The Sporting Sale 2026 | Copley Fine Art Auctions

SPECIALISTS:

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

Leah Tharpe Fine Art Specialist leah@copleyart.com

Colin S. McNair Decoy Specialist colin@copleyart.com

Jim Allen

Decoy Specialist jim@copleyart.com

Ben Davenport

Fishing Collectables & Watch Specialist ben@copleyart.com

CATALOG BY:

Stephen B. O’Brien Jr. Cinnie O’Brien

Colin S. McNair

Leah Tharpe

Chelsie Olney

Ben Davenport

Eileen Steward, Photography & Design Michelle Dwyer

©2026CopleyFineArtAuctions,LLC. Allrightsreserved.

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Front cover lots from left to right: 220, 76, 83, 147, 47, 45, 86

Back cover lots from left to right: 165, 118, 81, 235, 51, 82, 148, 164

THESPORTINGSALE SCHEDULE OF EVENTS

AUCTION: JULY 9-10

Day 1:Thursday, July 9, 10 AM

Lots 1-299

Day 2:Friday, July 10, 10 AM

Lots 300-632

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

ADDITIONAL PHOTOS AND AUCTION PREVIEW

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

ABSENTEE & TELEPHONE BIDS

To schedule absentee or telephone bids, please use the form found in the back of this catalog. All bids must be received by 5 PM the day before the sale.

ONLINE BIDDING

Live online bidding will be available through Copley Live and LiveAuctioneers. Please note that the buyer’s premium for purchases made through Copley Live will be 23%, and 25% for LiveAuctioneers. Go to live.copleyart.com for the web-based platform and download our app if you are bidding on a phone or mobile device. The links to download our app and for online bidding are available at copleyart.com/bidding.

Please review the Terms and Conditions of Sale on page 345 and Important Notices on page 11 of this catalog.

SteveO’BrienJr.,Owner DecoyandFineArtSpecialist steve@copleyart.com

JimAllen DecoyConsultant jim@copleyart.com

LeahTharpe FineArtSpecialist leah@copleyart.com

ColinS.McNair DecoySpecialist colin@copleyart.com

Please beadvised that all persons wishing tobid at this auction should read, and be familiar with, the Termsand Conditions ofSale on page 345 in this catalog prior to bidding.

Buyer’s Premium:

A buyer’spremium of 20% ofthe final bid price up toand including $1,000,000, plus 15% of the final bid price over $1,000,000, plus any sales tax, will be applied to each lot sold and will be paid by the buyeraspart of the purchase price.Purchases madethroughany internetbidding platforms or apps, including CopleyLive, will be subject to an additionalcharge,3%forCopley Live and5%for LiveAuctioneers.

Consign to our NextSale:

Copley FineArt Auctions isaccepting consignments for our next sale.Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com.

Absentee and Telephone Bidding:

If you plan toplace absenteebidsortobidby telephone, please makesurethatwe receive your Absentee/Telephone Bid formby 5 PMthedaybefore the sale. It is possible that any bidsreceived after this time may not be accepted. You will receivean email confirmation of your absentee bid(s) within24hours ofreceipt.If youdo not receive confirmation, please emailinfo@copleyart.com.

Sales Tax:

All purchases picked up or shipped within Massachusettsare subject to the Massachusetts sales tax (currently6.25%) unless thepurchaser qualifies foranexemption. If youhave avalid tax exemption certificate, please submit it with your registration.

Copley FineArt Auctionsis continually working with its tax advisors tomonitortaxlawchanges and toenhance its multistate sales taxobligations. As with all out-of-statesellers, Copley FineArt Auctions isrequiredto collect sales tax frombuyers in stateswhereeconomic nexushas beenreached. When this occurs, applicable state and local sales taxes will be includedon the invoice. Buyers with valid resale certificates on file withthe auction house will remainexempt. Out-of-state sales taxes will be based on the delivery location. Please contact us todetermine whether your purchase is subject to applicable sales taxes.

Inspection of Items Offered at this Auction:

Allitems are sold “as is” and should be inspected either in person orby an agent before a bidis placed. Additional imagesforeach lotare available through the online bidding platforms and should beviewed asapart of eachobject’s description and condition. Althoughcondition reportsmay be published or givenonrequest, suchreportsarestatementsofopiniononly.Regardlessofwhether or not a condition report is given, all property is sold “as is.” The absence of a condition report does not imply that the propertyis in good condition.

Dimensions:

Flatart dimensions areapproximate and are rounded to the nearest quarter inch.Flat art is measuredbyheight, then width. Three-dimensional worksare measuredby height, width, and depth.

Stands:

Stands are not included with itemspurchased.

Condition Description of Wear or GunningWear

Wear or gunningwear may include all types of wear and damage that can be inflicted, and maybe expected,from hunting, handling, use, or time. Thismay include, but is not limitedto, paint wear, flaking, dings, scratches,checks, cracks, craquelure, age lines, dents, chips, rubs, blunts,broken or missingeyes, shot scars, seam separations, raised grain, rust, filler loss, sap, discoloration, andaltered rigging, stickholes, and eyes. Thecondition of the undersidesofdecoys and the originality of shorebird bills maynot be listed.Clearcoats, such as varnish, shellac, and oil, may not be listed.Repairs, restorations,andtouch-upmay include new material.Paint listed as“working,” “gunning,”or“old” is likelynot theoriginalfirstcoat.Repairs and construction features that are original to the work, including but not limitedtoputty, bungs, plugs, patches, and stabilization, may not bementioned. Replaced andrepaired bills mayinclude touch-up near insertion point and extend through the back of head, if applicable. Radiographs, or X-ray images, may beavailableby requestforselect lots. Please submit additional conditionreport requests at least ten days prior tothesaledate.Additionalonlinephotosareconsideredtobepart of the condition.

Fragile Decoratives:

Fragiledecoratives,like thebirds, feathers, flora,andfauna, that makers emulatecanbeparticularly susceptible to damage, deterioration, and loss. Feathers, wings, legs, tails, leaves, branches,and other parts can become detached from necessary handling.Due tothesecircumstances, Copley FineArt Auctions will not be responsible forany change in conditionof decorative lots.Additionally, we recommend that all bidders consider transportation logistics ofthese special objects prior to the sale.

Condition Description of “Asfound:”

The“Asfound” designation denotes that condition issuesare not listed. It is the buyer’s responsibility to determine the condition. The item is sold with any faults and imperfectionsthat may exist.

AuctionResults:

Auction resultswillbe available online approximatelyoneweek after the auction at copleyart.com.

Pick Up and Shipping:

Buyers wishing to pick up items after the auction at our office may dosoby appointment. If you wouldlike youritems shipped, please completeandreturn our shipping form.

Auction Day Contact Information:

On site:617.536.0030 or info@copleyart.com

Auctioneer PeterJ. Coccoluto, MA License #2428

PROPERTIES

Harry and Judy Bextel Collection

Henry Bishop Collection

A descendant of Everett Banfield Davenport

Matt Geis Collection

Jeff and Joyce Hay Collection

A descendant of William Henry Loring

Robert Metcalf Collection

Curt Mettam Collection

Estate of Flip Pallot

Bruce and Rachel Roberts Collection

A descendant of William H. Rudy

Pasquale “Babe” Sabatini Collection

Estate of Edwin Schultz

A descendant of Joseph F. Sherer

Bryant B. Stringer Collection

William V. Tripp III Collection

A descendant of Joe Versay

The Bruce and Doranna Wendel Collection

Private Collections from:

CA, CT, DC, DE, FL, GA, IN, KY, LA, MA, MD, ME, MN, MS, MT, NC, NH, NJ, NY, PA, SC, TN, TX, UT, VA, WI, WV, and the United Kingdom

TING SALE 2026

LOTS1-299

DAY1| JULY 9 |10AM

Additional images for each lot are available through the online bidding platforms and should be viewed as a part of each object’s description and condition.

1 Preening Canada Goose

Cameron McIntyre (b. 1968)

New Church, VA

24 3/4 in. long

A grand hollow preening goose with a root head and a raised wing that was carved from the same block as the top half of the decoy. The hand-hewn underside of the hollow body is signed with an incised “CTM.” This is one of only two of this style made, and it showcases McIntyre’s command of both form and surface. Original paint and wear.

$6,000 - $9,000

2 High-Head Wigeon

2 High-Head Wigeon

Cameron McIntyre (b. 1968) New Church, VA 15in.long

Cameron McIntyre(b.1968) New Church,VA 15in.long

A proudbaldpate drake with raised wings and a hollow body. The thin bottom board has an hourglass-weight and is signed with an incised “CTM.” Original paint with light wear.

A baldpate drake with raised wings and a hollow body. The thin bottomboard has an hourglass-weight and is signed with an incised “CTM.” Original paint with light wear.

$3,000 - $5,000

$3,000 - $5,000

3 Sleeping Canvasback

3 SleepingCanvasback

Cameron McIntyre (b. 1968) New Church, VA 13 1/2 in. long

Cameron McIntyre(b.1968) New Church,VA 13 1/2 in.long

A sleeping bullneck with pronounced breast carving and sleepy eyes. The maker’s incised “CTM” signature is on the underside. Original paint and wear.

A sleeping bullneck with pronouncedbreast carving andsleepy eyes. Themaker’s incised “CTM” signature is on the underside. Original paint and wear.

$5,000 - $8,000

$5,000 -$8,000

4 “Premier” Wood Duck

Cameron McIntyre(b.1968) New Church,VA 16 in. long

4 “Premier” Wood Duck

Cameron McIntyre (b. 1968) New Church, VA 16 in. long

Modeled after the Mason Decoy Factory’s premier-grade woodduck drake.Theunderside of thehollow body has an incised “CTM” signatureandapainted “Premier.” Original paint andwear with a small tail chip.

Modeled after the Mason Decoy Factory’s premier-grade wood duck drake. The underside of the hollow body has an incised “CTM” signature and a painted “Premier.” Original paint and wear with a small tail chip.

$2,000 - $4,000

$2,000 - $4,000

5 Parker’s Island Curlew Mark McNair (b. 1950) Craddockville, VA, c. 2010 19 in. long

A grand and hollow long-billed curlew with a repurposed pitchfork tine. It was carved on Parker’s Island in the Chesapeake Bay. The underside is signed “McNair” and

stamped “5.” This carving was nearly lost forever when a cleanout crew tried to throw it away while clearing a house. Original paint with light wear.

$2,000 - $4,000

6 Phillips-Style Running Curlew

Mark McNair (b. 1950)

Craddockville, VA, c. 2000

23 in. long

A long-billed curlew with a steamed-oak bill styled after the John C. Phillips (1876-1936) rig icon. Signed by the maker with an incised “McNair.” Original paint with light wear.

$1,200 - $1,800

7 Mason-StyleCurlew

Mark McNair (b. 1950)

Craddockville,VA,2011 19 1/2 in. long

A special “one-off” commissioned carving modeled after a Mason Factory two-piece curlew. Finished with a metal-tine bill and the incised “McNair” signature. Original paint with light wear.

$1,500 - $2,500

8 Turned-Head Plover

Mark McNair (b. 1950)

Craddockville, VA, c. 2010 11 1/4 in. long

A refined decoy with a turned head and incised primaries. The underside of the carving bears an incised “McNair” signature. Original paint with light wear.

Provenance: Estate of Edwin Schultz

$1,200 - $1,800

9 Dunlin Pair

Mark McNair (b. 1950)

Craddockville, VA, c. 1990 8 1/2 in. long

A Verity-inspired sandpiper duo. The undersides of the carvings bear incised “McNair” signatures. Original paint with light wear. One has original patch on underside.

Provenance: Estate of Edwin Schultz

$1,500 - $2,000

10 Golden Plover

Mark McNair (b. 1950)

Craddockville, VA, c. 2010 10 in. long

A delicate plover with a thin neck and incised primaries. The underside of the carving bears an incised “McNair” signature. Original paint with light wear.

$1,200 - $1,800

11 Miniature Root-Head Pintail

Mark McNair (b. 1950)

Craddockville,VA,2025 5in.long

This miniature decoy has a roothead, rigging, and the maker’s incised “McNair” signature. Original paint and light wear.

$1,000 - $2,000

12 Miniature Mallard

Mark McNair (b. 1950)

Craddockville, VA, c. 1990 5 1/2 in. long

A tiny decoy complete with rigging and an incised “McNair” signature. Original paint with light wear.

$1,000 - $2,000

13 Miniature Canvasback

Mark McNair (b. 1950)

Craddockville, VA, c. 2000 5in.long

This miniature decoy is rigged and signed with an incised “McNair” on the bottom. Original paint with light wear.

$1,000 - $2,000

14 Miniature Brady-Style Goose

Mark McNair (b. 1950)

Craddockville,VA,2013 6 in. long

This tiny decoy is complete with a mortise-and-tenon bill, rigging, and an incised “McNair” signature. Original paint with light wear.

Provenance: Harry and Judy Bextel Collection

$1,000 - $2,000

15 Miniature Hissing Brant

Mark McNair (b. 1950)

Craddockville, VA, c. 1990

9 1/4 in. long

A Cobb-style miniature decoy with rigging and an incised “McNair” signature. Original paint with light wear.

Provenance: Jim Kappler Collection Private Collection

$1,000 - $2,000

16 Miniature Cobb-Style Black Duck

Mark McNair (b. 1950)

Craddockville, VA, c. 2000 6 in. long

A miniature hollow decoy with the maker’s painted signature on the underside and an incised “E” in tribute to Elkanah Cobb. Original paint with light wear.

Provenance: Jim Kappler Collection Private Collection

$1,000 - $2,000

17 “High-Tri” Merganser Pair

Mark McNair (b. 1950)

Craddockville, VA, c. 1990

16 in. long

This design was first published in the 1990s, and a closely relatedpairrecently set a record for the maker’s work at auction. Each has a keystone weight, rigging line, and an incised “McNair” signature. Original paint and wear with some original age lines in wood.

Literature: Curtis Badger, “Mark McNair,” Wildfowl Carving and Collecting, Harrisburg, PA, Summer, 1993, front cover, high-tri pair illustrated.

$8,000 - $12,000

MARKMCNAIR

18 Sperm Whale Weathervane with Spinning Tail

Mark McNair (b. 1950)

withSpinningTail (b.1950)

Craddockville,VA,2011 30in.long

Craddockville, VA,2011 30 in. long

A rare weathervane based on Melville’s novel Moby Dick

Melville’snovel wastested ChesapeakeBaybreezethat thecreek weathervanewas

abrass bushing in the stick hole. This whitewhale

The functioning propeller design was tested with great enthusiasm in the Chesapeake Bay breeze that funnels up the creek to the maker’s home. This true weathervane was finished with lead balance weights poured in the head and a brassbushinginthestickhole.This white whale was finished with bone teeth and an incised “McNair” signature. Original paint and wear.

Provenance: Harry and Judy Bextel Collection

$3,000 - $5,000

19 Sperm Whale

Mark McNair (b. 1950)

(b.1950)

Craddockville,VA,

Craddockville, VA, c. 2010 49 in. long

Measuring over four feet in length, this carving is one of the largestMarkMcNairwhalepatterns to come to market. Made to hang above a fireplace mantle or on the wall, it features the maker’s finest carving detail with a

overfour largest Mark McNair whale patterns cometo market.Made tohang fireplacemantle itfeatures

bone eye and a row of carved bone teeth, a raised pectoral flipper, separated flukes, and the maker’s incised “McNair” signature on the back. Original paint and wear. Original crack undertailstabilizedbytheartist.

ofcarved teeth,araisedpectoral fin, separatedflukes, and the maker’sincised “McNair” signatureonthe under tail stabilizedby the artist.

Provenance: Private Collection, Nantucket

$8,000 - $12,000

20 MerganserPair

Mark McNair (b. 1950)

Craddockville,VA,2001 21in.long

A racy shelldrake pair with salvaged leather crests, inletted heads, and incised “McNair” signatures on the underside. The drake has stylish wing paint and is finished with two star-head nails in the line-tie. Original paint with light wear. Minor white spotting on hen.

Provenance: Estate of Edwin Schultz

$4,000 - $6,000

21 WigeonHen

Mark McNair (b. 1950)

Craddockville,VA,1994 15in.long

The underside of this hollow decoy bears an incised “McNair” signature and painted rig designation. “Model 1977 Old Lyme, made 1994 - Island Neck” is also painted on the bottom. Original paint with even wear.

Provenance: Shannahan Rig and Collection

$2,000 - $3,000

22 The Bextel Blue-Winged Teal Pair

Mark McNair (b. 1950)

Craddockville,VA,1998 12 1/2 in. long

A refined decoy pair with raised wings, incised primaries, and elaborate paint. Both hollow bodies are incised “McNair” and the drake is dated and finished with two star-head nails. Original paint with light wear.

Provenance: Harry and Judy Bextel Collection

$3,000 - $5,000

Bruce and Rachel Roberts Collection of McNair Carvings

By Chelsie Olney

Copley is honored to offers selections from the collection of Bruce and Rachel Roberts. Not a hunter, Roberts was drawn to the artistry of the decoy form, much like early collector, decoy author, and architect Joel Barber (1876–1952).

It all began in the late 1970s, when a friend invited him to a decoy show in New England. Roberts remembers, “I was mesmerized by Mark's work.” Shortly thereafter, at the Waterfowl Festival in Easton, Maryland, Bruce met the young carver in person for the first time. There he purchased his first McNair carving: a merganser.

Over the ensuing decades, Bruce and Rachel, his wife of forty-five years, developed a close friendship with Mark and his wife, Martha. Long-time residents of Leesburg, Virginia, the Roberts would often visit the McNairs in Craddockville. A highlight was stopping in at Mark’s shop to see the carving projects that the maker was currently working on.

Though he initially started collecting a variety of decoys and Americana, early on Roberts honed his decoy collecting to only Mark McNairs, methodically adding a few select pieces by the artist every year for decades. He reflects, “I have tremendous respect for Mark and the work he does.” Many of these acquisitions came in the form of an annual Christmas gift from Rachel.

Roberts, a licensed pilot, recalls a special excursion flying his Cirrus airplane from Leesburg to the Eastern Shore of Virginia for a lunch with Mark. A fascinating afternoon ensued in which Bruce took the maker for a ride up into the sky. Flying the shoreline of the Chesapeake Bay and

glimpse of the maker’s deep sense of place, which is a cornerstone of McNair’s carvings.

Similar to early, long-standing patrons Barrie and Bernice Stavis and Harry and Judy Bextel, the Roberts have been loyal McNair patrons for nearly a half century, quietly curating a diverse collection. As Crowell made some of his finest carvings for John C. Phillips, Harry V. Long, Charles A. Hardy, Loring Underwood, and other early patrons, the exceptional McNair works from the Bruce and Rachel Roberts Collection are a testament to the close and enduring relationship between patron and artist. Copley is proudto showcase a selection of these carvings in the Sporting Sale 2026.

23 Black Bird Pair

Mark McNair (b. 1950)

Craddockville, VA, c. 1990

17 1/2 in. tall

An animatedpairofgrackles, incised “McNair” on the undersides of each. Both are perched on their original locust base. Original paint with light wear.

Provenance: Bruce and Rachel Roberts Collection

$2,000 - $3,000

24 The Modestown Salmon Weathervane

Mark McNair (b. 1950)

Craddockville, VA, 1981 24 1/2 in. long

This working weathervane carving lived atop McNair’s first Eastern Shore workshop, in Modestown, Virginia. It narrowly escaped a blaze that later consumed the building. It was painted silver and the hole was finished with a bushing. While in use, a carpenter bee bored a home between two fins on the lower right. The carving is incised with “McNair” on the underside and it is dated with a stamped “1981” in the weight under the gills. Original paint with wear, including cracks and reset tail cracks.

Provenance: Bruce and Rachel Roberts Collection

$2,000 - $4,000

25 Cormorant

Mark McNair (b. 1950)

Craddockville,VA,c.1980 22 in. long

This early cormorant exhibits an oak bill, an inlettedhead,anoriginalpatch on the right side, and an incised “McNair” on the underside. Original paint with even wear.

Provenance: Bruce and Rachel Roberts Collection

$2,000 - $3,000

26 Early Loon

Mark McNair (b. 1950)

Craddockville,VA,c.1980 21in.long

A rare early loon that exhibits a chip-carved finish, an inletted head, an upswept tail, and an incised “McNair” on the underside. Original paint and wear with minor craquelure and a few age lines.

Provenance: Bruce and Rachel Roberts Collection

$2,000 - $4,000

27 Eider

Mark McNair (b. 1950)

Craddockville, VA, c. 1990 16 in. long

This eider decoy exhibits a wood-pegged, inletted head, an upswept tail, and an incised “McNair” on the underside. Original paint with even wear, a crack in back, and some sap to endgrain, including breast and back of head.

Provenance: Bruce and Rachel Roberts Collection

$2,000 - $3,000

28 Gull Decoy

Mark McNair (b. 1950)

Craddockville, VA, c. 1990 18 1/2 in. long

A rare raised-wing confidence decoy with an incised “McNair” on the underside. The hollow body is pegged together. Gull decoys are historically rare and were used to add variety to a waterfowl rig. Original paint with even wear.

Provenance: Bruce and Rachel Roberts Collection

$2,000 - $3,000

29 Early Bufflehead

Mark McNair (b. 1950)

Craddockville, VA, c. 1980 12 1/2 in. long

A rare and early chip-carved decoy from the maker’s personal rig used around Assawoman, Virginia. This turned-head example has an incised “McNair”ontheunderside. Originalpaintwitheven wear and some sap on lower breast and under tail.

Provenance: Bruce and Rachel Roberts Collection

$1,000 - $2,000

Themaker's meticulous incised signatureontheunderside of lot 27.

30 Lesser Yellowlegs Pair

Mark McNair (b. 1950)

Craddockville, VA, c. 2010 11 in. long

The feeder and upright examples both bear an incised “McNair” on the undersides. Original paint with light wear.

Provenance: Bruce and Rachel Roberts Collection

$2,500- $3,500

31 Tucked-Head Godwit

Mark McNair (b. 1950)

Craddockville, VA, c. 1985 13 1/2 in. long

This godwit in a content pose has an incised “McNair” on the underside. Original paint with light wear and very slight sap crazing on right side.

Provenance: Bruce and Rachel Roberts Collection

$1,000 - $2,000

32 Early Preening Dove

Mark McNair (b. 1950)

Craddockville,VA,c.1980 12in.long

A rare preening dove made from a single piece of wood and finished with a minimal stain. This carving has raised wings and an incised “McNair” on the underside. Original paint andevenwear.

Provenance: Bruce and Rachel Roberts Collection

$1,000 - $2,000

33 Feeding Shorebird

Mark McNair (b. 1950)

Craddockville, VA, c. 1990 15in.tall

This raised-wing example, incised “McNair” on the underside, stands on wire legs. Original paint with even wear and a reset neck.

Provenance: Bruce and Rachel Roberts Collection

$1,000 - $2,000

34 Cobb-Style Swimming Brant

Mark McNair (b. 1950)

Craddockville, VA, c. 2000 20in.long

A bold Eastern Shore brant with a twisted, reaching head and the maker’s incised “McNair” signature. Original paint and wear.

$2,000 - $4,000

35 Early Snuggle-Head Pintail

Mark McNair (b. 1950)

Craddockville,VA,1974

19 3/4 in. long

An early decoy with a long oak tail made during McNair’s earliest years in Virginia’s Blue Ridge Mountains. The underside has a 1977 inscription to Bernie Roob. It is also incised with “M McNair Virginia” and a five-pointed star. Original paint with light wear.

Provenance: Bernie Roob Collection

Jim Kappler Collection Private Collection

$2,000 - $4,000

36 Hillman Hooded Merganser Hen

Mark McNair (b. 1950)

Craddockville,VA,c.1974 13in.long

This early carving is incised “M McNair” with a five-pointed star. Original paint with even wear.

Provenance: John Hillman Collection Private Collection

$2,000 - $4,000

37 Animals LeavingThe Ark Box Frank Finney (b. 1947) Capeville, VA 11 in. long and 9 in. tall

This Noah’s Ark box is titled Animals Leaving the Ark.An elephant with tusks is disembarking while a zebra, anteater, koala, chimp, giraffe, fox, ostrich, aardvark, panda, and dove

with olive branch look on. Signed on the underside with an incised “F.” Under the hinged lid is a hand-gouged yellowand-green interior. Original paint with light wear.

Provenance: Bob Mooreland Collection

$5,000 - $8,000 Themaker's incised initial

Capeville, VA

6 3/4 in. long by 7 1/2 in. tall

Alife-sizehummingbirdonarounddecorativeperch with the maker’s signature stamp on the underside. Original paint with minimal wear.

$2,000 - $3,000

38

Capeville, VA 6 1/2 in. long by 9 1/4 in. tall

A life-size hummingbird on a decorative perch with the maker’s signature stamp on the underside. Original paint with light wear.

$2,000 - $3,000

39

40

EddieWozny(b.1959) Cambridge, MD, 2023 7 in. tall

A peacock carving with ornate raised tail feathers. Retains the maker’s signature and incised “W” on the bottom of the base. Original paint with light wear.

$600 - $900

DAVID A. HAGERBAUMER

41 David A. Hagerbaumer (1921-2014) Quail in Flight signed “David Hagerbaumer” lower left watercolor, 21 by 29 in.

The following four lots comprise exceptional large-scale watercolors revealing a special relationship between artist and patron. The quality of these works showcases the artist at the height of his craft. Hagerbaumer’s unique ability to layer up to a half-dozen fields of depth in the medium of watercolor is on full display.

Provenance: Private Collection, Texas

$4,000 - $6,000

42 David A. Hagerbaumer (1921-2014) DovesinFlight signed “David Hagerbaumer” lower left watercolor, 21 by 29 in.

Provenance: Private Collection, Texas

$4,000 - $6,000

Hagerbaumer(1921-2014)

43 David A. Hagerbaumer (1921-2014)

Mallards Landing in a Marsh signed “David Hagerbaumer” lower left watercolor, 29 by 40 in.

“DavidHagerbaumer” 40in.

Mixed in among the pitching mallards are a few interloping teal.

Provenance: Private Collection, Texas

$4,000 - $6,000

Hagerbaumer(1921-2014)

44 David A. Hagerbaumer (1921-2014) Turkeys

signed “David Hagerbaumer” lower left watercolor, 21 by 29 in.

“DavidHagerbaumer” watercolor,21by29in.

Provenance: Private Collection, Texas

$4,000 - $6,000

45 Edmund Henry Osthaus (1858-1928)

Pair of Setters in an Autumn Landscape signed “Edm. H. Osthaus” lower left watercolor, 20 1/2 by 28 1/2 in.

Edmund Henry Osthaus was born in Hildesheim, Germany, in 1858, the son of a prosperous farmer who subsequently immigrated to Toledo, Ohio. Osthaus studied at the Royal Academy of the Arts in Dusseldorf from 1874 to 1882 with Andreas Muller, Peter Jansen, Eduard von Gebhardt, Ernst Deger, and wildlife and landscape painter Christian Kroner. In 1883, after studying painting for six years, Edmund Osthaus became an instructor at the Toledo Academy of Fine Arts. He served as the director from 1886 to 1893, refining his painting technique and pursuing his passions: hunting and fishing.

In 1893, Osthaus dedicated his full attention to painting, shooting, and field trials. He was a charter member of the National Field Trial Association established in Newton, North Carolina, in 1895. Kay and George Evans write, “Edmund Osthaus followed field trials from the fall prairie chicken trials in Canada to the important quail trials in the South in mid-winter, judging, sketching, and sometimes entering his dogs. He was a handsome, powerfully built

man.” Osthaus’ artistic talent, combined with his love of dogs, enabled him to capture the essence of the focused working dog while depicting them in precise anatomical detail.

Kay and George Evans continue, “Any painter who paints for shooting men had better be a shooting man himself, for no one is more jealously critical of detail than the man who knows guns and dogs and game...Edmund Osthaus, who trained and shot over his own setters and pointers, transformed...paint into dog flesh quivering under the stress of a point.”

This painting reveals Osthaus as an acute student of hunting dogs, with the two English setters’ stances and locked-in gazes pointing at an unseen quarry.

Literature: Kay and George Evans, “Dogs That Live Forever,” Field & Stream, vol. LXXV, no. 2, June 1970, pp. 234-240.

$40,000 - $60,000

46 Edmund Henry Osthaus (1858-1928)

TwoSetters Osthaus”lower watercolor,201/4 by29in.

Two Setters signed “Edmund Osthaus” lower right watercolor, 20 1/4 by 29 in. Cowan Collection label on back

Setters werederivedfrom medieval hunting dogs that were trained to find birds and thento “set” (crouchorlie down) so that a net couldbethrownover both the birds and dogs. As firearms came into use, setters were trained to adopta more upright stance. Over time, training elevatedthetails of setters and pointers to an upright position.

Edmund Osthaus painted setters displaying a traditional sitting position. Setters were derived from medieval hunting dogs that were trained to find birds and then to “set” (crouch or lie down) so that a net could be thrown over both the birds and dogs. As firearms came into use, setters were trained to adopt a more upright stance. Over time, training elevated the tails of setters and pointers to an upright position.

Theartist’s paintings came into great demand in the late 1890s. Wealthy families and collectors, such as the Vanderbilts and Morgans, became patronswho commissioned large scenes for their lavish homes. Also, Osthaus furthered his reputation with a series of postcards, prints, and calendar pictures done for the DuPont Company.

The artist’s paintings came into great demand in the late 1890s. Wealthy families and collectors, such as the Vanderbilts and Morgans, became patrons who commissioned large scenes for their lavish homes. Also, Osthaus furthered his reputation with a series of postcards, prints, and calendar pictures done for the DuPont Company.

Osthaus established a studio in LosAngeles,California,in 1911 and stayed there for the remainder of his life.However, hetraveledfrequently, painting throughout the States.He maintained homes in Ohio and NewJersey,and wintered on his hunting property in Marianna, Florida. On January 30,1928,at the ageofseventy,Osthauspassedaway while

Osthaus established a studio in Los Angeles, California, in 1911 and stayed there for the remainder of his life. However, he traveled frequently, painting throughout the States. He maintained homes in Ohio and New Jersey, and wintered on his hunting property in Marianna, Florida. On January

at hisFlorida lodge.Today he is best knownfor having chronicled the American field dog and producing a sizeable bodyof scenes of gun dogs at work of exceptional quality.

30, 1928, at the age of seventy, Osthaus passed away while athisFlorida lodge. Today he is best known for having chronicled the American field dog and producing a sizeable body of scenes of gun dogs at work of exceptional quality.

This classic hunting scene capturestwo alert,poised setters as their attention focuses on their quarry just outside the composition. Osthaus’ use of vibrant autumnal colorinthe trees in the backgroundmakes the whitefuron this dynamic duo pop.

This classic hunting scene captures two alert, poised setters as their attention focuses on their quarry just outside the composition. Osthaus’ use of vibrant autumnal color in the trees in the background makes the white fur on this dynamic duo pop.

Provenance: The CowanCollection

Mrs.Barbara Jamie, Aurora, Illinois

Provenance: The Cowan Collection

Mr. FredEnck,Aurora, Illinois

Mrs. Barbara Jamie, Aurora, Illinois

Mr. Fred Enck, Aurora, Illinois

ByDescent inFamily

By Descent in Family

Private Collection, Livingston, Montana, 2004

Private Collection, Livingston, Montana, 2004

Copley FineArt Auctions, Plymouth, Massachusetts, Lot 115,July 22-23, 2010

Copley Fine Art Auctions, Plymouth, Massachusetts, Lot 115, July 22-23,2010

Literature:WilliamSecord, ABreedApart:The Art Collections Of The AmericanKennel ClubAnd The AmericanKennel Club Museum Of The Dog, NewYork,NY, 2001.

Literature: William Secord, A Breed Apart: The Art Collections Of The American Kennel Club And The American Kennel Club Museum Of The Dog,NewYork,NY,2001.

$30,000 - $50,000

$30,000 - $50,000

ARTHUR BURDETT FROST

47 Arthur Burdett Frost (1851-1928)

AnUnexpectedChance,1895 signed“A. B. Frost” lower left watercolor,101/2by14in.

Kennedy Galleries, New York label on back Alsotitled Chance Shot Along the Lake and A Chance Along the Lake Shore

This important Frost depicts two surprised hunters crouched behind rocks, their campfire and meal interrupted as they take advantage of their “unexpected chance.” Frost skillfully depicts subtle details, such as the coffe pot, canoe, hunting gear, and the deer's antlers. His attention to detail is remarkable, going so far as to stick a knife in a loaf of bread. This exalted Frost work appeared on the 1895 Winchester Arms calendar, the same year Frost’s famous Shooting Pictures portfolio was published by Scribner’s.

A. B. Frost was born in Philadelphia in 1851, but spent his most prolific years in New Jersey. Considered one of the great illustrators of the “Golden Age of American

The1895Winchestercalendar(detail)thatfeatured An Unexpected Chance. Imagecourtesy of Bradford'sAuction Gallery.

Illustration,” he illustrated more than ninety books and produced thousands of illustrations for Harper’s Weekly, Scribner’s,and Life magazines. Frost’s illustrative work chronicles the mood and details of the daily life of farmers, hunters,andfishermen,aswell as barnyards and pastoral motifs.

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

Frost was an ardent sportsman who spent his summers andautumnsfishing,rowing, and hunting ducks and snipe. He is best known for his hunting and shooting prints, which capture the drama of sport in realistic, detailed settings. Frost lived much of his life at his estate, Moneysunk, in Convent Station, New Jersey.

According to a note on the back of the painting, prominent Ithaca, New York, manufacturer and Cornell trustee Robert Elias Treman acquired the painting in 1942 from Charlotte Hodson, widow of George E. Hodson, who was the president of Winchester Arms Company when it went into receivership in 1931 after World War I.

Provenance:WinchesterArmsCompany

George E. Hodson Collection, New Haven, Connecticut, acquired in 1931

Robert Elias Treman Collection, Ithaca, New York, acquired in 1942 Donald Ryan Collection, acquired circa 1951 Private Collection, United Kingdom, by descent

Literature: Henry W. Lanier, A. B. Frost: The American Sportsman’s Artist, New York, 1933, p. 62, illustrated. Winchester Arms Advertising Calendar, 1895, illustrated.

$60,000 - $90,000

ARTHUR BURDETT FROST

1851-1928

48 Arthur Burdett Frost (1851-1928)

Muskallonge Fishing,1904

signed“A. B. Frost” lower right watercolor and gouache, 16 by 25 in. inscribed “$100.00 This is my first choice of a sporting subject A.B.F.”onback

This painting was published alongside Wallace Irwin’s poem "Muskallonge Fishing" in A Book of Drawings by A. B. Frost.

This painting wasalsoreproduced as a print in 1904.

Literature: A Book of Drawings by A. B. Frost, 1904, pp. 51-52, illustrated.

$30,000 - $50,000

Muskallonge Fishing

Like a true warrior, stoutly met In battle’s fierce delight, He draws his foe to death, and yet Admires him for his fight.

— Wallace Irwin, A Book of Drawings by A. B. Frost

ARTHUR BURDETT FROST

49 Arthur Burdett Frost (1851-1928)

Grouse Hunting signed“A. B. Frost” lower right ink on paper, 8 3/4 by 14 3/4 in.

In this detailed drawing, a hunter looks up through the thick brushattheruffed grouse, seen on the rightmost border, flying away. Frost reveals himself as a grouse hunter, accurately capturing the hunter immersed in thick brush.

Provenance: H. A. Vogel Jr. Collection AllanJ.LiuCollection Private Collection, New York

Literature: Henry M. Reed, The A. B. Frost Book, illustrated, endpaper.

$5,000 - $7,000

50 John Frost (1890-1937) WoodcockHunting, 1936 signed and dated “John Frost ‘36” lower right oil on canvas, 25 by 30 in.

The Sporting Gallery and Bookshop, Inc., New York label on back

John Frost, called Jack, was born to noted sporting artist A. B. Frost in Philadelphia in 1890. The younger Frost studied art with his father and at the Acadèmie Julian before settling in Pasadena, California, for health reasons. He found success with his impressionistic California landscapes, selling through the Stendahl Gallery at the Ambassador Hotel. In addition to his California Impressionist success, Frost depicted the sporting life in paint throughout his career. He continued to hunt and paint with his father and fellow artist Guy Rose. Frost became a member of the California Art Club and the Pasadena Society of Fine Arts before succumbing to an early death in 1937.

$6,000 - $9,000

1905-1983

51 Ogden M. Pleissner (1905-1983) Out Fishing signed “Pleissner” lower right watercolor, 16 by 25 1/2 in.

Ogden Minton Pleissner was born in Brooklyn, New York, and studied figure painting and portraiture with Frank DuMond and Frederick J. Boston at the Art Students League of New York. Despite growing up in the city, Pleissner was attracted to the outdoors and, as a teen, he visited dude ranches in Wyoming, including the CM Ranch in Dubois, where he sketched from life. Pleissner wanted to be classified primarily as a landscape painter, who also loved to hunt and fish.

In 1932, one of Pleissner’s paintings was purchased by the Metropolitan Museum of Art, making him the youngest artist in their collection. Throughout the 1930s and 40s, as a member of the Salmagundi Club, Pleissner frequently won club prizes in the annual shows and gained special note from Howard Devree, art critic for TheNewYorkTimes

Pleissner’s art is included in more than thirty public collections,including the Whitney Museum of American Art, the

Philadelphia Museum of Art, the Brooklyn Museum, and the Minneapolis Institute of Art. His art hangs in the offices of the Pentagon, West Point, and the Air Force Academy.

This watercolor, with boldly painted figures, intimately captures the heat of battle, with two guides navigating their canoe through rough water as the angler holds on tight to an Atlantic salmon that has bolted downriver.

Provenance: Crossroads of Sport, New York Pennsylvania Estate Private Collection, Acquired from the above, circa 1975 Sotheby’s New York, November 29, 2006, lot 195 Collection of Mr. and Mrs. H. Dorn Stewart IlI Private Collection

Literature: The American Museum of Fly Fishing, OgdenM. Pleissner: The Sporting Grand Tour, Manchester, VT, 2008, p. 30, illustrated.

$40,000 - $60,000

"The angler and the guides know it, and their concentration is total. In another moment, all hell will break loose and this team will have their hands full."

— Donal C. O’Brien Jr., The Art of Ogden M. Pleissner discussing a related watercolor.

OGDEN M. PLEISSNER

52 Ogden M. Pleissner (1905-1983)

lowerleft watercolor,181/2by 241/4in.

High Cliff at “Dog Pool” signed “Pleissner” lower left watercolor, 18 1/2 by 24 1/4 in. titled on The Sporting Gallery and Bookshop, New York label on back

Bookshop,New

A fisherman fights a salmon in the Dog Pool on the Saint Anne River in Quebec, surrounded by the bright green forest and sharp blue water and sky. Pleissner captures this classic scene with great vibrancy.

AnneRiver surroundedby sky.Pleissnercaptures greatvibrancy.

Provenance:Private acquiredfrom Sotheby’sNew May28, Collection,New York,acquiredfromSkinner,

Provenance: Private Collection, acquired from Sotheby’s New York, May 28, 1987, lot 364

Private Collection, New York, acquired from Skinner, Marlborough, Massachusetts, May 21, 2021, lot 63

$20,000 - $40,000

"Ididagreatmanyfishingpictures,andtherewerealotofpeoplewhohadsalmonrivers andfishingcampswholikedmyworkandwhowouldaskmetocomeupandpaintsomethingontheirriver. SoIwasinvitedtotheSt.AnneRiverbyMauriceWertheim,acharmingmanwhohada greatcollectionofFrench Impressionistpictures,oneofthefinest.HewastheheadofWertheimandCompany, andIwentuptherefourorfiveyears.Afterhediedhis wifekepttheriveronandIwentupthere withherandafewother peoplea numberoftimes."

"I didagreatmany fishing pictures, and there were a lot of people who had salmon rivers and fishing camps who likedmy work and who would ask me to come up and paint something on their river. So I was invitedto the St. Anne River by Maurice Wertheim, a charming man who had agreat collection of French Impressionist pictures, one of the finest. He was the head of Wertheim and Company, andIwentup there fouror five years. After he died his wife kept the river on and I wentup there with her and a few other people a number of times."

