.5 by 9 inches Inscribed “317/1400” lower left

1983 First of State Pennsylvania, NedSmith Signed “Ned Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “2683/7380” lower left

1988 First of State Virginia, Ron Louque Signed “Ron Louque” lower right Lithograph, 6.5 by 9 inches Inscribed “2581/14,500” lower left

1984 First of State New Jersey, ThomasHirata Signed “Thomas Hirata” lower right Lithograph, 6.5 by 9 inches Inscribed “4909/10,011” lower left

ESTIMATE: $200-$400

404 Four State Duck Stamp Prints(one shown)1985 First of State Alaska, Daniel Smith Signed “Daniel Smith” lower right Lithograph, 6.5 by 9 inches Inscribed “5487/14,650” lower left

1986 First of State, Washington, KeithWarrick Signed “Keith Warrick” lower right Lithograph, 6.5 by 9 inches Inscribed “3157/12,180” lower left

1984 First of State, Oregon, Michael Sieve Signed “Michel Sieve” lower right Lithograph, 6.5 by 9 inches Inscribed “1033/11,825” lower left

1971 First of State, California, Paul B.Johnson Signed “Paul B. Johnson” lower right Lithograph, 5 by 7.75 inches Inscribed “1971 350/500 California DuckStamp” lower left

ESTIMATE: $100-$300

405 Seven Maryland Duck Stamp Prints(one shown)1975 Maryland, Stanley Stearns Signed “Stanley Stearns” lower right Lithograph, 6.5 by 9 inches Inscribed “289/650 Warehouse Creek”lower left

1976 Maryland, Louis Frisino Signed “Louis Frisino” lower right Lithograph, 6.5 by 9 inches Inscribed “Canvasback 454/500 1976-77MD, Duck Stamp” lower left

1981 Maryland, Arthur R. Eakin Signed “Arthur Eakin” lower right Lithograph, 6.5 by 9 inches Inscribed “187/1250” lower left

1974 Maryland, John W. Taylor Signed “John W. Taylor” lower right Lithograph, 6.5 by 9 inches Inscribed “436/500 Maryland WaterfowlStamp 1974-75” lower left

1988 Maryland, Christopher White Signed “Christopher White” lower right Lithograph, 6.5 by 9 inches Inscribed “214/1500” lower left

1986 Maryland, Louis Frisino Signed “Louis Frisino” lower right Lithograph, 6.5 by 9 inches Inscribed “379/2000” lower left

1987 Maryland, Francis E. Sweet Signed “Francis E. Sweet” lower right Lithograph, 6.5 by 9 inches Inscribed “909/1500” lower left

ESTIMATE: $100-$300

406 Four Ducks Unlimited Prints(one shown)Maynard Reece Signed “Maynard Reece” lower right Lithograph, 6.5 by 9 inches Inscribed “3674/5300” lower left

David A. Maass Signed “David A. Maass” lower right Lithograph, 6.5 by 9 inches Inscribed “291/2000” lower right

Larry Toschik Signed “Larry Toschik” lower right Lithograph, 6.5 by 9 inches Inscribed “4164/5000” lower left

John A. Ruthven Signed “John A. Ruthven” lower right Lithograph, 6.5 by 9 inches Inscribed “1836/4300” lower left

ESTIMATE: $100-$300

407 Thirteen Miscellaneous Prints1985 First of Canada, Robert Bateman Signed “Robert Bateman” lower right Lithograph, 6.5 by 9 inches Inscribed “11,219/41,740” lower left

1978 Montana, Marlowe Urdahl Signed “Marlowe Urdahl” lower right Lithograph, 6.25 by 9 inches Inscribed “434/1300” lower left

1979 California, Ken Michaelson Signed “Ken Michaelson” lower right Lithograph, 6.5 by 9 inches Inscribed “367/500” lower left

1976 Mississippi, Carroll G. Perkins Signed “Carroll Gwen Perkins” lower right Lithograph, 6.5 by 9.25 inches Inscribed “5/50 A.P. 1976 MississippiDuck Stamp Print” lower left

1976 South Dakota, Robert Kusserow Signed “Robert Kusserow” lower right Lithograph, 6.5 by 8.75 inches Inscribed “430/500 South Dakota DuckStamp Print Design” lower left

1976 Indiana, Sonny Bashore Signed “Sonny Bashore” lower right Lithograph, 6.5 by 8.75 inches Inscribed “37/50 AP 1976 Indiana DuckStamp Print Design” lower left

1976 Michigan, Oscar Warbach Signed “Oscar Warbach” lower right Lithograph, 5 by 8 inches Inscribed “A.P. – 1976 Michigan DuckStamp Designs” lower left

1980 First of State Oklahoma, PatrickSawyer Signed “Patrick Sawyer” lower right Lithograph, 6.5 by 9 inches Inscribed “853/1980”

1977 Minnesota, David A. Maass Signed “David A. Maass” lower rightLithograph, 6.5 by 9 inches

1978 First of State Wisconsin, Owen J.Gromme Signed “OJ Gromme” lower right Lithograph, 6.5 by 9 inches Inscribed “826/5800” lower left.

1979 Tennessee, Richard Elliott Signed “Elliott” lower left Lithograph, 6.5 by 9 inches Inscribed “207/1979” lower right

1979 First of State Florida, Robert Binks Signed “Binks” lower right Lithograph, 6.5 by 9 inches Inscribed “119/1000” lower left

1989 South Dakota, Rosemary Millette Signed “R Millette” lower right Lithograph, 6.75 by 9 inches Inscribed “519/8000” lower left

ESTIMATE: $100-$300

226

408 Twelve Miscellaneous Prints(one shown)1982 National Wild Turkey Fed. Print,Autumn MonarchSigned “Robert K. Abett” lower rightLithograph, 6.5 by 9 inches Inscribed “42/1600” lower left

1985 First Wildlife Habitat ConservationStamp Signed “Robert Bateman” lower right Lithograph, 6.5 by 9 inches Inscribed “2339/7691” lower left

1986 Waterfowl Stamp Print, CanadaGeeseSigned “Thornbrugh” lower right Lithograph, 6.5 by 9 inches Inscribed “2798/9212” lower left

1984 National Wild Turkey Fed. Print,Nature’s LegacySigned “Richard W. Plasschaert” lowerright Lithograph, 6.5 by 9 inches Inscribed “42/1300” lower left

1985 National Wild Turkey Fed. Print,Royal DomainEmbossed in gold “Ned Smith” lowerright Lithograph, 6.5 by 9 inches Inscribed “42/1985” lower left

1983 National Wild Turkey Fed. Print,Sultan StrollSigned “Lee LeBlanc” lower right Lithograph, 6.5 by 9 inches Inscribed “42/1600” lower left

1981 National Wild Turkey Fed. Print,Majestic Trio - Wild TurkeysSigned “David A. Maass” lower right Lithograph, 6.5 by 9 inches Inscribed “2905/3200” lower left

1979 National Wild Turkey Fed. Print,Merriami Signed “Ken Cavison” lower right Lithograph, 6.5 by 9 inches Inscribed “139/1300” lower left

1978 National Wild Turkey Fed. Print,Intermedia Signed “Richard Amundsen” lower right Lithograph, 6.5 by 9 inches Inscribed “556/1600” lower left

1976 Wild Turkey Stamp Print Signed “Russ Smiley” lower right Lithograph, 6.5 by 9 inches Inscribed “Artist’s Proof” lower right, withpencil drawing of turkey lower center

1980 National Wild Turkey Fed. Print,Explosion in CornSigned “Walter Wolfe” lower right Lithograph, 6.5 by 9 inches Inscribed “86/1400” lower center

1977 Wild Turkey Stamp print, SilvestrisSigned “Chuck Ripper” lower right Lithograph, 6.5 by 9 inches

Inscribed “1450/1500” lower left

ESTIMATE: $100-$300

All dates listed in descriptions representthe latest date printed in book.

409 BASEBALL. Group of 3 signed baseballs and 14 vol-umes.

The baseballs include one Bobby Brownera official American League baseballsigned “Joe Dimaggio”, one NY Yankeesteam baseball c. 1950 including signa-tures of Dimaggio, Martin, Berra and oth-ers, one National League, NY Giantsteam baseball c. 1950. The book subjectsinclude The Baseball Encyclopedia, andbooks on Berra, Cobb, Mantle, Gehrig,The Yankees, The Brooklyn Dodgers, TheGiants, The Mets and baseball pitchers.

410 BOLLES, FRANK. Group of 8 volumes, as listed below.

From Blomidon to Smoky and OtherPapers. 1895 * Land of the Lingering Snow.1898 * At the North of Bearcamp Water.1896 * Chocorua’s Tenants. 1895 * At theNorth of Bearcamp Water. 1893. STATED5th IMPRESSION * Land of the LingeringSnow. 1901 * From Blomidon to Smokyand Other Papers. 1894 * Chocorua’sTenants. Cambridge. 1895

411 BOOK OF SPORTPatten, William Illustrated, Edition de Luxe, One of 1500Numbered Copies, this one number 142.J. F. Taylor & Company 1901 Malcolm D.Whitman Collection (original contributor)

PROVENANCE: Private Collection,Massachusetts, by descent in the family

ESTIMATE: $500-$1,000

412 BOOKSand Collectibles. Group of 6 volumes, aslisted below. FIRST IN SLIPCASE

Fadiman, Clifton, ed. Fifty Years. 1965 *Biscotti, M. L. The Borzoi Books for

Sportsmen. 1992 * Heller, M. AmericanHunting and Fishing Books, Vol. 1. 1997 *Fain, Barry. Barry Fain’s Private Blue Bookof Gun Values. Vol. 2, No. 1. 1982 *Phillips, J.C. A Bibliography of AmericanSporting Books. 1991 * Liu, A.J. TheAmerican Sporting Collector’s Handbook.1982

413 BUCKINGHAM, NASH. Group of 15 volumes, as listed below and9 others; 8 by Patrick McManus and 1 byGeorge Bird Evans.

Buckingham, N. The Shootinest Gent’man.1941 * ditto. * ditto. (4 edition). * ditto.(1983. NUMBER 343 OF 3000 COPIES). *Buckingham, N. Hallowed Years. 1953 *Buckingham, N. Mark Right! 1944 *Buckingham, N. Game Bag. 1945 *Buckingham, N. Ole Miss.’ 1946 * ditto.(1986. NUMBER 343 OF 3000 COPIES) *Buckingham, N. Blood Lines. 1947 * ditto.(1989. NUMBER 343 OF 3000 COPIES). *Buckingham, N. Tattered Coat. 1944 *ditto. (1944 SIGNED. NUMBER 727 OF995 COPIES). * Buckingham, N. OnceUpon a Time. 1992 * ditto. (NUMBER 46OF 150 COPIES).

414 DERRYDALE PRESS. Group of 5 vol-umes, as listed below.

Some Early American Hunters. 1928 *Walden II, H.T. Upstream and Down. 1938.NUMBER 858 OF 950. * Connett III, E.V.A Decade of American Sporting Books andPrints by the Derrydale Press 1927-1937.1937 * Spiller, B.L. More Grouse Feathers.1938. NUMBER 88 OF 950. SIGNED. *Spiller, B.L. Thoroughbred. 1936. NUMBER353 OF 950.

415 DERRYDALE PRESS. Group of 10 volumes, as listed below.

Montgomery, Rutherford G. High Country.1938. NUMBER 353 OF 950. * Smith, E.W.Tall Tales and Short. 1938. NUMBER 892OF 950. * Williams, B.A. The Happy End.1939. NUMBER 911 OF 1250. *Anonymous. Some Early AmericanHunters. 1928 * Spiller, B.L. Throughbred.1936. NUMBER 625 OF 950. * Markland,A.B. Pteryplegia: The Art of Shooting-Flying. 1931. EDITION OF 500. * Connett,E.V. Feathered Game. 1929 * TheSportsman’s Portfolio of American FieldSports. 1929. EDITION OF 400. * Hunt,L.B. An Artist’s Game Bag. 1936. NUM-BER 32 OF 1225. SIGNED. * Sheldon, H.P.Tranquility Revisted. 1940. NUMBER 231OF 485.

411

227

416 DERRYDALE PRESS.Group of 7 volumes, as listed below.

Forester, F. The Hitchcock Edition of FrankForester including vols. I, II, III, IV : TheWarwick Woodlands, My Shooting Box, TheQuorndon Hounds. The Deer Stalkers. 1930* Hatch, A. and Keen, F. Full Tilt. 1938.REVIEW COPY. * Spiller, B.L. More GrouseFeathers. 1938. Number 373 of 950. *Annabel, Russell. Tales of a Big Game Guide.1938. NUMBER 801 OF 950.

417 DERRYDALE. Group of 5 volumes, as listed below. Last 2with slip cases. Harris. Memories of Manhattan in theSixties and Seventies. 1928 * Ordeman. TheAquatints, Drypoints, and Etchings of theDerrydale Press. 1995 * Pollard, Smith, andConnett. British & American Game-Birds.1993 * Brand. The Thunder. 1933. ONE OF950 COPIES * Siegel, Marschalk, Jr., andOelgart. The Derrydale Press: A Biography.1981

418 DOGS. Group of 2 volumes, as listed below.

Lytle, Horace. Gundogs Afield. 1942.SIGNED BY ARTIST (L.B. HUNT) ANDAUTHOR NUMBER 10 OF 100. INCLUDESORIGINAL PENCIL SIGNED LITHOGRAPHBY LYNN BOGUE HUNT. * Sands, Leonard.The Bird, the Gun and the Dog. 1939.SIGNED NUMBER 77 OF 100. FRON-TISPIECE IS ORIGINAL ETCHING BYANTHONY LA PAGLIA.

419 DOGS.Group of 5 volumes, as listed below and 23others.

Humphrey, G.M. ed. The Georgia-FloridaField Trial Club 1916-1948. 1948. NUMBER154 OF 600 COPIES. * Holland, R.P. BirdDogs. 1948. SIGNED BY ARTIST ANDAUTHOR. NUMBER 169 OF 250 COPIES. *Hochwalt, A. F. Greymist. 1925 *Hammond, S. T. Practical Dog Training.1892 * Hazelton, W. ed. Classic HuntingStories by America’s Premier Writers. 1940

420 DUCK HUNTING. Group of 10 volumes, as listed below.

Hazelton. Supreme Duck Shooting Stories.1989 * Haynes. Ducks and Duck Shooting.1924 * Hazelton. Duck Shooting andHunting Sketches. 1943 * Hazelton. Tales ofDuck and Goose Shooting. 1916 * Hazelton.Supreme Duck Shooting Stories. 1936 *Salisbury. Duck Guns, Shooting andDecoying. 1947 * Hazelton. Fred KimbleMaster Duck Shot of the World. 1923 *Haynes. Goose and Duck Shooting. 1961 *Hazelton. Wildfowling Tales. 1921 *

Hazelton. Days Among the Ducks. 1938

421 DUCK HUNTING. Group of 10 volumes, as listed below.

Sheldon, Col. Harold P. Tranquility,Tranquility Revisited, and TranquilityRegained. 1945. SEPARATELY BOUND INDJ, ALL IN ONE SLIPCASE. * Hazelton,William C. Supreme Duck Shooting Stories.1934 * ditto. (1944). * Hazelton, William C.et. al. Tales of Duck and Goose Shooting.1922. 2 copies * Hazelton, William C.Ducking Days. 1919 * Cay Jr., J.E. WardAllen: Savannah River Market Hunter. 1958.NUMBER 157 OF 350 COPIES SIGNED. *Cay Jr., J.E. Ducks, Dogs and Friends. 1979 *Bigelow, Horatio. Scatter-Gun Sketches. 1922* Salisbury, Howard M. Duck Guns,Shooting and Decoying. 1947

422 EVANS, GEORGE B.Group of 15 volumes related to and by theauthor, as listed below. All but one in slip-case.

Harper, Catherine A. George Bird Evans: Lifeof a Shooting Gentleman. 1999. NUMBER120 OF 1500. * George Bird EvansIntroduces, 1990. SIGNED INSCRIPTIONNUMBER 343 OF 1150. * Grouse on theMountain. 1994. SIGNED INSCRIPTIONNUMBER 343 OF 150O. * A Dog, A Gunand Time Enough. 1987. SIGNED INSCRIP-TION NUMBER 43 OF 1250. * NashBuckingham’s Letters to John Bailey. 1984.SIGNED INSCRIPTION NUMBER 43 OF575. * The Upland Gunner’s Book. 1979.SIGNED INSCRIPTION NUMBER 143 OF1000. * October Fever. 1989. SIGNEDNUMBER 43 OF 1250. * From my Covers.1995. SIGNED INSCRIPTION NUMBER 43OF 1250. * Grouse & Woodcock in theBlackwater / Canaan. 1997. SIGNEDINSCRIPTION NUMBER 1000 OF 1500. *Living with Gun Dogs. 1992. SIGNED NUM-BER 43 OF 1500. * An Affair with Grouse.1982. SIGNED NUMBER 101 OF 1000. *ditto. (no slipcase, unsigned and not num-bered). * Grouse Along the Tramroad. 1986.SIGNED INSCRIPTION NUMBER 646 OF1500. * The Woodcock Book. 1977. SIGNEDNUMBER 343 OF 1000. * The Ruffed GrouseBook. 1977. SIGNED NUMBER 343 OF1000.

423 FISHING.Group of 11 volumes, as listed below. First6 with slip case, the following 3 share a slipcase.Reiger. The Silver King. 1992 * Reiger. TheBonefish. 1993 * Rat. Summer’s Salmon.1997. ONE OF 1,500 COPIES * Gierach.Fishing Bamboo. 1997. ONE OF 1,750COPIES SIGNED. * McGuane. Live Water.1996. ONE OF 1,500 COPIES SIGNED. *

Lamb. Fishing’s Only Part Of It. 1982.NUMBER 343 OF 1,000 SIGNED. *Sheldon. Tranquility. ONE OF 5,000COPIES PRINTED IN 1945. * Sheldon.Tranquility Revisited. ONE OF 5,000COPIES PRINTED IN 1945. * Sheldon.Tranquility Regained. ONE OF 5,000COPIES PRINTED IN 1945. * Lyons. FishingWidows. 1974. SIGNED. * Gruber. ZaneGrey: A Biography. 1969. STATED FIRSTEDITION.

424 FISHING.Group of 6 volumes, as listed below. First 2with slip case. McGuane. Sons. 1993. NUMBER 109 of 250COPIES SIGNED. * McGuane. Sons. 1993.NUMBER 108 of 250 COPIES SIGNED. *Norman. Meanderings of a Fly Fisherman.1996. NUMBER 43 of 250 COPIES SIGNED.* Connett. Any Luck? 1933 * Goodspeed. ATreasury of Fishing Stories. 1964 * Claflin.Blazed Trails for Anglers. 1949

425 FISHING.Group of 9 volumes, as listed below.Farrington Jr. S.K. Fishing in the Atlantic.1949 * Farrington Jr. S.K. Fishing in thePacific. 1953. STATED SECOND IMPRE-SION. * Wise, Hugh D. Tigers of the Sea.1937. NUMBER 829 OF 950. DERRYDALE.* Boyce, William D. A Strike. 1894 * Wells,H. P. The American Salmon Fisherman.1886 * Whynott, Douglas. Giant Bluefin.1995 * Grey, Zane. Tales of Fishes. 1919 *Phair, Charles. Atlantic Salmon Fishing.1993. LIMITED EDITION OF 2500. DERRY-DALE. * Connett, E.V. American Big GameFishing. 1993. LIMITED EDITION OF 2500.DERRYDALE.