—OgdenPleissner, TheArtofOgdenM.Pleissner

— Ogden Pleissner, The Artof Ogden M. Pleissner

53 Ogden M. Pleissner (1905-1983)

Upper Margaree River - Cape Breton, 1931 signed and dated “Pleissner 31” lower left oil on board, 12 by 16 in.

Casson Galleries, Boston, Massachusetts, label on back titled “Upper Margaree River - Cape Breton (Salmon Fishing)” label onback

Capturing a thrilling moment in a serene landscape, this oil shows a salmon fisherman as they finally bring a fish to shore. In the background, the mountains of Cape Breton, Nova Scotia, rise above the misty Margaree River.

Provenance: Casson Galleries, Boston, Massachusetts

Dr. Gilbert Horrax, Boston, Massachusetts

Dr. Trudeau Horrax, Philadelphia, Pennsylvania, by descent

Private Collection, New Jersey Private Collection, acquired from Freeman’s | Hindman, June 7, 2015, lot 56

Literature: Peter Bergh, The Art of Ogden M. Pleissner, Boston,MA, 1984.

$25,000 - $35,000

"AttheArtStudentsLeague,PleissnerstudiedforawhilewithGeorgeBridgman,awell-knowndraftsman whotaughtanatomy anddrawingfromplastercasts,andwhosetextbooksonfiguredrawingarestillthestandard workinmanyartschools.HethenenteredaclasstaughtbyFrankDuMond,anaccomplishedartistand amemberoftheNationalAcademy,and studiedwithhimforseveralyearsinNewYorkandduringthesummersata classDuMondraninCapeBreton,NovaScotia.TheMargareeRiverwasnearby,affordingPleissner'sfirstexperiencewithAtlanticsalmonfishing.'IthinkDuMondranthe summercampinCapeBretonbecause helikedtofishso much,andheseemedgladtohavemycompanyontheriver.'"

—PeterBergh, TheArtofOgdenM.Pleissner

54 Lynn Bogue Hunt (1878-1960)

Camouflage, 1950 signed and dated “Lynn Bogue Hunt 1950” lower right oil on canvas, 12 by 14 in. titled and priced $300.00 on old price tag on back

canvas,12by 14in. pricetagonback

Lynn Bogue Hunt was born in rural Honeoye Falls, New York, into a family that ran a small sawmill operation. He grew up with modest means, but spent hours outside exploring the natural surroundings in the woods near his home. He often collected birds and practiced taxidermy, a hobby that led to his accurate portrayal of his wildlife subjects.

Hunt contributed illustrations to his own articles as well as cover illustrations to magazines, such as Field & Stream, Sports Afield, and Free Press. During his lifetime, Hunt painted for private collectors and companies such as DuPont,illustrated over forty books, and produced roughly 250 magazine covers. Though he spent much of his life far from nature in New York City, Hunt had a strong foundation

as a knowledgeable outdoorsman, bird hunter, and fisherman, enabling him to accurately capture the essence oftheoutdoors.

In this intimate upland scene, a woodcock sits nestled in a cover, expertly blending in with the orange and brown hues shared by both the timberdoodle and the fall flora.

Provenance: Catherine Birmingham Collection Private Collection

$10,000 - $20,000

Falls,New hoursoutside naturalsurroundings oftencollected ahobby ownarticles well ascover SportsAfield, FreePress forprivate DuPont, illustrated overforty covers.Though fromnature inNew YorkCity, birdhunter,and theessence

intimateupland orangeandbrownhues timberdoodleand thefallflora.

55 Lynn Bogue Hunt (1878-1960)

Cowboy Taking Aim, c. 1935 signed “Lynn Bogue Hunt” lower right gouache on board, 12 by 7 1/2 in.

This work appeared in the secondchapter of R. G. Montgomery’s 1935 book, Broken Fang. In the book, the illustration is captioned “The report of the rifle shattered the silence.” The story follows a wolf with a broken fang who is blamed for a series of livestock deaths and hunted by a groupofcowboys.

Literature: R. G. Montgomery, Broken Fang, Caxton Classics, 1935, p. 38, illustrated.

$5,000 - $7,000

56 Lynn Bogue Hunt (1878-1960)

Broken Fang Book Cover, c. 1935 signed “Lynn Bogue Hunt” lower right gouache on board, 12 by 7 1/2 in.

Two snarling wolves confront each other on a rocky hillside as two others look on from behind. This work appeared on the front and back dust-jacket covers of R. G.Montgomery’sbook Broken Fang. It is also illustrated in

chaptersixofthebookwiththecaption“Lobo’s scruff rose and he snapped savagely.”

Literature: R. G. Montgomery, Broken Fang, Caxton Classics, 1935, front cover, back cover, and p. 86, illustrated.

$5,000 - $7,000

Lot 56 illustratedonthe1935cover of Broken Fang byR.G.Montgomery.

57 Lynn Bogue Hunt (1878-1960)

Afterglow, 1949

signed and dated “Lynn Bogue Hunt 1949” lower right oil on canvas, 23 by 27 in.

titled “Afterglow, Canada Geese coming in for the night” on back

$10,000 - $20,000

58 James Lippitt Clark (1883-1969)

King Buck Bronze and Print, 1955

signed and dated “Jas. L. Clark 1955” on base bronze, 9 1/2 by 11 by 5 3/4 in. edition of 15

Framed print of Lynn Bogue Hunt’s “King Buck” print, 10 by 10 1/2 in. framed, 19 3/4 by 15 3/4 in.

inscribed “King Buck National Field Trial Champion -1952-1953-” lower center and “To Joe Versay with every good wish J.M. Olin” lower right

A titan of industry, John Merrill Olin (1892-1982) was the inventor or co-inventor listed on twenty-four US patents in the field of arms and ammunition manufacture and design.In1958,heandhiswife,Evelyn,appearedtogether in their hunting garb on the cover of Sports Illustrated. The articlenotes,“HeisproudofKingBuck,whoisapersonal project of his, and for that matter he is probably prouder

ofhiskennelsandofadjacentNiloFarms,asprawling, game-rich, 522-acre shooting preserve, than of any other part of his considerable empire. This is the place where John Olin would rather spend his time than anywhere else in the world...From fall to spring on many a day he can be found roaming through the lush acreage after pheasants or crouched in a blind waiting for flighted mallards to come winging overhead. In between, he works his dogs, readying himself and them for the dozens of field trials which are his favoritehobby.”

King Buck was a storied retriever who won back-to-back National Retriever Field Trial Championships in both 1952 and 1953, as commemorated on the plaque that reads, “Natl. F.T. Champion 1952 1953, Presented to Joe Versay by John M. Olin Dec. 25, 1955.” Over the course of his career, King Buck competed in eighty-three national field trials. He wasalsothesubjectofMaynardReece’s1959FederalDuck Stamp painting, the first duck stamp to include a dog.

Among his many concerns, Olin served on the board of the American Museum of Natural History in New York, where he likely encountered sculptor James Lippitt Clark, who was head taxidermist and preparator there. Clark also worked for Gorham and studied at the Rhode Island School

KingBuckmemorializedinMaynardReece's 1959FederalDuckStampandprint(not includedinlot58).

of Design. Olin commissioned a life-size sculpture of King Buck from Clark in 1955, which currently resides on the dog’s grave at Nilo Farms, as well as fifteen of these smaller editions.

Joe Versay was a noted Wisconsin dog breeder and trainer who, according to the family, advised Olin to buy King Buck despite the dog being undersized. These King Buck

items were gifted by Olin to Versay during a Christmas Day banquet in 1955 and have descended in the family.

Provenance: Joe Versay Collection Private Collection, Wisconsin, by descent in the family

Literature: “A Man, A Dog and A Crusade: John Olin, Maker of Shotgun Shells, Made the Game Preserve A National Concern,” Sports Illustrated , 1958.

$4,000 - $6,000

59 Edmund Henry Osthaus (1858-1928)

English Setter

signed “Edmund Osthaus” lower right 11 1/2 by 17 1/2 in.

M. Knoedler & Co., New York label on back

$3,000 - $5,000

60 Edmund Henry Osthaus (1858-1928)

English Setter

signed “Edmund Osthaus” lower right watercolor, 13 1/2 by 18 1/4 in.

M. Knoedler & Co., New York label on back

$3,000 - $5,000

61 William Henry Loring (1834-1872)

Quail Covey, 1869

signed and dated “W.H. Loring 1869” lower left oil on canvas, 18 by 30 in.

William Henry Loring, born in 1834, was a gentleman-artist who worked as a merchant and insurance agent in Dorchester and Cambridge, Massachusetts. Brother-in-law to fish painter Walter Brackett and known as an avid hunter, he fell ill at only thirty-three and died at thirty-eight.

This painting has descended in the family of the artist.

Provenance: The artist Private Collection, Maine, by descent in the family

$2,000 - $4,000

62 Christine A. Daly(b. 1952)

Equestrians signed “C. Daly” lower left watercolor, 8 by 8 1/2 in.

$600 - $900

63 Wilhelm J. Goebel (b. 1960) Turkeys signed “© W.J. Goebel” lower right oil on canvas, 24 by 48 in.

Born and raised in New Jersey, Wilhelm Goebel attended Ithaca College where he studied biology. Over the course of his career as an artist, he has exhibited at the Lee Yawkey Woodson Museum in Wisconsin, the Ward Museum of Wildfowl ArtinMaryland,andcreated multiple state bird stamps, as well as the 1996-1997 Federal Duck Stamp. A longtime supporter of conservation causes, he has been Artist of the Year for Ducks Unlimited and the National Wild Turkey Federation.

$2,500 - $4,500

64 Walter T. Matia (b. 1953) English Setter and Pointer Bookends, 1995 each signed and dated “Matia ‘95” on base each bronze, 7 by 4 1/4 by 6 1/2 in. edition 60 of 100

$1,500 - $2,500

AIDEN LASSELL RIPLEY

65 Aiden Lassell Ripley (1896-1969)

Grouse Shooting,1941 signed“A. Lassell Ripley” lower right oil on canvas, 27 by 40 in. titled on back

Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age, he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School, where he studied with the country’s top artists, including Philip Leslie Hale (1865-1934) and Frank W. Benson (1862-1951).

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

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

This fine oil by the artist displays all the hallmarks of his best sporting scenes, with a sunlit hunting dog and a gentleman shooter emerging from Ripley’s classic bucolic landscape setting. This dynamic large-scale composition engages the viewer,capturingthemomentagrouse flushes fromitscover.

Provenance: Estate of Phyllis J. Mallory, Westchester County, New York Private Collection

$75,000 - $125,000

"There has never been, nor perhaps will there ever be, an artist who so accurately portrayed ruffed grouse, woodcock, pheasant, quail, and turkey in each of their individual environments along with sportsmen in pursuit of these game birds."

— Reverend William E. Lewis at Ripley's memorial service, September 2, 1969

66 Important Nantucket Wind-Bird WilletPair Nantucket, MA, c. 1900 12in.long

Thisfeatherweightpairofwilletishollowedoutfrom the bottom, with wood even removed from the neck and tail. This graceful form was meant to balance on a stick and dance in the breeze. They are rigmates to the Mackey-McCleery example from the Johnson Collection of American Bird Decoys. This exact pair was selected for the Ward Museum’s MassachusettsMasters exhibition in 2010.

Finding decoys from this rig in original paint and good condition is exceedingly rare, with most of the rig either destroyed or in repaint. Original paint with light gunning wear. One bird has wear to a slim chip along left breast edge, the other has some minor dings around tail.

Provenance: Lew Horton Collection Private Collection, Florida

Literature: John Clayton, Massachusetts Masters: Decoys, Shorebirds, andDecorative Carvings Exhibition Catalog, The Ward Museum of Wildfowl Art, Salisbury University, 2010, p. 114, exact decoys illustrated.

Exhibited: Salisbury, Maryland, Massachusetts Masters: Decoys, Shorebirds and Decorative Carvings,Ward Museum of Wildfowl Art, Salisbury University, October 1, 2010-January 23, 2011.

$20,000 - $30,000

TheAdele Cod,c.

67 The Adele Earnest Running Sickle-Billed Curlew Cape Cod, c. 1880 21in.long

Documented as Adele Earnest’s favorite decoy, this carving holdsa distinct place in the realm of early American folk art. In 1963, she submitted a photo of this exact carving tothe Decoy Collector’s Guide, where it is pictured and discussed as “her favorite.”

DocumentedasAdele favoritedecoy, holds a of submittedaphoto to the whereitispictured discussedas “herfavorite.”

A testament to her admiration, Earnest prominently featured this bold decoy four times within her The Art of the Decoy: American Bird Carvings and Folk Art in America books in 1965 and 1984, respectively.

TheArt of AmericanBird book. She laterfeatureditin her FolkArt in America book.

Itwas atleasttwo early thefirsttime,”chronicles beenpresentedasfolk YorkCity gallery.”It Artof FolkArt resultof wrote,“wasacquaintance whopurchased the nucleus of the show, Whitedecoy ahundred toour[FolkArt] museumas agift.”Earnest favoritebird collection, and the underside

It was selected for at least two early and important decoy exhibitions, including the Willard Gallery in 1959. “This was the first time,” chronicles Earnest, “the decoy had been presented as folk art in a major New York City art gallery.” It was then included in the groundbreaking The Art of The Decoy exhibition tour beginning at the Museum of American Folk Art in 1966. “Another happy result of our decoy exhibit,” she wrote, “was acquaintance with Mr. Alastair B. Martin who purchasedthenucleusoftheshow, the famous Winsor White decoy collection, and presented a major part (over a hundred decoys) to our [Folk Art] museum as a gift.” Earnest kept her favorite bird in her collection,andtheunderside retains the “Adele Earnest Collection” ink stamp.

Aclosely foranydecoy andHarvey discussthe decoyin

A closely related running curlew from the John C. Phillips rig set the record price for any decoy in 1997. Tom Geismar and Harvey Kahn discuss the related decoy in Spiritually

Moving:ACollection AmericanFolkArt : “Rare execution and original surface combineto shorebirddecoys. Theoveralleffectisgreatly andblacksthat feathersapplied strokesreminiscent serifsis evenwear wood,acrack

Moving: A Collection of American Folk Art Sculpture:“Rare form, brilliant executionandoriginalsurface combine to make this long-billed or sickle-billed curlew a true masterpiece of American sculpture...At twenty and a half inches in length, it ranks among the largest of shorebird decoys. The overall effect is greatly enhanced by a muted surface of brown and blacks that features painted feathers applied with delicate strokes reminiscent of Japanese or Chinese brushwork.”

This carving exhibits full-bodied form, finely painted outlines around shoe-button eyes, and split-tail carving. A painted “K” with serifs is found under the wing tips. Original paint with even wear and flaking to the wood, a crack in bill has been reset.

Provenance: Adele Earnest Collection Schiller Martin Collection Private Collection

Decoy:AmericanBird 1965,p. exactdecoy ,Exton,PA,1984,p. 172,exact decoyillustratedthree TedGleysteen, “CollectorComments,” 1963,p.30, exactdecoy

Literature: Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, p. 53, pl. 31, exact decoy illustrated. Adele Earnest, Folk Art in America, Exton, PA, 1984, p. 125, 128, and 172, exact decoy illustrated three times. Ted Gleysteen, “Collector Comments,” Decoy Collectors Guide, October-December, 1963, p. 30, exact decoy illustrated and discussed.

$25,000 - $35,000

TheAdeleEarnestRunningSickle-BilledCurlewillustrated on page30oftheOct.-Dec.1963issueof Decoy Collectors’s Guide.

The Adele Earnest Running Sickle-Billed Curlewillustratedonpage 30 of the Oct.-Dec. 1963 issue of Decoy Collectors’s Guide.

68 Banana Bird Pair Massachusetts, c. 1890 9 in. long

Abstract sandpipers by an unknown, but easily recognized, decoy maker. Original paint with even gunning wear, including some bare wood on bills.

Provenance: Private Collection, Cape Cod

$1,500 - $2,500

69 Banana Bird Trio Massachusetts, c. 1890 9 in. long

A rig of sandpipers by an unknown, but easily recognized, decoy maker. One has Joe French Collection marks. Original paint with even gunning wear, including some flaking, mostly to bills. Replaced bill on the French Collection decoy.

Provenance: Estate of Edwin Schultz

$2,000 - $2,500

70 Eskimo Curlew c.1880 11 in. long

A rare two-piece curlew decoy with tight feathering and a “C. Gardner” brand on the flat underside. This rig has drawn associations with David Goodspeed of Duxbury, MA, and the Morton rig of Nantucket. Original paint with even gunning wear and a replaced bill.

Provenance: Private Collection, Cape Cod

$2,500 - $4,500

71 RunningYellowlegs

David Goodspeed (1862-1943) (attr.)

Duxbury, MA, c. 1910 12in.long

The delicate ticked feathering along the breast and sides closely resembles the work of Massachusetts carver David Goodspeed from Duxbury. This elegant yellowlegs was carved in a full running position. Rigmates to this Griffith Collection bird have been collected by “Doc” Starr and Donal C. O’Brien Jr. Original paint with even gunning wear and reset tip of bill.

Provenance: Dr. Lloyd T. Griffith Collection Private Collection, Florida

Literature: Laurence Sheehan, The Sporting Life,New York, NY, 1992, p. 80, O’Brien rigmate illustrated twice.

$3,000 - $5,000

72 RunningYellowlegs

South Shore, MA, c. 1900 11 3/4 in. long

A split-tailed shorebird decoy with excellent detailed feather paint. Closely related decoys with this fine form and paint were attributed to Joseph W. Lincoln in Vinal’s book on the maker. Original paint with even gunning wear, including some shot marks and appealing craquelure.

Literature: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, p. 62, related shorebirds illustrated.

$1,500 - $2,500

73 “Greenback” Golden Plover

Nantucket, MA, c. 1900 10 1/2 in. long

A high-head shorebird with a literal take on the species’ “greenback” moniker. Appears to be a mix of original and old working paint with even gunning wear.

Literature: John S. duMont, “[Elmer Crowell’s] Decoys,” Sporting Classics, January/February,1987,pp.70-73, Crowell and duMont discussed.

$1,000 - $2,000

74 Two-Piece Golden Plover

Charles F. Coffin (1835-1919)

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

Appears to be original paint with gunning wear and a replaced bill.

$1,000 - $1,500

75 Beetle-Head Plover

Nantucket, MA, c. 1870 11 1/2 in. long

A large adult golden plover with an abstract plumage pattern and an iron bill. This carving is closely related to the works of Capt. William J. Wyer(1822-1913). Original paint with even gunning wearandabluntedwingtip.

$400 - $600

“This Holmes plover is one of the most beautiful bird portraits ever found. Its silhouette, angle on the dowel, and shape of the wing, tail and head are all perfect. Its complement of paint is wonderful: the black on the face leaving the appropriate white lower lid around the eye is subtle but keenly-seen. The playful line on each side of the chest defining the interlacing black and white breast feathers is a visual joy, as is the cavalier pouncing on the back, nailing the complex feather pattern.”

— Gigi Hopkins discussing the McCleery-Holmes Plover in Massachusetts Masterpieces

LOTHROPHOLMES

1824-1899

76 The McCleery-Holmes Plover

Lothrop Holmes (1824-1899)

Kingston, MA, c. 1880 11 1/4 in. long

This plover first surfaced around the late 1960s at a small auction in Concord, Massachusetts, where Philip Y. DeNormandie won it as an unknown carving. It remained in his collection alongside other Massachusetts masterworks, including the Phillips Crowell preening pintail and the Harry V. Long Crowell flying goose until it was sold at auction in 1986. It then joined the Harry V. Long Crowell preening goose in Dr. James McCleery’s collection where he placed it at the center of his shorebird shelf, facing the famous Holmes ruddy turnstone.

In 2000, the legendary Southern collector Dr. Lloyd Griffith challenged viewers before the McCleery auction by stating that this plover and its companion turnstone “...require concentration and infinite revisiting to unfold the depth of theirbeauty.”

Over fifteen years later, New England decoy specialist Gigi Hopkins chronicled it as “the first vintage decoy I really fell in love with” in her MassachusettsMasterpieces book preface. She continued, “In fact, when museum director Amy Montague proposed the exhibition upon which our book is based, the bird was instantly number one on my must-have list.” Her essay dedicated to the bird states, “This Holmes plover is one of the most beautiful bird portraits ever found. Its silhouette,angleonthedowel, and shape of the wing, tail and head are all perfect.”

The now-iconic McCleery Holmes plover has been featured in no less than seven important books, selected for major museum exhibitions, and is one of the most celebrated American shorebird decoys in existence.

The underside retains the McCleery Collection stamp and “J. C. WILLIS” is painted under the tail. Original paint with minimal gunning wear.

Provenance: J. C. Willis Rig

Philip Y. DeNormandie Collection, acquired circa 1970

James M. McCleery, M.D. Collection

Peter and Judy Van Dyke Collection Private Collection

Literature: Gwladys Hopkins, Massachusetts Masterpieces, Lincoln, MA, 2016, p. 13, exact bird illustrated, pp. 44-47, exact decoy illustrated and discussed in two essays.

Stephen B. O’Brien Jr. and Chelsie W. Olney, ElmerCrowell:Father of American Bird Carving, Hingham, MA, 2019, p. 278, exact decoy illustrated.

RonaldJ.GardandRobertShaw,eds., The McCleery Auction, Dallas, TX, 2001, pp. 36, 86, and 120, exact decoy illustrated and

TheMcCleery-HolmesPloverillustrated on page 29 of Call to the Sky.ImagecourtesyofTheHoustonMuseum ofNaturalScience.

discussed, including Lloyd Griffith’s essay. John and Shirley Delph, New England Decoys, Exton, PA, 1990, p. 122, exact decoy illustrated, image reversed.

Sotheby’s and Guyette & Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, p. 206, lot 540, exact decoy illustrated.

RobertShaw, Bird Decoys of North America, New York, NY, 2010, p. 154, exact decoy illustrated.

Joe Engers, ed., TheGreatBookofWildfowlDecoys, San Diego, CA, 1990, p. 46, exact decoy illustrated.

RobertShaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 29, exact decoy illustrated.

Richard W. Oliver, Rare and Important American Bird Decoys, Kennebunk, ME, July 1986, lot 562, exact decoy illustrated.

CopleyFineArtAuctions, The Sporting Sale, July 2016, Plymouth, MA, front cover and lot 309, exact decoy illustrated.

$125,000-$175,000

THE MCCLEERY-HOLMES PLOVER

“Lothrop Holmes of Kingston, Massachusetts was another talent whose creations are the pinnacle of artistic mastery... Two of his masterpieces [this plover and a ruddy turnstone] are in the McCleery collection and require concentration and infinite revisiting to unfold the depth of their beauty.”

— Dr. Lloyd T. Griffith, Shorebirds: Aesthetic Icons of Nature and American Folk Art

MELVIN GARDNER LAWRENCE

77 Mackey-Lawrence Sleeping Plover

Melvin Gardner Lawrence (1880-1930)

Revere, MA, c. 1900

9 1/4 in. long

A closely related sleeping rigmate decoy from the Tom Figge and John S. du Mont Collections was selected for the front dust-jacket cover of the highly curated and researched MassachusettsMasterpieces bookbyGwladys “Gigi” Hopkins. Discussing that decoy and a mate, Hopkins observes, “The painting technique on the two plovers is unique…The soft, white feathering on each bird’s back was not done by laying white spots on gray. Instead, it involved subtracting the gray to expose white beneath, using a solvent-damp brush. This results in a pleasing unity of color aboveandbelow.

“The other striking feature is seen in the sleeper’s pose. A snoozing bird inspires total confidence in any overflying flock because it promises all is safe. Only an artist who’d spent hours observing the wild birds would understand this and use it to full advantage.”

The design and execution of this decoy demonstrates the highly accomplished craftsmanship of the maker, whose work was even attributed to A. Elmer Crowell by William Mackey, Quintina Colio, and other early authorities. Unlike

Crowell, who contributed extensively to the portfolio of American birds, Melvin Gardner Lawrence’s carving legacy consists of only a single rig of shorebird decoys that appears to be no more than one dozen birds.

This Mackey Collection example retains a faint Mackey ink stamp on the underside. Original paint with light gunning wear, edge of knot showingonleftshoulderandrightcheek.

Provenance: William J. Mackey Jr. Collection Private Collection

Literature: Richard A. Bourne Co. Inc., Collection of the late William J. Mackey Jr., Session VII-VIII, Hyannis, MA, August 1974, lot 472, exact decoy illustrated.

Gwladys Hopkins, Massachusetts Masterpieces: The Decoy as Art, Lincoln, MA, 2016, front cover and pl. 22, du Mont pair illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 50, rigmate illustrated and attributed to Crowell.

Ted Harmon, “Snipe Hunt: Identifying the Shorebirds of Melvin Gardner Lawrence,” Decoy Magazine, May/June 1997, pp. 44-45, rigmates illustrated.

$65,000 - $85,000

Lot77,Mackey-LawrenceSleepingPlover,illustratedas lot472ina1974MackeyCollection auction catalog.

LOTHROPHOLMES

1824-1899 |

78 CallingYellowlegs

Lothrop Holmes (1824-1899) Kingston, MA, c. 1870 12in.long

Very few Holmes shorebirds have ever been documented. This superb example features elegantly formed, raisedwing carving and well-executed paint. This decoy is very similar to an example from the GrantNelsonCollection with the George E. Paterson “GEP” brand. Paterson ran with some of greater Boston’s sporting royalty, hunting over decoys by Lothrop Holmes and A. Elmer Crowell (18621952) and gunning with Frank W. Benson (1862-1951) and John C. Phillips (1876-1938). Original paint with even gunning wear, tight crack in head, and touch-up to reset neck crack. Bill appears to be a gunning replacement.

Literature: Gwladys Hopkins, Massachusetts Masterpieces, Lincoln, MA, 2016, pp. 49 and 103, pl. 17, related Van Dyke Collection yellowlegs illustrated.

Guyette and Schmidt, Important Auction of Rare Waterfowl Decoys from the Collection of John Hillman, April 25 & 26, 1996, St.Charles, IL, 1996, p. 51, lots 174 and 175, rigmates illustrated.

$12,000 - $18,000

79

79 The McCleery Summer Yellowlegs A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 8 3/4 in. long

Crowell’s lesser yellowlegs decoys are exceptionally rare. As stated by Crowell author and historian Brian Cullity, “The lesser yellowlegs was a relatively uncommon species to be used as a model for a decoy.” On the pattern for this decoy, Crowell identifies the species as “summer yellow leg.”

This important example was exhibited in Dr. McCleery’s Call to the Sky museum exhibition and accompanying book. It wasalsoheld back by the McCleery estate from the 2000 sale, along with four other of his best Crowell shorebirds. This select important groupoffive was offered atSotheby’s in 2005, where this lot was selected for the catalogcover. Original paint with light gunning wear and a professionally replaced bill.

Provenance: Dr. James M. McCleery Collection Private Collection, Florida

Literature: Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D.,Houston,TX,1992,pp.14-15,exactdecoy illustrated.

Sotheby’s, Important American Folk Art, Furniture and Silver, New York, NY, May 2005, front cover and lot 104, exact decoy illustrated.

BrianCullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992, pp. 60 and 114, pl. 116, Crowell’s pattern and related example illustrated.

Exhibited: Houston, Texas, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston Museum of Natural History, 1992-1993.

$20,000 - $30,000

The McCleery Summer Yellowlegs, lot 79, illustrated with two “dust-jacket” plover on page 14 of Call to the Sky.Image courtesy of The Houston Museum of Natural Science.

80 The Fischer Running Greater Yellowlegs

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 14in.long

An exemplary running yellowlegs decoy with fine form, likely a rigmate to the McCleery summer yellowlegs in the previous lot. Excellent original paint with minor even gunning wear, lightly hit by shot on one side.

Provenance: Ralph Lasbury Collection Andi and David Fischer Collection Private Collection, Florida

Literature: Decoy Magazine, July/August 1987, cover and p. 3, exact decoy illustrated.

James Julia and Gary Guyette Inc. Important Waterfowl Decoys and Bird Carvings at Auction, St. Charles, Illinois, April 1987, lot 456, exact decoy illustrated.

Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 169, related example illustrated.

Adele Earnest, The Art of the Decoy: American Bird Carvings,New York, NY, 1965, pp. 170 and 171, pl. 145 and 147, similar decoy illustrated.

$20,000 - $30,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

The Fischer Running Greater Yellowlegs, lot 80, featured on the front cover of DecoyMagazine, July/August 1987.

A. ELMER CROWELL

EASTHARWICH,MA

81 The du Mont Bobwhite Quail Pair A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912 8 1/4 in tall.

MontBobwhiteQuail Thecollection Crowellwere firstpresented publicly Mont,a (1859-1955),and

This pair hails from the distinguished du Mont Collection of early Elmer Crowell carvings. The collection and stories of Crowell were first presented publicly by John Sanderson du Mont, a third-generation friend and patron of A. Elmer Crowell. His great aunt and uncle were Roland C. du Mont (1859-1906) and Addie D. Nickerson (1859-1955), and John’s father was Horatio S. du Mont (1886-1970).

1987Sporting articleintroduced woulddrop Crowell’sability, life-sizebird

In a 1987 Sporting Classics article introduced by Alan Haid, the younger du Mont recalled, “My father, either at my request or when doing errands, would drop me at Crowell’s where I would sit quietly and watch him carve and paint. He never objected.” He also recounts, “Recognizing Crowell’s ability, my father assembled a collection of 21 shorebird and duck heads, some miniatures, and a series of life-size bird carvings. Mother’s diary indicates that most of these were collected by 1917.” The du Monts are remembered for early, exceptional, and rare Crowell carvings; this pair was featured on the front cover of “The John S. du Mont Collection” catalog in 2007 when it was sold by Northeast Auctions.

succeeded at creating a charming chemistry between theduo. Original paint with very light wear, minor areas of craquelure on lower edges of hen’s base and left side of breast. Minimal touch-up around small reset chip at top base of hen’s bill. Minimal spot of touch-up to small flake under drake’s right eye and three pin-head spots on his right shoulder. Some typical repair to thighs and toes. Overall very good paint and condition.

Provenance: Horatio S. du Mont Collection, acquired from the artist

the duo. minorareas loweredges ofhen’s touch-uparoundsmallresetchip underdrake’s andthree repairto toes.Overall acquiredfrom bydescent

John S. du Mont Collection, by descent Private Collection, Greenwich, Connecticut

NortheastAuctions, p.13,Brian quote,front 712,exact Jr.and W.Olney, Elmer Crowell: Father BirdCarving 2019,pp. 262,280, relateddu

Literature: Northeast Auctions, The John S. du Mont Collection, Portsmouth, NH, August 19, 2007, p. 13, Brian Cullity quote, front cover and lot 712, exact pair illustrated.

Stephen B. O’Brien Jr. and Chelsie W. Olney, ElmerCrowell:Father of American Bird Carving, Hingham, MA, 2019, pp. 15, 208-209, 262, 280, related carvings, including a related du Monte Collection male, illustrated and discussed.

forearly, andrareCrowell pairwasfeaturedon frontcoverof byNortheast remained sculptedbodies.Thecock’s ninetydegrees.Crowell

The pair has remained together for over 110 years, and each retains a crisp and complete oval brand on the underside of the early articulated bases. Each features fine paint atop beautifully sculpted bodies. The cock’s head is finished with a subtle crest and is turned ninety degrees. Crowell

Brian Cullity, Aviary:TheWorld &Son Hyannis,MA, 1992,p. HeritagePlantation

BrianCullity, The Songless Aviary: The World of A. E. Crowell & Son, Hyannis, MA, 1992, p. 85, Heritage Plantation Collection pair illustrated.

John S. du Mont, “Decoys.” Sporting Classics, January/February 1987, pp. 70-73.

“Decoys.”Sporting Classics, January/February 1987,pp.

$100,000 - $200,000

"Elmer

Crowell, B. B. Nickerson, J. P.

Nickerson and other gentlemen...are making preparations to greet the feathered flocks which are due to arrive in that vicinity next week; this locality is also a good one for partridges and quail..."

Boston Globe, 1894

A. ELMER CROWELL

82 Outstanding Woodcock A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1920

8 1/2 in. tall

This masterwork represents not only one of the maker’s best carvings of the species, but also one of his pinnacle forms and paint applications on any game bird. Of particular note are the upright stance, dropped wings with seven carved primary feathers, and the extra depth of feathering detail found from head to tail and top to bottom. Threerelatedexamplesareknown,includinganexceptional carving made for George Abercrombie Spaulding of South Carolina in 1922, and two earlier models. One was made for Eugène E. du Pont,andonewas prominently featured in Elmer Crowell: Father of American Bird Carving. These related examples offer a strong reference for this lot by showcasing Crowell’s artistic development in carving detail, paint sophistication, and posture.

This early woodcock bears the maker’s oval brand on the underside of its carved wooden base. The grand body is outfitted with a bill which displays precise incised carving along all sides of and between the mandibles. It is finished with a subtle, but deliberate curvature to the very tip of the bill. The species’ complex plumage is masterfully applied with tight feathering with high contrast soft blending along the top, sides and bottom.

The Crowell du Mont Bobwhite Quail Pair offered in the previous lot hail from the same collection as this woodcock.

The form, intricate and accurate carving details, exquisite paint, superb condition, and distinguished provenance of

this mantle carving make it an unsurpassed game bird by anycarverfromanyera. Excellent original paint with light wear. Typical minimal flakes and minor cracks to leg putty and a few original glue beads at original construction seam in head. Light wear to bill tip edges.

Provenance: Private Collection, Greenwich, Connecticut

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 16,earlywoodcockillustrated.

CopleyFineArtAuctions, The Sporting Sale 2007, Plymouth, MA, July 2007, lot 199, related Spaulding example illustrated.

$60,000 - $90,000

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

“During Elmer Crowell’s youth, the landscape of the Cape was experiencing a regrowth of its forests...In the late 1800s, as the human population on the Cape declined, timber was no longer in such high demand and trees began to repopulate the landscape. This pattern of land use was beneficial to bobwhite quail, woodcock, and ruffed grouse that thrive in the mixed vegetation of an early-stage regrowth forest. Today these species are not commonly associated with Cape Cod; however, they were fairly abundant in Crowell’s time.”

— Chelsie Olney and Stephen B. O’Brien Jr., Elmer Crowell: Father of American Bird Carving

83 The Nye Preening Goldeneye

A. Elmer Crowell (1862-1952)

East Harwich, MA, 1914 14 1/2 in. long

This bird was created during the nexus in Crowell’s career when he was transitioning from working decoys to decorative carvings. The subtleties of the construction, wide body, and carving technique, along with paint application, place this among the earliest of Crowell’s mantle carvings. The carving’s dramatically turned head and crossed wing tips give the goldeneyeananimated quality that views well from all angles. Crowell inset hardwood wing tips and then incised primaries in each. This extra treatment is only seen in his best efforts during this brief early period. Crowell used an impasto paint technique that leaves a textured surface, adding an intricate dimension to the already sophisticated paint pattern. It was during this short transitional period from about 1910-1915 that Crowell produced some of his most exciting works, including the celebrated carvings found in the Harry V. Long (1857-1949) and the Dr.JohnC.Phillips(1876-1938) Collections.

This is one of two preening goldeneye drakes known to have been made by Crowell. A closely related example of this species was carved for Dr. Phillips and was collected by Jim Cook. A Barrows goldeneye, made for John H. Cunningham, resides in the Evans Collection. This lot descended in the Nye family for over a century.

This decoy was originally owned by Everett Irving Nye (1851-1923). E. I. Nye was born on Cape Cod in the town of Sandwich, a town his ancestors helped to found. At age nineteen, he apprenticed with Herman Sears, a blacksmith from Dennis, MA. He later went on to own an iron works in Wellfleet. He married Georgette Baker from Wellfleet, where the young couple settled. In 1900, he was the town’s postmaster, and in 1920, he wrote and had published History of Wellfleet, from Early Days to Present.While in Wellfleet, he was documented as a prominent New England duck breeder, perhaps inspiring the gift he would be given. In 1914, Nye was presented with this exceptional Crowell carving at the age of sixty-three. An inscription on the underside documents this transfer. Original paint with wear. Gigi Hopkins performed minor restoration including: a light cleaning, darkening to bill tip, touch-up to area on breast and hairline crack in right wing tip, and a half-inch restoration to tip of left wing.

Provenance: Everett I. Nye, Wellfleet, Massachusetts Private Collection, by descent from the above Private Collection

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 157, Cook example illustrated, pp. 60-61, Nye discussed and exact decoy illustrated.

Copley Fine Art Auctions, LLC, The Harry V. Long Collection of A. Elmer Crowell Decoys, The Sporting Sale, Boston, MA, 2009, lots 60 and 63, related decoys illustrated.

$125,000-$175,000

"Anthony Elmer Crowell...is widely recognized as the greatest of all decoy makers...Few works of American craft are as well made as a turn-of-the-century Crowell decoy.'

— Robert Shaw, Decoys of North America

A. ELMER CROWELL

84 Redhead

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 16 in. long

With their uplifted head postures, birds from this rig are among Crowell’s best redhead gunning models. The bird is pre-brand and was never rigged for hunting. It has a large body, uplifted head, and carved tail detail. “Doc” Starr selected a closely related decoy for the front dust-jacket ofhis Decoys of the Atlantic Flyway. This bird is from a rig discovered on Martha’s Vineyard in the 1930s, the decoys havingbeen found unused, wrapped in newspaper, and packed in a barrel. Traces of newsprint can still be seen on the underside. Excellent original paint with light wear. Touchupto reset neck, and right side of bill tip, cheek, and shoulder.

Literature: Guyette and Schmidt, Important Waterfowl Decoys & Bird Carvings at Auction, January 31 & February 1, 1992, Virginia Beach, VA, lot 365, exact decoy illustrated. Decoy Magazine, March/April 1992, p. 42, exact decoy illustrated. George Ross Starr Jr. M.D., Decoys of the Atlantic Flyway, New York, NY, 1974, front dust-jacket cover, closely related decoy illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, ElmerCrowell:Father of American Bird Carving, Hingham, MA, 2019, p. 68, related pair illustrated.

$15,000 - $20,000

85 The du Pont CrowellMallard Drake

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1912 16 in. long

This bold drake decoy was acquired from Crowell by Eugène E. du Pont and remained with his family for over a century. Today, it survives in exceptional condition; while it was made as a decoy, it was never rigged for hunting. The form, paint, condition, and provenance of this rare decoy place it among Crowell’s very best of this species. When this decoy was carved, mallards were not as prevalent alongtheAtlantic Flyway, as is evidenced by their scarce representation as decoys up and down the East Coast around the turn of the 20th century.

The pronounced breast sweeps to a drawn-back head that turns sharply to the right. The head has crisp, rasped finishing, deep eye grooves, and pronounced bill detail. The body is finished with his excellent wet-on-wet feather blending. The long sweeping body was finished with carved tail feathers. The underside bears Crowell’s crisp oval brand, denoting an early strike from around 1912. Like Harry V. Long’s incomparable preening goose, Crowell has

painted right up to the edges, but not within the brand. Original paint with light wear, hairline crack in neck has been reset.

Provenance: Eugène E. du Pont Collection, acquired directly from Crowell

Private Collection, by descent from the above Private Collection

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 35, later drake illustrated, p. 37, early hen illustrated.

John Clayton, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings Exhibition Catalog, The Ward Museum of Wildfowl Art, Salisbury University, 2010, p. 85, related drake illustrated.

$35,000 - $45,000

GEORGE H. BOYD

H.BOYD

1873-1941|SEABROOK,

86 Exceedingly Rare Merganser Hen

George H. Boyd (1873-1941)

ExceedinglyRareMerganserHen Boyd(1873-1941)

Seabrook, NH, c. 1910 19 in. long

This decoy is making its debut on the collecting market, as the secondhenfrom this rig to be offered for sale. Dr. James M. McCleery owned a record-setting pair from this rig, and a rigmate single drake sold in the Winter Sale 2015.

second hen from and a rigmate single drake sold in the Winter Sale 2015.

byBoyd

pencil-thin upturned bill appears to be an early gunning replacement by Boyd and it is tipped with subtle nail carving.

This racy decoy features a long, wide body with a broad paddle tail. The delicately carved head shows an uplifted posture. The surface features both concise paint patterns and the artist’s finest stippling. True to the sex, Boyd used amber glass eyes for this hen, contrasting with the red eyes of the two known drakes from this iconic rig. The

delicatelycarvedhead showsanuplifted posture.The featuresbothconcise paintpatterns andtheartist’s Trueto Boydused eyesfor twoknowndrakesfrom

mentioned hen, it held Crowell(1862-1952)

As a testament to Dr. McCleery’s opinion of his aforementionedhen,itheld a special place resting atop the coffee table in his living room, alongside his preening Canada goose by A. Elmer Crowell (1862-1952) and dovetailed goose. This sentiment was echoed in the McCleery Auction flier, in which the Boyd mergansers were the most prominently featured birds after the Crowell goose. Original paint with even gunning wear, minor darkening to a few points of wear, end third of bill restored, and touch-up to age crack in lower left side.

toafew thirdofbill agecrackinlower

Provenance: Private Collection, Massachusetts, by descent

Literature:Sotheby’s andGuyette&Schmidt, AmericanWaterfowl Decoys:The CollectionofDr. , New 228,McCleeryexamples

RonaldJ.Gard and RobertShaw, eds., p.175, McCleeryexamples Jim Cullen, FinelyCarved Painted:TheLife,Art GeorgeH. Seabrook,NH,1873-1941,Rye, McCleeryexamples Jr.and W.Olney, AmericanBird

AcloselyrelatedGeorgeBoydmerganserdrake from the McCleeryCollection.Photograph courtesy of Stephen O'Brien Jr.FineArts.

Acloselyrelated GeorgeBoydmerganser drake McCleery Collection.Photograph courtesyofStephen Jr. Fine Arts.

Literature: Sotheby’s and Guyette & Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery,New York, NY, 2000, lot 150 and p. 228, McCleery examples illustrated. RonaldJ.GardandRobertShaw,eds., The McCleery Auction,Dallas, TX, 2001, p. 175, McCleery examples illustrated. JimCullen, Finely Carved and Nicely Painted: The Life, Art and Decoys of George H. Boyd, Seabrook, NH, 1873-1941, Rye, NH, 2009, p. 36, McCleery examples illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2018, p. 279, McCleery pair illustrated.

$30,000 - $50,000

“Jim reserved special spots on his shelves, fireplace, and walls for his favorite birds. I remember the first time I saw the George Boyd Mergansers on display in his home. The turned-head hen swimmer graced Jim’s coffee table alongside the famous dovetailed goose and Crowell’s preening goose. Her presence was bold and animated; I was so enamored looking at those three birds, it was a half hour before I realized that Jim owned a matching drake!”

— Stephen O’Brien Jr.

87 High-Head Canada Goose

Charles Safford (1877-1957)

Newburyport, MA, c. 1920

26 in. long

This newly discovered hollow Canada goose decoy was recently found in the Carolinas. It adds a new variation to Charles Safford’s already impressive goose portfolio. Like someofhismostfamous examples, including the EvansPeterson sleeping goose, laminated construction, with at least ten pieces of wood, was used to build its large form. The hollow construction and high head on this decoy make it rare, if not unique. Mix of original and old working repaint with moderate gunning wear. Upper neck seam was resecured.

Provenance: Recently discovered in Eden, North Carolina

Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 158, Evans-Peterson sleeper illustrated. Gwladys Hopkins, Massachusetts Masterpieces, Lincoln, MA, 2016, pp. 20-22 and 78-79, Evans-Peterson sleeper illustrated and Safforddiscussed.

$3,000 - $5,000

88 Rare Bluebill Pair

Horace B. Merwin (1888-1947) Westport,CT,c.1930

14 1/2 in. long

“Horace Merwin, a Fairfield banker and wealthy sportsman,” writes Henry Chitwood, “was a friend of [Shang] Wheeler and his most skillful imitator. He made exhibition grade decoys that were almost indistinguishable from Wheelers.” Only a small number of Merwin decoys are known to exist. This pair was selected for Chitwood’s Connecticutbook and were sold by his descendants two decades ago.

While Wheeler built on the legacy of Albert Laing, Shang’s contemporaries Horace Merwin and Lou Rathmell matched andexceededWheelerattimes.Bothundersidesarerigged with tear-drop weights and are stenciled with Merwin’s crisp “HM” initials. Original paint with light wear, drake has noticeable brown spotting on top.

Provenance: Merwin Family Collection Estate of Edwin Schultz

Literature: Henry C. Chitwood, Connecticut Decoys, West Chester, PA, 1987, p. 116, exact pair illustrated (incorrect caption).

$2,000 - $4,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

89 P.W.W. Black-Bellied Plover

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 11 1/4 in. long

The large, full body and excellent paint of this decoy are signatures of the Parker “Buck” Williams Whittemore rig. The underside bears his “P.W.W.” brand. Original paint with gunning wear, including slightly blunted bill tip and some darkening between stick hole and tail.

Provenance: Parker “Buck” Williams Whittemore Rig Private Collection

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 139-140, Whittemore profiled and rigmates illustrated. Linda and Gene Kangas, “Connecting the Dots: Exploring the provenance of Elmer Crowell’s decoys,” Decoy Magazine, March/ April 2010, p. 33, rigmates illustrated.

$25,000 - $35,000

Shorebirdhunting,1922,photographfromthejournalofHarryV.Long.Thisisoneoftheonlyknownphotos of Crowellshorebirddecoysinuse.

Parker“Buck”

Parker “Buck” Williams Whittemore, Esq. (1872-1959)

Whittemore,Esq. wasaHarvardgraduate,classof1895, acted

Parker “Buck” Williams Whittemore, Esq. was a Harvard graduate, class of 1895, where he captained the baseball team. Whittemore acted as the treasurer and later a director of the Laconia Car Company. The company made horse-drawn and electric trolley cars for the streets of Boston and Los Angeles. In addition to being a hunter, Whittemore was a boatbuilder, a tournament golfer, and the commodore of the Gloucester Yacht Club. He had homes in West Gloucester and Boston’s newly formed Back Bay, as well as an estate in Wareham, Massachusetts. Along with several other decoys, Crowell made Whittemore a rig consisting of plover and willet that all bear his “P. W. W.” brand and display bold form and exceptional paint patterns.

Thecompanymade thestreetsof Bostonand LosAngeles. tobeing boatbuilder,a golfer,and commodoreof theGloucesterYacht homesinWest GloucesterandBoston’snewlyformed wellasan Wareham,Massachusetts. otherdecoys, “P. W. W.”brand and displaybold form and exceptional paint patterns.

ParkerWilliams BrothersDHEside shotgun,1919,16ga.

90 Parker Williams Whittemore’s Parker 16 Gauge Parker Brothers DHE side by side shotgun, 1919, 16ga. Serial no. 179386.

This gun was ordered by, and delivered to, Parker “Buck” WilliamsWhittemore(1872-1959)in1919.Thiswouldhave allowed him nearly a decade to use this gun alongside his rig of Crowell plover for freshly regulated plover hunting until 1928.

wasordered ploverfor letterfrom theParker toWhittemore

Accompanying this lot is a 2014 letter from Chuck Bishop of the Parker Gun Collectors Association Inc. The document connects this exact gun to Whittemore in Pinehurst, North Carolina. Whittemore was a Boston-arearesident who regularly represented The Country Club in Brookline as a champion golfer at Pinehurst. Indeed, in 1914 he set an amateur course record.

TheCountry ClubinBrookline achampion

Pistol grip stock. The receiver is engraved with pointing dogs and mallards. Blued finish with traces of case colors. Length of pull is 14 1/8”. Drop at the heel 2.75”. Weight 6 pounds and 9 ounces. Gun is choked right barrel cylinder and left barrel modified. Length of barrels 26”. Length overall42.”

gripstock. Thereceiver 1/8”.Drop Weight6 Gunis barrels26”.Length overall 42.”

Note:Thisfirearm heldby betransferred

Note: This firearm is held by an independent FFL and will be transferred only in accordance with applicable law; see Sale Room Notice — Firearms Lot.

$4,000 - $6,000

AUGUSTUS "GUS" AARON WILSON

1864-1950 | SOUTH PORTLAND,ME

91 Calling Black Duck Augustus “Gus” Aaron Wilson (1864-1950) South Portland, ME, c. 1920 18 in. long

This open-billed caller is one of the finest Wilson puddle ducks known. It was a prominent feature of the John Dilworth Collection sale by Richard Bourne in 1981. Original paint with even gunning wear.

Provenance: John Dilworth Collection Private Collection

Literature: Richard A. Bourne Co. Inc, RareAmericanDecoysandBird Carvings, October 23, 1981, lot 58, exact decoy illustrated.

$7,000-$10,000

Thecallingblackduckprominentlyfeaturedinthe October 1981 RichardA.BourneCo.,Inc.catalogon page14,lot58.

“Wilson looked at waterfowl much the way the Ward brothers did. There was a similarity in their ability to capture an unusual pose and to produce a decoy that continues to enthrall even the seasoned gunners who have spent their lives observing waterfowl.”

— Maine decoy author and historian Capt. John Dinan, The Great Book of Wildfowl Decoys

92 Outstanding Eider Hen

Augustus “Gus” Aaron Wilson (1864-1950) South Portland, ME, c. 190017 1/2 in. long

This boldly carved sea duck is one of the finest Wilson eider hen decoys to ever be offered at public auction. The carving features an exceptionally rendered breast-preening head with carved eyes, fine bill detail, and raised wings.

This large bird is over-seventeen-inches long, over-eightinches tall, and over-nine-and-three-quarters-inches wide. The two-piece construction features a prodigious six-andone-half by four-and-one-quarter-inch inletted head inlay. The bottom displays an anchor-line ring fastened with a fence staple.

Wilson wasbornonMountDesert Island, Maine. Though he is foremost remembered as a carver, he wasalsoa boatbuilder, waterman, outdoorsman, and lighthouse keeper. He was an attendant to a number of Maine’s lighthouses, including the Great Duck Island Light, Goose Rocks Station on Fox Island, Two Lights Station on Cape Elizabeth, Marshalls Point Light at Port Clyde, and Spring Point Light in Casco Bay. His position as a keeper allowed him ample time to observe and carve his waterfowl subjects.

Early regional traditions and requirements drove carvers to produce big, solid decoys with modest paint patterns. Wilson refined and advanced the Maine style in his best

decoys, such as this one, and by doing so, he established himself as the most iconic decoy and folk art carver of Maine and the Maritimes.

Wilson’s interests were by no means limited to decoys. He carved a variety of songbirds, decoratives, weathervanes, and big cats. A pair of Wilson’s tigers is featured in the American Identities exhibit, on display as a part of the permanent collection of the Brooklyn Museum in Brooklyn, NewYork. Strong and dry original paint with even gunning wear. The underside has a crack and imperfection in wood, and there is a paint drip on the left shoulder.

Provenance: Private Collection, Maine Private Collection, Florida

Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 149, similar decoy illustrated.

CopleyFineArtAuctions, The Donal C. O’Brien, Jr. Collection of Important American Sporting Art and Decoys, Session III,July19, 2018, p. 137, lot 54, rigmate illustrated.

Guyette and Schmidt, Important Waterfowl Decoys & Bird Carvings atAuction, April 23 & 24, 1992," St. Charles, Illinois, back cover and p. 58, lot 228, exact decoy illustrated.

$20,000 - $30,000

93 Hunter Surf Scoter

Augustus “Gus” Aaron Wilson (1864-1950)

South Portland, ME, c. 1900 15 1/2 in. long

Wilson exhibits his most iconic Monhegan-style swayedback head position with this carving. This work from the Charles Hunter Collection relates closely to the McCleery Wilson scoter that leads Call to the Sky.Old working paint with gunning wear, including chip to bill and tail.

AUGUSTUS "GUS" AARON WILSON

1864-1950 | SOUTH

Provenance: Harold Corbin Collection Charles Hunter Collection Estate of Edwin Schultz

Literature: Richard A. Bourne, Inc., RareAmericanDecoysandBird Carvings, Hyannis, MA, July 1986, lot 624, exact decoy illustrated.

$1,500 - $2,500

94 Turned-Head White-Winged Scoter

Augustus “Gus” Aaron Wilson (1864-1950)

South Portland, ME, c. 1920 19 1/2 in. long

Wilson is known for creating decoys with dynamic forms; this turned-head is mounted with an inletted neck seat. Original paint with gunning wear, chip to right edge of bill, old fill to some neck cracks, and roughness to left side.

Provenance: Estate of Edwin Schultz

$1,500 - $2,500

95 MerganserPair

Luther M. Nickerson (1874-1951)

Cotuit, MA, c. 1910 17 1/2 in. long

A racy hollow merganser pair with pegged construction from the prominent Nickerson family of Cape Cod.Eachhasdeepwing separation, and the drake has an excellent plumagedesign. Original paint with gunning wear, drake has restored neck section and hen’s head is replaced.

Provenance: Private Collection, Cape Cod

$3,000 - $6,000

96 Red-BreastedMerganser

George R. Huey (1866-1937)

Friendship, ME, c. 1880 17 3/4 in. long

This is among the finest Huey decoys known, with a high body and elaborate paint in very good condition. Huey is one of Maine’s most important makers and is known for his distinct features and details. This decoy has a chamfered bottom edge, an inset line-tie, and a poured weight to protect its rigmates from wear. The bottom is proudly incised “Made By G R Huey.” Original paint with even gunning wear.

Provenance: Private Collection, Cape Cod

Literature: John and Shirley Delph, NewEngland Decoys, Exton, PA, 1981, pp. 34 and 38, related decoys illustrated.

James Julia and Gary Guyette, Inc., Important Waterfowl Decoys & Bird Carvings at Auction, February 1 & 2, 1991, West Farmington, ME, lot 77, exact decoy illustrated and shown on back cover.

$6,000 - $9,000

97 Squires-Rig Merganser Samuel Squires Long Island, NY, c. 1900 15in.long

A rare Squires-rig merganser with excellent form and paint. Only a small number of these decoys have surfaced. It has a high neck shelf, incised crest detail, and a thin upswept tail. This is among the most refined gunned-over mergansers to come off Long Island.

A deep rig brand in the underside clearly reads “AMUEL. . SQUIRES” and has been presumed to be missing an “S” for Samuel. This may be for Samuel W. Squires (18681940) of Southampton, New York. Original paint with even gunning wear.

Provenance: Private Collection, Cape Cod

$20,000 - $30,000

98 Black Duck

Benjamin D. Smith (1866-1946)

Oak Bluffs, Martha’s Vineyard, MA, c. 1890 17 1/2 in. long

This decoy ranks as one of the top black duck decoys from the region. It is prominently featured in Stanley Murphy’s 1978book Martha’s Vineyard Decoys

Very few Smith or Vineyard birds survive in original paint. Decoys from the island were often heavily gunned due to the long hunting seasons afforded by the relatively temperate climate and brackish waters.

In Martha’s Vineyard Decoys, Stanley Murphy illustrates this decoy and he also discusses Benjamin Smith: “Most of the great names of American decoy carving were professionals each of whose lifetime production amounted to hundreds and even thousands of examples. Their work was appreciated in their own time and they had many

incentives to improve technique and refine style over a long period. Smith, on the other hand, was a loner who made his decoys for the ducks only, not for men, yet his carvings are a distillation of great natural talent, the keenest powers of observation, and superb technique.”

This decoy has also been attributed to fellow Martha’s Vineyard carver Benjamin W. Pease (1866-1938). The bottom of the decoy bears a “J.P.” stamp in the lead weight. Original paint with even gunning wear and some darkening to wornareas.

Literature: Stanley Murphy, Martha’s Vineyard Decoys,Boston,MA, 1978, p. 136, exact decoy illustrated.

$5,000 - $8,000

99 Exceptional Hollow High-Head Black Duck c. 1870 16 in. long

A highly refined carving showing similarities to the Dovetailed geese, including a featherweight hollow body, shouldercarving,andscooped carving under the tail. The head is turned and the surface is finished with soft blending and elegant scratched-feather detail. This decoy also has carving treatments and traits that are seen in Martha’s Vineyard decoys. Excellent original paint with minimal

gunning wear, a hairline neck crack, and veryminortouch-up to a few thin flakes on head. A few small dings at bill tip and above right eye. Minor rubs to thin tail edge.

Provenance: Private Collection, Florida

$10,000 - $20,000

CHARLES"SHANG"WHEELER

100 Outstanding Sleeping Black Duck

Charles “Shang” Wheeler (1872-1949) Stratford, CT, c. 1940 15in.long

“Shang” Wheeler presented this refined decoy to George F. B. Johnson of Buffalo, New York, following a hunt at Johnson’s Mid-March Gunning Club at Turkey Point, Ontario, Canada. This sophisticated sleeping model is Wheeler’s signaturedesignfrom the master carver’s dynamic portfolio.

This balsa example shows his best carving detail and finest scratch paint on the head. Always innovative, in deference to the intelligence of the black duck, Wheeler feather-painted the bottom, in case the bird was to flip over while hunting. Excellent original paint with even gunning wear, a few dings with minor darkening.

Provenance: George F. B. Johnson Collection, Buffalo, New York, gifted from the maker Private Collection

Literature: Dixon MacD. Merkt, Shang: A Biography of Charles E.Wheeler, Spanish Fork, UT, 1984, p. 70 and front and back dust-jacket cover, related mallard illustrated multiple times, p. 71, related black duck illustrated.

Guyette and Schmidt, Decoys At Auction, July 2008, front cover and lot 78, exact decoy illustrated.

$30,000 - $50,000

W. LINCOLN

101 Yellowlegs Joseph W. Lincoln (1859-1938) Accord, MA, c. 1890 11 in. long

Original paint with gunning wear, tight reset cracks in head and neck.

$600 - $900

102 Yellowlegs Pair Joseph W. Lincoln (1859-1938) Accord, MA, c. 1890 10 1/2 in. long

Original paint with even gunning wear. One bird has some slight fading and a reset crack in neck.

$1,000 - $2,000

103 Yellowlegs and Willet Massachusetts, c. 1890

A yellowlegs by Joseph W. Lincoln (1859-1938) with carved wings, and a running willet attributed as an early work by A. Elmer Crowell (1862-1932). Asfound withheavygunningwear.

$1,500 - $2,500

JOSEPH W. LINCOLN

1859-1938 | ACCORD, MA

104 Self-Bailing Brant

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1900 19 in. long

A clean example of Lincoln’s innovative hollow design. Original paint with even gunning wear.

Provenance: Estate of Edwin Schultz

$600 - $900

105 White-Winged Scoter

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1920 17in.long

An oversize solid-bodied scoter with a “Kangas” brand. Original paint with gunning wear, including ding to right side. Section of neck restored.

Provenance: Kangas Collection Estate of Edwin Schultz

$800 - $1,200

106 Self-Bailing Scoter

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1900 18 1/4 in. long

A white-winged scooter that remains hollow from under the tail. Original paint with light gunning wear and touch-up to bill.

Provenance: Estate of Edwin Schultz

$600 - $900

107 Canvas White-Winged Scoter

Joseph W. Lincoln (1859-1938)

Accord, MA, c. 1920 18 in. long

An oversize decoy with canvas-over-slat construction. Appears to be in original paint with light gunning wear, small ding to bill tip, and single shot to right side of crown.

Provenance: Estate of Edwin Schultz

$800 - $1,200

108 Rare Green-Winged Teal John Blair Sr. (1843-1929) Philadelphia, PA, c. 1870 13in.long

A rare species for the maker and the first of this model we have ever offered for sale at auction. The form and paint show the classic John Blair Sr. style and execution. The underside is stamped with a “JE” rig marking, as is the mallard hen, also offered in this auction (lot 109). Excellent original paint with light even gunning wear. Minor touch-up around each eye and thin line at base of bill on right side.

Provenance: Pasquale “Babe” Sabatini Collection

Literature:H.HarrisonHusterandDougKnight, FloatingSculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, pp. 36-39, rigmate illustrated.

$20,000 - $30,000

109 Mallard Hen

John Blair Sr. (1843-1929) Philadelphia, PA, c. 1870 17in.long

A rare mallard showing the classic John Blair Sr. form and paint. The underside of the hollow body is stamped with a “JE” rig marking, as is the Blair teal, also offered in this auction (lot 108). It also has an excellent chamfered lead pad weight. Original paint with even gunning wear and touch-uparoundeacheye.Nailsonlowerbreasthaveexpanded to cause a few cracks.

Provenance: Pasquale “Babe” Sabatini Collection

Literature: H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, pp. 36-39, rigmate illustrated.

$10,000 - $20,000

1843-1929|

CloselyrelatedmallardillustratedbyJoelBarberinhis WildFowlDecoys, plate107,publishedin1937.

110 Florence,NJ,c.1880

110 English-Dawson Black Duck

John English (1848-1915) Florence, NJ, c. 1880 16 in. long

Anexcellent Dawson.The quality.It is picturedin Floating Sculpture on four differentpages, Inworking

An excellent John English form with the celebrated paint pattern of John Dawson. The provenance and published history of this decoy speak to its rarity and quality. It waspicturedin Floating Sculpture on four different pages, including a color plate. In working paint by John Dawson with even gunning wear.

Provenance: Bob White Collection

Malcolm Fleming Collection

MalcolmFlemingCollection

Bruce Williams Collection

Matt Geis Collection

MattGeisCollection

Literature: H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, pp. 118, 119, 123, and 148, exact decoy illustrated four times.

FloatingSculptures: TheDecoys DelawareRiver, UT,1982,pp.118, 119,123, exactdecoy

$8,000 - $12,000

111 Green-Winged Teal

John Blair, Sr. (1843-1929)

Philadelphia, PA, c. 1900

13 1/2 in. long

A refined teal carving with Blair’s best head and breast carving. The back includes a rare feature for Blair with sharply carved wing tips that lean towards the John English style. The underside retains the chamfered lead weight. Original paint with even gunning wear showing wood on back. Professionally restored bill.

Provenance: Dave Campbell Collection Private Collection, acquired from the above

$6,000 - $9,000

112 Pintail Hen

Arthur B. Vance (1818-1889)

Philadelphia, PA, c. 1870

18 1/2 in. long

A related drake was collected by both Dr. James M. McCleery and Donal C. O’Brien Jr. The body is low and sleek, as is seen in early Delaware River decoys, including those of Albert Laing when he operated in the region. The exceptional paint is among the finest seen in the Philadelphia school. Excellent original paint with even gunning wear, two knots on right side, tight crack by neck seam reset, and ding to crown.

Provenance: Peter Bartlett Collection

Private Collection

Literature: Harrison Huster and Doug Knight, Floating Sculpture: The Decoys of the Delaware River, Spanish Fork, UT, 1982, p. 31, McCleery-O’Brien drake illustrated.

$6,000 - $9,000

THE WARD BROTHERS

1896-1984AND

1896-1984 AND 1895-1976 | CRISFIELD, MD

113 The Purnell-Aitken Ward Preening Curlew

ThePurnell-AitkenWard

Lemuel T. Ward (1896-1984)

Crisfield, MD, 1953 11 1/4 in. tall

LemuelT. Ward(1896-1984) MD,1953 in.tall

Thisimportant wascollected bynoted

This important Ward carving was collected by noted author, sportsman, marksman, and philanthropist Russell B. Aitken. The Christie’s catalog for the Aitken Collection auction relays: “According to Bill Purnell, Lem Ward made this curlew in 1953 from a picture he saw that Lynn Bogue Hunt did for Dupont. Reproduced in Van Campen Heilner’s Our American Game Birds, Doubleday Doran & Co., 1941.”

wear and averytight

base. Original paint with light wearandavery tight age line at neck seam.

B.Aitken.TheChristie’s AitkenCollection relays:“According LemWardmade curlewin1953 picturehesaw Reproducedin OurAmerican GameBirds DoubledayDoran& Co.,1941.”

carvedfrom

This rare Crisfield decorative was carved from balsa and is signed “Lem Ward 1953” on the underside of the driftwood

“LemWard

RussellAitkenCollection

Provenance: William H. Purnell Jr. Collection Russell Aitken Collection Private Collection

Literature: Christie’s, The Russell B. Aitken Collection of Waterfowl Decoys, New York, NY, 2003, lot 1267.

$15,000 - $25,000

AitkenCollection exactdecoy illustrated.

TheLynnBogueHuntprintthatservedasLemWard'sinspirationforthiscurlewcarving.

The Lynn Bogue Hunt print that served asLemWard's inspiration for thiscurlew carving.

THE WARD BROTHERS

114 Glenn L. Martin Rig Canvasback Pair

The Ward Brothers

Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1932 18 in. long

The underside of the drake displays the “GLM” brand for the rig of Glenn L. Martin. An early aviation pioneer, Glenn Luther Martin (1886-1955) was fascinated with flight from a young age, building box kites and using sails on everything from ice skates to wagons, and even his bicycle to move faster with less effort. In 1909, Martin built his first of several airplanes. He founded an aircraft company in 1912, which designed planes for both world wars. Still in business today and now called Lockheed Martin, it is one of the world’s largest companies in the aerospace, military, security, and technology industries. Martin also owned the hunting grounds that went on to be known as Remington Farms.

AviationinnovatorGlennL.Martinsitsinhis homemade biplane circa1910.This early airplane had an eight-cylinderengineandroomfor the pilot, hisbag,and,asitappears,onecoyote.

The skill and reputation of Martinasacraftsman appears to have been a motivation for the Wards to create their best work. This Martin-rig canvasback pair exhibits rarely seen features, including pronounced cheeks, incised bill detail, a ridged back, and a flared paddle tail. The hen has a high turned head, and the drake is in a swimming position. Original paint with gunning wear, areas of overpaint, and touch-up to both birds. Restoration to less than 2/3rds of drake’s bill.

Provenance: Glenn L. Martin Rig Davison Hawthorne Collection (drake only) Private Collection

Literature: Ronald J. Gard and Brian J. McGrath, TheWard Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 18, related canvasbacks illustrated.

$30,000 - $50,000

Rigof1936modelWardbrotherscanvasbacksinTheDonal C. O’Brien Jr.Collection. A testamentto his loveforWard canvasbacks, O’Brien owned a dozenatthetimeofhispassing.>

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

115 Exceptional Wigeon Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD c. 1955 15in.long

Steve Ward had a special affinity for wigeon,andLem was known for applying what he called “Fancy Paint” to some choice decoratives, like this pair. Steve designed patterns from what he saw in nature; he appears to have been inspired when he designed the distinct breast and wing tip carving seen here. Excellent original paint with light wear, tight crack in hen’s right speculum, craquelure to drake’s head, and right feather tip is reset.

Provenance: Private Collection

Literature: Ronald J. Gard and Brian J. McGrath, TheWardBrothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 92, pl. 84, related pair described and illustrated.

$12,000 - $18,000

116 “Dust Jacket” Ward Goldeneye Pair

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1950 15 1/2 in. long

The undersidesofthebalsabodiesare signed and identified as “Collector’s Grade.” Original paint with some wear and professional touch-up includes a spot on hen’s back and right speculum, and around the original neck putty areas on both.

Provenance: Private Collection

Literature: Henry A. Fleckenstein Jr., Decoys of the Mid-Atlantic Region, Exton, PA, 1979, back cover and p. 133, exact decoys illustrated.

$8,000 - $12,000

Thebackdustjacketcoverof Decoys of the Mid-Atlantic Region featuringthisexactWardgoldeneyepair.Acopyofthisbook accompaniesthislot.

THE WARD BROTHERS

117 Important VL&A Mallard Hen

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1942 17in.long

This carving showcases the classic Ward decoy at its best. The underside of the unrigged bird is inked with a stamp reading “Hand Made, Distributed by, VL&A, Chicago, ILL.” This is for Von Lengerke & Antoinne, the preeminent sporting goods retailer of Chicago. The store had been acquired by Abercrombie & Fitch by the time the Wards made decoys for them. Ron Gardpointsout in his book on the brothers, “It is indeed a credit to the artistry of the Wards, that the prestigious department store, Von Lengerke and Antoine (VL&A), sold the Ward mallard and pintail decoys to hunters throughout the Mississippi Flyway. This areawas home to some of the finest decoy makers in America.” Indeed, this recently discovered decoy surfaced west of the Mississippi.

A celebrated 1942 model VL&A mate to this hen was owned by both Dr. James McCleery and Dr. Lloyd Griffith. The McCleery-Griffith drake has been illustrated and exhibited extensively, including in Gard and McGrath’s Ward book. That iconic drake, published in at least four important decoy publications, has never been photographed with a hen. The authors refer to the McCleery-Griffith Ward mallard drake as a “1942 Classic Mallard Drake.” They write, “This wonderful decoy has all the ingredients of a 1936 Classic but seems to be a slightly more proportioned bird. The classic elements of high head, flat forehead, and long bill are there, it is just that the Wards have moved the design up one notch.

...the shape of the bird seems more realistic and seaworthy. The paint is outstanding with its vibrant colors mixed with the more naturally muted hues.” This hen fits the drake’s description to a “T,” but with even better paint application and detail. Like the McCleery-Griffith bird, she also shows a turned head with very wide bill carving. Original paint with light wear.

Provenance: Private Collection

Literature: Ronald J. Gard and Brian J. McGrath, TheWard Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 83-86, McCleery-Griffith drake illustrated and discussed.

Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22, 2000, lot 494, McCleery-Griffith Drake illustrated.

RobertShaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, pp. 78-79, McCleery-Griffith drake illustrated.

RonaldJ.GardandRobertShaw,eds., The McCleery Auction, Dallas, TX, 2001, p. 125, McCleery-Griffith drake illustrated.

$12,000 - $18,000 VonLengerke&Antoine

“This wonderful decoy has all the ingredients of a 1936 Classic but seems to be a slightly more proportioned bird. The classic elements of high head, flat forehead, and long bill are there, it is just that the Wards have moved the design up one notch.”

— Ronald Gard and Brian McGrath describing the McCleery-Griffith 1942 VL&A Ward mallard mate

THE WARD BROTHERS

1896-1984 AND 1895-1976 |

118 Purnell1928HumpbackPintailDrake

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1928 19 3/4 in. long

This exceedingly rare Crisfield carving was collected by William H. Purnell Jr. and first introduced to the public when Ronald Gard and Brian McGrath selected it for their 1989 Ward Brothers’ Decoys: a Collectors Guide book. It had been sourced from a Crisfield waterman with two pintail rigmates, one of which displayed this refined humpback design.

Catalogingthislotasa“1928 model,” Gard and McGrath write, “The tail is long and broad although [one rigmate] shows some variation. The body form has good strong practical lines. The paint is in excellent original condition and shows a striking wing and tail feather pattern.”

Indeed, this decoy shows a refined evolution of the earliest humpback models of the mid 1920s, and is a forerunner to the pinch-breasts of the early 1930s. Steve’s carving shows a drawn-back and turned head atop a thin neck and pronounced breast, the body has a humped back, and a

long narrow tail. Lem’s brushwork is excellent with details including crossed wing tips and scratched feathering above the tail. The underside includes Purnell’s “WHP Jr” brand, a Ward Brothers ink stamp, and a Ward Museum exhibition sticker. Original paint with even gunning wear, tight crack in neck and along underside. 2 ¼ in. restoration to tip of tail.

Provenance: William H. Purnell Jr. Collection Jim and Debbie Allen Collection Private Collection

Literature: Ronald J. Gard and Brian J. McGrath, TheWardBrothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 58-59, exact decoy and rigmate illustrated and discussed.

R. H. Richardson, ChesapeakeBayDecoys, Cambridge, MD, 1991, p. 162, exact decoy illustrated with rigmate.

Exhibited: Salisbury, Maryland, Ward Museum, 2010.

$100,000 - $125,000

“The pintail was Lem Ward’s favorite bird and he shows this preference in the painting of his pintails.”

— Ron Gard and Brian McGrath, Ward Brothers’ Decoys: a Collectors Guide

THE EARNEST-NELSON CLARK GREATER YELLOWLEGS

119 The Earnest-Nelson Clark Greater Yellowlegs

Charles S. Clark (1869-1947)

Chincoteague, VA, c. 1890 11 1/2 in. long

This stately yellowlegs was collected by Adele Earnest and has remained in distinguished collections ever since. Indeed, this prime humpback example represents the maker’s best work. With a long original bill, slightly turned head, ridged back, and bold features, it ranks among the finest Accomack County shorebirds known.

The carving bears the GrantNelsonCollection stamp on the underside. Excellent original paint with light gunning wear. Left side has tail chip and two spots of working white touch-up.

Provenance: Adele Earnest Collection

Alvin E. Friedman-Kien Foundation Collection, acquired from the above

Grant Nelson Collection Private Collection

Literature: Adele Earnest, Folk Art in America, Exton, PA, 1984, p. 142, exact decoy illustrated.

Christie’s New York, Property from The Alvin E. Friedman-Kien Foundation, January 19, 2007, lot 398, exact decoy illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 153, rigmate illustrated.

CopleyFineArtAuctions, Classic Shorebird Decoys featuring Milton C. Weiler’s Original Watercolors from The Peterson Collection, Exhibition Catalog, November 2025, pp. 32-33, related plover illustrated.

Milton C. Weiler, The Classic Decoy Series: A Portfolio of Paintings, New York, NY, 1969, pl. 14, related plover illustrated.

$18,000 - $24,000

ThePeterson-HawthorneCharlesClarkPlover. Thisdecoywasfeaturedinthe2025exhibition andbook ClassicShorebirdDecoysfromthePeterson Collection.Thisdecoy,andtheEarnest-Nelson Clarkgreateryellowlegs,areamongthetwomost importantSouthernshorebirddecoysknown.

120 PintailDrake

Dave “Umbrella” Watson (1851-1938)

Chincoteague,VA,c.1925

17 1/4 in. long

David “Umbrella” Watson is among the most distinct and revered of all Southern decoy makers. His decoys have a style all their own with hollow bodies, which were not common in Accomack, raised wing tips, and highly pronounced eyebrow carving, finished with exceptionally detailed paint patterns using a suite of brush techniques.

In the Great Book of Wildfowl Decoys, Purnell and his co-author relay, “The painstaking care that his carvings show is evidence of the time it took to carve them. He was a slow carver, and most of his decoys were too expensive for the average hunter.” Indeed, this pintail was not made for the average hunter. It was crafted for the well-appointed Assateague Rod & Gun Club, just east across the channel from Chincoteague. It seems to have been incidentally preserved by the Great Depression. The Club was thriving in the 1920s, then in 1938, this rig was salvaged from an Assateague shed that was to be razed.

Today, the Assateague Club’s few surviving pintails are recognized as Watson’s most important works, and they are second-to-none among all Southern pintails. This is

among the rig’s finest surviving decoys. The underside retains the Assateague Rod & Gun Club’s paw-logo brand. Original paint with even gunning wear and less than ½ bill restoration.

Provenance: Assateague Rod & Gun Club

Jack Marsh Collection

Private Collection

Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 211, rigmate hen illustrated.

Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 153-154, Watson discussed, p. 158, rigmate pair illustrated.

Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 47, rigmate pair illustrated.

$30,000 - $50,000

Assateague Rod & Gun Club’s paw logo brand ontheundersideoflot120.

"HURRICANE" PETE PETERSON

121 Wood Duck Pair

“Hurricane” Pete Peterson (b. 1944)

Cape Charles, VA, 2008 14in.long

“Hurricane” Pete Peterson is a living legend and a decoy carver from Virginia’s Eastern Shore. Signed and dated on the undersides. Original paint with light wear.

Provenance: Matt Geis Collection

$1,000 - $2,000

122 Green-Winged Teal Pair

“Hurricane” Pete Peterson (b. 1944)

Cape Charles, VA, 1992 12 1/2 in. long

The undersides are signed, dated, and branded. Original paint with light wear.

Provenance: Matt Geis Collection

$600 - $900

123 Red-Breasted Merganser Pair

“Hurricane” Pete Peterson (b. 1944)

Cape Charles, VA, c. 1995 18 in. long

Signed and dated on the undersides. Original paint with light wear.

Provenance: Matt Geis Collection

$600 - $900

124 Preening Merganser Pair

Keith Mueller (b. 1956)

Killingworth,CT 18 in. long

Also included is a framed original ink, acrylic, and watercolor, 9 1/2 by 17 1/2 in., signed “Keith Mueller” lower right. Two decoys in original paint with minimal wear.

Provenance: Matt Geis Collection Private Collection, Cape Cod

$2,000 - $3,000

This orginal mixed-medium work by the artist accompanies lot 124.

125 Preening Mallard Hen

Keith Mueller (b. 1956)

MerganserPair (b.1956) 91/2 (b.1956) 17 in. long

workby theartist accompanieslot

Killingworth,CT 17in.long

An oversize and hollow preening decoy in the Stratford-schoolstylewithMueller’sadeptbrushwork on top and brand in the underside. Original paint with light gunning wear.

$1,500 - $2,000

126 Black Duck

Anoversize decoyin topandbrand (b.1956)

Keith Mueller (b. 1956) Killingworth,CT 16 in. long

bottomboardwith

Hollow with an inlaid bottom board with a signature brand. Original paint with light gunning wear.

$500 - $1,000

$500-$1,000

127 MiniatureGreatHornedOwl

Allen J. King (1878-1963)

North Scituate, RI, c. 1940

6 in. tall

A miniature masterwork and one of the most important King carvings known. A related bird of prey carving of redtailed hawks is found on the dust jacket of the miniature book Birds in Wood and Paint by Joseph Ellis. Signed on the perch. Original paint with light wear and minor restoration to left wing tip.

Provenance: William V. Tripp III Collection

$3,000 - $5,000

128 RareMiniatureRuddyDuckPair

Allen J. King (1878-1963)

North Scituate, RI, c. 1940

1 3/4 in. tall

Signed on the top of the base. Original paint with minimal wear.

$1,500 - $2,500

129 MiniatureRuffedGrousePair

Allen J. King (1878-1963)

North Scituate, RI, c. 1940

3 1/2 in. tall

Exceptional decorative miniature pair with the maker’s signature on the edge of the base and a Crossroads of Sport label on the underside. Original paint with minimal wear.

Provenance: William V. Tripp III Collection

$1,500 - $2,500

130 Rare Miniature Green-Winged Teal Pair

Allen J. King (1878-1963)

North Scituate, RI, c. 1940 2 in. tall

MiniatureGreen-WingedTeal King(1878-1963) with

Signed on the edge of the base with a Crossroads of Sport label on the underside. Original paint with minimal wear.

$1,500 - $2,500

131 Miniature Bobwhite Quail

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910 3 in. tall

A rare early example with fine paint and the species name on the underside of the base. Original paint with light wear.

Provenance: Private Collection, Greenwich, Connecticut

$3,000 - $5,000

MiniatureGoose

132 Miniature Goose

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 5 3/4 in. long

53/4in.long

Theunderside with wear and a tight hairline crackthrough

The underside is signed with the rectangular stamp. Original paint with light wearandatighthairlinecrack through head.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

$800 - $1,200

D.BatesJr. descentin

A rare double-mount mallard pair with a feeding drake and a standing turned-head hen. The underside has the rectangular stamp and Crowell’s inked signature. Original paint with light wear, minuscule darkening to slight craquelure on drake around neck and wing tips.

$2,000 - $4,000

MiniatureWigeon

134 Miniature Wigeon Hen

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 3 1/4 in. long

Anexcellent

An excellent early and rare carving with the species identification on the underside. Original paint with light wear.

Provenance: Private Collection, Greenwich, Connecticut

$1,000 - $2,000

135 Outstanding Miniature Feeding Canvasback

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 5in.long

$2,000 - $3,000

136 Miniature Feeding Mallard

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1940 5 3/4 in. long

MiniatureMallard

133 Miniature Mallard Pair

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 6 in. long drake

6in.longdrake mallardpair feedingdrake Theunderside toslight ondrakearound

Signed with the “Maker” ink stamp. Original paint with light wear.

Provenance:Private FeedingMallard 53/4in.long driftwoodbase.

Signed in ink under the driftwood base. Original paint with light wear.

$1,500 - $2,500

A.

137 Rare Miniature Gull

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

5 1/2 in. long

An exceedingly rare miniature, indeed, it is the first offered by this firm. It is slightly larger than the typical Crowell miniature scale at 5 1/2 in. long. The underside is signed with the rectangular stamp. Original paint with even wear.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

Literature: Brian Cullity, The Songless Aviary: The World of A.E. Crowell, Hyannis, MA, 1992, p. 96, DeNormandie example illustrated.