426 FISHING. Group of 13 volumes.

Jennings, P.J. A Book of Trout Flies. 1935.NUMBER 194 OF 850. DERRYDALE. * ditto(later editions). * ditto. * Marbury, M.O.Favorite Flies and Their Histories. 1892 *Knight, J.A. The Modern Angler. 1936 *Mershon, W.B. Recollecting My Fifty YearsHunting and Fishing. 1923 * Hackle, S.G.Fishless Days. 1954 * Forester, Frank.Trouting Along the Catasauqua. 1927 *Thompson, L.P. Fishing in New England.1955. NUMBER 508 OF 1200 IN GREATBRITAIN * ditto. 1082 OF 1200 IN GREATBRITAIN * Walton, Izaak. The CompleteAngler. 1953 * Arms, D.N. Fishing Memories.1938 * Smith, J.V.C Trout and Angling. 1929

427 FORD, COREY ET AL. Group of 22 volumes, as listed below.

You Can Always Tell A Fisherman. 1958 *The Horse of Another Color. 1946 * ditto. *Coconut Oil. 1931 * The Gazelle’s Ears. 1926

228

* Every Dog Should Have a Man. 1952.STATED FIRST EDITION. * A PeculiarService. 1965. STATED FIRST EDITION. *Minutes of the Lower Forty. 1962. STATEDFIRST EDITION. * The Time of Laughter.1967. FIRST SIGNED EDITION. * TheDay Nothing Happened. 1959 * Clark andDagger. 1946. STATED FIRST PRINTING.* Three Rousing Cheers for the Rollo Boys.1925 * Salt Water Taffy. 1929 * What EveryBachelor Knows. 1961. STATED FIRST EDI-TION.* From the Ground Up. 1943 * TheOffice Party. 1951 * The Best of Corey Ford.1975 * Cold Noses and Warm Hearts. 1958* Donovan of Oss. 1970. STATED FIRSTEDITION * Has Anybody Seen Me Lately.1958. SIGNED INSCRIPTION. * Short Cutto Tokyo. 1943 * Uncle Perk’s Jug. 1964

428 GUNS. Group of 6 volumes, as listed below.

Hatch, A. Remington Arms. 1956 * Baer,Larry L. The Parker Gun. 1974 * MeansW.G. My Guns. 1941 * Peterson, H.L. TheRemington Historical Treasury of AmericanGuns. 1966 * Winders, G.H. Sam Colt andHis Gun. 1959 * Rohan, J. Yankee ArmsMaker. 1948

429 HUNTING AND FISHING. Group of 10 volumes, as listed below. Truax, ed. A Breed Apart Volume I. 1993.NUMBER 343 of 500 COPIES SIGNED,LIMITED EDITION. * Truax, ed. A BreedApart Volume II. 1994. NUMBER 343 of500 COPIES SIGNED, LIMITED EDI-TION. * Wehle. Snakefoot: The Making ofa Champion. 1996. SIGNED. *Buckingham. Once Upon a Time. 1992.NUMBER 343 of 500 COPIES SIGNED,LIMITED EDITION. * Buckingham.Tattered Coat. 1944 * Buckingham.Tattered Coat. 1944. NUMBER 252 of 995COPIES SIGNED, LIMTED EDITION. *Connett, ed. Upland Game Bird Shootingin America. 1930 * Connett, ed. AmericanBig Game Fishing. 1935 * Simmons. WingShots. 1936. NUMBER 463 OF 950COPIES. * Wehle. Wing & Shot. 1964

430 HUNTING. Group of 16 volumes, as listed below.

Brasher, Rex. Secrets of the Friendly Woods.1926 * Merrill, Samuel. The Moose Book.1916 * Woodcock, E.N. Fifty Years aHunter and Trapper. 1941 * ditto. * CurtisJr., P.A. American Game Shooting. 1927 *Bruette, William. American Duck, Gooseand Brant. 1929 * Long, W.J. Fowls of theAir. 1901 * Kellogg, F.E. The Boy DuckHunters. 1900 * Curtis, Paul A. Guns andGunning. 1934 * ditto. (1946). * Hazelton,W.C. et. al. Tales of Duck and GooseShooting. 1916 * Mershon, Wm. B.

Recollections of My Fifty Years Huntingand Fishing. 1923 * Samuels, Edward A.With Rod and Gun. 1897 * Heilner, VanCampen. A Book on Duck Shooting. 1947 *ditto. (1945). * Gaspar, Howland. TheComplete Sportsman. 1893 * Bumstead,John. On the Wing. 1869


Miller, W.H. The Boys’ Book of Huntingand Fishing. 1926 * Hawker, P. Instructionsto Young Sportsmen. 1846 * Woodcock,E.N. Fifty Years a Hunter and Trapper. 1913* Sears, H. Fur and Feather Tails. 1899 *Lynch, V.E. Thrilling Adventures. 1928 *Winch, F. The American Hunter. 1923 *Parker, Eric ed. Colonel Hawker’s ShootingDiaries. DERRYDALE. * Paker, Eric. Field,River and Hill. 1927 * Shields, G. O.Cruisings in the Cascades. 1889 * Whereto Hunt American Game. 1898 * Long,William J. Stories from Northern Trails.1908 * Long, William J. Wilderness Ways.1901 * Martindale, Thomas. Hunting inthe Upper Yukon. 1913

432 HUNTING.Group of 15 volumes, as listed below.

Hightower, John. Pheasant Hunting. 1946.SIGNED IN SLIPCASE NUMBER 329 OF350. * Sands, L. The Bird, the Gun and theDog. 1939 * Knight, J.A. Woodcock. 1944.SIGNED EDITION OF 275 IN SLIPCASE.* Edminster, F.C. American Game Birds onField and Forest. 1954 * Bigelow, H. FlyingFeathers.1937 * Curtis, P.A. AmericanGame Shooting. 1927 * Pollard, H. GameBirds and Game Bird Shooting. 1936 *Leffingwell, W. The Art of Wing Shooting.1895 * Popowski, B. Olt’s HuntingHandbook. 1948 * Everitt, S. Tales of WildTurkey Hunting. 1928 * Huntington, D.Feathered Game. 1903 * Grinnell, G.B.American Game-Bird Shooting. 1910 *Everett, F. Fun with Game Birds. 1954 *Buckingham, N. Game Bag. 1945.SIGNED NUMBER 944 OF 1250.


Roosevelt, T. Hunting Trips of aRanchman. 1886 * Roosevelt, T. AfricanTrails. 1926. Vols. 1 and 2. * Roosevelt, K.The Long Trail. 1921. SIGNED. * Cleveland,G. Fishing and Shooting Sketches. 1906. 2copies * Roosevelt, T. and Grinnell, G.B.eds. Hunting in Many Lands. 1895 *Roosevelt, T. and Grinnell, G.B. eds.American Big-Game Hunting. 1901 *Grinnell, G.B. ed. et. al. Hunting Trails onThree Continents. 1933. NUMBER 2 OF250. * Grinnell, G.B. ed. American BigGame in its Haunts. 1904

434 KINGFISHERS AND RELATEDBIRDSForshaw, Joseph M.

A large folio (14.5” x 20.5”) ornithologicalseries with illustrations and numerous fullpage color plates. The six volumes are inthree solander boxes with leather labelsand velvet lined interiors. Limited to 1000copies of which this is number 517.Signed by both the author and William T.Cooper, the illustrator. Lansdowne LimitedEditions 1983-1994.

ESTIMATE: $1,000- $2,000

435 MURRAY, W.H.H. (ADIRONDACKMURRAY). Group of 9 volumes, related to and by theauthor.

Radford, H.V. Adirondack Murray. 1906 *Adirondack Museum, ed. Journal of aHunting Excursion to Louis Lake. 1961 *How Deacon and Tubman and ParsonWhitney Kept New Years and OtherStories. 1887 * ditto. * Cones for the CampFire. 1891 * Adventures in the Wilderness.1869 * ditto. (later edition) * AdirondackTales. 1886 * Holiday Tales. 1897. DATEDAND INSCRIBED BY AUTHOR.

436 PHILLIPS, JOHN C.Group of 6 volumes, as listed below.The Sands of Muskeget. 1931 * AmericanGame Mammals and Birds. 1930 * ASportman’s Scrapbook. 1928 * ASportsman’s Second Scrapbook. 1933 *Wenham Great Pond. 1938 * AmericanWaterfowl. 1930

437 RUTELEDGE, ARCHIBALD, et. al. Group of 24 volumes, as listed below.

Ruteledge, Irvine. We Called Him Flintlock.1974 * Home by the River. 1941. SIGNED *ditto * Plantation Game Trials. 1994.NUMBER 343 OF 3000. * PlantationGame Trials. 1921 * The Everlasting Lightand Other Poems. 1949 * Life Extras. 1983* Those Were the Days. 1955 * AnAmerican Hunter. 1937 * Peace in the

434

229

Heart. 1932 * It Will Be Daybreak Soon.1938 * Old Plantation Days. 1921 *Children of Swamp and Wood. 1927 *Hunter’s Choice. 1993. NUMBER 343 OF3000. * Hunter’s Choice. 1946 * SanteeParadise. 1956 * From the Hills to the Sea.1958. SIGNED. * God’s Children. 1947 *Wildlife of the South. 1935. SIGNED. * TheWorld Around Hampton. 1960 * AnAmerican Hunter. 1990. NUMBER 343 OF3000. * Cassada, J. ed. America’s GreatestGame Birds. 1994 * Cassada, J. ed. Tales ofWhitetails.1992 * Cassada, J. ed. Hunting& Home in the Southern Heartland. 1992

438 SCHALDACH, WILLIAM, et.al. Group of 9 volumes, as listed below.

The Wind on Your Cheek. 1972. NUMBER85 OF 200 LIMITED COPIES WITHSIGNED ORIGINAL ETCHING IN SLIP-CASE. * Schaldach, W. The Wind on YourCheek. 1972 * Schaldach, W. UplandGunning. 1996 * Schaldach, W. Covertsand Casts. 1945 * ditto. (1946). * ditto.SIGNED LIMITED EDITION NUMBER 26OF 160. * Schaldach, W. Currents andEddies. 1944 * Ordeman, J. William J.Schaldach. 1988. SIGNED NUMBER 343OF 1150. * Taylor, D. ed. Schaldach.Etchings. 1987. SIGNED INSCRIPTION BYTHE EDITOR. NUMBER 343 OF 1000.