$1,200 - $1,800

138 MiniatureGodwit

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

4 1/4 in. tall

An outstanding miniature, the underside is numbered “14” and bears Crowell’s rectangular stamp. Original paint with light wear.

$2,000 - $3,000

139 Miniature Greater Yellowlegs

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

4 1/2 in. long

Signed with the rectangular stamp. Original paint with light wear.

$2,000 - $3,000

140 Miniature Running Yellowlegs

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910

2 1/4 in. tall

This early carving displays Crowell’s circular “MFR” ink stamp on the bottom. Original paint with light wearandapartial bill replacement.

Provenance: From a Chatham, Massachusetts, Estate

$1,000 - $2,000

141 Miniature Black-Bellied Plover

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910

3 in. long

Signed with the “Maker” ink stamp on the bottom. Original paint with light wear.

$2,000 - $3,000

142 Miniature Dowitcher

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

3 1/2 in. long

Signed with the rectangular stamp on the underside. Original paint with light wear.

$2,000 - $3,000

143 Miniature Lesser Yellowlegs

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

3 1/4 in. long

Original paint with light wear.

$2,000 - $3,000

144 Miniature Willet

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 in. long

Signed with a rectangular stamp on the underside. Original paint with light wear.

$2,000 - $3,000

145 MallardDrake George Warin (1830-1905) Toronto, Ontario, Canada, c. 1880 17in.long

An early and refined Ontario decoy with hollow construction and a thin bottom board. Decoys of this form have also been attributed to John R. Wells (1861-1953). Original paint with gunning wear.

Provenance: Private Collection, Delaware

$4,500 - $6,500

146 Rare Oversize Mallard Drake John F. Zachmann (1929-2017) Detroit, MI, c. 1963 19 3/4 in. long

A huge and highly refined hollow competition decoy. Zachmann is remembered for his distinctly oversize decoys, such as this one, and he was collected by Donal C. O’Brien Jr. and William J. Mackey Jr. The underside has Zachmann’s label, is signed, and denotes earning first place in Syracuse, New York, in 1963. One of the finest Zachmann decoys known. Original paint with light gunning wearandatighthairlinecrack in bill.

Literature: Richard A. Bourne Co. Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey, Jr. of Belford, New Jersey, Boston, MA, Session I, 1973, lot 239, related decoy illustrated.

$3,000 - $5,000

“In1918Schoenheiderproducedwhatisrecognizedtodayas perhapsthemostexceptional rigof Illinois Rivergoosedecoys evermade. Itwascomprisedoftwofloatersandtenstandinggeese,allbeinghollow-bodiedand constructedofmulti-layeredlaminatedpiecesofwhitepine.Thestandinggeesewere individuallymountedon a singlecastironlegwithabroad,webbedfoot.Theselarge birdswiththeirgracefulnecks,fully-roundedbodies,anddistinctivelycarved headsandbillsareanemblemoftheearlyrefinementoftheIllinoisdecoy aswellasthecreativespiritoftheindividualcarver.”

—AnnTandyLacy,

TheWoodenBird,1989

CHARLES S. SCHOENHEIDER SR.

147 The Humbracht-Schoenheider Goose

Charles S. Schoenheider Sr. (1854-1924)

Peoria, IL, c. 1918

20 3/4 in. tall and 23 1/2 in. long

WhileSchoenheiderproducedveryfewdecoys,thecarver’s impact on the region’s decoy portfolio was significant. Although he carved many species of floating decoys, mallards, pintails, and Canada geese were the only species known to be represented in his standing carvings, which were balanced on a metal foot. His famous goose rig was originally commissioned by Daniel W. Vorhees in 1918 and consisted of only twelve decoys, with at least one floater. A vintage photo of the rig shows six standing geese with alert upright neck positions; this decoy is one of only four with the deeper neck curve pattern.

This decoy was obtained circa1967 by major Midwest decoy collector William Humbracht, of Bartlett, Illinois. According to Americana collector and decoy specialist Randy Root, Humbracht started collecting as early as the 1940s and had a diverse collection that included American furnitureandKentuckyrifles.Aheadofhistime,Humbracht focused on quality. A testament to the high standard he set, upon his death, when the collection was sold at Oliver’s auction in 1988, Jackson Parker reported Humbracht’s 130 Illinois River decoys selling for a then-astonishing average of over $3,400 per lot.

TandyLacychosethisdecoyfor TheWoodenBird exhibition. This is the first decoy pictured within the accompanying book. She reports that it “sold at Richard Oliver’s Kennebunk, Maine, gallery in the July of 1988 auction for $66,000, attaining a world record price for an Illinois River decoy.”

Adele Earnest was an early champion of this rig and acquired four of the geese. She featured two examples in her 1984 book, Folk Art in America: A Personal View. Two of the Earnest birds were acquired by Donal C. O’Brien Jr., one of which was subsequently traded to the Shelburne Museum. The Shelburne goose most recently graced the cover of the museum’s 2017 book, Birds of a Feather, where it is described as “one of the crown jewels of the collection.” The other O’Brien goose set a world-record price for the maker and for any Illinois River decoy at auction. Noted Illinois River decoy collector Thomas K. Figge also acquired two examples, with one on display in the Center for

AmericanDecoysatthePeoriaRiverfrontMuseumandone in Masterworks of the Illinois River book. Most recently, three standing Schoenheider geese from the Peterson Collection were chosen for the front cover of Ducks Unlimited’s The Canada Goose: Etched in Time, Carved in Wood exhibition book. The Peterson Collection holds two of the fully curved neck decoys, along with a straight neck and floater.

The Humbracht goose relates closely to the O’Brien goose and the Shelburne Museum goose. This exact Humbracht bird was prominently featured on the cover of the September/October 1988 issue of DecoyMagazine above the title “Schoenheider Standing Goose Breaks Record Price atAuction.” In the same year, it again took center stage in the magazine’s “Year In Review” issue as the top decoy of the year, surpassing a Caines Brothers mallard, a Crowell Cunningham rig bufflehead, and a Boyd hissing Canada goose.

The Humbracht goose, known for its exceptional form, condition, and paint, was one of the top picks from the Schoenheider rig. It features the maker’s laminated construction, original cast-metal foot, and minimal flaking. Apparently proudofthiscarving,“Chas S” is signed in pencil twice on the left flank.

With its grand presence, excellent condition, original foot, and strong provenance, this is one of the finest Schoenheider decoys to ever cross the auction block. Original paint with light wear, some typical flaking on back of neck has been darkened, and some touch-up to reset neck and original head seam. Original foot.

Provenance: Charles Schoenheider Jr., by descent in the family Joe Tonelli, acquired from the above Daryl Drennen, acquired from the above William Humbracht Collection, acquired from the above, circa 1967 Charles Hunter Collection Private Collection, New Jersey

THE HUMBRACHT-SCHOENHEIDER GOOSE (CONT.)

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

Decoy Magazine, The 1988 Year in Review, 1989, cover, pp. 3 and 5, exact decoy illustrated.

Decoy Magazine, September/October 1988, cover, p. 3, exact decoy illustrated.

AdeleEarnest, Folk Art In America,Exton,PA,1984,p.132,rigmates illustrated.

RobertShaw, Bird Decoys of North America, New York, NY, 2010, pp. 246-247, rigmate decoys illustrated.

Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 184-185, rigmate illustrated.

Kory W. Rogers, Birds of a Feather, Shelburne, VT, 2017, front cover and pp. 132-133, rigmate illustrated.

CopleyFineArtAuctions, The Donal C O’Brien Jr. Collection of Important American Sporting Art and Decoys, Session III, Hingham, MA, July 19, 2018, back cover and lot 20, rigmate illustrated.

Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 45, rigmate illustrated.

Mark Petrie, The Canada Goose: Etched In Time, Carved In Wood, 2025, front cover and pp. 116-117 and 253, rigmates illustrated.

$90,000 - $120,000

TheHumbracht-SchoenheiderGoose featuredonthefrontcoverof Decoy Magazine,September/October1988.

TheHumbracht-SchoenheiderGoose featuredonthefrontcoverofCopley’s WinterSale2019.

TheHumbracht-SchoenheiderGoose featuredonthefrontcoverof Decoy Magazine, The 1988 Year in Review.

Rigmatesoflot147onthefrontcoverof The Canada Goose Etched in Time, Carved in Wood. Imagecourtesy ofDucksUnlimited.

THE “MASTERWORKS” ELLISTON PREENING MALLARD

Widely regarded as the founders of the Illinois River professional decoy carving tradition, the duo of Robert and Catherine Elliston set the standard against which all Illinois River decoys are measured. Like Lem and Steve Ward from Crisfield,Maryland,anda number of Illinois River decoy makers to follow, they divided the carving and painting roles. Robert applied his honed woodworking skills, while Catherine proved herself to be one of the finest decoy painters of all time.

Robert Elliston was born in Kentucky in 1849. In his late teens, he apprenticed as a carriage-maker at the Studebaker woodworking shop in South Bend, Indiana. He moved on to work for Henry Olds and later the McLaren Hearse and Coach Manufacturing Company. Working as a carriage-maker with

shops in New York, Philadelphia, and St. Louis, Elliston became a seasoned woodworker, a skill that would later serve him greatly.

Robert and Catherine married, staying in Lacon briefly before movingto the Undercliff Hotel on Lake Senachwine, near Putnam, Illinois. It is likely that while still living in Lacon, Catherine saw the decoys of Steven Lane (1843-1900), and the crisp paint applied to his decoys resonated with her. Situated in the heart of the Midwest Flyway, the Ellistons’ legacy began to take shape.

Catherine applied sophisticated, yet graceful, paint patterns that are virtuallyunequalledby any of her contemporaries, with the exception of Edna Perdew. She developed her

own techniques of scratch feathering that echo the finest grain-painted chests of Pennsylvania made during the mid-nineteenth century. Implementing a metal grain-comb to help suggest feathering and to give the decoys a more realisticlook,herpaintingtechniques were later copied by Millie Graves and other painters up and down the Illinois River and beyond.

It is no secret among collectors that Catherine Elliston and Edna Perdew (1882-1974) used hens to showcase their abilities. While most decoy painters shied away from the difficulties of painting a hen’s plumage, these two women embraced the challenge, defining the paint of the region. Indeed, today the world records set for each of the painters’

work stands at over $200,000, with both records set by their elaborately painted mallard hens. At the turn of the twentieth century, as more and more gentlemen and ladies arrived by train from Chicago to partake in the growing sportofduckhunting on Lake Senachwine, word about the decoys made by the talented Ellistons continued to spread. The “sports,” as the local guides and carvers called them, began placing orders with the Ellistons for hunting rigs en masse. The orders quickly blossomed into a full-time business, and soon the couple was shipping decoys to sporting goods stores and individuals around the country.

The“Masterworks”EllistonPreeningMallardleadsinthechapteronRobertEllistononpages28-29 of MasterworksoftheIllinoisRiver. PhotobyDavidAllencourtesyofStephenO’BrienJr.FineArts,LLC

ROBERTELLISTON

1847-1925 | BUREAU, IL

148 The “Masterworks” Elliston Preening Mallard

Robert Elliston (1847-1925) painted by Catherine Elliston (1858-1953) Bureau, IL, c. 1890 14 1/2 in. long

While discussing this decoy in the 2005 Masterworks of the Illinois River, the authors state, “The case can be made that hen mallards are among the finest decoys that Elliston ever produced.” Indeed, this exact decoy leads the richlyillustrated chapter on the Ellistons. The form, paint, exhibition history, provenance, and condition place this carving at the apex of works from this region. Outstanding original paint with light gunning wear.

Provenance: Walter White Collection Masterworks of the Illinois River Collection, acquired from the above, 1981 Private Collection

Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks oftheIllinoisRiver, Boston,MA,2005,p.28,exactdecoyillustrated.

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

$60,000 - $90,000

ROBERTELLISTON

149 Bluebill

Robert Elliston (1847-1925) Bureau, IL, c. 1900 13 1/2 in. long

The top of the hollow body features Catherine’s best paint, and the underside has “The Elliston Decoy” weight. Original paint with even gunning wear, scattered touch-up, including to the underside of the bill. Tight neck crack.

Provenance: Robert Metcalf Collection

$2,500 - $3,500

150 Haertel Elliston Pintail Drake

Robert Elliston (1847-1925) Bureau, IL, c. 1880 17 1/2 in. long

Catherine Elliston’s painted plumage is exceptional. The underside has the Haertel Collection ink stamp. Original feathering on back with old working paint elsewhere, touch-up to chip in right side of neck.

Provenance: Harold Haertel Collection Robert Metcalf Collection

$1,500 - $2,500

CHARLES H. PERDEW

1874-1963 | HENRY, IL

$10,000 - $20,000 151

151 The Barkhausen-Galliher Miniature Perdew Mallards Charles H. Perdew (1874-1963) Henry,IL,c.1940 6 in. long

Two of the Perdews’ very best miniatures and easily among the finest little decoys from the Midwest. The forms, with thin necks and refined heads, are among Charlie’s best at anyscale,andtheywerefinishedwithelaboratebrushwork.

Illustrating the pride the Perdews took in these, the lead weights have “CHAS. H. PERDEW, Henry, Illinois.” stamped in gold.

This pair received special treatment for their patron Louis H. Barkhausen, an original board member and past president of Ducks Unlimited. Barkhausen’s gunning rig is also known for havingreceived special treatment from Perdew. Collector and Perdew book publisher David Galliher then collected these and featured them in the Perdew book. He is also known for owning the finest known life-size Perdew mallard drake, seen on the dust jacket of the book. Original paint with light wear, and touch-up to drake’s reset neck.

Provenance: Louis Barkhausen Collection David A. Galliher Collection

Private Collection

Literature: Ann Tandy Lacy, Perdew: An Illinois River Tradition, Muncie, IN, 1993, p. 229, exact pair illustrated.

Undersideofthehen,lot151.

“Further down the river, south of Peoria near Beardstown, one of Illinois’ most highly respected conservationists also hunted over a rig of Perdew decoys. This hunter, Louis H. Barkhausen, was [an original board member] in 1937 of Ducks Unlimited, an international organization for the preservation and reclamation of wetlands and waterfowl breeding grounds...Located on the back of each decoy, at the base of the neck, was a small metal tube that had been inserted to leave an opening from the hollow cavity in the body of the decoy to the outside air. This opening appears to be a breathing hole, the theory being that it would allow the decoy to ‘breathe’ and dry evenly on the inside and out. Supposedly, this would decrease the chances of its cracking or splitting along the seams where the wood is joined. This breathing hole appears to be unique to the Barkhausen rig of Perdew decoys...”

— Ann Tandy Lacy discussing the Barkhausen rig in Perdew: An Illinois River Tradition

CHARLES H. PERDEW

1874-1963 | HENRY, IL

152 Barkhausen Rig Mallard Pair Charles H. Perdew (1874-1963) Henry,IL,c.1935 16 in. long

This pair emanates from the rig of an orginal board member and past president of Ducks Unlimited, Louis H. Barkhausen. His rig is marked by the original metal breathing holes behind each bird’s neck. Hen in original paint, drake retains original feathering on back and has second coat of Perdew paint elsewhere. Both have gunning wear with some flaking.

Provenance: Louis H. Barkhausen Rig RobertMetcalfCollection

Literature: Ann Tandy Lacy, Perdew: An Illinois Tradition, Muncie, IN, 1993, pp. 96-97, Barkhausen rig discussed.

$4,000 - $6,000

BERT GRAVES

153 PintailDrake

Bert Graves (1880-1956)

Peoria, IL, c. 1925

18 in. long

Excellent feather paint on top and a branded Graves weight on the underside. Original paint with light gunning wear, tight age lines in back of head, and less than 1 ½ inch bill tip restoration.

Provenance: Robert Metcalf Collection

$2,000 - $4,000

154 Mallard Pair

Bert Graves (1880-1956)

Peoria, IL, c. 1920

17in.long

A rigmate pair with Graves’ strip weights. Original paint with gunning wear, including rub along drake’s left side.

Provenance: Robert Metcalf Collection

$2,000 - $3,000

155 Mallard Pair Charles Walker (1873-1954) Princeton, IL, c. 1945 17 1/4 in. long

This round-bottom pair includes a smooth-bodied hen and a drake with raised wings and a painted “25” rig marking for Princeton Club member Joseph Zearing. Mostly original paint with even gunning wear. Flake and rough spot on back of hen’s head. Drake has a partial neck crack and overpaint on head, top of breast, speculum, and aroundtail.

Provenance: Robert Metcalf Collection

$3,000 - $5,000

156 Coot Mid-West, c. 1920 11 in. long

Awell-carvedmudhenwithanincised“Mart”and coot foot on the underside. Appears to be mostly original paint with gunning wear, a reset tail crack, and check along underside.

$1,000 - $2,000

157 Haertel-Elliston Blue-Winged Teal

Robert Elliston (1847-1925) Bureau, IL, c. 1890 12 1/4 in. long

An elegant little decoy with bright blue wing patches and strong swirl paint. This decoy hails from the Harold Haertel Collection, and his ink stamp is on the underside adjacent to “TheEllistonDecoy”weight. Original paint with gunning wear, including to edges of bill and rear base of neck seam.

Provenance: Harold Haertel Collection

Robert Metcalf Collection

$4,000 - $6,000

158 Weeks-McLean Elliston Mallard Pair

Robert Elliston (1847-1925) Bureau, IL, c. 1915 14in.long

The Weeks-McLean Act of 1913 established the first federal prohibition on the spring shooting of migratory waterfowl. This diminished the need for bluebill decoys in the upper Midwest and Atlantic Flyway. This Elliston pair began their hunting career as bluebills; however, due to the Weeks-McLean effect, they were then repurposed by Catherine as charming little mallards. Elliston paint with even gunning wear, including some stacking marks. Tight hairline crack in hen’s bill.

$5,000 - $7,000

159 Mallard Pair

Robert Elliston (1847-1925) Bureau, IL, c. 1880 17 1/2 in. long

Each retains “The Elliston Decoy” weight. Mostly original paint with moderate gunning wear, hen’s head is loose.

Provenance: Robert Metcalf Collection

$2,000 - $4,000

160 The O’Brien Schmidt Canvasback Pair

Benjamin Schmidt (1884-1968)

Centerline, MI, c. 1940 17in.long

A rigmate pair of canvasbacks from the Donal C. O’Brien Jr. Collection and so stamped. Original paint with gunning wear.

Provenance: Donal C. O’Brien Jr. Collection Private Collection

Literature: Donna Tonelli, Fish and Fowl Decoys of the Great Lakes, Atglen, PA, 2002, p. 58, similar decoys illustrated.

$1,500 - $2,500

161 Herring Gull

William Schultz (1923-2009) Milwaukee, WI, c. 1965 17 1/2 in. long

A rare confidence decoy by this national champion carver, this is one of only three gulls that Schultz is known to have made. Original paint with light wear from handling including a minor ding to right edge of tail.

$3,000 - $5,000

162 Canvasback Drake

James Kelson (1888-1968) Mount. Clemens, MI, c. 1940 15in.long

A tucked-head decoy with a weighted keel and balsa body and the Donal C. O’Brien Jr. Collection ink stamp on the underside. Working paint with gunning wear and minor touch-up.

Provenance: Donal C. O’Brien Jr. Collection Private Collection

Literature: Clune Walsh Jr. and Lowell G. Jackson, Waterfowl Decoys of Michigan and the Lake St. Clair Region, Detroit, MI, 1983, p. 33, pl. 43, similar decoys illustrated.

Bernard W. Crandell, Decoying: St. Clair to St. Lawrence, Erin, ON, 1988, pp. 31-32, related decoys illustrated.

$500 - $800

AIDEN LASSELL RIPLEY

163 Aiden Lassell Ripley (1896-1969) WoodcockbytheBrook,c.1948 signed“A. Lassell Ripley by D.R.” by Doris Ripley on back watercolor, 14 1/4 by 20 1/2 in. inscribed on back

This work is a study for the artist’s famous oil painting Woodcock by the Brook that appears in Robert Elman’s Great American Shooting Prints. Also made into a print, the oil was in the collection of William B. Webster III, the founder and former owner of Wild Wings.

Elman wrote, “Where alder bottoms, aspen groves, and willow swales wander alongside a stream through rolling farmland, the damp earth may be drilled and spattered by woodcock probing for worms, employing sensitive bills nearly as long as their bodies. They are inland sandpipers, related to snipe, shorebirdsoftheuplands with the strong migratory urge of most shore birds.

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

“Woodcock by the Brook depicts a setting where ‘flight birds,’ early migrants from upper New England or Canada, have joined ‘natives’ still lingering in relative warmth. For a brief

time these hunters can comb the coverts, accompanied by a zealous setter and armed with light, short shotgunsfor fast shooting at erratic targets. Abruptly the dog checks his trot and sets his body in a firm point - then a button-eyed, neckless ball of feathers, patently incapable of flight, rockets upward with a twitteringwhistleofairthrough its stubby primaries.”

Industrialist Robert W. Stoddard of Worcester, Massachusetts, acquired this painting from the artist’s wife, Doris, in 1970. He and his wife, Helen, were long-time supporters of the Worcester Art Museum.

Provenance: Doris Ripley

Robert W. Stoddard Collection

Private Collection

Private Collection

Literature: Robert Elman, The Great American Shooting Prints,New York, NY, 1972, pl. 56, oil painting illustrated. Stephen B. O’Brien, Jr. and Julie Carlson Wildfeuer, The Art of Aiden Lassell Ripley, Boston, MA, 2009, p. 108, pl. 95, oil painting illustrated.

The Crossroads of Sport, Inc. Catalog, New York, NY, 1970-1971, p. 34, oil painting illustrated.

$12,000 - $18,000

164 Ogden M. Pleissner (1905-1983)

Old Orchard Cover signed “Pleissner” lower right watercolor,161/2by261/2in.

Pleissner said, “A fine painting is not just the subject...It is the feeling conveyed of form, bulk, space, dimensionality, and sensitivity. Themoodofthepicture,thatismost important.”

Old Orchard Cover shows a strong composition, complete with gunner at the ready and a grouseonthewing.The painting is set in an abandoned, overgrown apple orchard, perfect for New England partridge hunting.

Literature: Peter Bergh, The Art of Ogden M. Pleissner,Boston,MA, 1984,p.1.

The American Museum of Fly Fishing, Ogden M. Pleissner: The Sporting Grand Tour, Manchester, VT, 2008, p. 40, illustrated.

$40,000 - $60,000

MIGRATORYBIRD HUNTING STAMPS & PAINTINGS

165 Migratory Bird Hunting Stamp Books

Edition one of one, each page is 10 1/2 by 8 1/2 in.

An exceptional and unique assembled volume of original watercolor paintings based on the designs for the United States Federal Duck Stamps as compiled by Philip F. Chew. Bringing together works by many of the most celebrated sporting and wildlife artists of the period, the collection represents a monumental undertakingthathas never been seen before and can never be repeated. In his introduction, Chew writes, “In assembling these pages I have endeavoured, when possible, to persuade the artist-designer of the stamp to give me a sketch in watercolor related to the birdthereon.”

The first volume, covering stamps from 1934 to 1952, is led by Ogden Pleissner’s frontispiece titled Black Duck Grounds, and includes watercolors by Edgar Burke, Milton Weiler, Aiden Lassell Ripley, Maynard Reece, Francis Lee Jaques, Lynn Bogue Hunt, Edwin Richard Kalmbach, Walter Weber, Owen Gromme, Jack Murray, Roger Pruess, John Dick, and R. P. Grossenheider. The secondvolume covers the next six years and includes watercolors by Jack Murray, Clayt Seagers, Harvey Sandstrom, Stanley Stears, Edward Bierly, and Don Eckelberry. With screw-post bindings, pages can be easily removed from each book.

$30,000 - $50,000

Thefrontispiecefoundatthebeginningofvolumeone.OgdenM.Pleissner(1905-1983), Black Duck Grounds,watercolor, 9 by73/4in.

ADIGITAL

PLEASE SCAN THE QR CODE TO VIEW A DIGITAL FLIPBOOK OF BOTH VOLUMES INTHEIR ENTIRETY.

166 Edwin Megargee (1883-1958)

TheFirstCovey,1937 signed and dated “Edwin Megargee 1937” lower left oil on canvas, 17 1/2 by 23 1/2 in.

Brown & Bigelow stamp lower left print, 13 by 17 in. printed “S. Edwin Megargee” lower right

TheFirstCovey is among Edwin Megargee’s most famous works. This quail hunting depiction was published as a print by Brown & Bigelow and made into a high-quality puzzle by Tuco Workshops. A framed copy of the print accompanies the lot. The two dogs pictured were famous

TheBrown & Bigelow print of The First Covey with depictionsofTimbuctooandSportsPeerlessinthe lowerleft (included with lot 166).

field trial winners through the 1930s, with the setter, Sports Peerless, winning the 1935 English Setter Club trial and siring multiple other field trial champions.

Megargee was born in Philadelphia in 1883. He studied atGeorgetown University, the Drexel Art Institute in Philadelphia, and the Art Students League in New York and specialized in paintings of domestic animals and sporting subjects. Many of his sporting dog scenes appeared in Field & Stream and in his portfolio, Gun Dogs at Work.Heisbest known as a leading portrayer of prize-winning gun dogs, including pointers, setters, retrievers, and spaniels. He was friends with A. B. Frost, had his New York studio down the hall from Lynn Bogue Hunt, and went into business with Marguerite Kirmse. He even designed the Greyhound Bus logo.

In 1953, Megargee illustrated the World Book of Dogs,in which he was referred to as “a licensed (and very active) judge of the American Kennel Club and Chairman of its Library Committee. A breeder, judge, and owner of first-class sporting and bench showdogs,hebringsto his paintings and illustrations a thorough knowledge of animal structure, color and authenticity of atmosphere.”

Provenance: Private Collection

Literature: Julie Campbell Tatham and Edwin Megargee, illus., World Book of Dogs, Cleveland, OH, 1953, p. 126.

$8,000 - $12,000

167 Churchill Ettinger (1903-1984)

Pair of Aces signed “Churchill Ettinger” lower right oil on board, 20 by 24 in. titled on back

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

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

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

Provenance: Private Collection, Florida Private Collection, Tennessee Private Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2023, lot 144

$10,000 - $15,000

WALTERMATIA

B. 1953

168 Walter T. Matia (b. 1953) Tom’s Pulpit, 1998 signed “MATIA AP” on base bronze, 43 1/2 by 13 by 24 in.

AP/Edition of 20

Walter Matia is known for the remarkable surface detail in his bronzes. He studied both biology and art design, the influence of which is apparent in his balanced and anatomically correct works. His subjects run the gamut of wildlife from eagles, to bulls, to sporting dogs, such as this life-size turkey. As Tom Davis writes in Sporting Classics, “[Walter Matia] paid his dues, assembled a remarkable body of work, and established himself as a wildlife and sporting sculptor of uncommon perception, imagination and reach.”

One of Matia’s most well-known and viewed subjects, a trio of related lifesize wild turkeys resides at the breathtaking National Wildlife Art Museum in Jackson Hole, Wyoming. Another version graces the grounds at the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin.

$12,000 - $18,000

169 Harry Curieux Adamson (1916-2012) Quail Covey Rising from the Grass signed “Harry Curieux Adamson” lower right oil on canvas, 18 by 28 in.

Harry Adamson was one of the premier bird painters of the last fifty years. He began painting after serving in World War II, selling a painting to the president of Mexico within the first decade of his career. His success continued, and he was honored as the first California Waterfowl Association Artist of the Year, as well as the 1979 Ducks Unlimited Artist of the Year. His works have been included in shows attheSmithsonianAmericanArt Museum, the British Museum, and the Carnegie Museum of Natural History. Admired by his fellow artists, Adamson had a knack for capturing birds in their natural habitats, including the sky.

Often compared to David Maass, Adamson from California produced far fewer works than the noted waterfowl painter from Minnesota. Adamson painted very few bobwhite quail works, making this pinnacle work a rare find.

Provenance: Private Collection

$25,000 - $35,000

PresidentRonaldReagan being presentedwith a Harry Adamsonpaintingofpintailsin1981 inrecognitionfor his workwiththeCalifornia WaterfowlAssociation.Photocourtesy of Diane Inman.

Acorn - Whitetail Deer

signed “Rod

1952)

Set against a backdrop of flooded light and using live models observed directly from the artist’s studio, Acorn is one of the artist’s most important works to date.

$5,000 - $7,000

“FormanyyearsIlivedandpaintedina logcabinonthebanksofabeautifulIndianastreamcalledDeerCreek.Therewas ahugeoaktreenearby.Intheautumnand winter,thedeerwouldfeedonthehundredsofacornsthetreeproduced.Iused towatchthemfromthewindowofmy studio,asightInevertiredof.”

— RodCrossman

170 Rod Crossman (b. 1952)

One of a Kind - Setter signed “Rod Crossman” lower right acrylic on canvas, 24 by 20 in.

Rod Crossman’s work includes a variety of genres and covers a wide artistic spectrum, including sporting art, wildlife art, portraiture, landscape, fantasy, still life, and even abstract realism. He is most interested in experiences of awe and wonder—the magical moments when everything else around us seems bigger and more important while we become smaller and less important.

He is most well known for his sporting art, havingbeen featured in dozens of sporting books, journals, and outdoor magazines, including Gray’s Sporting Journal and Sporting Classics. His work has been included in many national museums and gallery exhibits and collections, such as the Smithsonian, Art Institute of Chicago, American Museum of Flyfishing, High Museum of Art in Atlanta, Georgia, and the New York Museum of Natural History, as well as many others.

$3,000 - $5,000

“Toseeabird dogcatchawhiffofscentcarried onthe breezewasalwaysamomentofaweandwonderforme. This paintingis an attempttoholdontothatmomentand themystery.”

— RodCrossman

A black Lab and a hunter gaze eagerly at a flock of passing ducks as they set out their decoys.

$5,000 - $8,000

Set in a new-growth birch forest, a hunter takes aim at the grouse flushed by his English setter.

$5,000 - $8,000

1813-1901 | SEAFORD, LONG ISLAND, NY

174

174 O’Brien-Johnson Black-Bellied Plover Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 10 in. long

Among Verity plovers, this rotund model with distinguished provenance stands out. The body has a circumference of nearly eleven inches, and it exhibits excellent wing carving and the maker’s classic stippled paint. Original paint with even gunning wear. Some touch-up to small patches of flaked paint, including on left wing edge and top of head.

Provenance: Donal C. O’Brien Jr. Collection

The Johnson Collection, acquired from the above, 2005 Private Collection

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

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

$7,000-$10,000

QUOGUE, LONG ISLAND, NY

175 Golden Plover

John Dilley Quogue, Long Island, NY, c. 1890 11 in. long

A rare and exceptional golden plover with bright spring plumage. The full body is finished with raised S-shaped wing carving. The painted featheringisamongthemost elaborate seen on any shorebird decoy by any maker.

When referring to Dilley shorebirds in AmericanBirdDecoys, Mackey states, “There is no question that the detailed, stylized painting is unsurpassed. They are beautiful examples from the hand of a fastidious workman.” Original paint with light wear, filled crack along right side, and several areas of wear have professional touch-up, including left wing, top of bill, crown, tail edge, and breast.

Provenance: Private Collection

Literature: Ronald Swanson, “The Decoy as Folk Sculpture,” Cranbrook Academy of Art Exhibition Catalog, January 1987, p. 21, fig. 32, related decoy illustrated. Timothy Sieger, The Decoys of Long Island, Water Mills, NY, 2010, p. 47, rigmate illustrated.

$10,000 - $15,000

CHARLES SUMNER BUNN

1865-1952 |

176 Haid Bunn Yellowlegs

Charles Sumner Bunn (1865-1952) Shinnecock,NY,c.1900 12in.long

This carving bears the Alan Haid Collection ink stamp on the underside. The decoy exhibits exceptional carving features from head to tail. Original paint with gunning wear, 1 ¾ inches of bill is replaced.

Provenance: Bud Ward Collection Alan HaidCollection Private Collection

Literature: Alan G. Haid and Brandy S. Culp, The Allure of the Decoy: Historic Charleston Foundation Presents Masterworks from the Collection of Mr. and Mrs. Alan G. Haid, Charleston, SC, 2013, p. 37, exact decoy illustrated.

$12,000 - $18,000

177 Yellowlegs

Charles Sumner Bunn (1865-1952) Shinnecock,NY,c.1900 12in.long

A highly articulated carving with Bunn’s best refined carving detail. Original paint with even gunning wear, some touch-up to bill and head, and professional repair to neck and wing tips. White overpaint along wing edges and bottom have been successfully taken down with minimal traces of white remaining.

$8,000 - $12,000

1874-1940 | SEAFORD, LONG ISLAND, NY

178 RunningYellowlegs

William H. Southard (1874-1940)

Seaford, Long Island, NY, c. 1900 11 1/4 in. long

This racy bird from Seaford has S-curve wings and nice stippled paint. Original paint with even gunning wear, old line-wrap repair to crack in bill, and touch-up to worn spot on crown.

$5,000 - $8,000

179 RunningGreaterYellowlegs

William H. Southard (1874-1940)

Seaford, Long Island, NY, c. 1880 14 1/2 in. long

This reaching carving is more elongated than most. It has incised wing detail and stippled feathering from head totail. Original paint with even gunning wear. Minor spot touch-up to wear in grey, including edge of right wing.

Provenance: Schiller Martin Collection Private Collection

$5,000 - $8,000

180 Richard LaBarre Goodwin (1840-1910)

RichardLaBarre

Wigeon and Teal signed “R LaBarre Goodwin” lower right oil on canvas, 33 1/4 by 24 in.

LaBarreGoodwin”lower 24in.

Albany,New LaBarreGoodwin

painterEdwin

Takingafterhis paintedportraits mort”genre.Most

Born in Albany, New York, Richard LaBarre Goodwin was the son of portrait painter Edwin Wyburn Goodwin. Taking after his father, he painted portraits 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 highly realist style along the lines of Alexander Pope Jr. and George Cope. His most renowned work was Theodore Roosevelt’s Cabin Door, which sold for nearly half a million dollars in 2006 and similarly featured wigeon and teal.

PopeJr.and workwasTheodore painting“trompel’oeil” throughrural westernNew

Goodwin began painting “trompe l’oeil” still lifes during the 1880s, when he spent a decade traveling through rural western New York. In 1890, Goodwin began his itinerant life, first movingto Washington D.C. While there, he found patronage from California senators Leland Stanford (who is best known as the founder of Stanford University) and

LelandStanford knownas thefounderof StanfordUniversity)and

GeorgeHearst

nextsevenyears. 1900,hemoved spendingtheremainder

George Hearst (the millionaire investor who founded 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 the PacificNorthwest.

Connecticut,acquiredfromJames acquiredfrom FineArt

Provenance: Private Collection, Connecticut, acquired from James Graham & Son, New York, New York, 1963 Private Collection, acquired from Copley Fine Art Auctions, The Winter Sale 2011, lot 67

$10,000 - $20,000

183 Stephen Elmer (British, 1717-1796) (attr.)

Trio of Black Grouse, c. 1860 oil on canvas, 25 by 36 in.

Stephen Elmer, based in Farnham, Surrey, was a celebrated painter renowned for his vivid depictions of animals, particularly gamebirds andfish.

$1,000 - $2,000

181 William H. Machen (1832-1911)

Hanging Quail signed “Machen” lower center oil on canvas, 18 by 11 1/4 in.

Known for his finely rendered sporting still lifes, Machen, along with Alexander Pope, R. LaBarre Goodwin, and George Cope, painted some of the finest game paintings of the 19th century.

$1,000 - $2,000

182 William H. Machen (1832-1911)

Hanging Woodcock signed “Machen” lower center oil on canvas, 18 by 11 1/4 in.

$1,000 - $2,000

184 Gerard R. Hardenbergh (1855-1915) RuffedGrousePair,1888

signed and dated “Gerard R. Hardenbergh 1888” lower left pastel, 20 3/4 by 27 1/4 in.

Gerard Rutgers Hardenbergh was born in New Brunswick, New Jersey, in 1856 and descended from early Dutch settlers. He was an early lover of birds and spent significant time on the Jersey Shore, painting in a floating art studio named the Pelican, a houseboat he moored near Bay Head and throughout BarnegatBay. Though self-taught as an artist, Hardenbergh exhibited to acclaim at the Centennial Exhibition in Philadelphia in 1876. He also supplied bird specimens to Princeton University’s biology department. Morven Museum & Garden in Princeton, New Jersey, held the first exhibition on the artist, “In Nature’s Realm: The Art of Gerard Rutgers Hardenbergh,” in 2021. A fine rendering of ruffed grouse by this accomplished artist.

Provenance: Private Collection, acquired from Copley Fine Art Auctions, The Winter Sale 2015, lot 37

$5,000 - $7,000

186 James Henry Beard (1811-1893)

Hunter and Dog, 1874

signed and dated “Ja. H. Beard 1874” lower left oil on canvas, 28 by 36 in.

James Henry Beard was an American painter celebrated forhisvividgenre scenes and especially his lively animal portraits. Largely self-taught, he achieved national recognition and exhibited at the National Academy of Design from 1848 to 1860, as well as at the American Art Union, Brooklyn Art Association, Centennial Exposition of 1876 in Philadelphia, Boston Art Club, Apollo Association, and the SouthernArtUnion.

This work is one of the finest hunting scenes painted by Beard, depicting a stately gentleman with his black-powder side-by-side as he approaches his pointing setter. A woodcock can just be seen hiding in the foreground.

$4,000 - $6,000

185 Sidney Lawrence Brackett (18521910)

Setter and Pointer Resting Fireside signed “Sid L Brackett” lower left oil on canvas, 16 by 20 in.

Sidney Lawrence Brackett was born in Boston and was a student of John B. Johnson and Frederic Porter Vinton. He was a member of the Boston Art Club, where he often exhibited his work. Brackett is famous for his use of detail and realism in his animal portraits.

This fine interior scene by the artist depictstwohuntingdogsbyafireaftera successful hunt, as indicated by the pair of quail and a grouse on the bench.

$5,000 - $8,000

187 Milton C. Weiler (1910-1974)

Third Musquacook Dam Pool,1949 signed “M.C. Weiler” lower right watercolor, 6 3/4 by 10 in.

This work appeared on the front cover and in the introductory pages of Trout Waters and How to Fish Them by Joseph Bates Jr. in 1949.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

Literature: Joseph D. Bates Jr., Trout Waters and How to Fish Them, Boston, MA, 1949, illustrated on cover and intro pages.

$1,000 - $2,000

188 Clark Bronson (1939-2020)

LeapingTrout

signed “Clark Bronson” lower right watercolor, 17 3/4 by 23 3/4 in.

$600 - $900

189 Milton C. Weiler (1910-1974) LeapingBrookTrout

signed “M.C. Weiler” lower right watercolor, 7 1/2 by 7 1/2 in.

A vibrant brook trout leaping at a fly.

$300-$500

190 Arthur Shilstone (b. 1922) August on the River signed “Arthur Shilstone” lower right watercolor, 22 1/2 by 17 1/2 in.

A trout fisherman stands in a calm river, executing a perfect cast. Flowers, perhaps lupine, line the riverside.

Provenance: Private Collection, California

$1,800 - $2,400

191 Jack Murray (1889-1965)

Spinning for Salt Water Game Fish,1957 signed “Jack Murray” lower right watercolor, 8 by 12 in.

This important striped bass fishing work appeared on the coverof Spinning for Salt Water Game Fish by Joseph D. Bates Jr. in 1957 with the note, “The most authoritative and complete book on tackle and tactics of spinning for all salt water game fish. Five years in preparation by America’s foremost spinning authority, this book takes you spinning for the ‘big ones’ and explains in easy terms exactly how novice or expert can enjoy more fun and better success with this sporty angling method.” Depicting two fishermen casting to striped bass and bluefish in the surf. Terns and gulls fill the air in this vibrant coastal scene.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

Literature: Joseph D. Bates Jr., Spinningfor Salt Water Game Fish, Boston, MA, 1957, illustrated on cover.

$400 - $600

192 Jack Murray (1889-1965)

Trout and Tackle, 1954 signed “Jack Murray” lower right watercolor, 7 1/2 by 10 3/4 in.