439 SPORTING ART.Group of 7 volumes, as listed below.Audubon, John J. “The Birds of America”.New York: Macmillan Company. 1941” *Duncan, Stanley; and Guy Thorne. “TheComplete Wildflower: Ashore and Afloat”.1907 * Ferguson, Henry L. “The EnglishSpringer Spaniel in America”. 1932 *Gordon, Granville. “SportingReminisces”.1902 * Nimrod (Apperley).“The Life of John Mytton, Esq. of Halston,Shropshire.” 1869 * Newton, Edward A.“John Mytton.” 1924 * Roe, Gordon F.“Sporting Prints of the Eighteenth andEarly Nineteenth Centuries”.1927. FIRSTEDITION. * Roe, Gordon F. “SportingPrints of the Eighteenth and EarlyNineteenth Centuries”. 1927. FIRST EDI-TION.

ESTIMATE: $200 - $400

440 SPORTING ART. Group of 5 volumes, as listed below.

Schaldach, W. J. Fish by Schaldach. 1937.NUMBER 372 OF 1560. * Lanier, H. W.A.B. Frost. 1990 LIMITED DERRYDALEEDITION OF 2500. * Reed, H. M. TheA.B. Frost Book. 1967. SLIPCASE. * TheWaterfowl Editions of Gray’s SportingJournal. 1976-78. BOUND. * The UplandBirds Editions of Gray’s Sporting Journal.1975-79. BOUND.

441 SPORTING ARTISTS. Group of 8 volumes, to include booksabout Smith, Cowan, Pleissner, Renesonand Gray, Maass, and Schaldach. DJ.

442 SPORTING ARTISTS. Group of 10 volumes, to include booksabout Benson, Cobb, Frost, Hunt,Pleissner, and Schaldach.

443 SPORTING ARTISTS.Group of 4 volumes in slipcases, as listedbelow.

Bishop, Richard E. Bishop’s Birds. 1936.NUMBER 207 OF 250 FOR GREATBRITAIN. * Jones, Thomas ed. The Ways ofWildfowl. 1971. NUMBER 34 OF 3000 SPE-CIALLY BOUND COPIES. * Holland, RayP. Shotgunning in the Uplands. 1945 *Holland, Ray P. Shotgunning in theUplands. 1945. NUMBER 2 OF 350SIGNED COPIES.

444 SPORTING ARTISTS. Group of 5 volumes, as listed below.

Schaldach, William. The Wind on YourCheek. 1972. NUMBER 104 OF 200 LIMIT-ED COPIES WITH SIGNED ORIGINALETCHING. * Hall, Henry. The RuffedGrouse. 1946 * Lanier, Henry. A.B. Frost:The American Sportsman’s Artist. 1933.DERRYDALE. * Hunt, Lynn B. An Artist’sGame Bag. 1936. DERRYDALE NUMBER253 OF 1225. * Ordeman, John T. To Keep aTryst with the Dawn. 1989. NUMBER 342OF 1100 SIGNED COPIES.

445 SPORTING ARTISTS. Group of 12 volumes, as listed below.Wechsler, Charles. The Animal Art ofWilhelm Kuhnert. 1995. NUMBER 343 OF450 IN SLIPCASE. * Remington F. TheWay of an Indian. 1906 * Russell, C.M.Good Medicine. 1930 * Remington, F.Frederic Remington’s Own West. 1960 *Remington, F. Frederic Remington’s OwnOutdoors. 1964 * Schaldach, W. Path toEnchantment. 1963 * Ballinger, J. FredericRemington. 1989 * Hassrick, P. FredericRemington. 1975 * Morgan, C. AmericanEtchers Volume 7 Frank W. Benson, NA.1931. STATED SECOND PRINTING. *McCracken, H. The Charles M. RussellBook. 1957 * Chapin, L. Charles M. Russell.1978 * Ewers, J. Artists of the Old West.1973

446 SPORTING ARTISTS. Group of 12 volumes, including fourbooks on Frank Benson, 3 on AidenLassell Ripley, one on Ogden Pleissner,one on William Schaldach and one onDavid Hagerbaumer.

447 SPORTING FICTION AND JOUR-NALS. Group of 15 volumes, including: Ruark, R. Horn of the Hunter. 1953, Ruark,R. Something of Value. 1955, Ruark, R. TheOld Man and the Boy. 1957, Ruark, R. TheOld Man’s Boy Grows Older. 1961, Ruark,R. Use Enough Gun. 1966; Leoplold, A. ASand County Almanac. 1949, Leopold, A.Round River. 1953; Traver, R. TroutMadness. 1960, Traver, R. The JealousMistress. 1967. STATED SECOND PRINT-ING, Traver,R. Hornstein’s Boy. 1962, 2copies, Traver, R. Laughing Whitefish. 1965.STATED FIRST EDITION, Traver, R.Trouble-Shooter. 1943

448 SPORTING FICTION. Group of 18 volumes, as listed below. 7 inslipcases.

Includes: Lyons, Mari. My Secret Fish-BookLife. 1996 * Strong, W.E. Canadian RiverHunt. 1960. INCLUDES FOLD OUT MAP.* Lamb, Dana S. On Trout Streams andSalmon Rivers. 1996 * Lamb, Dana S.Bright Salmon and Brown Trout. 1996 *McCord, D. ed. Well Dressed Lines. 1962 *McGuane, Thomas. Live water. 1996.SIGNED. * Cole, John N. Fish of My Years.1995. SIGNED. * Sage, D. The Ristigoucheand Its Salmon Fishing. 1993. NUMBER343 OF 500. * Reiger, George. Profiles inSaltwater Angling. 1973 * Voelker, John D.Trout Madness. 1992. SIGNED NUMBER10 OF 25. * Weeks, Edward. The MiramichiFish and Game Club: A History. 1984; andothers, must be seen.

449 SPORTING, FOREIGN. Group of 3 volumes, as listed below.Endicott. The Saga of the Tented Cities.1952. INSCRIBED BY AUTHOR. *Capstick. A Man Called Lion. 1994. NUM-BER 343 of 1,000 COPIES SIGNED, LIMIT-ED EDITION. * Wolff. Der Wilde Jäger.1887

450 SPORTING, WESTERN. Group of 5 volumes, as listed below. Murphy. Sporting Adventures in the FarWest. 1880 * VanDyke. Flirtation Camp: orthe Rifle, Rod, and Gun in California. 1881* Vachell. Sport and Life on the PacificSlope. 1908 * Wallace. Saddle and Campin the Rockies. 1911 * Beach. Oh, Shoot!Confessions of An Agitated Sportsman.1921

451 SPORTING. Group of 16 volumes, as listed below.

Shields, G.O. Camping and Camp Outfits.1890 * Stonehenge, et. al. The Dogs ofGreat Britain, America and OtherCountries. 1883 * E.J. Lewis. Hints to

230

Sportsman. 1851 * Bradford, Charles. TheWild Fowlers. 1901 * Ubique. Gun, Rod,and Saddle. 1869 * Murphy, J.M. AmericanGame Bird Shooting. 1882. * ditto. *Marksman. The Dead Shot. 1863 *Warren. T. R. Shooting, Boating andFishing, for Young Sportsmen. 1871 *Gillmore, Parker. Prairie and Forest. 1874 *Long, J.W. American Wild-Fowl Shooting.1874. * ditto. * Forrester, Frank. TheWarwick Woodlands. 1851 * Bogardus, A.H.Field, Cover, and Trap Shooting. 1899 *Gilmore, Parker. Leaves from aSportsman’s Diary. 1896 * Bruette,William A. Sportsmen’s Encyclopedia. 1923

452 SPORTING.Group of 9 volumes.

Stearns, Marshall. Along the Trail. 1936 *Stearns, Marshall. Just Memories. 1932 *Stearns, Marshall. Memories andReflections. 1935 * The Major. Hank. 1937.NUMBER 2 OF 150. * Haynes, William.Sandhills Sketches. 1916 * Werich, J.L.Pioneer Hunters of the Kankakee. 1920 *Brasher, Rex. Secrets of the Friendly Woods.1926. SIGNED INSCRIPTION. *Anonymous. The American Shooter’sManuel. 1928 * Rambler. Hunting andShooting Incidents. 1904

453 SPORTING.Group of 14 volumes, as listed below.

Clafin Jr. W.H. Partridge Adventures. 1951 *Enders, John O. Random Notes onHunting. 1955. SIGNED. * Gibson, C.D.Shoot if You Must. 1950. INSCRIBED. *Pidcock, J. R. Wings, Water and Dogs. 1962* Carter, C.M. Shooting in the Early Days.1919. SIGNED AND DATED. INCLUDESLETTER WRITTEN BY THE AUTHOR. *Prescott, M.W. Tales of a Sportsman’s Wife.1939 * ditto. (1936) * ditto. (1937) *Lincoln, F.C. Migration of Birds. 1950 *McElya, G.E. How I Learned to Hunt. *Denninson, Earl. Duck Calling. *Anonymous. Partridge Rambles. 1937 *Anonymous. The Uncertainties of Travel.1880 * Hammond, S.T. My Friend thePartridge.1908. NUMBER 343 OF 1025.Reprint.

454 SPORTING. Group of 9 volumes. The first two withslipcase.

Holland, R.P. Shotgunning in the Uplands.1944. SIGNED BY AUTHOR AND ARTIST.NUMBER 131 OF 250 COPIES. * Holland,R. P. Shotgunning in the Lowlands. 1945.SIGNED BY AUTHOR AND ARTIST. EDI-TION OF 350. * Foster, W.H. New EnglandGrouse Shooting. 1947 * Schaldach, W. J.Upland Gunning. 1946 * Everett, F. FunWith Game Birds. 1954. SIGNED. NUM-

BER 167 * ditto. (regular edition). *Pettingill, O.S. The American Woodcock.1936 * Rich, W.H. Feathered Game of theNortheast. 1907 * Norris, C. C. EasternUpland Shooting. 1946

455 SPORTING.Group of 15 volumes, as listed below.

Forbush, E.H. Game Birds, Wild-Fowl andShore Birds. 1912 * Terres, J.K. ed.Discovery. 1961 * Gabrielson, WildlifeConservation. 1941 * Gibson, W.H. Eye Spy.1897 * Wordway, S.H. A ConservationHandbook. 1949 * U.S. Dept ofAgriculture, Outdoors USA, the Yearbookof Agriculture 1967 * Grice, D. The WoodDuck in Massachusetts. 1965 * Hall, H.M.The Ruffed Grouse. 1946 * Linduska, J.P.ed. Waterfowl Tomorrow. 1964 * Hawes,H.B. Fish and Game Now or Never. 1935 *Burroughs, J. Afoot and Afloat. 1907 *Collins, H.H. Complete Field Guide toAmerican Wildlife. 1959 * Wiley, F.A. ed.John Burroughs’ America. 1951 * Gaddy.Lockhart Gaddy with his Friends—TheWild Geese. 1954 * Schwartz, C. W. ThePrairie Chicken in Missouri. 1944

456 THE PREMIER PRESS. Group of 9 volumes, as listed below.

Lanier, H.W. A.B. Frost. 1985. NUMBER2805 OF 3000 COPIES. * ditto. NUMBER2736 OF 3000 COPIES. * Clark, R. StrayShots and Pot Luck (one volume). 1986.NUMBER 657 OF 3000 COPIES. * ditto.NUMBER 1209 OF 3000 COPIES. * ditto.NUMBER 1053 OF 3000 COPIES. * Clark.R. Gunner’s Dawn. 1983. NUMBER 2413 OF3000. * Buckingham, N. The ShootinestGent’man. 1984. NUMBER 761 OF 3000COPIES. * Annabel, R. Tales of a Big GameGuide. 1985. NUMBER 696 OF 3000COPIES. * Babcock, H. My Health is Betterin November. 1984. EDITION OF 3000.

457 THREE VOLUMES.Daniel, William Barker (1754-1833)Illustrated, Volume 1, Volume 2, andSupplement. Bunny and Gold Vol. 1- 1801,Vol. 2- 1802, Suppl.- 1813 Thomas RobertsEsq. Collection (original subscriber).

PROVENANCE: Private Collection,Massachusetts

ESTIMATE: $500-$1,000

458 TWO BOOKS. As listed below.

DeWar, George A.B.The Book of the Dry Fly.1897. ILLUSTRATED. * Hamilton, Edward.Recollections of Fly Fishing for Salmon,Trout and Grayling. 1884. ILLUSTRATEDWITH ETCHING, NUMBER 38 OF 100COPIES.

459 UPLAND and DUCK HUNTING.Group of 17 volumes, as listed below.First 3 volumes with slipcase.

Rosene, W. The Bobwhite Quail. 1969.SIGNED. NUMBER 203 OF 250 COPIES.* Haight, A.D. The Biography of aSportsman. 1939 * Babcock, H. Tales ofQuails ‘n Such, 1951. SIGNED. NUMBER291 OF 299 COPIES. * ditto. (standardedition). * Holland, B., D. & R. GoodShot!. 1946 * Norris, C. Eastern UplandShooting. 1946 * Boardman, E. Wings inthe Blue. 1936. INSCRIBED. * Pullman, F.C. Julie, Eat Your Prairie Chicken. 1993 *Truax, D. ed. Pheasant Tales. 1995 *Buckley, J.W. Manque. 1988 * Scruggs, E.The Bird Dog. SIGNED. * MacQuarrie, G.MacQuarrie Miscellany. 1987 * Hanlon,J.E. Memorable Hunting Episodes. 1966.SIGNED. NUMBER 67 OF 100 COPIES. *Mathewson, W. Big DecemberCanvasbacks.1997. SIGNED. NUMBER235. * Babcock, H. My Health is Better inNovember. 1947

460 UPLAND GAME BIRDS. Group of 18volumes, as listed below.

Evans, G.B. Grouse & Woodcock in theBlackwater / Canaan. 1997. NUMBER 343OF 1500 IN SLIPCASE. SIGNED INSCRIP-TION. * Timberdoodle Club ed.Timberdoodle Days. 2002. NUMBER 84 OF250 IN SLIPCASE. * Knight, J.A. RuffedGrouse. 1947. LEATHERBOUND. * ditto.(DJ). * Knight, J.A. Woodcock. 1944.LEATHERBOUND * ditto. (DJ). * Waters,T.F. Timberdoodle Tales. 1993 * ditto. 4copies. * Culler, J.M. Purple Heaven. 1995.SIGNED. * Sheldon, W.G. The Book of theAmerican Woodcock. 1971 * Grinnell, G.B.American Game-Bird Shooting. 1995. NUM-BER 343 OF 3000. * Sisley, Nick. GrouseMagic. 1981. SIGNED NUMBER 343 OF1500. * Whitney, Casper. On Snow-Shoes tothe Barren Grounds. 1996 * The Earl ofDunraven. Canadian Nights. 1995. NUM-BER 343 OF 3000. * Knight, J.A. Ol’Bill.1942. SIGNED NUMBER 73 OF 1929

457

231

461 UPLAND SPORTING. Group of 12 volumes, as listed below.

Babcock, H. Tales of Quails ‘N Such. 1951* ditto. * Casada, Jim ed. Robert Ruark.1995. DELUXE EDITION NUMBER 343 of500. * Richardson, Lee. Those Were theDays. 1985. NUMBER 340 OF 500. *Pringle, J.J. Twenty Years’ Snipe-Shooting.1988 * Hammond, S.T. My Friend thePartridge. 1908. NUMBER 43 OF 1025. *Grozik, Richard S. Birdhunter. 1997. NUM-BER 343 OF 500 SIGNED EDITIONS INSLIPCASE. * Jones, R.F. Dancers in theSunset Sky. 1996. SIGNED. * Spiller, B.L.Drummer in the Woods. 1962. SIGNEDINSCRIPTION. * Lundrigan, Ted N.Hunting the Sun. 1997. NUMBER 43 OF250 SIGNED LIMITED EDITION. *Mathewson, W. Reflections on Snipe. 1995.SIGNED AND DATED, NUMBER 343 OF600. * Gohdes, C. ed. Hunting in the OldSouth. 1967

462 WATERFOWL and Decoys. Group of 12 of volumes, as listed below.First 8 in DJ.

Starr, G.R. Decoys of the Atlantic Flyway.1974 * Connett, E.V. ed. Duck ShootingAlong the Atlantic Tidewater, 1947 *Squire, L. Wildfowling with a Camera, 1938* Elman, R. The Atlantic Flyway. * Bovey,Martin. The Saga of Waterfowl. 1949 *Guyette. Decoys of Maritime Canada. 1983* Starr, G.R. How to Make WorkingDecoys, 1978 * Reiger, George. Floatersand Stick-Ups, 1986 * Berkey, B.R. PioneerDecoy Carvers. 1977 * Merkt, D.M. Shang.1984. SIGNED LIMITED EDITION INSLIPCASE NUMBER 343 OF 550. *Bourne, R. The Rare Decoy Collection ofRoss Starr, Jr., M.D. 1986 * Sotheby’s ed.American Waterfowl Decoys: TheDistinguished Collection of Dr. James M.McCleery. 2000

463 WATERFOWL.Group of 8 volumes, as listed below and6 related pamphlets.

Gilmore, Jene C. Art for Conservation: TheFederal Duck Stamps. 1971 * Merkt, Dixon.Shang. 1984. SIGNED LIMITED EDITIONNUMBER 550 OF 550. * Sheehan, L. TheSporting Life. 1992 * Bruette, W. AmericanDuck, Goose and Brant Shooting. 1934 *Townsend, E.J. Gunners Paradise. 1979 *Hagerbaumer, D. Waterfowling These PastFifty Years: Especially Brant. 1998.SIGNED NUMBER 44 OF 1000. *Connett, E.V. ed. Duck Shooting Along theAtlantic Tidewater. 1947 * Coykendall, R.Duck Decoys. 1955 * 6 related pamphlets.

464 WATERFOWL.Group of 13 volumes, as listed below.First 8 with slipcase

Newburry, Dr. S. Lloyd. Pages of Time.1996. SIGNED. NUMBER 97. * ditto.(NUMBER 98).* Underwood, L. ed. TheDuck Hunter’s Book. 1982. SIGNED NUM-BER 880 OF 1000 COPIES. * Howard, J.E.North American Big Game Hutning in the1800’s. 1982. SIGNED NUMBER 343 OF1000 COPIES. * Williamson, F.P. ed. TheWaterfowl Gunner’s Book. 1979. SIGNEDNUMBER 143 OF 1000 COPIES. * Bovey,M. Whistling Wings. 1995. NUMBER 343OF 500. * Cook, E. Hollica Snooze. 1995.NUMBER 343 OF 500 COPIES. * Heilner,V.C. A Book on Duck Shooting. 1994.NUMBER 343 OF 500 COPIES. * Thomas,Jr., E.D. Fool Hen Blues. 1994. SIGNEDNUMBER 43 OF 250 COPIES. * Hall, Dr.J.W. Doc Hall’s Journal. 1995. SIGNEDNUMBER 43 OF 250 COPIES. * Ford, C.The Trickiest Thing in Feathers. 1996.NUMBER 43 of 250 COPIES. * Richardson,L. Those Were the Days. 1985. NUMBER331 OF 500 COPIES. * ditto. (NUMBER480 OF 500 COPIES).

465 WILDFOWL DECOYS

Barber, Joel. A 1st edition limited to fifty-five numbered and signed copies, ofwhich this is number twenty-nine.Dedicated to C. J. Church, in 1937. Thetop and bottom edges of the spine areworn as is the original cardboard sleeve.Derrydale Press 1934.

ESTIMATE: $2,000-$4,000

465

232

Barber, Joel. Wild Fowl Decoys. Garden City,NY: Garden City Publishing Co. Inc., 1937.

Bedford, Faith Andrews. Frank W. Benson:American Impressionist. New York, NY: Rizzoli, 1994.

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

Bergh, Peter. The Art of Ogden M. Pleissner.Boston, MA: David R. Godine, 1984.