This work appeared on the cover of Spinning for Fresh Water Game Fish by Joseph Bates Jr. in 1954. Three trout are shown beside two fishing rods, a tackle box filled with lures, and a hat studded with fishing pins. Bates was one of the first authors to write extensively on the advent and use of spinning tackle as early as the 1940s, significantly impacting its proliferation and use for the decades since.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

Literature: Joseph D. Bates Jr., Spinningfor Fresh Water Game Fish, New York, 1954, illustrated on cover.

$400 - $600

193 John Swan (1948-2025)

Mixture No. 79 - Fishing Atlantic Salmon, 1995 signed and dated “John Swan ‘95” lower right watercolor, 12 1/2 by 21 1/2 in.

One of the artist’s most notable and coveted Atlantic salmon fishing watercolors, this work appeared on the dust-jacket cover of Fishing Atlantic Salmon in 1996. Reproduced as a limited-edition print, the first copy accompanies this lot.

John Swan was born and raised in Maine and studied at the University of New Hampshire. In the 1980s, Swan was painting local rural landscapes until he completed a fly-fishing painting that appeared on the cover of Gray’s Sporting Journal. This early success with a sporting scene ensured that hunting and fishing subjects would be an integral part of Swan’s work in the years to come.

Considered one of America’s foremost sporting and wildlife artists, Swan was equally adept in watercolor and oils. His paintings bring to life fishing and hunting trips to places as far afield as the bonefishing meccaofthe Bahamas and Canada’s Gaspe Peninsula. “I paint wherever I can fish,” he admits. The result is a body of spectacularly immediate works set in the world’s premier sporting destinations. Based on firsthandexperience, and often

“en plein air,” Swan’s paintings are imbued with freshness: the energy of a tarpon struggling against the line or the quietude of a hunter’s early dawn preparations.

Among his distinctions are one-man shows at the American Museum of Fly Fishing, the King Gallery, and the Stephen O’Brien Jr. Fine Arts Gallery. His awards include beingnamed Artist of the Year three times by the Atlantic Salmon Federation, the Ducks Unlimited International Artist of the Year in 1987, and the Bonefish & Tarpon Trust Artist of the Year in 2017. He illustrated numerous books, including Joseph Bates Jr.’s classic Atlantic Salmon Fishing and Thomas McGuane’s anthology Live Water

color print, 7 1/4 by 10 1/2 in.

numbered “P/P 1/12” lower left, signed “John Swan” lower center and lower right, remarqued lower center

Provenance: A descendant of Joseph D. Bates Jr.

Literature: Joseph D. Bates Jr. and Pamela Bates, Fishing Atlantic Salmon: The Flies and the Patterns, Mechanicsburg, PA, 1996, illustrated on cover.

$2,000 - $4,000

194 John Swan (1948-2025)

Star Island - Isles of Shoals,1992 signed “John Swan” lower right watercolor, 8 1/2 by 11 3/4 in.

inscribed “Star Island 1992 Sept 13...” upper right

Roughly seven miles off the coastofNew Hampshire, the Isles of Shoals is a small grouping of rocky islands that is primarily home to the historic Oceanic Hotel, a marine research lab, and many oceanic birds. A photo of the artist painting “en plein air” on the Isles of Shoals is attached to the back.

Provenance: A descendant of Joseph D. Bates Jr.

$600 - $900

FLIP PALLOT'S REELS

FlipPallot’s FishingTackle

195 Flip Pallot’s Van Staal Spinning Reel Van Staal Fishing Tackle (1992-Present) Tulsa,OK approximately 6 in. tall

approximately6 in.tall

VanStaalreels areprized

Thecompany regardedfor thestandard surfcastingandoffshore wasowned tothe engraving can desirableexample Invery goodcondition

Van Staal reels are prized for their fully sealed, machined construction, built to endure the most demanding saltwater conditions. The company is widely regarded for setting the standard in high-performance surfcasting and offshore tackle, influencing an entire segment of the sportfishing industry. This example was owned and personally used by fishing legend Flip Pallot. His name is etched to the handle, an intricately engraved tarpon sits below the spool, and a stylized “R” engravingcan be seen on the underside. This unique, very early, and highly desirable example is marked with a serial number of 167. In very good condition with minimal fishing wear.

Provenance: Estate of Flip Pallot

Estateof FlipPallot

$1,000 - $3,000

FlipPallot

anglersaroundthe tothesport.Flip firstworked anglingtelevisionshows onshows like TheAmerican OutdoorLife knownfor

“TheWalker'sCay hehosted for15years, fishingtohomesacross animportant

co-foundingHell’sBay topoutfitterssuch asTibor 196,197), was also a

Flip Pallot (1942-2025) was one of the most celebrated and influential figures in the world of fishing, inspiring generations of anglers around the world through his decades of dedication to the sport. Flip first worked on angling television shows in the early 1990s, appearing onshowslike The American Sportsman, Outdoor Life, and The Saltwater Angler. He became best known for “The Walker's Cay Chronicles,” a series on ESPN that he hosted for 15 years, bringing the thrill of saltwater fly fishing to homes across America. When he wasn’t on TV, Flip played an important role in developing the fishing tackle and boats available today, co-founding Hell’s Bay Boatworks and also consulting for top outfitters such as Tibor (see lots 195, 196, 197), Sage, and Temple Fork Outfitter. He wasalsoa leading voice in conservation,

FlipPallotposeswithayellowfingroupercaught using the VanStaalofferedinlot195.Image courtesy of IGFA.

andworking thewild

landscapesthatFlip inductedintothe legacyas afly.

promoting ethical fishing practices and working to protect fragile ecosystems and preserve the wild landscapes that Flip cherished. Flip was inducted into the IGFA Hall of Fame in 2015, cementing his legacy as one of the most important fishermen to ever cast a fly.

“Flip Pallot’s impact on the sport of fishing is truly immeasurable. Through his guiding, writing, television work, and innovations in boat and tackle design, he inspired countless anglers while elevating the culture of our sport. Beyondhisinfluence in media and industry, Flip was a steadfast voice for conservation, ensuring that the waters he loved would be protected for generations to come.” — Jason Schratwieser, IGFA President

cultureof sport.Beyond his influence

heloved wouldbeprotected come.”— Schratwieser,IGFA

196 Flip Pallot’s Tibor Freestone Reel

Tibor Reel Corporation (1975-Present)

Delray Beach, FL

3 1/4 in. diameter

3/4 in. spool width

A Tibor Freestone from the personal tackle of Flip Pallot, one of the most influential figures in modern saltwater fly fishing. Tibor Reel Corporation, founded by master machinist Ted Juracsik, produces fly reels prized for their robust, fully machined construction and smooth, sealed drag systems suited to demanding saltwater use. The company set an early standard for durability and performance, and remains highly regarded among serious anglers. The Freestone model reels are discontinued and coveted by collectors and fishermen alike. With his signature red handle and personalized nameplate, this reel accompanied Flip Pallotoncountless outings and landed many fish. Intended to fish 5, 6, and 7-weight rods,thisreel would be used to target a variety of salt and freshwater species,orretired to the mantel as an important part of angling history. In good working condition with moderate fishing wear.

Provenance: Estate of Flip Pallot

$1,000 - $3,000

197 Flip Pallot’s Tibor Riptide Tarpon Reel

Tibor Reel Corporation (1975-Present)

Delray Beach, FL

4 in. diameter

1 in. spool width

A Tibor Riptide from the personal tackle of Flip Pallot. This reel features Flip’s signature red handle, his personalized nameplate, and an engraved tarpon. Made for 9, 10, and 11-weight rods, Flip would have used this reel to target a variety of large fish, such as tarpon, permit, and redfish. In good working condition with light fishing wear.

Provenance: Estate of Flip Pallot

$1,000 - $3,000

198 Flip Pallot’s Tibor Prototype Reel

Tibor Reel Corporation (1975-Present)

Delray Beach, FL

5 in. diameter

1 3/8 in. spool width

A Tibor prototype from the personal tackle of Flip Pallot. As a close friend and collaborator of Juracsik, Flip both provided practical insight into the performance demands required of Tibor reels, and rigorously tested them in the field. This large and rare prototype was one such example where Flip likely informed the design, and was then given a reel for testing. With a 5-inch diameter, this reel was likely made to target trophy game fish, such as sailfish, marlin, tuna, and large tarpon. In good working condition with some fishing wear and minor oxidation by handle.

Provenance: Estate of Flip Pallot

$1,000 - $3,000

199 Zane Grey’s South Bend Teaser Prototype

South Bend Bait Company (1906-1964)

South Bend, IN 11 1/4 in. long

A rare South Bend prototype produced for and personally owned by legendary fisherman and author Zane Grey. With blue paint on the back, silver on the belly, and black stripes, this prototype proved effective, as South Bend continued making teasers with the “shadow wave” finish. Original paint with light fishing wear, including light flaking, mostly around head.

Provenance: Zane Grey Tackle Collection

Private Collection

$1,000 - $2,000

200 Zane Grey’s South Bend Oreno-Teaser

South Bend Bait Company (1906-1964)

South Bend, IN 8 in. long

This signature orange Oreno-Teaserwith black and yellow highlights and stenciled lettering was owned by Zane Grey. Original paint with light fishing wear and some flaking.

Provenance: Zane Grey Tackle Collection

Private Collection

$600 - $900

201 Zane Grey’s South Bend Teaser

South Bend Bait Company (1906-1964)

South Bend, IN 11 1/4 in. long

This red and white Zane Grey teaserwith faintly stenciled lettering along the back was owned by Zane Grey. Original paint with moderate fishing wear, crazing, and heavy flaking.

Provenance: Zane Grey Tackle Collection

Private Collection

$600 - $900

202 Edgar Burke Salmon Fly

Edgar Burke (1889-1950) fly is 5 in. long

This grand salmon fly, measuring five inches, was tied by renowned sporting artist Edgar Burke and given to Joseph Bates Jr. The back bears the maker’s name and notes. As found.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

$100 -$300

203 Small Summer Patterns Dressed by Megan Boyd

Megan Boyd (1915-2001)

Brora, Scotland, 1973 plate is 8 1/2 by 10 1/2 in.

Sixteen salmon flies by Megan Boyd from the personal collection of Joseph Bates Jr. Boyd was a master fly tier who is celebrated for her exquisitely crafted patterns, which earned an international following among anglers and collectors. These flies were tied at Bates' request, who

asked Boyd to reproduce Plate IX from T. E. Pryce-Tannatt’s 1914 book How to Dress Salmon Flies. They were then framed by renowned fly framer William Cushner. Asfound.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

Literature: T. E. Pryce-Tannatt, How to Dress Salmon Flies, London, England, 1914, pl. IX, related flies illustrated.

$2,000 - $3,000

Joseph D. Bates Jr.

Joseph D. "Colonel" Bates Jr. (1903–1988) was a Massachusetts angler, prolific writer, and authority on American freshwater fishing whose work has shaped how generations of sportsmen approached the water. He wrote upwards of ten books covering fly fishing for Atlantic salmon, streamer fishing, fly tying, spin fishing, and many

other topics, making technical knowledge accessible to everyday anglers. His research and documentation gave lasting recognition to fly tiers and fishing traditions across the Northeast and beyond. Few writers of his era covered as much ground or left as lasting a mark on the sport.

204 Classic Atlantic Salmon Flies

1973 plate is 13 3/4 by 10 3/4 in.

Fourteen classic salmon flies from the collection of Joseph Bates Jr.. Framed by William Cushner, this plate features flies tied by Megan Boyd, L. A. LaPointe, Burt Carpenter, Harry Darbee, Bessie Brown, Colin Simpson, Jimmie Younger, Rev. E. J. Smith, and Harry Willcox. Asfound.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

$1,000 - $2,000

Joseph“Colonel”BatesJr.posingproudly with a trophy salmon. Photographcourtesyof theBatesfamily.

205 Irish Patterns Dressed by Megan Boyd

Megan Boyd (1915-2001)

Brora, Scotland

1973 plate is 8 1/4 by 10 1/4 in.

Nine salmon flies by Megan Boyd from the personal collection of Joseph Bates Jr.. These flies were tied at Bates' request based on Plate VII from T. E. Pryce-Tannatt’s 1914 book How to Dress Salmon Flies. They were then framed by renowned fly framer William Cushner. Asfound.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

Literature: T. E. Pryce-Tannatt, How to Dress Salmon Flies, London, England, 1914, pl. VII, related flies illustrated.

$2,000 - $3,000

206 “Colonel Bates” Salmon Flies by Five Experts

1973 plate is 7 1/4 by 11 1/2 in.

Ten examples of the notorious “Colonel Bates” salmon fly from the personal collection of Joseph “Colonel” Bates himself. The flies range from 1/2 in. to 3 1/2 in. in length. Three examples are by Magan Boyd, four are by Jimmy Younger, and one each is by Colin Simpson, Belarmino Martines, and Charles DeFeo. Bates’ note on the back reads, “In 1969 Jimmy Younger originated this pattern, taking the idea from the streamer fly of the same name which was originated by Carrie Stevens. I asked four others of the world’s leading experts in classic salmon fly patterns to dress copies, taking instructions from ‘Atlantic Salmon Flies & Fishing’ without havingseen an actual example.” The back of the frame is signed and dated by renowned fly framer William Cushner. Asfound.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

$1,000 - $2,000

207 Sid Bickford (1862-1947)

Trout Pool signed “Sid Bickford” lower right oil on canvas, 36 by 22 in.

This large, early, and exceptional American painting depicts live trout underwater. The vast majority of works by Bickford and fellow piscatorial painter Walter Brackett portrayed fish along the bank; this important oil served as a doorway for future artists Stanley Meltzoff, Mike Stidham, and Mark Sisson.

$4,000 - $6,000

208 Walter M. Brackett (1823-1919) Brook Trout, 1879 signed and dated “W. M. Brackett 1879” lower right oil on canvas, 12 by 20 in.

This masterful still life depicts two trophy brook trout laid upon a grassy bank. An excellent example of one of the artist's most desirable subjects and compositions.

Walter M. Brackett was born in Unity, Maine, in 1823. His brother, Edward, became a well-known sculptor and wasalsotheheadoftheMassachusetts Fish and Game Commission. After a successful turn as a Boston portrait painter—his portrait of scientist Joseph Couthouy is in the

collection of the Boston Athenaeum—Brackett focused on nature studies, particularly game fish. He married Maria Louisa Loring in 1850, and one of his sons, Arthur, also became an artist. In 1898, he was commissioned to repaint the Sacred Cod in the Massachusetts State House. Brackett died in 1919. His obituary notes that he “was an enthusiastic fisherman, and owned a salmon river, the St. Marguerite, near the mouth of the Saguenay, Canada, where he fished and painted salmon for many years.”

$3,000 - $5,000

THE LEGENDS COLLECTION GRAND SLAM

209 The Legends Collection Grand Slam largest is 25 1/2 by 39 in.

Three cases of tarpon, bonefish, and permit flies framed by Yoshi Akiyama, former Deputy Director of the American Museum of Fly Fishing. This outstanding selection displays a total of thirty-five saltwater flies, each mounted with a name plate underneath it. These name plates display the names and signatures of legendary saltwater fishermen, including Flip Pallot, Lefty Kreh, Stu Apte, Tom Evans, Billy Pate, and many others. An outstanding display worthy of any fisherman’s wall. Excellent condition, archivally framed.

$10,000 - $20,000

210 Lynn Bogue Hunt (1878-1960)

Pacific Sailfish Jumping, 1953 signed “Lynn Bogue Hunt” lower right pen and ink, 6 by 11 1/2 in.

This illustration of a leaping sailfish was featured as the heading for chapter four of Fishing the Pacific by S. Kip Farrington Jr. with the title “Pacific Sailfish Jumping in the Perlas Islands.”

Provenance: Literature: S. Kip Farrington Jr., Fishingthe Pacific, New York, NY, 1953, chapter 4, illustrated.

$500 - $800

211 Lynn Bogue Hunt (1878-1960)

Marlin, 1953 watercolor, 12 by 4 1/2 in.

This watercolor was featured on the dust-jacket spine of Fishing the Pacific by S. Kip Farrington Jr.

Provenance: Literature: S. Kip Farrington Jr., Fishingthe Pacific, New York, NY, 1953, illustrated on spine.

$500 - $800

212 Ernest Hemingway Fishing Letter February 11, 1936 signed “Ernest Hemingway” lower right letteris101/2by71/4in.

A rare and important fishing letter written by Ernest Hemingway in response to an inquiry about gaffing big game fish. With graphic detail and precise instructions, Hemingway quickly grabs the reader’s full attention, with his great angling knowledge and enthusiasm on full display. Written in ink at the bottom is “Best luck to you this year; yours always, Ernest Hemingway.” Framedwiththe original envelope sent to James P. McConnaughey of Dayton, Ohio, from Key West, Florida. With mentions of IGFA Hall of Famers Tommy Gifford and Bill Fagen and legendary Pilar captain Carlos Gutierrez, this letter contains details that make it an important piece of fishing history.

Provenance: Literature: Edited by Sandra Spanier, Verna Kale, and Miriam B. Mandel, The Letters of Ernest Hemingway: Volume 6, 1934–1936, Cambridge University Press, 2024, pp. 453 and 454, exact letter reproduced.

$2,000 - $4,000

213 Shark

Wildfowler Decoys Inc. (1958-1961) Quogue, Long Island, NY 12 1/4 in. long, 5 in. tall

Though thousands and thousands of Wildfowler decoy carvings were made, this is the first carving of its type we have had the pleasure of offering.

A half-model shark plaque with a Wildfowler label on the back. Fish model specialist Ronald Swanson selected this exact rare work for his treatise Fish Models, Plaques & Effigies Original paint with light wear, thin chip to back edge of pectoral fin, and a reset dorsal tip.

Provenance: Ronald S. Swanson Collection

Private Collection

Literature: Ronald S. Swanson, Fish Models, Plaques & Effigies, Far Hills, NJ, 2009, p. 106, fig. 167, exact carving illustrated.

$100-$300

214 John Waldo Nash (1862-1919)

Trophy Salmon Painting, c. 1899 signed “J. W. Nash” lower left oil on panel, 14 by 35 in. inscribed “12 lb. Land Locked Salmon Caught by C. W. Fisher May 31 1889 Length 29 ins Girth 19 ins” lower right

John Waldo Nash, better known as Nash of Maine, was one of America’s foremost taxidermists in the late-19th and early-20th centuries. In the 1890s, he operated a two-story workshopinhishometown of Norway, Maine. In 1903, Nash invented and patented “Trout Mezzo,” which was a new way to mount fish skins. He exhibited his work at the Paris World’s Fair in 1900 and the 1915 World’s Fair in San Francisco. Given that the average landlocked salmon measures only sixteen to eighteen inches, this twentynine-inch fish from 1899 was more than worthy of being documented.

$400 - $600

215 Three Creels

Three antique/vintage woven fishing creels. One bears a faint Indian Head stamp for Canadian basket weaver Joseph Knockwood (1939-2023) of Fort Folly, New Brunswick, Canada. Knockwood was a renowned basket weaver and wilderness guide who was known to fish the Miramichi. Asfound.

$600 - $900

216 Joseph P. Hubert Salmon Fly Plates

1979 plates are 11 1/4 by 8 1/4 in.

Plates seven and eight from Joseph Hubert’s coveted book, Salmon - Salmon, With a Chapter on Iceland. This book, privately published in an edition of 100, outlines the history, literature, and techniquesofsalmonfishing. Between the two plates, this lot contains thirty flies dressed by master tiers Ted Godfrey, Belarmino Martinez, and Alex Simpson. Each plate is signed and dated by Hubert on the back. As found.

Provenance: Collection of Joseph P. Hubert

Private Collection

$400 - $600

217 Box of Outstanding Antique Flies largest fly is 2 in. long

A wooden box containing over one hundred freshwater flies for trout.Represented in the box are a wide variety of bugs, including mayflies, dragonflies, bumblebees, stoneflies,

nymphs, midges, and many others. This excellent selection is worthyofacollector’s shelf or the end of a fly line. Asfound.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

$300-$500

218 “Favorite Streamers & Bucktails” by Sam Lehman 1968 watercolors, each page 8 1/4 by 5 1/2 in. book is 8 1/2by 5 3/4 in.

A unique edition of one, this book is entirely handwritten and painted. In the introduction, author, calligrapher, and artist Sam Lehman writes, “This book is an edited compilation of information, material and illustrations from Streamer Fly Tying and Fishing by Joseph D. Bates Jr. Theflypatterns used are the personal selection of Mr. Bates, presented by Plates, in the order of their importance and effectiveness.” Following the introduction pages are thirty-two flies, each individually painted on one page and described on the next. Sam Lehman also collaborated with David Hagerbaumer on the book

SelectedAmericanGameBirds

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

$1,000 - $2,000

OLD TOWN CANOE COMPANY

1903-PRESENT | OLD TOWN, ME

219 The Boy Scouts of America Old Town Canoe c. 1950 42 in. long

As written by Roger Young, this canoe is “a unique Old Town ‘Ojibway’ sample 42” long, made exclusively for the Boy Scouts of America; it hung in their NJ headquarters.” This piece was specially awarded to the Boy Scouts of America by the Old Town Canoe Company in recognition and thanks for their continuous business over many years. While any surviving Old Town sample is rare in its own right, this is the only model made with a silver-painted hull, as all the canoes purchased by the BSA were painted in this same aluminum color. True to the full-size Boy Scout canoes,thismodelhascarved handles on either end and no seats, only thwarts, as scouts were taught to always kneel while paddling. With most Old Town samples being forty-eight inches, this forty-two-inch model may be derived from the Carleton Canoe Company molds acquired byOldTownin1911,furtheraddingtoitsuniqueness.While in Roger Young’s possession, this canoe was featured and discussed in an episode of the TV show Canadian Pickers. A singular artifact of American youth and paddling heritage, this one-of-a-kind Old Town presentation canoe embodies the historic partnership between two of the great icons of the American outdoors. Original paint with light even wear commensurate with age, including very light flaking to some letters and loss to three inches of stem band on one end.

BoyScoutsofAmericapinwiththeir motto,“BePrepared",isincludedwith thislot.

Provenance: Boy Scouts of America Headquarters, New Jersey Private Collection, New Hampshire, acquired through Roger Young Private Collection, New Hampshire

Literature: Roger Young, Little Things That Matter: Collecting Antique Factory Sample Canoes, Ontario, Canada, 2022, p. 79, exact canoe illustrated twice and discussed.

“Eye Spy,”Cash Cowboys (Canadian Pickers),S3E9,CineflixProductions, History Channel, 2012, exact canoe shown and discussed.

$15,000 - $25,000

"It emulates the simple, rugged features and characteristics of the well-known and very familiar Boy Scouts of American canoe. It is a 'collector's dream' in that regard; a true rarity to be treasured for its underlying character and qualities. I will envy its new owner."

— Roger Young, canoe historian and author of Little Things That Matter: Collecting Antique Factory Sample Canoes

PHILIP R. GOODWIN

220 Philip R. Goodwin (1881-1935)

The Spring Drive signed “Philip R. Goodwin” lower right oil on canvas, 27 by 40 in.

This iconic Goodwin masterwork shows loggers running timber down a roaring river in the spring. The figures are big and bold in the foreground with strong jawlines and superbly executed postures. Beyondtherivermen, logs are tossed end-over-end as they pass through a stretch of fast-movingrapids. Despite the frenzy, these professionals are completely at ease in their environment, with the most prominent, sure-footed log driver even mounting a tree to spin it with his hook. This team of loggers represents a jam crew, consisting of only the most skilled rivermen, who were responsible for dislodging “key logs” and preventing log jams.

Goodwin’s detail is impressive in this dynamic scene, even painting a colorful sash, spikes on the soles of boots, and a red and white bandana. While most Goodwin paintings typically depict one or two figures, this ambitious composition contains four men, all of whom exhibit his finest execution. This exceptional painting was reproduced as a print by the R&C Company of New York.

Artistically inclined from a young age, Philip Goodwin began his career at the age of eleven when he sold an illustration to Collier’s magazine. He studied at the Rhode Island School of Design and later at the Art Students League in New York City. To further pursue illustration,

he traveled to Pennsylvania and Delaware to study under famed draftsman Howard Pyle. Pyle insisted that all good illustration came from firsthandknowledge of subjects and encouraged the artist to visit places before depicting them. Goodwin traveled west several times throughout his career, often to visit his friend Charles Russell.

Goodwin earned a living by publishing his works in magazines like Harper’s Monthly, Outing,and Scribner’s His images were also used by Brown & Bigelow for their popular calendars, as well as in advertisements for major firearms dealers. He illustrated books by some of the most celebrated authors of the day, such as Jack London’s Callof the Wild and Theodore Roosevelt’s African Game Trails

Provenance: Bernard A. Fashingbauer Collection Private Collection

Literature: Larry Len Peterson, Philip R. Goodwin: America’s Sporting andWildlifeArtist, Hayden, ID, 2001, p. 326, pl. 4.113, print illustrated.

$200,000 - $400,000

221 George Browne (1918-1958)

Emperor Geese signed “George Browne” lower right oil on board, 24 by 20 in.

Struck down at the age of forty in a tragic shooting accident, George Browne is known to have completed only a few hundred finished works in his lifetime. The thoughtful rendering of his sporting and wildlife scenes suggests a man full of talent and promise. Due to his untimely death, Browne left behind a limited and highly coveted body of work. Following in the footsteps of artists/sportsmen like Frank W. Benson, Carl Clemens Moritz Rungius, and Aiden Lassell Ripley, George Browne painted the waterfowl and upland game birds that he also hunted. Browne is known for his deft handling of paint and his incredible attention to detail.

$2,000 - $4,000

223 Henry McDaniel (1906-2008)

Salmon Fishing signed “Henry McDaniel” lower right watercolor, 14 1/2 by 21 1/4 in.

Henry McDaniel, of Quincy, Massachusetts, was a self-taught artist. His sporting art contemporaries included Ogden Pleissner, Aiden Lassell Ripley, and John Whorf. McDaniel was a respected angler and avid outdoorsman, which enabled him to critically study the landscapes, rivers, and streams he represented in his watercolor paintings.

$1,000 - $2,000

222 Henry McDaniel (1906-2008)

Miramichi Salmon Fishing signed “Henry McDaniel” lower right watercolor, 20 by 28 in.

$2,000 - $4,000

224 Chet Reneson (b. 1934) SpringFlyFishing signed “Reneson” lower left acrylic on board, 21 by 35 in.

Reneson perfectlycaptures the essence of a father and son small stream trout fishing in this bright and intimate oil.

Chet Reneson graduated from the University of Hartford, Connecticut, in 1960. Reneson’s art teacher, Henrik Mayer, emphasized the importance of simplicity and taught the values of light, dark, and strong. This laid the foundation for Reneson’s unmistakable style. For the past fifty years, Reneson’s painting has remained true to his early mentor’s teaching, encompassing many subjects, including wildlife, duck hunting, upland bird shooting, big

game fishing, fly fishing, and Bahamian scenes. Reneson’s work has graced the covers of Sporting Classics, Gray’s Sporting Journal,and SportsAfield, among others. He is a pastmemberoftheConnecticutWatercolor Association and the Old Lyme Art Association. He was the Ducks Unlimited Artist of the Year in 1982, the Atlantic Salmon Federation Artist of the Year in 1982 and 2001, and the Bonefish & Tarpon Trust Artist of the Year in 2018. There are two books published on Reneson’s work, Shadow on the Flats and The Watercolors of Chet Reneson

$5,000 - $8,000

226 Bill Griffith (b. 1944)

Brook Trout Fishing

signed “Griffith” lower right oil on board, 14 3/4 by 20 3/4 in.

In this illustration, a big brook trout leaps from the water with a streamer in its mouth, while a fisherman holds on to a rock for support in the roaring river.

$800 - $1,200

225 DeCourcy L. Taylor (b. 1930)

Leaping Salmon, 1997

signed and dated “DeCourcy L. Taylor © 1997” lower right oil on board, 11 3/4 by 18 1/2 in. signed and dated on back

Reminiscent of Winslow Homer’s leaping brook trout,thesejuvenile salmon soar above the water’s surface to catch hatching mayflies.

Provenance: Joseph D. Bates Jr. Collection, by descent in the family

A descendant of Joseph D. Bates Jr.

$800 - $1,200

227 David A. Footer (1931-2021)

Over Nine - Brook Trout, 2004

signed “© Daniel A. Footer 04” lower left oil on canvas, 24 1/2 by 40 in. titled and inscribed on back

Dave Footer is widely recognized as one of the greatest taxidermists of all time. This Maine legend also produced a small body of original works on canvas, making this rare trophy brook trout painting a rare find.

$1,000 - $2,000

228 Mark A. Susinno (b. 1957)

Brook Trout, 1998 signed and dated “Mark Susinno © 1998” lower right acrylic on linen on panel, 16 by 12 in.

Born and raised in the Washington, D.C., area, Mark Susinno attended the Pratt Institute in New York. Upon graduation with highest honors and a bachelor of fine arts degree in painting in 1979, he went to work as a torch-cutter and truck driver for a scrap metal and dismantling firm in Brooklyn. A two-month-long cross-country road trip led Mark to leave the city for Maryland in 1982, where he continued to engage in artistic pursuits while working at various non-art-related jobs. While working as a fabricator of bulletproof doors, Mark won the 1986 Maryland Trout Stamp contest and decided to concentrate on art professionally. Since then, he has specialized in painting underwater depictions of freshwater and saltwater game fish, scenes of fly fishermen plying their craft, and above- and below-water landscapes, working primarily in oil and acrylic. Along the way, Mark has added twenty more fishing stamps to his list of credits, including the 1991 First-of-State Pennsylvania Trout/Salmon Stamp and the 2004 First-of-State Texas Freshwater Stamp. Since 1987, Mark’s limited-edition prints have been published by Wild Wings. Mark Susinno was the 2022 Featured Artist for the Bonefish & Tarpon Trust.

$2,000 - $4,000

229 Mark A. Susinno (b. 1957)

Atlantic Salmon and Nighthawk, 2012 signed and dated “Mark Susinno 2012” lower right oil on canvas, 26 by 22 in. titled, signed, and dated on back

$2,000 - $4,000

230 Mark A. Susinno (b. 1957)

Leaping Salmon, 1991 signed and dated “Mark A. Susinno © 1991” lower left acrylic on board, 15 1/2 by 15 1/2 in.

A salmon leaps out of the water with a streamer fly in its mouth and beads of water dancing in theair.

$1,000 - $3,000

231 Luke Frazier (b. 1970) Yukon Territory, 2012 signed “L. Frazier” lower right oil on board, 36 by 46 in. signed, titled, and dated on back

This major Frazier painting relates very closely to one of the top works ever sold by the artist, titled Autumn Royalty YukonTerritory features bright blue skies, tall mountains, and vibrant lily pads in the foreground.

As a child, Frazier spent countless hours sketching and sculpting wildlife, demonstrating not only a passionate interest but also an instinctive ability. Later, he received

his formal art training at Utah State University, where he earned a bachelor’s degree in painting and a master’s degree in illustration. Frazier cites the influence of Winslow Homer, Edgar Payne, Bruno Liljefors, Carl Rungius, and Bob Kuhn in his work.

Provenance: Private Collection

$30,000 - $50,000

233 Luke Frazier (b. 1970) CircleofWarmth, 2023

signed and dated “L. Frazier © 23” lower right oil on board, 11 1/4 by 15 1/4 in. signed, titled, and dated on back

This bright and charming fox nestles into powdery snow.

$4,000 - $6,000

232 Luke Frazier (b. 1970) MommaAlwaysKnows signed “L. Frazier” lower right oil on board, 12 by 10 in.

$2,000 - $4,000

234 Luke Frazier (b. 1970) Peek A’ Boo, 2021 signed and dated “L. Frazier © 21” lower right oil on board, 16 by 14 in.

A family of squirrels rendered by Luke Frazier, one of the West’s top wildlife artists.

$4,000 - $6,000

SWEDISH, 1860-1939

235 Bruno Andreas Liljefors (Swedish, 1860-1939) Fox and Hounds, 1930 signed and dated “Bruno Liljefors 1930” lower left oil on canvas, 27 3/4 by 39 1/2 in.

In this grand oil, the artist masterfully combines close observation and fine attention to detail—the foxandthe focused hounds that scale the fence in pursuit—with an atmospheric background. The master painter’s full command is on display with the fox both standing out and yet also blending in with the fiery autumn landscape setting.

One of the world’s most respected wildlife artists, Liljefors paintings are collected worldwide. His finished works rarely hit the marketplace and have climbed as high as $1.3 million at auction. Particularly noted for his fox paintings, this pinnacle work is widely recognized as one of his masterworks.

Born in Uppsala, Sweden, in 1860, Liljefors spent much of his childhood outside in nature before undertaking his art training at the Academy of Arts in Stockholm and continuing to study painting in Düsseldorf, Germany. He returned to Sweden for the remainder of his career, where he became known as one of the world’s leading wildlife artists and one of the most prominent natural history painters of the turn of the last century.

Liljefors is a major figure in Sweden. Today his works can be found in the National Museum of Wildlife Art in Jackson, Wyoming, and the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, as well as in Sweden at the Thiel

Gallery and National Museum in Stockholm, and the Gothenburg Museum of Art which notes, “Bruno Liljefors was fascinated by the fox in its capacity of an intelligent and agile predator,” and has a fox hunting work by the artist in its collection.

Foxes feature frequently in the artist’s paintings. Indeed, in 1933, another of his fox scenes from 1930 was exhibited at the Carnegie Institute in Pittsburgh, Pennsylvania. The Petit Palais Museum in Paris, France, held a retrospective on Liljefors in 2024-2025, in which he was described as “an astute observer, [who] captured real family of foxes lurking in the woods or hares darting through the snow.”

The Museum continues, “In Liljefors’ universe, animals, plants, insects, and birds were all part of a larger whole, each with a specific role to play. At a time when the preservation of biodiversity has become a major issue, Liljefors, beyondhisrole as champion of Swedish nature, invites viewers to better observe the entire living world of which we are a part.”

Provenance: Jill Newhouse Gallery, New York, New York Private Collection, New Jersey, acquired from the above c. 1998

Exhibited:NewYork,RedFoxFineArt, TheWinterShow, Park Avenue Armory, January 2024.

$150,000 - $250,000

EWOUD DE GROOT

236 Ewoud de Groot (b. 1969)

deGroot(b. 1969)

Snowy Owl, 2026

signed “Ewoud” lower right oil on linen, 39 1/4 by 59 in.

59in. oftenbeen

Considered one of the top wildlife painters today, de Groot’s innovative painting style has often been copied, but remains unequaled. Particularly celebrated for dynamic paintings of birds of prey, this thundering owl work hits on all cylinders!

paintingsofbirds ofprey, owlwork allcylinders.

$8,000 - $12,000

237 Ewoud de Groot (b. 1969) Egret, 2026

deGroot(b. lowerleft

signed “Ewoud” lower left oil on linen, 39 1/4 by 39 1/4 in.

deGrootlives andworks villagein theNorthern Afterreceiving adegree theMinerva AcademyofArt, illustrating naturebooks His strivesto abstract,the

exercisein workis anongoing color,and found naturalworld.

Ewoud de Groot lives and works in Egmond aan Zee, a coastal village in the Northern Netherlands. After receiving a degree in illustration and painting from the Minerva Academy of Art, he began illustrating nature books for a period before pursuing painting full-time in 1999. Today, de Groot is recognized as a rising star in wildlife painting, bringing a truly unique perspective to the genre. His work strives to find both a balance and a tension between the representational and the abstract, the traditional and the contemporary. For de Groot, painting wildlife is not an exercise in rendering all the exact details. Instead, his work is an ongoing experiment of composition, color, and technique, concerned with conveying a sense of mood and atmosphere found in the natural world.

$8,000 - $12,000

238 Ewoud de Groot (b. 1969)

deGroot(b.

PintailsResting,2026

signed “Ewoud” lower right oil on linen, 31 1/2 by 31 1/2 in.

Pintails Resting 311/2in.

“My techniqueisbasedontheprincipleofpainting in layers, using cold blueish-greys and warm brownish-greys. This delicate balance ensures that they complement and enhance each other. I start a painting by sketching with big brushstrokes and using the palette knife to look for the right composition, not allowing myself to be distracted by specifics. Once the form of the painting has been established, then I begin to work on the birds or a particular detail of the bird(s) themselves.” - Ewoud de Groot

“My technique is based on the principle of painting in layers, using cold blueish-greysand warm brownish-greys.Thisdelicatebalance ensuresthat they complement and enhanceeach other.Istart a paintingby sketching with big brushstrokesand using the paletteknife to look for the right composition, not allowing myself tobedistracted by specifics. Once the form of the painting has been established, then I begin to work on the birds or a particular detail of the bird(s)themselves.” —Ewoud deGroot

$8,000 - $12,000

239 Clyde Aspevig (b. 1951)

ShirleyLake signed “C. Aspevig” lower right oil on canvas, 20 by 24 in. titled on Cincinnati Art Galleries and Cincinnati Museum Center labels on back

Aspevig was born in Montana and has been inspired by the landscape since the beginning. His paintings of the American West are “evocations of places that he perceives as already disappearing during his own lifetime, subjects worthy of both artistic and societal preservation.” In his paintings, he intends to “create something beautiful and harmonic. While subject matter is of prime consideration, further contemplation of the painting eventually

yields its subtle nuances of texture and rhythm. His paintings possess qualities meant to outlast the viewer’s initial infatuation, qualities that will endure well into succeeding generations.” In 2013, he received the Edgar Payne Award from the California Art Club for Best Landscape, in addition to other honors, such as the Prix de West in 1997 and multiple awards from the Autry National Center in California.

$5,000 - $8,000

240 Brett James Smith (b. 1958)

November Dawn signed “Brett J Smith” lower right oil on canvas, 20 by 24 in. signed and titled on back

In this oil, flight birds fill the early morning sky; the eager duck huntersquicklysetout theirdecoys.

$6,000 - $9,000

241 Brett James Smith (b. 1958)

Grass Blind, 1998

signed “Brett J. Smth” lower left watercolor, 17 1/4 by 28 1/2 in.

signed and titled on artist’s label on back

Two duck hunters set out their decoys as birds pass by in the distance.

Provenance: Thomas W. Sheppard Collection

Curt Mettam Collection

$3,000 - $5,000

BRETT JAMES SMITH

243 Brett James Smith (b. 1958)

Flushed From Cover - Woodcock signed “Brett J Smith” lower left oil on canvas,14 by 18 in. signed and titled on back

Similar to the previous lot, Smith displays his mastery in depicting Fall foliage, upland scenes, and flushing game, this time with a woodcock.

$3,000 - $5,000

242 Brett James Smith (b. 1958)

Flushed From Cover - Grouse signed “Brett J Smith” lower left oil on canvas, 14 by 18 in. signed and titled on back

An excellent autumn hunting scene painted in rich golds and fiery reds, capturing a hunter mid-shot alongside hisEnglishSetter.

$3,000 - $5,000

244 Pheasant Pair

Wendell Gilley (1904-1983)

Southwest Harbor, ME, 1975 14 3/4 in. base, 12 in. rooster

A pair of one-third-size pheasants on a presentation base. The underside is signed, dated, and ink-stamped by Gilley. Original paint with light wear.

$2,000 - $3,000

245 Frank DiVita (b. 1949)

EarlySnow

signed and numbered “F DiVita 42/50” on base

bronze, 12 1/2 by 21 1/2 by 11 3/4 in.

edition 42 of 50

A colorfully patinated bronze of a pheasant in a cornfield.

$1,500 - $2,500

246 Jim Foote (1925-2004)

WoodcockinLeaves

signed and numbered “Jim Foote 6/15” on base

bronze, 7 by 10 by 6 1/2 in.

edition 6 of 15

$1,000 - $2,000

BRETT JAMES SMITH

and titled on back

$3,000 - $5,000

A serene fly fishing scene with lush greens, dappled sunlight, and a solitary angler wading a rocky woodlandstream.

$3,000 - $5,000

249 Manfred Schatz (German, 1925-2004)

Three Pheasants signed“M. Schatz” lower left oil on canvas, 15 1/2 by 23 1/4 in.

A pheasant is captured the moment it begins to take flight in a snowy landscape.

Provenance: Private Collection, Colorado

$3,000 - $5,000

250 Manfred Schatz (German, 1925-2004) Mallards signed “M. Schatz” lower left oil on canvas, 19 by 27 1/4 in.

Provenance: Private Collection, Colorado

$3,000 - $5,000

Shorebirds from the Estate of Henry Bishop

By Chelsie Olney

Throughout his life, Henry I. Bishop (1942–2025) possessed tremendous energy and focus which he directed toward his passions, namely collecting, fishing, and hunting. When he identified something he was interested in, such as Kentucky rifles and later shorebird decoys, Bishop learned about it with steadfast determination, searching for and then absorbing as much information as possible. As a result of his penchant for research, this born collector developed an informed and keen eye in his various collecting fields.

In addition to his bright mind and thirst for learning, Bishop was a skilled craftsman. In a high school woodworking class, he carved a replica of a Revolutionary War-era Kentucky rifle, also known as an American Longrifle,whichhisson,Aaron, later used to hunt deer. His enthusiasm for these flintlock muzzle-loading firearms propelled him to become an expert in the field and collect some of the top examples. In particular, Bishop became an authority on master gunsmith Johannes “John” Bonewitz (1758–1828), and is credited with discovering his homestead and grave site in Womelsdorf, Pennsylvania. He also penned a series of three articles on

three Revolutionary War-era master gunsmiths for the Kentucky Rifle Association (KRA) as part of the 2017 “Hub of the Tulpenhocken – Womelsdorf” seminar.

A passionate educator, Bishop formed the Kentucky Rifle Foundation to teach the younger generation about the gunsusedduringtheRevolutionary War. In 2007 Henry Bishop was honored with the KRA's “Distinguished Service Award” in recognition of his dedication to sharing information about Revolutionary War weaponry. The antique rifle community is fortunate that Bishop researched and cataloged so much of its history over the decades. By documenting his discoveries, Bishop has preserved a part of gunsmithing’s past that might otherwise have been lost.

Bishop brought the same meticulous focus to shorebird collecting that he did to Kentucky long rifles. In the 1980s he and Elaine, his wife of fifty-seven years, moved to Atlanta, Georgia, where he purchased and ran a saltwater tackle shop called Great Atlanta Boating Supply. It was during this time in Atlanta that Bishop met and became good friends with legendary decoy collector Dr. Peter J. Muller Jr. In addition to duck hunting together, Bishop asked Muller to view the carvings he had acquired over the years. Muller summarily told him that his collection was “firewood” and became Bishop’s collecting mentor. An enduring friendship developed as the two attended auctions together and discussed carvings at length, thus explaining the remarkable overlap of the two decoy collections.

Bishop’s obsession with obtaining accurate detailed information when pursuing his passions led to him being a stickler for condition and provenance when it came to shorebird decoy collecting. As a result, virtually every example in his collection is first rate. The Muller and Bishop collections are known for their near-mint birds by top makers, including Elmer Crowell, Joseph Lincoln, the Webster Family, the Folger Family, George Boyd, the Fox Rig, Obediah Verity, William Southard, Thomas Gelston, Charles Sumner Bunn, Dan Lake Leeds, Harry V. Shourds, and the Mason Decoy Factory. Many of the carvings that Bishop acquired came from top collectors, such as Dr. James McCleery, Donal C. O’Brien Jr, William J. Mackey Jr., Dr. Peter Muller Jr., John Hillman, and Alan Haid, among others.

1813-1901|SEAFORD,LONGISLAND,NY

"Another delicacy...was a sand 'peep' pie. It took scores and scores of the tiny sandpipers to make one pie... only the breast meat was used... The sandpiper is protected by law nowadays and so 'peep pie' is no longer on the gunners' bill of fare."

— Joseph C. Lincoln, Cape Cod Yesterdays, 1935

251 RunningSanderling Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 8 1/2 in. long

This racy Seaford peep with excellent provenance features carved eyes, deeply cut raised wing carving, and tight red and black stippling. Original paint with light wear and slight drip on right shoulder.

Provenance: Bud Ward Collection Henry Bishop Collection, acquired from the above, 1989

Literature: Adele Earnest, Folk Art in America, Exton, PA, 1984, p. 163, bottom image, rigmate peep illustrated.

$6,000 - $9,000

252 RunningYellowlegs

William H. Southard (1874-1940)

Seaford, Long Island, NY, c. 1890 12in.long

This decoy was acquired by Dr. Muller from legendary Long Island dealer and collector Bud Ward.

This exemplary bird features carved eyes, a splined bill, and deeply cut, raised wing carving. The bird was finished with tight stippled paint that covers it from top to bottom and tip to tail. The underside has the Muller Collection stamp. Original paint with minor gunning wear, replaced bill.

Provenance: Bud Ward Collection Dr. Peter J. Muller Jr. Collection Henry Bishop Collection

Literature: Richard A. Bourne Co., Inc., Very Rare and Important American Bird Decoys from the Collection of the late William J. Mackey Jr. of Belford, New Jersey, Hyannis, MA, 1973, Session I & II, lot 336, related example illustrated. Timothy Sieger, TheDecoysofLongIsland, Water Mills, NY, 2010, p. 37, similar example illustrated.

Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 103, similar decoy illustrated.

William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 102, pl. 86, similar decoy illustrated.

$4,500 - $6,500

253 RunningYellowlegs

SmithClinton Verity (1845-1920)

Seaford, Long Island, NY, c. 1880 11 in. long

A rare running yellowlegs with raised wings. The well-preserved paint features tight stippling and an appealing craquelure. Bud Ward attributed the incised “W” on the underside to the gunning rig of Willard Verity, Smith Clinton’s son. A nearly identical rigmate carving hailed from the Bud Ward and Dr. Peter J. Muller Jr. Collections. Original paint with even gunning wear, tight knot line on right wing. Replaced bill and slightly lifted grain on back of head.

Provenance: Willard Verity Rig (attr.)

Henry Bishop Collection

$3,000 - $5,000

254 Yellowlegs

Harry V. Shourds (1861-1920)

Tuckerton, NJ, c. 1900 10 1/4 in. long

This decoy, along with its rigmates, is celebrated for its snow-white plumage and impeccable condition. Longtime decoy dealer Russ Goldberger describes this exact bird “as fine an example as exists!” Excellent original paint with minimal wear.

Provenance: Private Collection, Florida Henry Bishop Collection

Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 66, pl. 113 and dust jacket, similar decoy illustrated.

Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, dust jacket, similar decoys illustrated.

$2,500 - $3,500

255 Yellowlegs

Harry V. Shourds (1861-1920)

Tuckerton, NJ, c. 1900 10 3/4 in. long

This carving has clean lines and fine feather stippling on the back. Original paint with light wear.

Provenance: Lloyd Johnson Collection Henry Bishop Collection

Literature: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 178, pl. 430, exact decoy illustrated.

$2,500 - $3,500

256 RareRuddyTurnstone

Harry V. Shourds (1861-1920) (attr.)

Tuckerton,NJ,c.1880 8 1/2 in. long

This rare Hillman Collection decoy was identified and purchased by Dave Campbell and retains the “Hillman Collection” ink stamp on the underside of the small body. Original paint with some old overpaint and touch-up to gunning wear.

Provenance: John Hillman Collection Dave Campbell Collection Private Collection

Literature: Guyette and Schmidt, ImportantAuction of Rare Waterfowl Decoys from the Collection of John Hillman, April 25 & 26, 1996, St. Charles, IL, 1996, p. 67, lot247, exact decoy illustrated.

$6,000 - $9,00

MASON DECOY FACTORY

| DETROIT, MI

257 Red Knot

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1910 10 1/2 in. long

The bright red paint on this carving is meant to mimicthespringplumageofthislong-haulmigratory species. Original paint with light gunning wear.

Provenance: Henry Bishop Collection

$4,000 - $6,000

258 Long-Billed Dowitcher

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1905 11 in. long

A rare glass-eye, long-billed dowitcher with strong paint and tight stippled feathering. Original paint with light gunning wear and hairline factory crack on right side.

Provenance: Henry Bishop Collection

$2,500 - $3,500

259 Dove Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1920 11 in. long

A rare early glass-eye decoy with tight stippling and a long tail. Original paint with light gunning wear and original knot lifted on left shoulder.

Provenance: Henry Bishop Collection

$1,000 - $2,000

260 Black-Bellied Plover

John Thomas Wilson (1863-1940)

Ipswich, MA, c. 1890 12in.long

An elaborate shorebird decoy from a rig that folk art collector and historian Nina Fletcher Little purchased in the early 1950s. Little is credited with identifying these birds as Wilsons. Original paint with light wear including some flaking behind the stick hole. Bill may be restored.

Literature: Richard A. Bourne Co., Inc., Rare American Decoys, Bird Carvings & Related Materials, Hyannis, MA, July 11 & 12, 1978, lot 681, rigmate illustrated. Decoy Magazine,September/October1989,coverandp. 25, rigmate illustrated.

$2,000 - $3,000

261 WilletPair

CharlesW.Thomas(b.1875)

Assinippi, MA, c. 1900 14in.long

A rigmate pair with clean lines and raised wings. Original paint with gunning wear and black overpaint to bills and eyes.

Provenance: Estate of Malcolm M. McAlpin

Private Collection

$2,000 - $3,000

262 Starr-O’Brien Eskimo Curlew

Chatham, Cape Cod, MA, c. 1880 12 1/4 in. long

A very hollow shorebird with a scribe-line body seam that turns upward to resolve above the tail. The underside has the O’Brien Collection ink stamp. Old working repaint with gunning wear and restoration, mostly along body seam.

Provenance: Dr. George Ross Starr Jr. Collection

Donal C. O’Brien Jr. Collection

Private Collection

Literature: George Ross Starr Jr., M.D., Decoys of the AtlanticFlyway, New York, NY, 1974, p. 97, fig. 42, exact decoy illustrated.

Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 158, exact decoy illustrated.

$2,000 - $3,000

Blue-WingedTeal

263 Blue-Winged Teal Pair

H.McIntosh(1953-2007) Woodville,NY in.long

Leo H. McIntosh (1953-2007) Woodville, NY 12 1/2 in. long

Eachis

266 Gadwall

(b.1970)

Each is branded by the maker and numbered. Original paint with minor wear.

Estateof

Provenance: Estate of Edwin Schultz

$1,000 - $2,000

264 Black Duck

H.McIntosh(1953-2007) Woodville,NY

Leo H. McIntosh (1953-2007) Woodville, NY 17 1/2 in.

swimmer has an open bill and the maker’s

This swimmerhasanopenbillandthemaker’s signature brand on the underside. Original paint with light wear.

Estateof

Provenance: Estate of Edwin Schultz

$800 - $1,200

265 Black Duck

W.Nichol Smith Falls,

Davey W. Nichol (1890-1977) SmithFalls, Ontario, Canada, c. 1940 16 1/4 in. long

Arareandrefinedhollowdecoywithaturnedandsnuggled head, featuring excellent paint and an inlaid bottomboard. Original paint with light gunning wear.

Estateof

Provenance: Estate of Edwin Schultz

$800 - $1,200

Jason Lucio (b. 1970) Ontario,Canada,1995 14in.long

Ontario, Canada,1995

Jason Lucio began carving at age fourteen and comes from a family of accomplished carvers. Lucio is a two-time World Champion in the decorative decoy pairs competition, winning in 2003 and 2004, and his work ranges from waterfowl to a broader variety of wildfowl subjects. He is also active as a judge and leader in the competitive carving community.

Luciobegan fourteenandcomes decorativedecoy workrangesfrom waterfowltoabroader varietyof alsoactive

exceptionaldecorative representingone waterfowlto

This exceptional decorative excels at representing one of the most challenging waterfowl to paint. As found in original paint with minimal wear.

$1,000 - $2,000

267 Wood Duck

(b.1970)

Ontario,Canada,2000 in.long

Jason Lucio (b. 1970) Ontario, Canada, 2000 12 1/2 in. long

A highly refined decorative by a World Champion carver, signed and dated on the underside. As found in original paint with minimal wear.

$1,000 - $2,000

268 Wigeon

Jason Lucio (b. 1970) Ontario,Canada,1997 14 1/4 in. long

Ahighly anddated withminimal (b.1970) Ontario, Canada,1997 in.long

A highly refined decorative by a World Champion carver, signed and dated on the underside. As found in original paint with minimal wear and darkening to miniscule chip at tail tip.

Ahighly anddated withminimal

$1,000 - $2,000

270 Kenneth Smallwood (20th Century)

Sunburst at Ebbtide Canvasbacks,1972

signed “Smallwood” lower right oil on canvas, 24 by 30 inches titled and dated on label on back

$1,500 - $2,500

269 RichardW.Plasschaert(1941-2026)

Flying Pheasants signed “Plasschaert” lower right oil on board, 24 by 36 in.

Richard Plasschaert was a hardworking artist born to an army family in Minnesota in 1941. His family moved often, but he graduated from high school where he was born, in New Ulm. After marrying his high school sweetheart, Mary, he pursued a career as an artist while paying the bills with jobs in the Minnesota National Guard and with Brown Printing in Waseca, MN. In 1980, he won the Federal Duck Stamp competition, and over the years, he created many state and national conservation stamps. Plasschaert was named Ducks Unlimited Artist of the Year in 2001. He died earlier this year in Waseca, MN.

$1,500 - $2,500

271 Eldridge Hardie (1940-2021) Mallards,1983

signed “Hardie” lower right watercolor, 8 by 10 in. signed, titled, and dated on back

$800 - $1,200

272 EdwardVonSieboldDingle(1893-1975)

Bufflehead Pair

signed “Edward S. Dingle” lower right watercolor, 10 by 10 in.

$200 - $400

273 Lanford Monroe (1950-2000)

Fox Hunters at Fence Gate, 1972 signed and dated “Lanford ‘72” lower left pen and ink, 8 by 11 in.

Lanford Monroe was a noted wildlife and landscape painter who journeyed throughout the country painting in watercolor and oil. She is known for her depictions of atmospheric and ethereal landscape settings. Monroe’s work can be found in the permanent collections of the Denver Art Museum, the Massachusetts Audubon Society, and other museums and private collections. In addition, the National Museum of Wildlife Art in Jackson Hole, Wyoming, runs the Lanford Monroe Memorial Artist-in-Residence Program in hermemory.

This drawing depicts hunters on horseback as they pass through a gate, presumably in pursuit of game.

The sale of this work benefits the Western South Dakota Catholic Foundation.

$1,000 - $1,500

274 Lanford Monroe (1950-2000)

Leaping the Hedge, 1972 signed and dated “Lanford ‘72” lower right pen and ink, 8 by 11 in.

Depicting four horses as they leap dramatically over a hedge.

The sale of this work benefits the Western South Dakota Catholic Foundation.

$1,000 - $1,500

275 Lanford Monroe (1950-2000)

Hunters with Hounds, 1972 signed and dated “Lanford ‘72” lower right pen and ink, 8 by 11 in.

Depicting a large groupoffoxhounds followed by hunters on horseback.

The sale of this work benefits the Western South Dakota Catholic Foundation.

$1,000 - $1,500

276 Lanford Monroe (1950-2000)

Hunters Leaping a Stream, 1972 signed and dated “Lanford ‘72” lower center pen and ink, 8 by 11 in.

Depicting three horses and riders as they leapoverastream.

The sale of this work benefits the Western South Dakota Catholic Foundation.

$1,000 - $1,500

277 Lanford Monroe (1950-2000)

Fox Hunting, 1972 signed and dated “Lanford ‘72” lower right pen and ink, 8 by 11 in.

Fox hunters on horseback follow a group of hounds along a ridge.

The sale of this work benefits the Western South Dakota Catholic Foundation.

$1,000 - $1,500

278 Lanford Monroe (1950-2000)

Hunters on Horseback, 1972 signed and dated “Lanford ‘72” lower right pen and ink, 8 by 11 in.

Fox hunters on horseback appear to be in hot pursuit of game.

The sale of this work benefits the Western South Dakota Catholic Foundation.

$1,000 - $1,500

279 Frank W. Benson (1862-1951)

Woodcock, 1930

signed “Frank W. Benson” lower left drypoint, 12 by 9 3/4 in.

Paff #292, edition of 150

One of Benson's most popular large plate upland drypoints.

$1,000 - $2,000

280 Frank W. Benson (1862-1951)

OldTom,1926

signed “Frank Benson” lower left etching, 14 3/4 by 9 3/4 in.

Paff #246, edition of 150

Along with The Gunner, Winter Wildfowler, and Marsh Gunner, Old Tom is considered one of Benson’s “Big Four” huntingportraits.Theoriginalwatercolor for this important Benson subject hangs in Boston’s Museum of Fine Arts.

$2,000 - $3,000

FRANK W. BENSON

281 Frank W. Benson (1862-1951) Salmon, 1922

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

Paff #212, edition of 63

$1,000 - $1,500

282 Frank W. Benson (1862-1951) Harbor,1918

signed “Frank W. Benson” lower left etching, 4 by 6 in.

Paff #148, edition of 150

$600 - $900

283 Frank W. Benson (1862-1951)

Two Prints (one shown) each signed “Frank W. Benson” lower left

The Mirror,1916

drypoint, 6 by 7 7/8 in.

Paff #94, edition 32 of 45 numbered lower right

Reflections, 1920 drypoint, 5 by 8 in.

Paff #197, edition of 56

$600 - $900

284 Frank W. Benson (1862-1951)

Two Etchings (one shown) each signed “Frank W. Benson” lower right

The Sheldrake’s Brood,1926

Paff #258, edition of 150 4 1/4 by 5 3/4 in.

Sheldrake,1917

Paff #126, edition of 150 6 3/4 by 10 3/4 in.

$400 - $600

285 Frank W. Benson (1862-1951)

The Gunners’ Blind, 1921

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

Paff #204, edition of 150

$800 - $1,200

286 Frank W. Benson (1862-1951)

ThePunter, 1927

signed “Frank W. Benson” lower left etching, 7 3/4 by 11 3/4 in.

Paff #273, edition of 150

$800 - $1,200

287 Frank W. Benson (1862-1951) Off Pea Island, 1921

signed “Frank W. Benson” lower left etching, 7 by 10 3/4 in.

Paff #206, edition of 150

$600 - $900

288 Frank W. Benson (1862-1951) Dusk,1914

signed “Frank W. Benson” lower left etching, 9 1/4 by 11 in.

Paff #34, edition 26 of 50 numbered lower right

$1,000 - $2,000

FRANK W. BENSON

289 Frank W. Benson (1862-1951)

289 FrankW.Benson (1862-1951)

SwanFlightTriptych,1915

SwanFlight Triptych, 1915

Number VII of the American Wildfowl Plates series produced by the Elson Art Publication Co., Boston, MA print, edition of 100, numbered 21, 29, and 47 prints are 16 by 11, 16 by 22, and 16 by 11 in.

Number VII of the American Wildfowl Plates seriesproduced by the Elson Art Publication Co., Boston, MA print, edition of 100, numbered21, 29,and47 prints are 16 by 11, 16by 22, and 16 by11in.

“Each of the three prints has compositional integrity independent of the other two, but the three prints were designed to be framed side-by-side to form a striking picture nearly four feet wide,” according to Ordeman.

“Each of the three prints hascompositional integrity independent of the other two, but the three prints were designed tobeframedside-by-side to form a striking picturenearly four feet wide,”according toOrdeman.

Provenance: Literature: John T. Ordeman, Frank W. Benson: Etchings, Drypoints, Lithographs and Prints, Prescott, WI, 2012, p. 486.

Provenance: Literature:JohnT.Ordeman, Frank W. Benson: Etchings, Drypoints, Lithographs and Prints, Prescott, WI, 2012, p.486.

$2,000 - $3,000

$2,000 - $3,000

290 Frank W. Benson (1862-1951)

290 Frank W.Benson (1862-1951)

Snowy Herons, 1917

signed “Frank W. Benson” lower left etching,5by4in.

Snowy Herons,1917 signed “Frank W. Benson” lower left etching, 5 by 4 in. Paff #118, edition 51 of 150 numbered lower right

Paff #118, edition 51 of 150 numberedlower right

$1,000 - $2,000

$1,000 - $2,000

291 FrankW.Benson (1862-1951)

Yellowlegs No. 3, 1923

signed “Frank W. Benson” lower left etching, 7 3/4 by 6 in.

291 Frank W. Benson (1862-1951) Yellowlegs No. 3, 1923 signed “Frank W. Benson” lower left etching, 7 3/4 by 6 in. Paff #224, edition of 150

Paff #224, edition of 150

$500 - $700

$500- $700

292 Richard E. Bishop (1887-1975) Honkers, 1943

signed “Richard E. Bishop” lower right drypoint, 10 by 13 1/4 in.

titled lower left edition of 100

$500 - $700

293 Richard E. Bishop (1887-1975) Greenheads, 1939

signed “Richard E. Bishop” lower right drypoint, 10 1/4 by 13 3/4 in. titled lower left edition of 75

$500 - $700

294 Richard E. Bishop (1887-1975)

Along the Mississippi, 1944

signed “Richard E. Bishop” lower right drypoint, 10 3/4 by 13 3/4 in.

titled lower left edition of 100

$500 - $700

295 Richard E. Bishop (1887-1975) Air Hole, 1945

signed “Richard E. Bishop” lower right drypoint, 12 by 10 in. titled lower left edition of 100

$500 - $700

296 Richard E. Bishop (1887-1975)

Timberdoodle, 1942

signed “Richard E. Bishop” lower right drypoint, 7 3/4 by 5 1/2 in.

titled lower left

$500 - $700

297 Richard E. Bishop (1887-1975)

Two Etchings (one shown) each signed “Richard E. Bishop” lower right each titled lower left

UpandOn, 1940 9 by 11 1/2 in.

inscribed “To Help Wilkie Win” in margins, this etching of mallards was used to raise funds for Presidential candidate Wendell Wilkie

BlacksandGreenheads, 1944 10by12in. edition of 100

$600 - $900

298 Richard E. Bishop (1887-1975)

Lake Erie Mallards, 1938

signed “Richard E. Bishop” lower right drypoint, 13 1/4 by 11 in.

titled lower left edition of 75

$500 - $700

299 Richard E. Bishop (1887-1975)

Three Pintails, 1939

signed “Richard E. Bishop” lower right drypoint, 10 by 12 1/2 in. titled lower left edition of 75

$500 - $700

THE SPORTING SALE 2026

LOTS300-632

DAY2| JULY 10 |10AM

Additional images for each lot are available through the online bidding platforms and should be viewed as a part of each object’s description and condition.

300 Swan

Robert “Bob” White (b. 1939)

Tullytown, PA, 1985

33 in. long

An exceedingly rare Delaware River swan with a hollow body and high turned head. The maker’s signature and date are inked on the underside. This decoy brings to mind the virtual absence of swans by any known makers from the region that predate this example. Original paint with light wear and a small ding in back.

Literature: Harrison Huster and Doug Knight, Floating Sculpture: The Decoys of the Delaware River, Spanish Fork, UT, 1982, no swans illustrated. Guyette and Schmidt, NorthAmericanDecoysat Auction, November 10 & 11, 2010, Easton, MD, p. 141, lot 150, exact decoy illustrated.

$7,000-$10,000

301 Rare Loon

Robert “Bob” White (b. 1939)

Tullytown, PA, 1984

21 1/4 in. long

This decoy retains its triangular “R White Decoy” lead weight, brass plaque, and is signed on the bottom. It is noted as his first loon in pen on the underside. Original paint with light wear and thin chip to bill.

Provenance: Estate of Edwin Schultz

$1,000 - $2,000

302 Cross-Wing Mallard Pair

Robert “Bob” White (b. 1939)

Tullytown, PA, 1995 17in.long

This pair features rarely seen crossed and raised wing-tip by the maker. The drake also has a curl feather. Both are signed, dated, andhavethetriangularbobwhitequail weights. Original paint with light wear.

Provenance: Pasquale “Babe” Sabatini Collection

$1,200 - $1,800

303 Preening Mallard Drake

Robert “Bob” White (b. 1939)

Tullytown,PA 17 1/4 in. long

A large decoy with the maker’s signature triangular bobwhite quail weight. Original paint and even gunning wear.

$800 - $1,200

304 Sleeping Pintail Pair

Robert “Bob” White (b. 1939)

Tullytown,PA,2000 15 1/2 in. long

Both retain White’s triangular bobwhite-quail lead weight, and the drake is also signed and dated on the bottom. Original paint with light wear and some coloration to end grain.

Provenance: Estate of Edwin Schultz

$1,200 - $1,500

305 Ruddy Duck Pair

Robert “Bob” White (b. 1939)

Tullytown,PA,2006 12in.long

Both retain the maker’s triangular bobwhite-quail lead weight and the hen is signed and dated on the bottom. Original paint with light wear.

Provenance: Estate of Edwin Schultz

$1,200 - $1,500

ROBERT "BOB" WHITE

306 Snuggle-Head Black Duck

Robert “Bob” White (b. 1939) Tullytown, PA, 1990 16 in. long

This decoy retains the maker’s triangular bobwhite-quail lead weight and is signed on the bottom. Original paint with light wear.

Provenance: Matt Geis Collection

$1,000 - $2,000

307 WigeonPair

Robert “Bob” White (b. 1939) Tullytown, PA, c. 1990 16 in. long

These decoys retain their triangular bobwhite-quail lead weights and are signed. Original paint with light wear.

Provenance: Matt Geis Collection

$2,000 - $3,000

308 Mourning Dove

Robert “Bob” White (b. 1939) Tullytown, PA, 1994 12 1/2 in. long

A fine dove decoy signed and dated “1994” by the maker. Original paint with light wear.

Provenance: Matt Geis Collection

$400 - $600

WILLIAMQUINN

1915-1969 | YARDLEY, PA

309 The Quinn Mantel Wigeon Pair

William Quinn (1915-1969)

Yardley, PA, c. 1950 15 1/2 in. long

MantelWigeonPair in.long wigeonpairs

Quinn’spersonal ofthis formwere twodrakes pairresided restof therig

One of the best wigeon pairs to come out of the region, this rigmate duo is out of Quinn’s personal gunning rig. Only six wigeon of this form were made, of which only two drakes have high heads. This pair resided on the mantel in the Quinn home, and remained there when the rest of the rig was sold.

Theyappear tohave rigorsofhunting. arefinely featurethe arequite

They appear to have avoided the rigors of hunting. The grand bodies are finely hollowed and feature the region’s signature raised wing tips, which are quite pronounced and sit above the long, thin tails. The drake sports a high head with a thin neck and the hen is in a snuggle-head position. Both have carved and painted feathering. The underside

Bothhave Theunderside

hasa PA.”Quinn’s todetail wentas downcopper perfectly fit his anchor ties.

of each has a painted “W. QUINN YARDLEY, PA.” Quinn’s attention to detail went as far as cutting down copper washers to perfectlyfithisanchorties. Excellent original paint with minimal wear.

Provenance: William Quinn Rig Pasquale “Babe” Sabatini Collection

FloatingSculptures: TheDecoys DelawareRiver, UT,1982,p.

Literature: H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, p. 100, related hen illustrated.

$30,000 - $40,000

THE QUINN MANTEL WIGEON PAIR

Pasquale “Babe” Sabatini by Jim Allen

“Babe”Sabatini byJimAllen

DelawareRiver,

Living along the Delaware River, Pasquale “Babe” Sabatini—an avid hunter whose longtime hunting partner was Bob White—developed a deep interest in decoy collecting. Over more than 50 years, Babe assembled an exceptional collection representing some of the finest and rarest examples of Delaware River decoys.

Overmore years,Babeassembled DelawareRiverdecoys. 1970s,as

I had the privilege of becoming acquainted with Babe atdecoy shows in the 1970s, as well as at auctions,

including those conducted by Bourne Auction Company. As this offering demonstrates, Babe maintained a discerning eye, focusing on decoys that were structurally sound and retained their original paint.

eye,focusing decoysthat soundand

driest,andrarest DelawareRiverdecoys knownto passionand

The pieces in this collection stand among the cleanest, driest, and rarest Delaware River decoys known to exist, reflecting both Babe’s passion and his commitment to quality.

JOEKING

310 The King Pintail Hen

Joe King (1909-2003)

Edgely, PA, c. 1930 161/4in.

This is the only King pintail hen known.

The underside retains the “J.S. King Edgely PA” stamped weight. In King paint with light gunning wear, including a slight rub to the right edge of bill tip.

Provenance: Joe King Rig

Pasquale “Babe” Sabatini Collection, acquired from the above

$10,000 - $15,000

311 PintailDrake

Joe King (1909-2003)

Edgely, PA, c. 1930 17 1/4 in. long

A rare decoy with a long, thin tail and “J.S. King Edgely PA” stamped in the weight. In King paint with even gunning wear, gunning repair to neck crack, and tight crack in underside of tail.

Provenance: Joe King Rig

Pasquale “Babe” Sabatini Collection, acquired from the above

$10,000 - $15,000

WILLIAM H. QUINN

312 Pintail Hen

William H. Quinn (1915-1969) Yardley, PA, c. 1950 17in.long

A grand pintail hen with a snuggle-head posture and the carver’s rig marking painted on the underside. Original paint with light wearandareset chip at top of tail.

Provenance: Pasquale “Babe” Sabatini Collection

$6,000 - $8,000

313 Black Duck

William H. Quinn (1915-1969) Yardley, PA, c. 1950 16 in. long

A large hollow decoy with “W. Quinn Yardley, PA” painted on the underside. Original paint with even gunning wear, including slight rubs to bill edges.

Provenance: Pasquale “Babe” Sabatini Collection

$5,000 - $7,000

314 Redhead Pair

William H. Quinn (1915-1969)

Yardley, PA, c. 1930 13 3/4 in. long

have“W.Quinn ofthe

A crisp rigmate pair with a high-head drake and snuggle-head hen. Both have “W. Quinn Yardley PA” weights on the undersides of the hollow bodies. Excellent original paint with light gunning wear.

Provenance: Pasquale “Babe” Sabatini Collection

Literature: Decoy Magazine, May/June 1988, p. 40, exact decoys illustrated.

DecoyMagazine p.40, exactdecoys

$6,000 - $8,000

$6,000-$8,000

315 Hillman-White Black Duck

William H. Quinn (1915-1969)

Yardley, PA, c. 1930 16 in. long

A classic Quinn with excellent provenance and a razor-thin tail. Original paint with light gunning wear.

Provenance: John Hillman Collection

Bob White Collection

Bruce Williams Collection

Matt Geis Collection

$3,000 - $5,000

Aclassic WilliamsCollection MattGeis

316 Mallard Pair

William H. Quinn (1915-1969)

Yardley, PA, c. 1950 17in.long

rare,large hollowbodies.

A rare, large pair with two head positions and the maker’s rig markings painted on the underside of the hollow bodies. These rigmates are both rare on their own and have been published individually. Original paint with light gunning wear, drake’s right side has a ding in flank and small tail chip.

wear,drake’s

Provenance: John Hillman Collection (drake)

Bob White Collection

Bruce Williams (hen)

Private Collection

Collection(drake)

Bill Kross Collection (drake)

Engers,ed., TheGreat Wildfowl Decoys 131,exact

ArtieBirdsall, DecoyMagazine,July/August 1993,p.

Literature: Joe Engers, ed., The Great Book of WildfowlDecoys, San Diego, CA, 1990, p. 131, exact hen illustrated. Alen Linkchorst and Artie Birdsall, “Bill Quinn,” Decoy Magazine, July/August 1993, p. 9, exact drake illustrated.

$12,000 - $18,000 in.long

317 Cheeseman Rig Bluebill

Daniel G. English (1883-1962)

Florence, NJ, c. 1935

13 1/2 in. long

A rare and exceptional Delaware River bluebill decoy from the rig of Harold Cheeseman. Not only one of the finest bluebills to come off the Delaware River, decoys from this rig are among the best from any region. The underside of the hollow body is marked twice with a stamped “HC.” A testament to the English family’s lasting quality, the body seam remains perfectlytight with no fasteners. Excellent original paint with even gunning wear, including some wear to tail edge.

Provenance: Harold Cheeseman Rig Pasquale “Babe” Sabatini Collection

$6,000 - $9,000

318 OutstandingBlack Duck

Daniel G. English (1883-1962)

Florence, NJ, c. 1930

14 3/4 in. long

A hollow tucked-head black duck with sharp wing tips, a thin tail, excellent provenance, and a strong publication history. The underside has collection notes and a collection stamp on the weight. Original paint with even wear and some possible gunning touch-up.

Provenance: Bob White Collection Bruce Williams Collection Matt Geis Collection

Literature: H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, pp. 57, 124, 125, exact decoy illustrated three times.

Joe Engers, ed., TheGreatBookofWildfowlDecoys, San Diego, CA, 1990, p. 129, exact decoy illustrated.

$5,000 - $7,000

319 Mackey-Muller Black Duck

Daniel G. English (1883-1962) Florence, NJ, c. 1930

15 1/2 in. long

A hollow black duck with raised and elaborately incised primaries. The underside displays the ink stamps of both the Mackey and Muller Collections. Original paint with minimal gunning wear, the lower half of the bill has been restored.

Provenance: William J. Mackey Jr. Collection

Dr. Peter J. Muller Jr. Collection, acquired from the sale of the above, 1973

Matt Geis Collection, acquired from the sale of the above, 2020

Literature: Richard A. Bourne Co., Inc., Rare American Bird Decoys, Bird Carvings, and Related Materials, Hyannis, MA, 1978, Session I & II, lot 297, exact decoy illustrated.

$2,500 - $3,500

DANIEL G. ENGLISH

1883-1962 | FLORENCE, NJ

CLARKMADARA

1883-1953 | PITMAN, NJ

320

320 The Tuckahoe Inn Canada Goose

Clark Madara (1883-1953)

Pitman,NJ,c.1920 23 in. long

This fine decoy is one of approximately a half-dozen Madara Canada geese known to exist. His geese are rarely found in any condition, and this example, with its exceptional form, detailed bill carving, eye grooves, full cheeks, pronounced breast, flowing long body, and raised “fin” tail carving, place it as one of his masterworks.

The consignor’s wife spotted this decoy and a mint Shourds black duck while dining at Tuckahoe Inn. The restaurant overlooks Great Egg Harbor Bay to Somers Point. The inn’s proprietor was made an offer and after 5 years it was accepted, over many competing inquires. Original paint with even gunning wear and touch-up to reset neck cracks, crown, and tip of bill.

Provenance: Private Collection at the Tuckahoe Inn, by descent from the original gunning rig

Private Collection, New Jersey, acquired from the above at the TuckahoeInn

Literature: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 236, pl. 586, related decoy illustrated. Mark Petrie, The Canada Goose: Etched In Time, Carved In Wood, 2025, p.224, related examples illustrated.

$12,000 - $18,000

321 Goldeneye Drake

Clark Madara (1883-1953)

Pitman,NJ,c.1920

15 3/4 in. long

An outstanding slightly swimming whistler by one of New Jersey’s top decoy makers. Indeed, this exact bird was selected for Jim Doherty’s Classic New Jersey Decoys Stamped “DSC” on the bottom. Marked “NGH” for Nelson G. Holloway, a famed clay-target shooter and a member of the Bishops Head Gun Club in Maryland. Original paint with gunningwearandatightneckcrack.

Provenance: Nelson G. Holloway Rig, hunted at Bishops Head Gun Club

Jim and Debbie Allen Collection

Dave and Jean Campbell Collection

Matt Geis Collection

Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, p. 163, pl. 342, exact decoy illustrated.

$2,000 - $3,000

322 Canvasback Drake

Clark Madara (1883-1953)

CanvasbackDrake Madara(1883-1953) Pitman,NJ, c. 1920

Pitman,NJ,c.1920 18 in. long

Theunderside DaveCampbell’s “DSC,”andbears maker.Marked“NGH”for Holloway,a shooter and a member of the Bishops Head

The underside is stamped with Dave Campbell’s collection mark, “DSC,” and bears an inked inscription identifying the maker. Marked “NGH” for Nelson G. Holloway, a famed clay-target shooterandamemberoftheBishopsHead Gun Club in Maryland.

fewcanvasback

NewJersey,

Jersey Decoys wearand

Very few canvasback decoys were made in New Jersey, and this is among the state’s very finest. Accordingly, it was chosen by James Doherty for his book Classic New JerseyDecoys In original paint with even gunning wear and some working touch-up to white.

Provenance: Nelson G. Holloway Rig, hunted at Bishops Head Gun Club

Dave and Jean Campbell Collection Private Collection

Matt Geis Collection

GeisCollection

Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, p. 161, pl. 338, exact decoy illustrated.

JamesR.Doherty, NewJersey p.161, exactdecoy

$2,000 - $4,000

323 Hillman Black Duck

Jess Heisler (1891-1943) Burlington, NJ, c. 1920 161/2in.

HillmanBlackDuck JessHeisler NJ,c.1920 16 1/2 in.

A three-piece hollow decoywiththeHillmanCollection inkstampontheunderside. Originalpaintwithlightgunning wearandadingto left edge of tail. Hairline crack in bill.

Provenance: John Hillman Collection Estate of Edwin Schultz

$1,500 - $2,000

324 Rare Canada Goose

three-piecehollow decoy with the Hillman Collection wear and a ding toleftedgeof ofEdwin RareCanada Percy Gant

PercyGant Osbornville,NJ,c.1930 22 in. long

raredecoy Theunderside

A rare decoy with highly articulated carving details and excellent scratched feathering. The underside has a partial Philadelphia Waterfowl Exposition ink stamp behind the inlaid pad weight. Original paint with even gunning wear, including slight grain lift on left flank.

Provenance: Davison Hawthorne Collection Estate of Edwin Schultz

Provenance:Davison HawthorneCollection ofEdwin

Exhibited: Philadelphia, PA, Philadelphia Wildfowl Exposition, The Academy of Natural Sciences of Philadelphia, 1979.

NaturalSciences

$2,000 - $4,000

325 Mackey-Stuart Goldeneye Drake

Allen P. Stuart (1866-1942)

Edgartown, Martha’s Vineyard, MA, c. 1900 15 1/2 in. long

While several goldeneye hens by Stuart have surfaced throughthedecades,thisdrakefromtheMackeyCollection is exceedingly rare. Original paint with even gunning wear, chips to underside of tail, touch-up around neck seam, and one-third lower bill restoration.

Provenance: William J. Mackey Jr. Collection

Timothy Eastland Collection

Ted and Judy Harmon Collection

Private Collection

$3,000 - $5,000

326 Red-Breasted Merganser

FredC.Nickerson(1902-1980)

Falmouth, MA, 1930 19 in. long

A hollow decoy with a three-piece body by this member of the Nickerson familywhosplithistimebetween Cape Cod and Nova Scotia. It features raised wing detail and a horse-hair crest. Original paint with even gunning wear and somelosstohair.

Provenance: Private Collection, Cape Cod

$1,500 - $2,500

327 Crowell-Mayo Swimming Merganser

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910 18 1/2 in. long

A. Elmer Crowell refurbished a Mayo family decoy body with a new head and paint job. Members of the Mayo family were notable Crowell patrons, with some of Elmer’s finest scoter and earliest elaborate black ducks emanating from the Mayos. Crowell paint with gunning wear and tight cracks aroundnailsatbaseofneck.Knotincheek.

Provenance: Mayo Rig

Private Collection, Cape Cod

$1,000 - $3,000

328 Rocking-Head Black Duck

Augustus “Gus” Aaron Wilson (1864-1950)

South Portland, ME, c. 1920 18 in. long

This decoy has Wilson’s lively rocking-head design. Original paint with even wear, original filled crack in right side and nail tipshowingonleftbreast.

$600 - $900

Joseph F. Sherer Sr. (1879-1956)

Over the past 20 years, the importance of Joseph F. Sherer Sr. (1879-1956) as an Elmer Crowell patron has come into focus. In the early 1900s, Sherer hunted with Crowell and George D. Flynn, the largest landowner on Martha’s Vineyard at the time. In The Sporting Sale 2007, an exceptional Crowellrunningcurlew, now in the Thomas M. Evans Collection, set a record for any decorative shorebird carving. Since then, the Crowell

monograph and three subsequent offerings from Sherer’s descendants have broadened his legacy with a consistent pattern of early and high-grade decoys and mantel carvings. The following four Sherer Collection lots are the latest exemplary works to make their public debut and add to our appreciation of this historic artist-patron relationship.

329

329 Sherer Rig Merganser Pair

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 18 1/2 in. long

A rare and fresh-to-the-market pair of early pre-brand mergansers from the rig of Joseph F. Sherer. These birds were acquired from Crowell by his well-documented patron; they have remained in the family for over a century.