Berkey, Barry R. and Velma A. ChincoteagueCarvers and Their Decoys. Gettysburg, PA:Herff Jones University Publications, 1981.

Bishop, Richard E. Bishop’s Bird Etchings of Water-Fowl and Upland Game Birds.Philadelphia, PA: J.B. Lippincott Company, 1936.

Blasdale, Mary Jean. Artists of New Bedford.New Bedford, MA: Old Dartmouth HistoricalSociety, 1990.

Bourne Co. Inc., Richard A. Very Rare andImportant American Bird Decoys, From theCollection of the late William J. Mackey, Jr. ofBelford, New Jersey. Boston, MA: Richard A.Bourne Co., 1973.

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

Cheever, Byron. Mason Decoys. Spanish Fork,UT: Hillcrest Publications, Inc., 1974.

Colio, Quintina. American Decoys. Ephrata,PA: Science Press, 1972.

Crowell, A.E. “Cape Cod Memories.” DuckShooting along the Atlantic Tidewater editedby Eugene V. Connett. New York, NY: WilliamMorrow, 1947.

Cullity, Brian. The Songless Aviary: The Worldof A.E. Crowell & Son. Sandwich, MA: HeritagePlantation, 1992.

Delph, John and Shirley. Factory Decoys ofMason, Stevens, Dodge, and Peterson. Exton,PA: Schiffer Publishing Ltd., 1980.

Delph, John and Shirley. New England Decoys.Exton, PA: Schiffer Publishing Ltd., 1990. DeVoe, George S. Will Simmons, AmericanImpressionist. ¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬

Doherty, James R. Classic New Jersey Decoys.Louisville, KY: Four Colour Print Group, 2011.

Ellis, Joseph H. Birds in Wood and Paint:American Miniature Bird Carvings and theirCarvers, 1900-1970. Lebanon, NH: UniversityPress of New England, 2009.

Engers, Joe, ed. The Great Book of WildfowlDecoys. San Diego, CA: Thunder Bay Press,Inc., 1990.

Fink, Russell A. Richard E. Bishop: Etchings,Drypoints, and Aquatints. St. Paul, MN: Brownand Bigelow, 2008.

Fleckenstein, Jr., Henry A. Decoys of the Mid-Atlantic Region. Exton, PA: Schiffer PublishingLtd., 1983.

Fleckenstein, Jr., Henry A. New Jersey Decoys.Exton, PA: Schiffer Publishing Ltd., 1983.

Fleckenstein, Jr., Henry A. Shore Bird Decoys.Exton, PA: Schiffer Publishing Ltd., 1980.

Fleckenstein, Jr., Henry A. Southern Decoys ofVirginia and the Carolinas. Exton, PA: SchifferPublishing Ltd., 1983.

French, Joe. “Alexander Pope, Jr.” DecoyMagazine. Lewes, DE: Decoy Magazine,July/August 1999.

Goldberger, Russ J. and Alan G. Haid. MasonDecoys: A Complete Pictorial Guide. Lewes, DE: Decoy Magazine, 2003.

Gosner, Kenneth L. Working Decoys of the Jersey Coast and Delaware River Valley.Cranbury, NJ: Cornwall Books, 1985.

Guyette and Schmidt, Inc. North AmericanDecoys at Auction, April 28 & 29, 2005. St.Michaels, MD: Guyette & Schmidt Inc., 2005.

Haid, Alan. Decoys of the Mississippi Flyway.Exton, PA: Schiffer Publishing Ltd., 1981.

Hilyard, Graydon R. Bogdan. Portland, OR:Frank Amato Publications, 2006.

Huster, H. Harrison and Doug Knight.Floating Sculptures: The Decoys of theDelaware River. Spanish Fork, UT: HillcrestPublications, 1982.

Inman, Diane K. From Marsh to Mountain:The Art of Harry Curieux Adamson. SanFrancisco, CA: Di Les Books, 1999.

Inman, Diane K. The Fine Art of Angling: TenModern Masters. Incline Village, NV: Di LesBooks, 2007.

Jehle, Michael A. Picturing Nantucket: An ArtHistory of the Island with Paintings From theCollection of the Nantucket HistoricalAssociation. Mystic, CT: Mystic SeaportMuseum, 1999.

Kangas, Gene and Linda. “Connecting theDots: Exploring the Provenance of ElmerCrowell’s Decoys.” Decoy Magazine. Lewes,DE: Decoy Magazine, 2010.

Kangas, Gene and Linda. Decoys. Paducah,KY: Collector Books, 1992.

Kangas, Gene and Linda. Great Lakes DecoyInterpretations. Louisville, KY: Creekside ArtGallery, LLC, 2011.

Kangas, Gene and Linda with Ron Gard,“Kankakee Marsh Pintails: The MagnificentSeven,” Hunting and Fishing CollectiblesMagazine. Lawsonville, NC: Stanley L. VanEtten, 2009.

Bibliography

233

Kangas, Gene. “Guy Wilson, Folk Artist.” Decoy Magazine. Louisville, KY: Decoy Magazine, 1994.

Lacy, Ann Tandy. Perdew, An Illinois RiverTradition. Muncie, IN: D.A. Galliher, 1993.

Levinson, John M. and Somers Headley.Shorebirds: the Birds, the Hunters, the Decoys.Centerville, MD: Tidewater Publishers, 1991.

Mackey, Jr., William J. American Bird Decoys.New York, NY: E.P. Dutton & Co., Inc., 1965.

Miller, Michael R. and Frederick W. Hanson.Wildfowl Decoys of the Pacific Coast: CarvingTraditions of British Columbia, Washington,Oregon, and California. Davis, CA: MBFPublications, 1986.

O’Brien Jr., Stephen B. and Julie Carlson.Masterworks of the Illinois River. Boston, MA:Stephen O’Brien Jr. Fine Arts, LLC, 2005.

O’Brien, Jr., Stephen B. and Julie CarlsonWildfeuer. The Art of Aiden Lassell Ripley.Boston, MA: Stephen O’Brien Jr. Fine Arts,LLC, 2009.

Ordeman, John T. Frank W. Benson: HisSporting Art. Hudson, WI: G.E. Nelson, 1996.

Ordeman, John T. Frank W. Benson’sEtchings, Drypoints, and Lithographs: Anaugmented reprint of the five volumes ofEtchings and Drypoints by Frank W. Benson,compiled and arranged by Adam E. M. Paffand Arthur W. Heintzelman. Summit, NJ:Hickok-Bockus, 1994.

Ordeman, John T. The American Sporting Print:20th Century Etchers and Drypointists.Ringwood, NJ: ¬¬The Sporting Gallery, 2007.

Reed, Henry M. The A.B. Frost Book. Rutland,VT: Charles E. Tuttle Co., 1967.

Reiser III, Harold W. Chauncey Wheeler. Lewes,DE: Decoy Magazine, 2002.

Reuter, Jr., F. Turner. Animal and SportingArtists in America. Middleburg, VA: NationalSporting Library, 2008.

Richardson, Robert. Chesapeake Bay Decoys.Burtonsville, MD: Decoy Magazine, 1991.

Ripley, A. Lassell and Dana S. Lamb. SportingEtchings. Barre, MA: Barre Publishers, 1970.

Shaw, Robert. Bird Decoys of North America.New York, NY: Sterling Publishing Co., 2010.

Shaw, Robert. Call to the Sky: The DecoyCollection of James M. McCleery, M.D.Houston, TX: Gulf Publishing Co., 1992.

Sorenson, Harold. Decoy Collector’s Guide.Burlington, IA: Harold Sorenson, 1968.

Stansbury, Henry H. Ira D. Hudson and Family,Chincoteague Carvers. Lewes, DE: DecoyMagazine, 2002.

Starr, Jr., M.D., George Ross. Decoys of theAtlantic Flyway. New York, NY: WinchesterPress, 1974.

The Carl Rungius Papers, Glenbow Museum,Calgary, Alberta 1908.

The Wildlife Sporting Collection. Lake City, MN:Wild Wings Inc., Fall 1976-77.

Tonelli, Donna. Fish and Fowl Decoys of TheGreat Lakes. Atglen, PA: Schiffer PublishingLtd., 2002.

Waingrow, Jeff. American Wildfowl Decoys.New York, NY: Weathervane Books, 1985.

Weeks, Edward. A. Lassell Ripley: Paintings.Boston and Barre, MA: Guild of Boston Artistsand Barre Publishers, 1972.