The hen has a drawn back and turned head. The drake perfectly complements her with a turned and swimming posture. Both show excellent paint with a strong wing pattern on the drake and extensive stippling on both. Both are early unrigged decoy models, and they are pre-brand. The drake has “Shell drake 18.00” penciled by Crowell on the bottom.

These rare early merganser models were also seen in the Hinsdale rig, which were collected by Alan Haid, Russ Goldberger, and Ted Harmon. This Sherer pair is notable for its clean brushwork in the drake’s wing patch and the quality of the

tight two-tone stippling on the hen. Original paint with light wear, including some minor flakes on drake’s back and right wing. A ding to his lower left edge.

Provenance: Joseph F. Sherer Rig/Collection, acquired from the maker Private Collection, by descent in the family

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 139 and 70, Sherer discussed and redhead illustrated. John Clayton, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings Exhibition Catalog, The Ward Museum of Wildfowl Art, Salisbury University, 2010, p. 79, related Hinsdale rig pair illustrated.

$20,000 - $40,000

SHERER RIG GOLDEN PLOVER

330

330 Sherer Rig Golden Plover

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 10 1/4 in. long

This golden plover is a testament to the quality of Crowell’s early workmanship. The provenance of this carving is exceptional, havingresided in one family since its creation. Concerning Joseph F. Sherer, Elmer Crowell: Father of AmericanBirdCarving authors O’Brien and Olney write, “In the early 1900s, Joseph F. Sherer hunted with Crowell and George D. Flynn, the largest landowner on Martha’s Vineyard at the time.” Through this relationship as hunting companions, Mr. Sherer acquired Crowell carvings directly from the Harwich maker, including this pristine golden plover in vibrant breeding plumage.

Birds from the Sherer rig are known for their exceptional quality and condition. This shorebird has a seldom-seen upright posture and proudbreast.

This decoy also provides true insight into Crowell’s wet-on-wet painting procedure. Under the tail and on the neck, tight lines remain imprinted in the original paint from Crowell resting the still-wet bird on an edge while applying the extensive blended feathering. Crowell's penciled “2” rig markingisbehindthestickhole;any of Elmer’swritingon ashorebirddecoyisveryrare. Excellent original paint with small dent in back left of head,andafew original painting lines around neck.

Provenance: Joseph F. Sherer Rig, acquired from the maker Private Collection, by descent in the family

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 139, 251, 146, 164, and back inside cover, Sherer discussed, his shorebirds illustrated.

$10,000 - $20,000

A related decorative golden plover made for Everett Banfield Davenport. The similarities in paint application between the Davenport and Sherer examples are noticeable, as the birds were made at approximately the same time.

331 Sherer Rig Black-Bellied Plover

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910 10 in. long

This well-fed working black-bellied plover decoy features Elmer Crowell’s plump and upright pose and impeccable provenance. It was finished with the maker’s crisp brushwork, portraying full breeding plumage. This decoy emanates from the rig of Joseph Sherer, a patron and hunting companion of Crowell’s. It has remained in the family for over a century since it was acquired from Crowell. A rigmate to the previous lot, it is also in pristine condition. Crowell’s distinct penciled “8” rig marking is

behind the stick hole; his writing on shorebird decoys is veryrare. Excellent original paint with light wear.

Provenance: Joseph F. Sherer Rig, acquired from the maker Private Collection, by descent in the family

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 139, 251, 146, 164, and back inside cover, Sherer discussed and his shorebirds illustrated.

$10,000 - $20,000

332 Sherer Rig Canada Goose

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 22 1/2 in. long

An outstanding example from one of Crowell’s most sought-after rigs of working goose decoys. The tack-eyed head has carved bill detail with strong rasped feathering alongtheback.Thebodyisfullandwell-formedwithsoft wet-on-wet blending, tight three-tone stippling, and an oval brand on the bottom.

Ted Harmon acquired two rigmates to this carving, one of which he kept in his personal collection. The other he offered at auction as “Unquestionably the best example of a Crowell goose we have seen.” That decoy was collected by Jim Doherty. Excellent original paint with light wear,

original tight line along left side, a couple typical cracks along bottom, and a ding in right shoulder. A few old white spots on back.

Provenance: Joseph F. Sherer Rig, acquired from the maker Private Collection, by descent in the family

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 139 and 46, Sherer listed and a related goose illustrated.

Decoys Unlimited, Annual Summer Decoy Auction, July 2013, lot 119, Sherer rigmate illustrated.

$10,000 - $20,000

“Unquestionably the best example of a Crowell goose we have seen.”

— Ted Harmon,

describing a

Sherer rigmate goose, July 2013

TheDavenport

333 The Davenport Turned-Head Yellowlegs

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 8 1/2 in. tall

81/2in.tall

Crowellforhis Davenport,and it hasremained featuresa

perfectly with a special two-ended Theunderside

spottouch-up tocraquelurearoundbreast

This carving was made by Crowell for his patron Everett Banfield Davenport, and ithasremained with his descendants for nearly a century. This decorative features a turned head, a decorative variation Crowell excelled at. He applied the head, affixing it perfectlywithaspecialtwo-ended screw. The underside of the carved clamshell base is signed with Crowell’s rectangular stamp. Original paint with light wear. Original bill is professionally reset and there is some minor spot touch-up to craquelure around breast and above wing tips.

EverettBanfield acquiredfrom Concord,Massachusetts,

Provenance: Everett Banfield Davenport Collection, acquired from the artist Private Collection, Concord, Massachusetts, by descent

$7,000-$10,000

$7,000 - $10,000

334 ShererRigWilletSilhouette

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 12 1/4 in. long

ShererRig Willet Silhouette in.long

Alife-size,tack-eye, silhouettedecoy

A life-size, tack-eye, silhouette decoy exhibiting the finest aspects of Crowell’s shorebird paint. Along with Charles Walker, Crowell created some of the finest “flatties” known to exist. Silhouettes or “flatties” were innovative designs implemented to cut down on weight in the boat or when walking to the blind.

Walker,Crowell knownto Silhouettesor tocutdown decoyisfrom Sherer,anearly Crowellpatron

This decoy is from the rig of Joseph F. Sherer, an early Crowell patron who’s collection included a record-setting running curlew. In the early 1900s, Sherer hunted with A. Elmer Crowell and George Flynn, the largest landowner on Martha’s Vineyard at the time. Bold original paint with minimal wear, including a tight crack around neck, two small screw holes on one side from a wall mount, and some light scratches that surround one of the holes.

largestlandowner Vineyardat thetime. wear,including crackaround F.Sherer

Provenance: Joseph F. Sherer Rig, acquired directly from the artist Private Collection, Florida

Literature:Stephen Jr.and W. Olney, AmericanBird p.251, exactdecoy

Literature: Stephen B. O’Brien Jr. and Chelsie W.Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 251, exact decoy illustrated.

$3,000 - $5,000

337

335 Tucked-Head Black Duck

A. Elmer Crowell (1862-1951)

East Harwich, MA, c. 1930 14 1/2 in. long

A well-executed decoy with bright speculums and soft blending, notable for its excellent condition and rare form. The underside has two of Crowell’s rectangular stamps. Original paint with light wear.

$4,000 - $6,000

336 Bluebill Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910 14in.long

An early pre-brand tucked-head carving with bright paint and carved tail detail. While made as a decoy, it was never rigged for hunting and remains in very good condition. Original paint with light wear, original hairline along top left.

Literature:RichardA.BourneCo., AmericanDecoysandBirdCarvings, December 1985, lot 442, exact decoy illustrated.

$4,000 - $6,000

337 Rare Early Ruddy Duck

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1915 11 in. long

An exceedingly rare Crowell species with a crisp oval brand, carved tail feathers, and exceptional paint, particularly along the flanks. Excellent original paint with light wear and a rub to the top right of the tail feathers. Second head by Crowell.

Provenance: Private Collection, acquired 2006

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 105 and 110, related Phillips and Cunningham carvings illustrated. Guyette & Schmidt, Rare Waterfowl Decoy Auction, July 30, 2026, lot 444, exact decoy illustrated.

$6,000 - $9,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

338 Exemplary Crossed and Raised-Wing Redhead Drake

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 14 1/4 in. long

A refined redhead drake with carved and crossed primary feathers, carved flanks, and fluted tail carving. The wet-onwet paint shows great detail and the head is turned to the right. Attesting to the pride the maker took in completing this work, the underside is beautifully signed in pen “A. E. Crowell” and is struck with the rectangular stamp. Excellent original paint with even wear, minor touch-up to part of neck seam and two small spots on right side. Small original hole undertail.

Provenance: Private Collection, acquired from Stephen B. O’Brien Jr. Fine Arts, 2004

Literature: Stephen B. O’Brien Jr. Fine Arts, American, Sporting & Western Paintings, Antique Decoys & American Folk Art,2004 Catalog, Boston, MA, 2004, lot 43, exact decoy illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 191, standing decorative redhead illustrated.

$10,000 - $20,000

339 Redhead Hen

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

A rare pre-brand hen with a wide body, carved tail feathers, and softy blended paint. The underside is stamped for the Colby Wood Collection. Original paint with light wear, minor darkening to hairline crack in neck, and three small rubs on head.

Provenance: Colby Wood Collection Private Collection

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 70, early redhead pair illustrated.

$8,000 - $12,000

"On the northwest side [of Long Pond in Brewster and Harwich, MA] under a high bluff is the Splendid Point, built by Mr. J. J. Storrow… The camp is high up overlooking the entire lake and is undoubtedly the finest site for a shooting camp in Massachusetts."

—

John C. Phillips, Shooting-Stands of Eastern Massachusetts,1929

340 The Storrow Bluebill Pair

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 15 in long.

This pair came from the Storrow family’s storied hunting property and they were gifted to the family’s yacht captain, fellowcarverGeraldSmithofMarblehead.JamesJ.Storrow (1864–1926) was a Boston banker and city visionary. His name is a fixture in Boston today because of the family’s role in creating the Esplanade along the Charles River, and the posthumous naming of Storrow Drive, which runs parallel to the river. Shortly before this pair was made, James Storrow organized a takeover of General Motors and served as its president beginning in 1910.

Both birds have tucked heads, the hen’s is slightly turned. Each has an oval brand and extra poured lead for use as

weights. The hen has a partial ink stamp with “A.C.H.... Harwich, Mass.” Original paint with wear, including some dings and rubs, drake’s head is slightly lifted, and hen has crack through end of tail.

Provenance: James Storrow Gerald Smith, gifted from the above Private Collection, acquired from the above Private Collection

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, “Elmer Crowell: Father of American Bird Carving,” Hingham, MA, 2019, p. 152, Storrow discussed.

$10,000 - $15,000

341 Preening Mallard Hen

Augustus “Gus” Aaron Wilson (1864-1950)

South Portland, ME, c. 1890

15 1/2 in. long

A rare, if not unique, preening mallard hen with an inlaid head joint that extends to catch the bill tip. The head is dramatically turned and canted far to the right; this elegant asymmetry prompted the addition of small counterweights on the left underside for balancedfloatation.Similarinform to his black ducks, the white tail paint reveals this decoy’s mallard hen identification. Excellent original paint with light gunning wear and some darkening to wear mostly along right side.

Literature: Guyette and Schmidt, NorthAmericanDecoysatAuction, July 2009, exact decoy on front cover and lot 369.

RobertBishop, American Folk Sculpture, New York, NY, 1974, p. 302, drake illustrated.

Osona & O’Brien, ImportantWaterfowlandShorebirdDecoys, Nantucket Island, MA, 1993, front cover and lot 33, drake illustrated.

$10,000 - $15,000

342 Canvasback

Jess Heisler (1891-1943)

Burlington, NJ, c. 1920 14 1/2 in. long

Heisler at his best with a rare canvasback featuring excellent feather carving on the back. The clean lines and incised wing and tail carving of this hollow three-piece decoy make Heisler’s case as an unsurpassed student of John English. Excellent Heisler paint with light gunning wear. Touch-up to filled chip along lower edge of bill tip.

Provenance: Pasquale “Babe” Sabatini Collection

Literature: Henry A. Fleckenstein Jr., New JerseyDecoys, Exton, PA, 1983, pp. 249 and 253, other Heisler canvasback models illustrated

$2,000 - $4,000

343 The FitzpatrickCanvasback

Tom Fitzpatrick (1887-1958)

Delanco, NJ, c. 1930 14 1/2 in. long

This is believed to be the only Fitzpatrick diving duck to have surfaced. Old paint with gunning wear.

Provenance: Pasquale “Babe” Sabatini Collection

$1,000 - $1,500

344 Tucked-Head Canvasback Drake

William H. Quinn (1915-1969)

Yardley, PA, c. 1950 14 1/2 in. long

A rare snuggle-head decoy with a very high body and the maker’s information stamped in the weight. Appearstobe original paint with very light gunning wear.

Provenance: William H. Quinn Rig John Hillman Collection Estate of Edwin Schultz

$1,000 - $2,000

1860-1934 |

345 The Hillman-Truex Merganser Pair

Levi Rhodes Truex (1860-1934) Atlantic City, NJ, c. 1900 17in.long

This early pair of hollow red-breasted mergansers was originally collected by the famous New Jersey decoy collectorJohnA.Hillman,andbothwere branded “JAH” by him. The form, paint, condition, and provenance of this perfectlymatched rigmate decoy pair place them among the maker’s finest works.EachalsohasaHillman Collection ink stamp. Original paint with light gunning wear.

Provenance: John A. Hillman Collection Private Collection, Massachusetts, acquired from the Hillman auction, 1996

Literature: Henry A. Fleckenstein Jr., Decoys of the Mid-Atlantic Region, Exton, PA, 1979, p. 26, exact decoys illustrated. Gary M. Guyette and Frank M. Schmidt Inc., The Hillman Collection: RareAntiqueWaterfowlDecoys, West Farmington, ME, 1996, p. 61, fig. 214, exact decoys illustrated.

$12,000 - $18,000

Rigmatepairofmergansersfeatured on the coveroftheWinter 1986 issueof Wildfowl Carving and Collecting.

346 The Hobbs Bufflehead Homer Hobbs (1919-2016) Trenton, NJ, c. 1950 13 1/2 in. long

A rare and charming bufflehead decoy with clean flowing lines and a colorful red-and-green interpretation of the species’ head plumage. The balsa body has three construction pegs in the left side.

Hobbs decoys of any species are among the rarest of the English-school makers. Most have been held privately in their home region, as this bufflehead and the following lot were, until now. Original paint with moderate gunning wear and loose neck seam.

Provenance: Pasquale “Babe” Sabatini Collection, acquired from the Hobbs family

Literature: Allen Linkchorst, “Ollie & Homer Hobbs,” Decoy Magazine,November/December 2025, p. 10, exact decoy illustrated.

$5,000 - $10,000

347 The Hobbs Wood Duck Homer Hobbs (1919-2016) Trenton, NJ, c. 1950 13in.long

This is the only Hobbs wood duck known. The head has an original crest, and the balsa body has English-school raised wing tips. One of the finest wood duck decoys from the Delaware River. Hobbs paint with gunning wear, some touch-up to crown and neck.

Provenance: Pasquale “Babe” Sabatini Collection, acquired from the Hobbs family

Literature: Allen Linkchorst, “Ollie & Homer Hobbs,” Decoy Magazine,November/December 2025, p. 10, exact decoy illustrated.

$5,000 - $10,000

348 The Heisler Goose Jess Heisler (1891-1943) Burlington, NJ, c. 1920 20in.long

This is the only Heisler goose known and is believed to be the earliest goose to have surfaced by any English-school carver. Features include a snuggle-head position, flared wing tips, and a three-piece hollow body. Painted by Bob White with even gunning wear.

Provenance: Pasquale “Babe” Sabatini Collection

$1,500 - $2,500

349 The Haid-Secor Markham Rig Redhead Drake Markham, Ontario, Canada, c. 1900 15 3/4 in. long

349 The Haid-Secor Markham Rig Redhead Drake Markham, Ontario, Canada, c. 1900 15 3/4 in.long

This hollow decoy with its turned head and crisp paint is one of the finest Markham rig birds to have surfaced. The head appears to have been hollowed and has a broad bill with fine detail. This sterling example was never rigged. Original paint with light wear and stacking marks typical for this rig. Minor flaking at neck seam which is slightly loose.

This hollow decoy with its turned head and crisp paint is one of the finest Markham rig birds tohave surfaced. The head appears tohave been hollowed and has a broad bill with fine detail. Thissterling example was never rigged. Original paint with light wear and stacking marks typicalfor this rig. Minor flaking at neck seam which is slightly loose.

Provenance: Alan Haid Collection

Provenance: Alan Haid Collection

The George Secor Decoy Collection to Benefit Delta Waterfowl

The George Secor Decoy Collection toBenefitDelta Waterfowl

Private Collection

Private Collection

Literature: Patricia Fleming and Thomas Carpenter, eds., Traditions in Wood: A History of Wildfowl Decoys in Canada, Altona, ON, 1987, p. 11, exact decoy illustrated.

Literature:Patricia Fleming and Thomas Carpenter,eds., Traditionsin Wood: A HistoryofWildfowlDecoysin Canada, Altona, ON, 1987, p.11,exactdecoy illustrated.

Copley Fine Art Auctions, The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II,July 27, 2017, lot 4, Donal O’Brien example illustrated.

Copley FineArt Auctions, The Donal C. O’Brien Jr. Collection of Important American SportingArt and Decoys, Sessions I-II, July 27, 2017, lot 4, Donal O’Brien example illustrated.

$10,000 - $14,000

$10,000 - $14,000

350 Early Mallard Drake

350 Early MallardDrake

Harvey Stevens (1847-1894) Weedsport,NY,c.1870 15in.long

HarveyStevens(1847-1894)

Weedsport, NY,c.1870 15 in.long

An extremely rare, early style of decoy by this New York carver, who supplied decoys to sportsmen visiting nearby Howland Island, the Montezuma Swamp, and the Finger Lakes. By the mid-19th century, Stevens Brothers decoys had gained national acclaim and were shipped across the country from their workshop near Weedsport along the Erie Canal.

Anextremely rare, early styleof decoy by this New York carver, who supplied decoys tosportsmen visiting nearbyHowland Island, the Montezuma Swamp,and the Finger Lakes. By the mid-19th century,Stevens Brothersdecoys had gained national acclaimand were shippedacrossthe country from their workshopnear Weedsport along the Erie Canal.

Before the discovery of this important mallard, Stevens’ author and historian, Shane Newell, documented only two other early tack-eye mallard drake decoys by this maker. This recently discovered decoy comes directly from the Estate of Herbert Prakelt, who likely sourced the bird in the Weedsport area, where he hunted. The bird exhibits painted tack eyes, an early carved groove separating the wings, and Stevens’ finest scratch-comb paintalongtheback.Itisinoutstanding condition for its age, which is approximately 150 years. Stevens heads were fixed to the body with a single screw and virtually all Stevens heads have some movement as a result. Excellent original paint with minimal gunning wear, one-eighth-inch spot of touch-up to top of head.

Before the discovery of this importantmallard, Stevens’ author and historian, Shane Newell, documentedonly two other early tack-eye mallard drakedecoys by this maker. This recently discovered decoy came directly from theEstate of Herbert Prakelt, who likely sourced the bird in the Weedsportarea,where he hunted. The bird exhibitspainted tack eyes, an early carved groove separating the wings, and Stevens’finestscratch-comb paint along the back. It is in outstanding condition foritsage, which is approximately 150 years.Stevens headswere fixed to the body with a single screwand virtually all Stevens heads have somemovement as a result. Excellent original paint with minimal gunning wear, one-eighth-inch spot of touch-up to top ofhead.

Provenance: Estate of Herbert Prakelt

Private Collection

Provenance: Estateof Herbert Prakelt Private Collection

Literature: Shane Newell, The Essential Guide to Stevens Decoys, Warrensburg, NY, 2004, pp. 6 and 65, related decoy illustrated.

Literature:ShaneNewell, The Essential Guide toStevens Decoys, Warrensburg, NY, 2004, pp. 6 and 65, related decoy illustrated.

Adele Earnest, The Art of the Decoy, West Chester, PA, 1965, p. 139, pl. 121, Stevens mallard illustrated.

Adele Earnest, The Art of the Decoy, WestChester, PA, 1965, p. 139, pl. 121, Stevens mallard illustrated.

Copley Fine Art Auctions, The Winter Sale 2017, Charleston, SC, lot 374, closely related decoy illustrated.

Copley FineArt Auctions, The Winter Sale 2017, Charleston, SC, lot 374, closely related decoy illustrated.

$8,000 - $12,000

$8,000 - $12,000

350

Acloselyrelatedmallarddrake illustrated in The Essential Guide toStevensDecoys. Image courtestyof ShaneNewell.

A. ELMER CROWELL

351 Rare Miniature Kingfisher

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

4 1/2 in. long

An exceedingly rare miniature of a female kingfisher. Original paint with light wear.

Provenance: William V. Tripp III Collection

$3,000 - $5,000

352 Miniature Robin

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1920

2 1/2 in. tall

The carving displays Crowell’s circular “Maker” ink stamp on the underside. Original paint with light wear, minor craquelure on breast and small chip under bill.

Provenance: From a Chatham, Massachusetts, Estate

$800 - $1,200

353 Miniature Wood Duck Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

4 1/4 in. long

A bright upright example with the rectangular stamp on the underside. Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from the artist Private Collection, Concord, Massachusetts, by descent

$800 - $1,200

354 Early Miniature Blue-Winged Teal

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910

2 1/2 in. tall

An early carving displaying the penciled species identification on the white painted base. Original paint with light wear, one very small indentation on each side of neck.

Provenance: From a Chatham, Massachusetts, Estate

$800 - $1,200

355 Early Miniature Pintail

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1910

3 1/4 in. tall

Thisearlycarvinghasthe“MFR” ink stamp. Original paint with light wearandafew spots of touch-up, including reset neck, bill tip, and crown.

Provenance: From a Chatham, Massachusetts, Estate

$800 - $1,200

356 Miniature Blue Jay

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1920 2 3/4 in. tall

The carving displays Crowell’s circular “Maker” ink stamp and species identification on the underside. Original paint with light wear.

Provenance: From a Chatham, Massachusetts, Estate

$1,000 - $2,000

357 Miniature Nashville Warbler

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1920 1 3/4 in. tall

This carving is inscribed “Nashville Warbler” and bears Crowell’s circular “Maker” stamp on the underside.

Provenance: From a Chatham, Massachusetts, Estate

$1,000 - $2,000

358 Miniature Bluebird

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1920 1 1/2 in. tall

A bright songbird with the “Maker” ink stamp on the underside. Original paint with light wear, including minimal craquelure to breast.

Provenance: From a Chatham, Massachusetts, Estate

$1,000 - $2,000

359 Miniature Downy Woodpecker

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 1 1/2 in. tall

Areachingwoodpeckerwiththemaker’srectangularstamp signature on the underside. Original paint with light wear.

$1,200 - $1,800

360 Miniature Hooded Warbler

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 1 1/4 in. tall

This carving is inscribed “Hooded Warbler” and bears Crowell’s circular “Maker” stamp on the underside. Original paint with light wear.

Provenance: From a Chatham, Massachusetts, Estate

$1,000 - $2,000

361 MiniatureThrasher

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1920 2 1/2 in. tall

The carving displays Crowell’s circular “Maker” ink stamp and species identification on the underside. Original paint withevenwearandaslightlybluntedbilltip.

Provenance: From a Chatham, Massachusetts, Estate

$800 - $1,200

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

Lots 362 through 373 are from a single set that has remained in the family since they were acquired from Crowell over a century ago. Each has excellent attention to detail, a petite base with Crowell’s species identification on the undersides, and remains in untouched condition. Some from this set bear the blue-paper label that Crowell trimmed to fit his small early bases.

A.

East Harwich, MA, c. 1923

2 1/2 in. long

Original paint with light wear and minor blunting to very tip of bill.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

East Harwich, MA, c. 1923

2 1/2 in. long

A drop-wing carving with a blue-paper label. Original paint with light wear, including a slightly blunted bill tip.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

364 Early Miniature Chickadee

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1923 2 in. long

Original paint with light wear and slight rub to bill tip.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

365 Early Miniature Purple Finch

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1923 2 3/4 in. long

Original paint with light wear and slight rub to bill tip.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

366 Early Miniature Chestnut-Sided Warbler

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1923 3 in. long

Original paint with light wear and slight blunting to bill tip.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

367 Early Miniature Ovenbird

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1923 2 3/4 in. long

The base has Crowell’s blue-paper label. Original paint with light wear, including slight rub to bill tip.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

368 Early Miniature Yellowthroat

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1923

2 1/2 in. long

Original paint with light wear and slight rub to bill tip.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

369 Early Miniature Vermillion Flycatcher

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1923 2 1/2 in. long

Original paint with light wear, including a slightly blunted bill tip.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

370 Early Miniature Dropped-Wing Oriole

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1923 2 3/4 in. long

Original paint with light wearandaminorchipto very tip of bill.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

371 Early Miniature Waxwing

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1923 2 1/2 in. long

The underside has Crowell’s blue-paper label. Original paint with light wear and minor rub to bill tip.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

372 Early Miniature Prothonotary Warbler

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1923 2 1/2 in. long

Original paint with light wear.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

373 Early Miniature Red-Faced Warbler

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1923 2 3/4 in. long

Original paint with light wear and minimal blunt to bill tip.

Provenance: Private Collection, Texas, by descent from the original owner

$600 - $900

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

Lots353and374-383 come from the Everett Banfield Davenport Collection, acquired directlyfrom Elmer Crowell. The group as a whole retains bright colors, havingbeen kept out of direct sunlight. All aresignedwiththerectangular “A. E. CrowellMaker” stamp on their underside.

374 Miniature Hooded Merganser

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

3 in. long

Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from theartist

Private Collection, Concord, Massachusetts, by descent

$800 - $1,200

375 Miniature Redhead Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930

4 1/2 in. long

Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from theartist

Private Collection, Concord, Massachusetts, by descent

$800 - $1,200

376 Miniature Canvasback Hen

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 1/4 in. long

Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from theartist

Private Collection, Concord, Massachusetts, by descent

$800 - $1,200

377 Miniature Feeding Canvasback Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 1/2 in. long

Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from theartist

Private Collection, Concord, Massachusetts, by descent

$800 - $1,200

378 Miniature Pintail Hen

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 3 3/4 in. long

Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from theartist Private Collection, Concord, Massachusetts, by descent

$800 - $1,200

379 Miniature Bluebill Hen

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 3 1/4 in. long

Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from theartist Private Collection, Concord, Massachusetts, by descent

$800 - $1,200

380 Miniature Bluebill Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, 1930 3 1/4 in. long

Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from theartist Private Collection, Concord, Massachusetts, by descent

$800 - $1,200

381 Miniature Bufflehead

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 2 3/4 in. long

Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from theartist Private Collection, Concord, Massachusetts, by descent

$800 - $1,200

382 Miniature Blue-Winged Teal Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 4 in. long

Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from theartist Private Collection, Concord, Massachusetts, by descent

$800 - $1,200

383 Miniature American Merganser Drake

A. Elmer Crowell (1862-1952)

East Harwich, MA, c. 1930 5in.long

Original paint with minimal wear.

Provenance: Everett Banfield Davenport Collection, acquired from theartist Private Collection, Concord, Massachusetts, by descent

$800 - $1,200 A.

384 Six Miniature Birds

Jess Blackstone (1909-1988)

Melrose, MA, c. 1970 4 in. long

The prothonatory warbler, fox sparrow, chickadee, kinglet, spotted sandpiper, and a nuthatch are all signed with the artist’s conjoined “JB” signature. Original paint with light wear.

Provenance: William V. Tripp III Collection

$1,500 - $2,500

385 Miniature Peregrine Falcon with Green-Winged Teal

Brad Falkinburg

Avon,OH,2007 3 in. long

Dated and inscribed on the underside. Original paint with light wear.

$150 - $250

386 Miniature Greater Flamingo Trio

Doug Guy 3 3/4 in. tall

All are signed on the underside. Original paint with light wear.

$100-$200

387 Miniature Seagull on a Lobster Buoy

Jess Blackstone (1909-1988)

Melrose, MA, c. 1940 4 1/2 in. wingspan

An early miniature seagull with outstretched wings perched upon a green lobster float. Signed with the maker’s label on the underside. Original paint with wear and some discoloration.

$200 - $400

388 Miniature Goldeneye Pair and Single Scoter

Russ P. Burr (1887-1955)

Hingham, MA, c. 1940 5 in. tall scoter

Each is signed with the maker’s ink stamp on the bottom of the base. Original paint with light wear.

Provenance: William V. Tripp III Collection

$600 - $900

389 Exceptional Gadwall

Marty Hanson (b. 1965)

Prior Lake, MN, 1996 15 in.long

This decoy featuresexcellent blended feathering to the breast and sides and even has combed painting on the bottom.The underside of the hollow body bears themaker’s signature and “1st Gadwall Made” in black ink along with his white“Maker” stamp. Original paint with light wear.

Provenance: Estate of Edwin Schultz

$800 - $1,200

390 Mallard Pair

Marty Hanson (b. 1965)

Prior Lake, MN 17 1/2 in. long

This hollow pair featuresadrake with a turned head and a calling hen with an open bill. The undersides are stamped by the maker. Original paint with light wear.

Provenance:Robert MetcalfCollection

$1,500 - $2,500

391 Bufflehead Pair

Marty Hanson (b. 1965)

Prior Lake,MN 12 1/4 in. long

Arefined hollow pair of butterballs with the maker’sstamp on the underside. Original paint with light wear.

Provenance:Robert MetcalfCollection

$1,000 - $2,000

392 Tucked-Head Dove

Marty Hanson (b. 1965)

Prior Lake,MN 10 1/4 in. long

A hollowdecoy with the maker’s incised “MH” signature. Original paint with light wear.

Provenance:Robert MetcalfCollection

$600 - $900

“Anyone whohas walkedalong a beachormarshhaslikely seen apieceofdriftwood andthought,‘thatlookslikeabirdhead.’Thisone lookedlikeabirdheadto me, and I keptitfor yearsbefore releasingit.”

—MarkMcNair,discussing the"root-head"egret,lot393

393 American GreatEgret

Mark McNair (b. 1950)

Craddockville,VA

35 1/2 in. long

A grand decoy carving made with a red cedar “root head” with a dynamic pose. The hollow body was built with a vertical seam and pegged construction with no nails. The underside bears the maker’s incised “McNair” signature. This is among the finest heron or egret carvings by any maker.

The original base is included. Original paint and wear.

$4,000 - $6,000

394 Full-Body Sperm Whale

Ian McNair (b. 1981)

Belle Haven, VA, c. 2010

18 1/2 in. long

This sperm whale has carved teeth and a five-point star in the incised “I McNair” signature. Included is the original stand by McNair. Original paint with light wearandareset fluke.

Provenance: Harry and Judy Bextel Collection

$1,000 - $2,000

395 Wood Duck

Ian McNair (b. 1981)

Craddockville,VA,2026 13in.long

This exceptional and hollow turned-head wood duck decoyisoneofthemaker’s finest works.Signedwithanincised“IMcNair”on the underside. Original paint with light wear.

$1,000 - $2,000

396 Preening Black Duck

Mark McNair (b. 1950)

Craddockville, VA, c. 1990 16 in. long

A refined preening decoy showing themaker’s Connecticutcarvingroots.Theunderside of the hollow body bears an incised “M. S. McNair” signature. Original paint with light wear.

$2,500 - $4,500

397 Feeding Cobb Brant

Mark McNair (b. 1950)

Craddockville, VA, c. 2000 18 in. long

A Cobb Island-style brant with feeding head position and the marker’s incised “McNair” signature. Original paint with even wear, tight neck crack and knot with sap on lower left side.

$2,000 - $3,000

398 Cormorant

Mark McNair (b. 1950)

Craddockville, VA, c. 2000 23 in. long

A turned-head cormorant decoy finished with star-burst nails and the maker’s incised “M McNair” signature. Original paint with light wear.

$2,000 - $3,000

B.1950 | CRADDOCKVILLE,VA

399 Breast Preening Black Duck

Mark McNair (b. 1950)

Craddockville,VA,c.1985 15 1/2 in. long

This raised-wing carving in a dramatic preening pose has a hollow body with pegged construction. It was inspired by the artist’s observations and encouraged by his early patron, Barrie Stavis. On the underside is the incised “M. S. McNair” signature. Original paint with light wear.

Provenance: Matt Geis Collection

Literature: Curtis Badger, “Mark McNair,” Wildfowl Carving and Collecting, Harrisburg, PA, Summer, 1993, p. 29, Stavis example illustrated.

$2,000 - $3,000

400 Parker’s Island Black Duck

Mark McNair (b. 1950)

Craddockville, VA, c. 2005 23 in. long

A very large decoy measuring almost two feet. By contast, this is six inches longer than many typical black duck decoys. Decoys from this rig were carved on Parker’s Island in the Chesapeake Bay. The underside bears an incised “McNair” and “3.” Original paint with even wear.

Provenance: Estate of Edwin Schultz

$1,000 - $2,000

401 Early Merganser

Mark McNair (b. 1950)

Craddockville,VA,c.1975 13in.long

A very early McNair made while the carver resided in Connecticut. The head has a leather crest, and the underside has an incised “M” signature. Original paint with even wear and crack along right side.

Provenance: Robert Metcalf Collection

$1,500 - $2,500

402 Tucked-Bill Curlew

Mark McNair (b. 1950)

Craddockville,VA,2014 11 in. long

This carving was inspired by one of the maker’s earlier works, circa1980, which is pictured in Henry Fleckenstein’s Shore Bird Decoys. The decoy features a turned head with the bill reachingunderthewingandthebilltipemerging on the other side. The raised and split wing tips are finished with carved primaries. This is a very rare carving with a hollow body and stick-hole inlay. Original paint with light wear.

Provenance: Harry and Judy Bextel Collection

Literature: Henry A. Fleckenstein Jr., ShoreBirdDecoys, Exton, PA, 1980, pp. 107 and 135, related early example illustrated.

$2,000 - $4,000

403 Godwit

Mark McNair (b. 1950)

Craddockville, VA, 2003 14in.long

The underside has an incised “McNair” signature. Original paint and wear.

Provenance: Harry and Judy Bextel Collection

$1,000 - $2,000

404 Hollow Golden Plover

Mark McNair (b. 1950)

Craddockville,VA,,c.1990 11 1/2 in. long

Hollow with oak inlay around the stick hole. Signed with an incised signature by the maker on the underside. Original paint with light wear.

$1,200 - $1,800

405 Oversize Curlew

Mark McNair (b. 1950)

Craddockville, VA, c. 1990 17in.long

A large curlew with a turned and applied head pegged to the body. The underside is signed with the incised “McNair” signature. Original paint with even wear.

$1,500 - $2,500

406 RuddyTurnstone

Mark McNair (b. 1950)

Craddockville,VA,c.1980 10 in. long`

An animated shorebird with inserted wing tips and a “VII” stamped on the underside, along with the artist’s incised “McNair” signature. Original paint with light wear.

Provenance: Matt Geis Collection

$800 - $1,200

407 ReachingWillet

Mark McNair (b. 1950)

Craddockville,VA,c.1980 14in.long

A large shorebird with raised wings and a knife-carved finish. The underside of the carving bears an incised “McNair” signature. Original paint with even wear.

Provenance: Matt Geis Collection

$800 - $1,200

408 Black-Bellied Plover

Mark McNair (b. 1950)

Craddockville,VA,c.1980 11 in. long

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

$800 - $1,200

409 Dowitcher

Mark McNair (b. 1950)

Craddockville, VA, c. 2000 12in.long

The underside of the carving bears an incised “McNair” signature and a collection stamp. Original paint with light wear.

Provenance: Matt Geis Collection

$800 - $1,200

410 Trophy Striped Bass Carving

George Strunk (b. 1958)

Glendora, NJ board is 21 by 46 in.

A forty-inch-long striped bass carving mounted on a painted panel. The board is signed by the maker in the lower right corner. Original paint with light wear.

$1,000 - $2,000

411 Outstanding Pintail Pair

George Strunk (b. 1958) Glendora, NJ 22 in. long

Both are signed “G. Strunk” and have his name-stamped lead weight on the bottom. Original paint with light wear.

Provenance: Matt Geis Collection

$1,000 - $1,500

412 Exemplary Wood Duck Pair

George Strunk (b. 1958) Glendora, NJ 14 1/2 in. long

Both are signed “G. Strunk” and have his name-stamped lead weight on the bottom. Original paint with light wear.

Provenance: Matt Geis Collection

$1,000 - $2,000

413 Rare Canada Goose

George Strunk (b. 1958) Glendora, NJ 21in.long

A rare tucked-head goose with the maker’s signature on the underside. Original paint with light wear.

$800 - $1,200

GEORGESTRUNK

414 GadwallPair

GeorgeStrunk(b.1958) Glendora, NJ 16 in. long

Both are signed “G. Strunk” and have his name-stamped lead weight on the bottom. Original paint with light wear.

$1,000 - $2,000

415 Goldeneye Pair

GeorgeStrunk Glendora, NJ 16 in. long

Both are signed “G. Strunk” and have his name-stamped lead weight on the bottom. Original paint with light wear.

$1,000 - $1,500

416 Oversize Breast-Preening Black Duck

GeorgeStrunk(b.1958) Glendora, NJ 17in.long

Bears his name-stamped lead weight on the bottom. Original paint with light wear.

Provenance: Matt Geis Collection

$600 - $900

417 Mallard Pair

George Strunk (b. 1958) Glendora, NJ 19 in. long

Both are signed “G. Strunk” and have his name-stamped lead weight on the bottom. Original paint with minimal wear.

Provenance: Matt Geis Collection

$1,000 - $1,500

418 Pintail Pair

George Strunk (b. 1958) Glendora, NJ, 1997 20in.long

Both are signed “G. Strunk” and have his name-stamped lead weight on the bottom. Original paint with minimal wear and drake has slight discoloration on underside.

Provenance: Estate of Edwin Schultz

$400 - $600

419 Breast Preening Dove

George Strunk (b. 1958) Glendora, NJ 12in.long

A rare species for the maker, this decoy displays exceptional raised winged carving and fine painted feather detail. The underside is signed and stamped. Original paint with light wear.

$500 - $700

Onancock, VA, 2023

24 in. tall, 23 in. wide

Once the most abundant land bird species in North America, the last living passenger pigeon died in 1914, addingapoignancyto this dynamic carving. Both birds in this decorative arrangement are signed by the maker with

an incised “GIBIAN” on the undersides and the bottom of the base bears his calling card with the maker’s signature and an inscription. Original paint with light wear.

$5,000 - $7,000

WILLIAMGIBIAN

421 Exceptional Preening Wood Duck Pair

William Gibian (b. 1946)

Onancock, VA, 2023 14in.long

A hollow preening pair with the maker’s incised signature and business card on the undersides. Original paint with light wear.

$4,000 - $6,000

422 Black Duck

William Gibian (b. 1946)

Onancock, VA, c. 1995 19 1/2 in. long

This decoy has refined carving and is signed by the maker with an incised “GIBIAN” on the underside. Original paint with light wearandminorsapbleed to endgrain, mostly under tail and on lower breast, has been touched-up by Gibian.

$1,000 - $1,500

423 Preening Mallard

William Gibian (b. 1946)

Onancock, VA 16 in. long

This carving is signed by the maker with an incised “GIBIAN 1” on the underside. Original paint with even wear.

Provenance: Estate of Edwin Schultz

$1,000 - $2,000

Onancock, VA 10 in. tall, 14 in. long

As ground-nesting birds, godwit will feign injury to lure predators from their eggs and young. Gibian has used this clever behavior to showcase his command of complex carving and painting details. This carving is signed by the

maker with an incised “GIBIAN” on the underside. The bottom of the beveled base bears the maker’s signed calling card. Original paint with light wear and minor scuff to base from loose left foot.

$2,000 - $3,000

WILLIAMGIBIAN

425 Shorebird Decoy Rig

William Gibian (b. 1946)

Onancock, VA, largest is 12 in. long

The ruddy turnstone, feeding black-bellied plover, dowitcher, and red knot all bear the maker’s incised signature on their undersides. Original paint with light wear. Black-bellied plover has some sap bleeding to shoulders. Red knot has reset bill and wing tips.