234

Abercrombie & Fitch : 233a

Adamson, Harry Curieux: 254 - 255

Allen, Gordon: 279, 395

Audubon, John James: 357 - 358, 381

Ballan, Bill: 233

Barber, Joel: 161 - 164

Barkalow, Capt. J. Lewis: 81

Bates, Robert: 239f

Beckwith, Arthur: 301

Bedard and Morency Mill Co.: 138

Bellamy, John Haley: 131

Benson, Frank Weston: 286, 340 - 356, 382, 384 - 390

Bianco, Anthony: 77 - 79

Biberstein, Franz: 325

Birch, Charles: 56

Bishop, Richard Evett: 335 - 336, 399

Blair School: 238

Blair, Jr., John: 74

Blair, Sr., John: 76

Bolles, Frank: 410

Bounds, Joseph: 68

Boyd, George: 94a

Brown, Paul Desmond: 314 - 315

Browne, George: 288c, 290

Buckingham, Nash: 413

Burr, Elisha: 103

Byxbe, Lyman: 397

Chambers, Thomas: 237a, b

Christiansen, Roy: 239a

Clark, Roland H.: 337 - 339, 392, 398

Coffin, Charles F.: 97

Coleman, Michael B.: 274

Conklin, Hurley: 66

Conolon, Garcia: 233a

Cranmer, Joe Tom: 72

Cranmer, William H. : 80

Crowell, A. Elmer: 94, 173a - 211, 216

Cuffee, Eugene "Chief": 165

Daly, Thomas Aquinas: 304

Dexter, Newton: 95

Dittman, Albert J.: 218

Emond, Alphonse: 236

English, Daniel G.: 59, 62

English, John: 63

Ettinger, Churchill: 399

Evans, George B.: 422

Everett, Fred T.: 284

Eyre, Ferman R.: 239d

Fields, James: 294

Finney, Frank: 14 - 15

Fischer, Anton Otto: 283

Folger, James Walter: 110

Ford, Corey: 427

Frazier, Luke: 276a, 293

Frier, Dr. David A.: 239e

Frost, Arthur Burdett: 258, 380, 399

Fuertes, Louis Agassiz: 256

Gardner, Clarence T.: 95

Garton, John Byron: 219

Gibbs Family: 99

Golden, Francis: 309

Goodspeed, David S.: 93

Goodwin and Granger Company: 233c

Goodwin, Richard LaBarre: 252

Graves, Bert: 148

Gromme, Owen J. : 246

Haertel, Harold: 142

Hagerbaumer, David: 249 - 251

Hall, Davis: 108

Hand, James P.: 11

Harris, Bill: 82

Harris, James W.: 310

Hart, Charles: 125 - 126

Hendrickson, J. Eugene: 69

Herring, Sr., John Frederick : 297

Herter's Manufacturing Inc.: 112, 239a

Higgins, J.C.: 233b

Holmes, Lothrop: 115

Horner, Nathan Rowley: 58

Hotze, Hiram "Hy": 144

Hubley Manufacturing Inc.: 128

Hudson, Ira D.: 50 - 53

Irvine, Lawrence C.: 157 - 158

Jaques, Francis Lee: 276

Jenckes, Charles M.: 298

Johnson, Lloyd: 73

Keller, Edward: 143

Kerr, Robert G.: 220

Kessler, George A.: 145

Kimble, John S. : 71

King, Allen J.: 217

King, Edward: 396

Kirmse, Marguerite: 333

Kleiber, Hans: 391

Kloetzke, Don: 248

Knap, J.D.: 317

Koelpin, William J.: 259 - 262

Kruger, H. O.: 167

Kuhn, Bob F.: 277, 280

Kuhn, Wiliam: 64

Landry, Arthur: 239b

Lazarus, David: 303

Legaux, Sr., Roy J.: 230

Lewis, Charles Morey: 100

Lincoln, Joseph W.: 221 - 223

Lougheed, Robert Elmer: 272

Maas, David A.: 245

Marshall, James W.: 275

Mason Decoy Factory: 25-42

McIntyre, Cameron: 7

McLoughlin, John W.: 67

McNair, Mark S.: 1 - 6

Mêne, Pierre Jules: 300

Miller, Clarence: 13

Mitchell, Pete: 124

Mittlesteadt, Julius E.: 237

Index

235

Moak, August: 149

Moore, Charles: 239e

Morrow, John "Sandy" Alexander: 134 - 135

Mueller, Keith: 13a, 17 - 20

Mulliken, Edward "Ted": 159 - 160

Murphy, Charles E.: 312

Murray, W.H.H.: 435

Nilsson, Ingvar: 231

Nisbet, Robert: 285

Orvis: 232, 233a

Palenske, Reinhold H.: 394

Parker, Butch: 239d

Paul, Joe Thomas: 65

Perdew, Charles: 140

Peterson, Oscar W.: 132

Phillips, John C.: 436

Plasschaert, Richard: 247

Pleissner, Ogden Minton: 287 - 288b, 373 - 378

Pope, Alexander: 291 - 292, 295, 330a

Prescott II, Reed: 326

Pryor, Leonard E.: 48

Realistic Decoy Company: 155

Reghi, Ralph: 156

Reneson, Chet: 240 - 242a

Ridgeway, Birdsall: 70

Ripley, Aiden Lassell: 289, 316, 359 - 372, 379

Roberts, William: 86 - 87

Rosseau, Percival Leonard: 331

Rungius, Carl Clemens Moritz: 273

Ruteledge, Archibold: 437

Sandsbury, Capt. Andrew Jackson: 107

Sapone, Nick: 239a

Saracione: 233

Schaldach, William Joseph: 281, 383, 438

Schmiedlin, Jim: 16

Schroeder, Thomas: 153

Schultz, William: 150 - 152

Scott, Peter Sir: 399

Scriven, Dannie: 154

Shaw, Clyde "Sharpie": 133

Shaw, Leslie: 332

Shilstone, Arthur: 243 - 244

Shourds, Harry V. : 57, 60 - 61, 83 - 84

Simmons, William: 318 - 322

Smith, Brett James: 278, 296, 306

Smith, Frank Vining: 283a, 302

Smothers, Mel: 311

Snyder, F. Edward: 230a, c, d

Standish, John M.: 327 - 328, 330

Strazzulla, Elizabeth Leary: 323 - 324

Strong, Helen Lay: 212 - 215

Strunk, George: 9 - 10

Stuart, Allen: 225

Swain Family: 85

Swan, John: 305, 307 - 308

Thomas, F.E. : 233c

Thompson, Harry A.: 329

Toronto School: 235

Trinosky, Herman R.: 141

Turpin, Tom: 136

Tuttle, Henry Emerson: 282

Verity School: 171

Verity, Andrew: 172

Verity, Obediah: 173

Wagner, Isaiah C.: 111

Wallace, Amos G.: 122

Ward, Lemeul T. and Stephen: 44 - 46

Watson, Dave "Umbrella": 54

West, Levon: 393 - 393a

Wheeler, Chauncey: 114

White, Robert "Bob": 8

Whittington, Hector: 146

Whorf, John: 253

Wildfowler Decoys: 169 - 170, 239d

Willis, Frank C.: 230b, e, f

Wilson, Augustus Aaron: 116 - 120

Wozny, Eddie: 21 - 24

Zwarg, Otto: 232

236

1 Your bidding on items indicates your acceptance of the following Terms andConditions of Sale by Copley Fine Art Auctions, LLC. These terms are subject toamendment before or during the sale. Copley Fine Art Auctions, LLC operates asan agent of the seller only, and is not responsible in any way in the event the selleror buyer fails to fulfill their respective agreements. In all instances the auctioneer’sinterpretation 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 theauctioneer. The sales price shall consist of the final bid price plus the buyer’spremium, plus any applicable sales tax. A buyer’s premium of 15% (18% for onlinebidding) of the final bid price up to and including $1,000,000, plus 10% of thefinal bid price over $1,000,000, will be applied to each lot sold, to be paid by thebuyer as part of the purchase price.

3 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 orwarranties as to merchantability, fitness for a particular purpose, the correctness ofthe catalog or other description of physical condition, quality, size, medium,importance, rarity, provenance or historical relevance of any property, and no state-ment made at the sale, or in the bill of sale, or invoice, or elsewhere shall bedeemed such a warranty or representation or an assumption of liability. Thepurchaser assumes complete responsibility for items at the fall of the hammer.

4 Condition reports are not included in this catalog. It is the responsibility ofprospective bidders to examine lots and decide their level of interest. Neither theauctioneer, Copley Fine Art Auctions, LLC, nor the consignor, is responsible for theaccuracy of any printed or verbal descriptions. Copley Fine Art Auctions, LLCstrongly encourages clients to attend our previews and auctions so as to bestdetermine condition of lots. If you require absolute certainty in all areas of authen-ticity, and the results of your evaluation leave uncertainty in your mind, we recom-mend you not bid on the item in question. Due to the high volume of conditionrequests, Copley Fine Art Auctions, LLC reserves the right to reject requests at itssole discretion. All weights and measurements are approximate.

5 If you are bidding as an agent for another individual or company, and you executea bid on behalf of someone else under your bidder number, then you are respon-sible for the settlement of that account.

6 Absentee and telephone bids will be executed when possible as a convenience tocustomers: the auction house will not be held responsible for any errors or failuresto accurately execute bids. If bids for identical amounts are submitted for thesame lot and are the highest bids of the auction, the property will be sold to theperson whose written bid was received and accepted first. All absentee and tele-phone bids must be received no later than 5 pm EST, Saturday, January 14, 2012.

7 Unless indicated by a box ( ), all lots in this sale are offered subject to a reserve.This is a confidential figure set by the consignor and the auction house belowwhich a lot will not be sold. The reserve will not exceed the low estimate, and theauction house will execute the reserve bids by bidding for the consignor. If any lotsin the catalog are offered without a reserve, such lots will be designated by a ( ).Estimates are subject to change at any time prior to the offering of each lot.

8 Lots with a (∆ ) symbol indicate that Stephen O’Brien Fine Arts, LLC and/or CopleyFine Art Auctions, LLC owns the lot in whole or in part or has an economicinterest in the lot equivalent to an ownership interest.

9 The auctioneer reserves the right to reject any bid that, in his opinion, is notcommensurate with the value of the lot. The auctioneer has the sole right to re-offer a lot and/or settle disputed bids. The record of sale kept by the auctionhouse will be taken as final in the event of dispute. Additionally, items may bewithdrawn at any time prior to the offering of each lot.

10 Some property sold at auction can be subject to laws governing export from theUnited States, such as items that include material from some endangered species.Import restrictions from foreign countries are subject to these same governinglaws. Granting of licensing for import or export of goods from local authorities isthe sole responsibility of the buyer. Denial or delay of licensing will not constitutedelay or cancellation in payment for the total purchase price of these lots.

11 Bidding increments will normally follow the pattern below, but may vary at the solediscretion of the auctioneer: Estimate Increment To 999.99 501,000 – 2,999.99 1003,000 – 4,999.99 2505,000 – 9,999.99 50010,000 – 29,999.99 1,00030,000 – 49,999.99 2,50050,000 – 99,999.99 5,000Over 100,000 10,000

12 Successful bidders are to pay for their purchases during or immediately after thesale or upon receipt of an invoice, unless other arrangements have been author-ized in writing by the auction house. Payment may be made by cash or goodcheck payable to Copley Fine Art Auctions, LLC. The auction house reserves theright to hold property until checks clear. A monthly service charge of 1.5% will beadded to unpaid balances beginning 30 days after the sale date. A $50.00 fee willbe added for returned checks. If a check fails to clear after the second deposit, thepurchaser will be held responsible for any and all fees incurred until we havecollected good funds. Purchases picked up at the auction will be subject to theNew York State and local tax of 8.875% unless purchaser provides a valid NewYork State resale certificate or copy thereof while registering. Purchases deliveredto New York after the auction will be subject to the applicable New York state andlocal taxes and purchases picked up or delivered to Massachusetts after the salewill be subject to the 6.25% Massachusetts Sales Tax unless exempted by appli-cable law.

13 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 itwas the highest successful bidder, Copley Fine Art Auctions, LLC may exercise allof its rights and remedies under the law including , without limitation, (a)canceling the sale, and applying any payments made by the purchaser to thedamages 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 thepurchase price, holding the purchaser liable for any deficiency plus all costs ofsale.

14 Buyers wishing to pick up items at the sale must do so by 8 pm EST, Monday,January 16th, 2012. Buyers wishing to pick up items after the auction may do soonly by appointment after January 24, 2012 and as per schedule announced by theauction house at the conclusion of the sale. We kindly ask that all items beremoved from our warehouse within 30 days of auction end to avoid a $5 dailystorage fee.

15 Shipping is the responsibility of the buyer. Once your payment has cleared and wehave received a signed Shipping Release Form, items will be released for shipment.Copley Fine Art Auctions, LLC shall have no liability for any loss or damage tosuch items. Buyers should allow up to four weeks for shipment.

16 Copley Fine Art Auctions, LLC is the owner of the images of each lot offered forsale, and may use such images at any time at its sole discretion for advertising,publicity, and for archival purposes.

17 In no event will the liability of Copley Fine Art Auctions, LLC to any purchaser withrespect to any item exceed the purchase price actually paid by such purchaser forsuch item.

18 Any legal disputes arising from this auction shall be governed by and constructedand enforced in accordance with the laws of the State of New York. The buyer andany agent for the buyer shall be deemed to have consented to the jurisdiction ofthe state courts of, and the federal courts sitting in, the Stet of New York.

Terms and Conditions of Sale

Buyer Pre-Registration FormCOPLEY FINE ART AUCTIONS | 268 Newbury Street | Boston, Massachusetts 02116Tel: 617.536.0030 | Fax: 617.266.4896 | [email protected] | www.copleyart.com

Name

Company Name

Agent acting on behalf of

Invoice Address

(PO Box not sufficient)

City: State: Zip:

Telephone (#1)

Telephone (#2)

Telephone (#3)

email

Signature(required)

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 __________________________________________

Bids will not be accepted without a completed form, includingyour signature. Your signature denotes that you have read andagree to be bound by the Terms and Conditions of Sale issuedby Copley Fine Art Auctions, LLC for the 2012 Winter Sale.

Purchases picked up at the auction will be subject to the NewYork State and local tax of 8.875% unless purchaser provides avalid New York State resale certificate or copy thereof whileregistering. Purchases delivered to New York after the auctionwill be subject to the applicable New York state and local taxesand purchases picked up or delivered to Massachusetts after thesale will be subject to the 6.25% Massachusetts Sales Tax unlessexempted by applicable law.

To be sure that bids will be accepted and delivery of lots notdelayed, bidders who do not have an account with Copley FineArt Auctions, LLC are requested to supply a bank reference priorto bidding.

I authorize you to contact the references below to provide youwith any information in their possession including any businessor credit experience with me, and I further agree to accept thecost of any charges such references may incur providing suchinformation.

237

238

LOT # CATALOG DESCRIPTION PRICE BID US$

Print Name Signature(required) (required)

Absentee/Telephone Bid Form (circle appropriate bid type)COPLEY FINE ART AUCTIONS | 268 Newbury Street | Boston, Massachusetts 02116Tel: 617.536.0030 | Fax: 617.266.4896 | [email protected] | www.copleyart.com

1 All bids must be received at our office by 5 pm EST, Saturday, January14, 2012. We cannot guarantee that bids placed after this date andtime will be accepted. A Copley representative will call to confirmreceipt. If you have not received confirmation within 24 hours, pleasecall 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, CopleyFine Art Auctions, LLC will not be held responsible for error or failure toexecute bids. Copley staff will try to purchase these lots for the lowestpossible price taking into account the reserve and other bids.

3 All bids are subject to the Terms and Conditions of Sale listed in thisauction catalog. Further, it is the responsibility of the bidder to checkwith Copley staff whether a sale room notice relates to any lot whichthey have listed.

a Absentee bids: Absentee bids are executed alternately in competitionwith the bidders in attendance. It is possible, due to the variations inbidding patterns, that a lot may be won by the audience for the sameamount authorized by the absentee bidder. A (+) sign to the right ofthe bid amount will authorize the absentee bidder to bid oneadditional bid increment. In the event of identical bids, the first bidreceived will take precedence.

b Telephone bids: If bidding by telephone, the bidder accepts theinherent risks associated with bidding over the telephone.

4 Payment: If successful, you will be contacted. Payment is due immediatelyupon notification unless arrangements have been made with Copleyprior to bidding. A buyer’s premium of 15% of the final bid price upto and including $1,000,000, plus 10% of the final bid price over$1,000,000, will be applied to each lot sold, to be paid by the Buyerto Copley Fine Art Auctions, LLC as part of the purchase price.

239

Please be aware that shipping is the responsibility of the successful buyer. You may contact one of the firms listedbelow, or one of your choosing to arrange for shipping. Agents pick up frequently at our offices.

SUGGESTED SHIPPERS:

The UPS Store: 781-224-2500 or email [email protected]

Boston Pack and Ship: 781-849-8696 or 1-800-400-7204

U.S. Art: 781-986-6500 or 1-800-872-7826

Item(s) will not be released without a signed shipping release form.You may include this form with your payment or fax it to 617-266-4896

Payments of cash, check or bank transfer must be cleared before property is released

For more information regarding the collection of property please see the Terms & Conditionsof Sale on page 236 of this catalog

Print Name (as invoiced): _____________________________________________________________________________

Shipping Address (if different from billing address): ________________________________________________________

____________________________________________________________________________________________________

Phone: _____________________________________________________________________________________________

Email: ______________________________________________________________________________________________

I authorize: _______________________________________________________________________ to pick up my item(s)

(Please specify shipping company, franchise location or 3rd party)

Sale Date: ___________________________________________________________________________________________

Lot #s: _____________________________________________________________________________________________

Signature: __________________________________________________________________________________________(required)

Authorized Shipping Release FormCOPLEY FINE ART AUCTIONS | 268 Newbury Street | Boston, Massachusetts 02116Tel: 617.536.0030 | Fax: 617.266.4896 | [email protected] | www.copleyart.com

127 East 69th Street, New York, NY 10021

Important Americana,Paintings, Furniture andDecorative Arts SaleIncludingThe Peter BramsCollection of ImportantWoodlands Indian Art

Viewing January 13 -17, 2012Auction January 17, 2012Wallace Hall, Church of St. Ignatius Loyola, NYC

INQUIRIES+1 212 734 2381 [email protected]

CATALOGUES+1 212 734 2381 [email protected]

View catalogues and leave bids online at kenoauctions.com

©Keno Auctions, LLC 2011 Principal Auctioneer Leigh Keno #1377646

Kicking off Americana Week with sales by

on January 16 and

on January 17

From The Peter Brams Collection of Important Woodlands Indian ArtAN ASH BURL EASTERN GREAT LAKES EFFIGY LADLELate-18th CenturyEstimate: $5,000 – 8,000

� � � � � ��

Lock, Stock and Barrel:The Terry Tyler Collection of Vermont Firearms

A rare collection of 107 Vermont firearms recently acquired by Shelburne Museum, made from1790 through 1900. On view for the first time, the collection represents every gunmaker of theperiod and features hunting rifles, target rifles, pistols, military guns, and more.

Open daily May 13 -Oct. 28, 2012. 6000 Shelburne Road, Shelburne, Vermont, 802-985-3346Admission to Shelburne Museum is half-price for Vermont residents.

Sporting rifle, David M. Varney, Burlington, Vermont, ca. 1829-1875. Collection of Shelburne Museum.

S P O N S O R E D B Y :

M E D I A S U P P O R T :

Special exhibitions at Shelburne Museum are made possible by a grantfrom the Donna and Marvin Schwartz Foundation.

U N FA M I L I A R FAC E SPhotographs of Vanishing Wildlife

by Kevin Schafer

JANUARY 29 - MAY 13 , 2012

963 WASHINGTON ST CANTON, MA 781-821-8853 MASSAUDUBON.ORG/VISUALARTS

Laysan Albatross, Midway Atoll, Hawaii © Kevin Schafer

Order Now!

by James R. Doherty

Description Qty Price Each ExtensionClassic New Jersey Decoys $55.00

Sub Total

Shipping and Handling for each book ordered $11.00 Total

Send check with order to:Jim Doherty - Decoy Book

3500 Richmond StreetPhiladelphia PA 19134

Ship To: Street:City: State: Zip Code:Telephone: ( )

Order Form

coastal decoys in original paint

Classic New Jers Descript

sey Decoys Qty tion

Shipping and Handling for ea

Order Form

ach book ordered $11.00 Sub Total

$55.00 Price Each Extension

$11.00 Sub Total

$55.00 Price Each Extension

Telephone: ( City: Street:Ship To:

) State:

pp g g $11.00

Code: Zip

Tota

Philadelphia PA 191343500

Jim Doh Send ch

al

delphia PA 191340 Richmond Street

herty - Decoy Book heck with order to:

The Sporting Sale 2012JULY | PLYMOUTH, MA

COPLEY FINE ART AUCTIONS268 Newbury StreetBoston, MA 02116www.copleyart.com

INFORMATION AND CATALOGAimee [email protected]

CONSIGNMENTSStephen B. O’Brien, [email protected]

Now accepting consignments

Copley Fine Art Auctions is pleased to announce our upcoming Sporting Sale 2012

featuring paintings, prints, decoys, and American folk art

COPLEY FINE ART AUCTIONS | 268 Newbury Street | Boston, Massachusetts 02116 | 617.536.0030

Documents

Copley Art Winter Sale 2012