$1,500 - $2,500

426 Dowitcher

William Gibian (b. 1946)

Onancock, VA 14 1/2 in. long

Incised “Gibian” under the base. Original paint with light wear.

Provenance: Robert Metcalf Collection

$1,200 - $1,800

427 Alighting Brant

Josh Brewer (b. 1982)

Little Deer Isle, ME

19 in. long, 7 3/4 in. wingspan

This carving features some of the artist’s finest work with attached wings, fluted feather carving, and the maker’s very best paint. The head is secured to the hollow body with a preciselycarved dovetailed joint. Signed with incised “Brewer” on the underside. Original paint with light wear.

$3,500 - $4,500

429 “Too Close For Comfort” Pickerel Frog

Steve Weaver (b. 1950) Sandwich, MA 3 1/2 in. long frog

A pickerel frog patiently eyes a green and gold beetle. Signed “SAW” on topoftheburlbaseandsignedand titled on the underside of the base. Original paint with minimal wear.

$2,000 - $4,000

428 Brant

Grayson Chesser (b. 1947) Sanford,VA 20in.long

A Cobb-influenced decoy with deeply carved wing detail and the maker’s incised “C” on the underside. Original paint with even wear.

Provenance: Robert Metcalf Collection

$1,000 - $1,500

430 Flying Goose

EddieWozny(b.1959) Cambridge, MD 25 in. long, 30 in. wingspan

A well-executed, dynamic goose carving with incised wings, tail, and feathers. Made to hang on a wall, the maker’s signature is on its back. Measuring twenty-five inches long, it may represent a cackling goose. Original paint with light wear.

$2,000 - $4,000

431 Caines-Style Mallard

Frank S. Finney (b. 1947) Capeville, VA 18 in. long

A snakey-neck mallard in the style of South Carolina’s Caines brothers. The underside bears the maker’s incised “F” signature. Original paint and wear.

Provenance: Estate of Edwin Schultz

$1,200 - $1,800

432 Merganser

Frank S. Finney (b. 1947) Capeville, VA 19 in. long

A stylized shelldrake decoy, the underside bears the maker’s incised “F” signature. Original paint and wear and tight crack in topofbill.

Provenance: Estate of Edwin Schultz

$1,200 - $1,800

433 Standing Turkey

Frank Finney (b. 1947) Capeville, VA 25 1/2 in. long

A well-executed two-thirds-scale male turkey with finely detailed carving and paint, including raised wing and tail feathers. Signed with the artist’s serifed “F” on the top of the base. Original paint with a few minor dings.

$2,500 - $4,500

434 Preening Merganser

Frank S. Finney (b. 1947) Capeville, VA 19 1/2 in. long

A Maine-styled decoy, the underside of the oversize body bears the maker’s incised “F” signature. Original paint and wear.

Provenance: Estate of Edwin Schultz

$1,200 - $1,500

$1,200 - $1,800 435

Capeville, VA

10 1/2 in. tall

Signed with an ink stamp under the base. Original paint with light wear.

435

Capeville, VA

The underside of the round base has the maker’s signaturestamp. Original paint with light wear.

$2,000 - $3,000

437 Black-Headed Grosbeak with Berry

Frank Finney (b. 1947)

Capeville, VA 7in.long

A life-size carving with an incised “F” signature. Original paint with minimal wear.

$1,000 - $2,000

438 Bobolink with Berry

Frank Finney (b. 1947)

Capeville, VA 7in.long

Life-size carving signed with an incised “F” on the bottom. Original paint with light wear.

$1,000 - $2,000

439 Golden-Winged Warbler

Frank Finney (b. 1947)

Capeville, VA 5in.long

A life-size carving with an incised “F” signature on the underside. Original paint with light wear.

$600 - $900

440 Blue-Headed Vireo

Frank Finney (b. 1947)

Capeville, VA 5in.long

A life-size carving with an incised “F” signature. Original paint with light wear.

$600 - $900

441 Vermillion Flycatcher

Frank Finney (b. 1947)

Capeville, VA 5 1/2 in. long

A life-size carving signed with an incised “F.” Original paint with light wear.

$1,000 - $2,000

442 Early Snowy Egret

Frank Finney (b. 1947) Capeville, VA 17in.long

Signed with an incised “F” under the tail. Original paint with light wear.

$500 - $700

Undersideoflot443.

443 WigeonDrake

Jim Schmiedlin (1945-2015)

Bradford Woods, PA, c. 1988 18 in. long

The underside bears the maker’s “JAS” brand, “Return for Reward,” and the white “Schmiedlin Private Collection” stamp. The notation on the underside discusses this being one of only a few wigeon used with his diving duck rig. Original paint with gunning wearandachip to the tail tip.

Provenance: Jim Schmiedlin Rig and Collection Private Collection

$4,000 - $6,000

444 Long-Tailed Duck

Jim Schmiedlin (1945-2015)

Bradford Woods, PA 17 1/4 in. long

The underside has the reward badge and “JAS” brand. Original paint with light gunning wear.

Provenance: Robert Metcalf Collection

$2,000 - $3,000

445 Bluebill

Jim Schmiedlin (1945-2015)

Bradford Woods, PA, c. 1989 15 1/2 in. long

The underside has the reward badge, “JAS” brand, and extensive hunting notes, including a Thompson Bay photo reference. Original paint with dark wash on the black by the maker, and gunning wear.

Provenance: Robert Metcalf Collection

$2,000 - $4,000

446 White-Winged Scoter

Jim Schmiedlin (1945-2015)

Bradford Woods, PA, 2001 19 in. long

The underside has the reward badge and “JAS” brand. Original paint with light wear.

Provenance: Robert Metcalf Collection

$1,000 - $2,000

447 Harry Curieux Adamson (1916-2012)

Canvasbacks signed “Harry Curieux Adamson” lower right oil on canvas, 21 by 28 in. O’Brien Collection stamp on back

Provenance: Donal C. O’Brien Jr. Collection, acquired in 1956 Private Collection, California

$8,000 - $12,000

448 Harry Curieux Adamson (19162012)

Canada Geese, Marsh Landing signed “Harry Curieux Adamson” lower right oil on canvas, 22 by 32 in.

Provenance: Private Collection

$8,000 - $12,000

AIDEN LASSELL RIPLEY

449 Aiden Lassell Ripley (1896-1969)

A Wild Grouse signed“A. Lassell Ripley ©” lower right watercolor, 19 by 29 in.

This classic upland scene displays Ripley’s characteristic flair and attention to detail, as the sportsman, accompanied by his setter, takes aim at a flying grouse in an autumnal landscape.

Provenance: Private Collection, New York

$10,000 - $15,000

450 Alexander Pope Jr. (1849-1924)

English Setter and Pheasant signed“Alexander Pope” lower left oil on canvas on board, 46 by 36 in.

Alexander Pope Jr. was born in Boston, Massachusetts, and began his art career as a young boy carving animals from the spare wood of his father’s lumber business. Although Pope had some formal instruction under Boston artists Walter Rimmer and William Copley, he was, for the most

part, self-taught. Pope lived the entirety of his life in Boston, painting and sculpting works that revolved around hunting and fishing. According toauthorAlfred Frankenstein, Pope was “of the back-slapping, club-going variety who spent his entire life in and around Boston.”

An avid outdoorsman, Pope belonged to the Laurel Brook Club, a fly fishing and shooting club in Uxbridge, Massachusetts. A member from 1902 to 1908, he served on its Executive Committee with Aiden Lassell Ripley (1896-1969). He was passionate about fishing and hunting and chose these subjects for his paintings and sculptures. Along with his contemporaries R. LaBarre Goodwin (1840-1910) and George Cope (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’s skill at painting dogs. Citing his ability to bestow intelligence and personality on his canine subjects, the Boston Pilot, The Courier, and the Boston Post all praised his work in their reviews. Describing the pieces exhibited by Pope in December of 1886, a writer

450

450

noted,“Theexcellence theattractiveness workarouse wasformerly WestminsterKennel theAKC Championship.Acompanion

from The Courier noted, “The excellence of the composition, the attractiveness of the subject, the technical ability shown, and perhaps more than all, the verve and dash of the work arouse enthusiasm to an unusual degree.”

This painting was formerly in the collection of Dorothy Hutchinson, a notable dog breeder and American Kennel Club judge for over 30 years. During her career, Dorothy judged groups at both the Westminster Kennel Club and the AKC Eukanuba National Championship. A companion painting depicting the same dog holds the record for a Pope

having sold in2022. Likelyboth owner,the record-settingportraitshows workreveals

dog painting at auction, havingsold for $113,400 in 2022. Likely both commissioned for the same original owner, the other record-setting portrait shows the dog still holding the retrieved pheasant, while this work reveals the bird dropped at its master’s feet.

Provenance:Dorothy HutchinsonCollection,Essex,

Provenance: Dorothy Hutchinson Collection, Essex, Connecticut Bryant B. Stringer Collection, Washington State

$20,000 - $40,00

451

452 Luke Frazier (b. 1970) Woodland Prize - Ruffed Grouse signed “L. Frazier” lower left oil on mounted canvas, 14 by 11 in.

451 Luke Frazier (b. 1970)

451 Luke Frazier (b.1970)

Timber-Doodler signed “L. Frazier” lower right oil on board, 20 by 16 in.

Timber-Doodler signed “L. Frazier” lower right oil on board,20by16in.

Busting from thick cover a woodcock heads toward blue sky in this wellexecuted oil.

Busting from thick covera woodcock headstoward blueskyinthis wellexecuted oil.

$6,000 - $9,000

$6,000 - $9,000 (b.1970) lowerleft canvas,14by11in.

A fine small oil of an English setter proudlyretrievingagrouse.

proudlyretrievinga grouse.

$3,000 - $5,000

453

Jim Rataczak (b. 1965) March Sun,2026 signed “Rataczak” lower right oil on board, 16 by 20 in. signed, titled, and dated on back

“Rataczak”lower 16by 20in. datedon

Jim Rataczakgrew up in Minnesota, graduated from Notre Dame and the University of Michigan, and studied both biology and art for many years. After a stint at the Delta Waterfowl Research Station, he moved to Chicago, where he studied at both the Field Museum and the Art Institute of Chicago. By the mid-1990s, Rataczakwas able to turn to his artworkfulltime.

graduatedfrom UniversityofMichigan, formany years.After WaterfowlResearch Chicago,where Instituteof toturntohis artwork full time.

Hesays, scope,sketchbook, isthe birdartist. eyesto record,interesting colors,and

He says, “Lugging a spotting scope, sketchbook, paint, and pencils outside can be a lot of work. But field sketching is the foundation of my work as a bird artist. It trains my eyes to see, and my hand to record, interesting shapes, colors, and events.”

viewers totake a second look at the naturalworld,to make wantto ownconnections withnature.”

acrossthe country.He Yearin

Rataczakcontinues, “My hope is that my work will encourage viewerstotakeasecondlookatthenaturalworld,tomake them want to be outside and deepen their own connections with nature.” Today, the artist lives and paints near St. Paul, Minnesota, and exhibits his artwork across the country. He was the Bonefish and Tarpon Trust’s Artist of the Year in 2021.

$1,000 - $2,000

454 ChadPoppleton(b.1976)

ChadPoppleton (b.1976)

AutumnRefreshment

Autumn Refreshment

signed “Chad Poppleton” lower right oil on canvas, 24 by 20 in.

“ChadPoppleton” canvas,24 20in.

ChadPoppleton artat StateUniversity.He CowboyArtists Awardfrom

Chad Poppleton is a Utah-based wildlife artist, rancher, and sportsman who studied fine art at Utah State University. He is a member of the Cowboy Artists of America and won the Bob Kuhn Wildlife Award from the National Museum of Wildlife Art in 2014, among other honors.

$3,000 - $5,000

456 Chet Reneson (b. 1934)

Winter Duck Hunting signed “Reneson” lower left watercolor, 20 by 29 in.

Revealing the artist’s “do it yourself” attitude, the duck hunters use an old tree as a makeshift blind.

Provenance: Private Collection, Colorado

$2,000 - $4,000

455 Chet Reneson (b. 1934)

Duck Hunting, 1977 signed and dated “Reneson 77” lower right watercolor, 17 by 27 in.

A classic “snowy blowy” duck hunting scene by Reneson, including a black Lab and hunter heading to a blind.

$2,000 - $4,000

457 Chet Reneson (b. 1934)

Ruffed Grouse, c. 1950s signed “C.W. Reneson” lower right oil on board, 16 by 20 in.

This early work was painted while the artist was in high school. Reneson appears to have been practicing his signature on the back of the board, as it is signed several times in various styles.

$500 - $1,000

458 Robert Verity Clem (1933-2010)

Waiting,1987

signed “Robert Verity Clem” lower left watercolor, 18 1/2 by 27 3/4 in. titled, dated, and inscribed “Chatham” on back

This work depicts a peregrine falcon surveying the surrounding winter landscape while perched on a coastal dune. Captured in tremendous detail, this painting is among Clem’s most desirable works and sold just shy of a record price when it was offered in 2010.

Robert Verity Clem was a New England artist based in Chatham, Massachusetts. He was self-taught, but heavily influenced by the work of Louis Agassiz Fuertes. He published his definitive work, The Shorebirds of North America,in1967.

Clem was a trustee of the Chatham Conservation Foundation and had multiple shows at the Mass Audubon Visual Arts Center in Canton, Massachusetts. Amy Montague of Mass Audubon notes, “If there were a pantheon of bird artists, Robert Verity Clem would be there.” She continues, “He is almost universally acknowledged as ranking among the greatest artists to focus on birds.”

Provenance: Robert O. Muller Collection, acquired from the artist Estate of Ingebord Lee Muller Private Collection, Massachusetts Private Collection, Colorado

$6,000 - $9,000

459 Robert Verity Clem (1933-2010)

Harlequin Ducks, 1972

signed “Robert Verity Clem” lower right watercolor, 18 3/4 by 28 1/2 in.

A survey of Clem paintings reveals this to be the only depiction of harlequin ducks to have surfaced at auction.

Provenance: Private Collection, Pennsylvania, acquired from Kelley Auctions, 2007 Private Collection, Colorado

$4,000 - $6,000

460 Ogden M. Pleissner (1905-1983)

Fishing the Restigouche signed “Pleissner” lower left watercolor, 17 1/4 by 27 1/2 in.

Soldier’s Gulch Pool on the Restigouche River

A letter from the artist accompanies the painting, in which Pleissner notes, “It was painted about ten years ago and the scene is the upper Restigouche River near the junction of the Kedgwick. It is the Rogers water and is the Soldiers Gulch Pool. Incidentally I think you have a rather good example of my efforts.”

Provenance: Dr. Leonard Schloff Collection Private Collection, Virginia

$15,000 - $25,000

461 Aiden Lassell Ripley (1896-1969) Woodcock Shooting, 1938 signed and dated “A. Lassell Ripley ‘38” lower right watercolor, 13 by 19 in.

Along with his contemporary Ogden Pleissner (19051983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged

his passion for hunting and fishing while recording material he would use in his art. This is a bright upland scene of hunters aiming at a flushed woodcock.

$12,000 - $18,000

ROBERT K. ABBETT

“As a bird hunter who has owned setters and Labs over the years, this Abbett work speaks to me. It captures a setter’s essence of exploring open space

and showing his young friend the way.”

— Stephen B. O’Brien Jr.

462 Robert K. Abbett (1926-2015) BoandDuke,1981

signed and dated “R. Abbett © 1981” lower right oil on board, 21 by 36 1/4 in. signed, titled, and inscribed on back

This painting depicts two of the artist’s own dogs, Duke of Oakdale and Bo Jangles. In A Season for Painting, Abbett recalls that his setter Duke “graced our family for his lifetime as hunting dog and artist’s model and all-around pal.” Remembering his Labrador, Abbett writes, “Bo’s worst problem was his unlimited energy; he should have belonged to someone who hunted ducks with him at least twice a day, twelve months a year, with an occasional field trial or two thrown in. As a pup, he would sit in the studio watching me, crouched like a leopard about to spring, and I would tell him, ‘Look, Bo, I’m sorry, but there’s just not a

lot going on right now.’ Perhaps I should have named him ‘Patton:’ his charge was unstoppable.”

Bill Webster selected this iconic painting for a limitededition print by Wild Wings in 1982.

Provenance: Private Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2023, lot 179

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

$7,000-$10,000

463 Peter Corbin (b. 1945)

Great South Bay Hunting,1976 signed and dated “Peter Corbin 1976” lower right oil on canvas, 20 by 29 1/2 inches

Depicting two duck hunters walking a shoreline with their retriever, Corbin captures the quiet anticipation leading up to a hunt.

Peter Corbin has established himself as one of the most recognized American sporting artists of his generation. While his reputation is based primarily on his meticulously composed scenes of sport—fly fishing and wing shooting in particular—the paintings collected in his portfolio reveal the range of his talent. Landscapes, portraits of people and dogs, depictions of birds and other wildlife in their natural habitat, and equestrian art fill his book.

$5,000 - $8,000

464 Peter Corbin (b. 1945)

Sketch of Bud Ward Duck Hunting signed “Peter Corbin” lower right graphite, 4 by 6 1/2 in.

Bud Ward was a long-time and well respected decoy dealer. This scene likely captures this decoy legend hunting on Great South Bay, Long Island.

$300-$500

CHARLES FREDERICK TUNNICLIFFE

465 Charles Frederick Tunnicliffe (1901-1979) Flock of Eider signed “C.F. Tunnicliffe” lower right watercolor, 15 3/4 by 25 1/4 in.

Charles Tunnicliffe trained at the Royal College of Art in London and became a Royal Academician in 1954. He and his wife moved to the island of Anglesey in 1947, where he continued to paint the local birdlife and work as an illustrator. Tunnicliffe was honored as a member of the Order of the British Empire in 1978 and died the next year.

Provenance: Donal C. O’Brien Jr. Collection Private Collection, California

$3,000 - $5,000

467 David A. Hagerbaumer (1921-2014)

RuffedGrouse,1996

signed and dated “David Hagerbaumer 96” lower left watercolor, 17 1/4 by 13 3/4 in.

A grouse glides through the forest with its wings spread and tail fanned out in this finely executed watercolor.

This work is a companion piece to the woodcock watercolor lot 466. This fully realized and vibrant work shows the artist at the top of his game.

$2,000 - $4,000

466 David A. Hagerbaumer (1921-2014)

Pair of Woodcock, 1990 signed and dated “David Hagerbaumer 1990” lower right watercolor, 17 1/4 by 13 3/4 in.

A pair of woodcock fly through an autumn forest in this bright, intimate watercolor.

This work is a companion piece to the ruffed grouse watercolor lot 467. This fully realized and vibrant work shows the artist at the top of his game.

$2,000 - $4,000

DAVID A. HAGERBAUMER

1921-2014

469 David A. Hagerbaumer (1921-2014)

MallardsandPintails,1960

signed and dated “David Hagerbaumer 1960” lower right watercolor,161/2by211/2in.

Mallards and pintails take to the skies in this atmospheric watercolor.

$3,000 - $5,000

468 David A. Hagerbaumer (1921-2014)

Pheasants, 1962

signed and dated “David Hagerbaumer 1962” lower left watercolor, 16 3/4 by 22 3/4 in.

A pair of pheasants breezes by the viewer in this atmospheric watercolor.

Provenance: Private Collection, Indiana

$1,000 - $1,500

470 David A. Hagerbaumer (1921-2014)

Black Ducks, 1956

signed and dated “David Hagerbaumer 1956” lower right watercolor, 14 1/2 by 19 in.

A groupoffour black ducks comes to land in this marshy scene, as pink hues fill the morning or evening sky.

$2,000 - $4,000

471 David A. Hagerbaumer (1921-2014)

Geese Landing, 1968 signed “David Hagerbaumer” lower right oil on canvas, 24 by 36 in.

A rare and large oil painting by the artist, Hagerbaumer captures a flock of snow geese as they “lock-up” to land in a field.

Born in Illinois in 1921, Hagerbaumer served in the Marines during World War II. Afterwards, he worked as a taxidermist in a decoy factory and studied art in San Diego before working at the Santa Barbara Museum as a staff artist. In the late 1950s, Ralph Terrill of Crossroads of Sport in New York helped introduce Hagerbaumer to the sporting art world.

$4,000 - $6,000 471

David Maass once said of Hagerbaumer, “He was truly a sportsman’s artist and has done it all, both with gun and brush.” His paintings can be found in the National Museum of Wildlife Art in Jackson, Wyoming, among other prominent sporting art collections. Hagerbaumer’s understanding of the natural world, specifically upland game birds and waterfowl, is made obvious in his accurate and thoughtful depictions.

Provenance: Private Collection, California

472

472 Ken Carlson (b. 1937)

Woodcock signed “K. Carlson” lower right watercolor, 22 by 15 1/2 in.

Born in 1937, Ken Carlson spent his early life in Minnesota, where he developed a love of nature and art. His artistic training took place at the Minneapolis School of Art. Today, Carlson is among the leading wildlife art painters. His works have been featured atexhibitions and in the collections of the National Wildlife Art Museum in Jackson, Wyoming, the Steamboat Art Museum in Steamboat Springs, Colorado, and the Leigh Yawkey Woodson Museum in Wausau, Wisconsin. Among other honors, he received the Bob Kuhn Wildlife Award from the Autry Museum of the American West in Los Angeles in 2008 and the Prix de West in 1999. He is a regular supporter of wildlife conservation organizations, such as Ducks Unlimited and the Rocky Mountain Elk Foundation.

$3,000 - $5,000

473 RoyMartellMason(1886-1972)

Canvasback Trio

signed “Roy M Mason” lower right watercolor,103/4by141/2in.

Mason, whose father was a farmer and engraver, came to art early in life. He devoted his painting career primarily to outdoor and sporting scenes and was a member of the National Academy of Design as well as the Salmagundi Club and the American Watercolor Society. He ran the family engravingfirminBatavia, New York, where he wasalsoa supporter of the nearby Cornell Laboratory of Ornithology. His work resides in the permanent collections of the Metropolitan Museum of Art in New York and the Art Institute of Chicago, among others. He and his wife, Lena, moved to La Jolla, California, where he died in 1972.

$600 - $900

474 Eric Sloane (1905-1985) Barn Detail, Bucks County titled and signed “Eric Sloane” upper right oil on board, 19 1/2 by 26 in.

Eric Sloane was born in New York City in 1905. Atanearly age, he had an interest in art. After being taught lettering by his neighbor and typeface creator Frederic Goudy, Sloane began painting identification numbers on airplanes out of the factory of Bill Lear, who invented the Learjet.

After a few years crossing the country as an itinerant sign painter, the artist began his career in earnest in 1934 with a newspaper ad which read: “Eric Sloane – whose service is now available for oil paintings of your plane or murals of aviation themes invites inquiry concerning art work... Estimates or ideas as sketches without charge.” He soon sold a cloudscape to Amelia Earhart, and would go on to

paint an enormous mural of clouds at the Smithsonian’s National Air and Space Museum in Washington, D.C. While studying clouds for his paintings, Sloane became an amateur authority on meteorology and published several books on the subject.

Sloane later shifted his interest to Americana and the landscapes of the Northeast. He was fascinated with antique wooden tools and became known for painting covered bridges, stone walls, and red barns, such as this.

$8,000 - $12,000

EMILE ALBERT GRUPPE

475 Emile Albert Gruppe (1896-1978)

March Snow

signed “Emile A. Gruppe” lower right oil on canvas, 30 by 36 in. titled on Rockport Art Association label on back

Emile Albert Gruppe was born to an artistic family in Rochester, New York,in1896.Hespentmuchofhis childhood on the coastoftheNetherlands,where his father, Charles, was a painter and art dealer. Upon returning to the States in 1913 just prior to World War I, Gruppe pursued his art training full time. He studied in New York at the Art

476

Students League, the National Academy of Design, and with individual artists,suchasJohnF. Carlson (1874-1945).

Gruppe exhibited at the National Academy for the first time in 1915 at the age of nineteen. After seeing a depiction of the Gloucester, Massachusetts,harborinasubsequent exhibition, the artist’s curiosity was piqued. In 1925, he made his first visit to the Cape Ann area, and by the 1940s he became linked with Rockport and set up the Gruppe Summer School, also known as the Gloucester School of Art on Rocky Neck.

Provenance: Private Collection, Massachusetts

Exhibited: Reminiscences of Emile A. Gruppe: The Artist and the Man, July 1-31, 1992.

$4,000 - $6,000

476 Emile Albert Gruppe (1896-1978)

GloucesterBoats

signed “Emile A Gruppe” lower left oil on canvas, 20 1/4 by 24 in. titled on back of stretcher

A classic Gruppe harbor scene with bright colors by this renowned Massachusetts painter. Gruppe captures fishing boats at dock in Gloucester Harbor, their reflections shimmering in the water below.

Provenance: Private Collection, Massachusetts

$2,000 - $4,000

477 Gerrit A. Beneker (1882-1934)

Lumber Schooners, 1922 signed and dated “Gerrit A. Beneker 1922” lower right oil on canvas, 20 by 24 in. titled and inscribed “Lumber Schooners by Gerrit A. Beneker Aug. 30, 1922 Provincetown, Mass” on back

Beneker moved from Michigan to New York as a young man to pursue a career in art, where he gained many commissions for magazines and advertisements. He first visited Provincetown, Massachusetts,in1912,and was a founding member of the Provincetown Art Association. He created posters for the US NavyduringWorld War I, traveled the country lecturing on art, and exhibited at the Art Institute of Chicago and the Pennsylvania Academy

of Fine Art, among others. In 1920, his family purchased a summer home in Truro, giving him frequent access to the shimmering coastal light on display in this gem of a painting.

Provenance: Private Collection, Massachusetts

$6,000 - $9,000

478 Dines Carlsen (1901-1966)

The Rock Fence - Connecticut signed “Dines Carlsen” lower center right oil on canvas, 25 by 32 in. titled on Campanile Galleries, Chicago label on back

Born in 1901 in New York, Dines Carlsen was the son of noted Danish-American painter Soren Emil Carlsen. After training with his father,Dinesembarked on a noted career as a painter himself. He was a member of the National Academy of Design and won its Hallgarten Prize twice, in 1919 and 1923. He split his time between Falls Village, Connecticut, and Summerville, South Carolina, and, upon

his death in 1966, the National Academy began awarding the Emil and Dines Carlsen Award.

This large-scale masterwork by the artist displays mature composition with sight-linesdisappearingto the right and careful study of the cloud formations and light.

$6,000 - $9,000

Painted when Tarbell was twenty-nine years old and enjoying an ascending career, this charming impressionist landscape shows the quick, active hand of the artist as he dashes to capture the bright greens and yellows of a coastal afternoon.

$6,000 - $9,000

JOSEPH RODEFER DECAMP

JosephRodeferDeCamp,American,1858–1923,The BlueCup,1909,oiloncanvas,126.68 x 104.46 cm (49 7/8x411/8in.),MuseumofFineArts,Boston.Giftof EdwinS.Webster,LawrenceJ.Webster and Mrs.Mary S.Sampsoninmemoryoftheirfather,FrankG.Webster. 33.532 Photograph©2026MuseumofFineArts, Boston.

480 Joseph Rodefer DeCamp (1858-1923)

The Blue Cup Study,c.1909 signed “Joseph De Camp” lower right pencil, gouache on paper, 21 1/4 by 16 in.

One of the most recognizable of DeCamp’s paintings, TheBlueCup oil resides in the Museum of Fine Arts in Boston, which also has a pencil study for TheBlueCup

The study offered here fully articulates the subject’s features and explores the dynamic lighting central to the final composition. This piece likely served as the bridge between DeCamp’s initial graphite study and the final painting.

Literature: Patricia Jobe Pierce, The Ten, Concord, NH, 1976, p. 68, final painting illustrated. Patricia Jobe Pierce, Edmund C. Tarbell and the Boston SchoolofPainting, Hingham, MA, 1980, pp. 13 and 74, final painting illustrated and discussed.

$2,000 - $3,000

481 Joseph Rodefer DeCamp (1858-1923)

The Gray Turban,1911 signed and dated “Joseph De-Camp 1911” lower left oil on canvas, 33 by 27 in. also titled The Fur Jacket in Foster Brothers, Boston frame titled on Copley Gallery, Boston label on back

In 1912, author and critic Lena McCauley described this portrait as a “favorite” in the Art Institute of Chicago show that year. She reported, “The painters have apparently been fortunate in havinginteresting subjects for portraiture this year...[they] have a stimulating brilliancy of color, vigor of expression, and something definite to say.”

Patricia Jobe Pierce featured this important painting in her book, Edmund C. Tarbell and the Boston School of Painting, describing it as one of "His finer canvases," which "shows the superiority and refinement of a master's brush work."

In this painting, one of Joseph DeCamp’s most famous portraits, the artist expertly balances the light on the sitter’s face and the peach tones of her skin with a decorative flower on her gray headpiece. The textures of her outfit—fur hat and stole—contrast with the smooth luminosity of her countenance. It is a fine and elegant work by one of America’s and Boston’s leading portraitists.

THE GRAY TURBAN

Born in Ohio, DeCamp began studying art at the Cincinnati Academy under Frank Duveneck. He followed his teacher to the Royal Academy in Munich and studied art across Europe. Well-connected in expatriate art circles, he also “enjoyed fishing, boating, designing and building small sailing vessels, and growing his own fruit and vegetables,” according to Pierce.

After his European training, DeCamp settled in Boston in the mid-1880s, where he taught at the Museum School and was a founding member of the Ten American Painters with Frank Benson, Edmund Tarbell, and William Merritt Chase, among others. DeCamp became an instructor at the Massachusetts Normal Art School in 1903 and remained close friends with Tarbell and the other Boston artists.

Today, his paintings can be found in multiple museums; The Guitar Player was purchased from the artist by the Museum of Fine Arts, Boston in 1908.

Literature: Patricia Jobe Pierce, Edmund C. Tarbell and the Boston SchoolofPainting, Hingham, MA, 1980, pp. 73-74, exact painting illustrated and discussed.

Lena M. McCauley, “An Exhibition of American Art at the Art InstituteofChicago,” Art and Progress, Vol. 3, No. 3, January 1912, pp.454-457.

Patrica Jobe Pierce, TheTen, pp. 72-73.

Exhibited: Chicago, Illinois, Art Institute of Chicago, Exhibition of American Art,1912.

$25,000 - $45,000

EDMUND CHARLES TARBELL

482 Edmund Charles Tarbell (1862-1938)

The Black Hat signed and titled twice on the stretcher verso oil on canvas, 50 1/2 by 38 1/2 in. also titled Lady in a Black Hat Boston Art Club label on back

Edmund C. Tarbell first exhibited this major work in 1899 attheBoston Art Club, then again in 1924 at Boston’s Saint Botolph Club.Inherbookontheartist, Patricia Pierce describes it as “a strong portrait, with each brush stroke enhancing the feminine inner strength of the sitter, who is boldly dramatic in her well-bred simplicity and sophistication.” In the work, “Tarbell balances and relates large and small areas to each other with subtle colorations [...] Decorative orange-yellow highlights add warmth and boldness to the painting, while underlying pigments of orange are found around the softened edges of the hat, and in hidden spotting throughout the composition.”

Tarbell was born in West Groton, Massachusetts, and was raised by his paternal grandparents. He apprenticed atForbes Lithographic Company in Boston, where he trained as a commercial illustrator and was known as an extraordinary draughtsman. After savingenough to support himself, he entered Boston’s Museum School under Otto C. Grundmann in an exceptional class that included Joseph Linden Smith and Frank W. Benson. Tarbell excelled at the school,andin1884,heembarked to pursue further training in Europe, where he studied in France and enrolled at the Académie Julian. Tarbell was influenced by academic realism and introduced to the new, radical impressionist movement. He began an exploration of light and shadow that continued throughout his career.

Upon his return to the States, his painting After the Ball was deemed the best American figural composition in 1890, the same year he replaced Grundmann, his former teacher,

as painting instructor at the Museum School. Tarbell was an influential and demanding instructor who pushed his students, including Aiden Lassell Ripley, to achieve their potential and raised the profile of the Museum School.

In 1897, Tarbell co-founded the Ten American Painters, an important set of American Impressionists who exhibited together in order to separate from conservative New York art organizations, such as the Society of American Artists. Tarbell’s innovative exploration of shadow and light would go on to distinguish the artist as one of America’s preeminent impressionists. Piercecallsthiswork “masterfully painted” and, since “the shadow from the black hat relates to the more subtle shadows cast from the chair,” these details make “the portrait a success.”

Provenance: Eric R. Sloane, acquired from the artist Private Collection, Dedham, Massachusetts Pierce Galleries, Inc.

Private Collection

Private Collection

Literature: G. E. Jordan, “The World of Art,” TheTimesPicayune, 4/23/78, New Orleans, LA, p. 2, Section 2, illustrated. Patricia Jobe Pierce, TheTen, Concord, NH, 1976, color plate, p. 46, illustrated.

Patricia Jobe Pierce, Edmund C. Tarbell and the Boston School of Painting, Hingham, MA, 1980, pp. 73, 110-112, illustrated.

Exhibited:Boston,MA,BostonArtClub,1899 Boston, MA, Saint Botolph Club, 1924 Portsmouth, NH, Portsmouth Trust, 1927 Corpus Christi, TX, Corpus Christi Museum of Fine Arts, 1977

$40,000 - $60,000

483 Warren W. Sheppard (1858-1937)

Moonlight oil on canvas, 13 by 12 in.

WarrenW. canvas,13by 12in.

wasaNewJerseymarine

surroundedby vesselsfrom age.After byDutch ItalyandFrance. tohismasterful wasan expertat devoutfollowingof

theNew NewJersey area,Sheppard knownfor AtlanticCoast.

Warren Sheppard was a New Jersey marine painter and yacht designer who dedicated his life to spending time on and depicting the sea. Born in Greenwich, NJ, to a ship captain, Sheppard was surrounded by vessels from a young age. After training at Cooper Union in New York, Sheppard was mentored by Dutch marine artist Mauritz de Haas and spent years studying and sketching in Italy and France. In addition to his masterful seascapes, Sheppard was an expert at depicting ships and developed a devout following of yacht owners as patrons. Spending much of his life in the New York and New Jersey area, Sheppard is best known for his authentic and awe-inspiring depictions of the Atlantic Coast.

$3,000 - $5,000

484 William Aiken Walker (1838-1921)

WilliamAikenWalker(1838-1921)

Cabin Scene

signed “WA Walker” lower left oil on board, 6 1/4 by 12 in.

Walker”lowerleft 12in.

Bornin WilliamAiken Walkerbegan artisticcareerinthe years young man, he traveled inthe

EngineerCorps. Armytapped todraft

Walkermoved toBaltimore, wasrelatively

Born in Charleston, South Carolina, in 1838, William Aiken Walker began his artistic career in the years leading up to the Civil War. As a youngman,hetraveled extensively throughout the South, and served in the Confederate Engineer Corps. Recognizing his talent, the Army tapped him to draft sketches and maps. At the end of the war, Walker moved to Baltimore, Maryland, which was relatively

stable during Reconstruction. He did not lose touch with his hometown and continued to visit the city and his friends to sketch their plantations and the sharecroppers who worked the land.Always willing to entertain people with his piano playing, Walker had many friends across the country. He spent many summers painting at Charles Beale’s property, Arden Park Lodge, near Asheville, North Carolina, and had a series of his New Orleans paintings published as prints by Currier & Ives in the1880s.

$6,000 - $9,000

tovisit thecity sharecropperswhoworkedthe toentertain acrossthe country.Hespentmany property,Arden his Currier&Ivesin

486 John James Audubon (1785-1851)

Burgomaster Gull, 1837

hand-colored engraving, 24 1/2 by 36 in.

“Burgomaster Gull. / Larus Glaucus, Brunnich / 1. Adult Male.

2. Young. first Autumn.” lower center

“Drawn from Nature by J. J. Audubon. F.R.S. F.L.S.” lower left

“Engraved, Printed and Coloured by R. Havell, 1837” lower right

$1,000 - $2,000

488 H. Macklin (18th-19th Century)

TheWearySportsman print, 20 by 15 in.

printed “G. Morland, pinxt” lower left and “W Bond Sculpt” lower right

printed “From an original picture in the collection of William Parker Esq. to whom this plate is dedicated by his obliged humble serv.” lower center

Thomas Macklin’s Poets’ Gallery was an 18th-century London art exhibition and commercial project that commissioned leading British artists to create paintings illustrating classic British poetry and Shakespeare.

Originally published in 1803 after Thomas Macklin’s death, this composition appears to have been done by a family member (H. Macklin) who continued operating the business. This scene shows a tired hunter resting with his three dogs after successfully bagging a rabbit.

$100-$200

485 John James Audubon (1785-1851)

Richardson’sJager (No.55,Plate272),1835

hand-colored engraving, 21 1/4 by 26 1/2 in.

“Richardson’s Jager / Lestris Richardsonii. / Male adult 1. Young in Sep. r2.” lower center

“Drawn from Nature by J. J. Audubon. FRS. FLS.” lower left

“Engraved, Printed, & Coloured by R. Havell, 1835” lower right

The Richardson’s Jager is a migratory arctic seabird, illustrated as both an adult male and as a young bird in this Havell-edition plate.

$1,000 - $2,000

487 James Northcote (British, 1746-1831)

Grouse Shooters in the Forest of Bowland,1805 print, 17 1/4 by 24 1/2

Engraved by George Dawe (British, 1781-1829) after a painting of the same title by James Northcote, depicting William Asheton and T. Dixon Hoste, commissioned by Thomas Lister Parker. “The detail is a delight to the sportsman, and the daring composition is as much a tribute to the taste of the artist’s patron...”

$100-$200

THEBRUCEANDDORANNAWENDEL COLLECTION OFGAMEBOARDS

Bruce and Doranna Wendel began collecting historic American gameboards in the late 1970s, at a time when almost no one else was paying attention to them. Both had “eyes” shaped by modernism; the Wendels were among the first to recognize that the graphic and geometric nature of these objects placed them in conversation with other great art movements of the 20th century. Over the next fifty years, they assembled one of the finest collections of gameboards ever seen, acquiring over two hundred works.

Their enthusiasm for the subject was matched only by their eagerness to share it, and the American Folk Art Museum recognized their contribution with two major exhibitions, most recently the 2024 show Playing With Design: Gameboards, Art and Culture. Bruce served on the Museum’s Board of Trustees for several years, and the couple donated many significant examples to its permanent collection.

489 Large Horse Racetrack Gameboard 41 by 61 in.

Radiating stripes of red, yellow, blue, and green fan outward from a numbered oval track; the composition is held together by painted horseshoes in each corner. With one hundred individually numbered stripes and four colored rings in the central field, this lively board has a satisfying geometric composition. Presumably made to play steeplechase, this great board evokes the spirit of the Kentucky Derby, Belmont Park, Saratoga Springs, and the grand American turf traditions they represent.

Provenance: Pook & Pook Auctioneers

The Bruce and Doranna Wendel Collection

$3,000 - $5,000

490 Chinese Checkers Gameboard Late-19th Century 231/4by24in.

This gameboard was selected for both the 1984-1985 and 2024-2025 gameboard exhibits at the Museum of American Folk Art. It wasalsofeatured in the book, Gameboards of North America, which accompanied the 1984-1985 exhibit. A network of gold-painted lines connects each drilled hole and each colored star point. With a beautiful surface textured with one-hundred-yearold craquelure, it has remained in the Wendel Collection for over four decades.

Provenance: The Bruce and Doranna Wendel Collection

Literature: Bruce & Doranna Wendel, GameboardsofNorthAmerica, New York, NY, p. 58, exact board illustrated.

Stacy C. Hollander, "The Game is Afoot," The Magazine Antiques, July/August 2013, p. 82, exact gameboard illustrated in living room.

Exhibited: New York, NY, Museum of American Folk Art, Winning Moves:GameboardsofNorthAmerica, December 14, 1984 - March 3,1985.

New York, NY, Museum of American Folk Art, Playing with Design: Gameboards,Art,andCulture, September 13, 2024 - January 26, 2025.

$1,000 - $3,000

Asectionofthe2024-2025exhibit Playing with Design: Gameboards, Art, and Culture,at theMuseumofAmericanFolkArt.Lots493 (upperright),495(lowerleft under glass), and500(lowerleft) can be seen. Image courtesy of ChrisMcAuliffe.

491 Colored Wheel

Early-20th Century 20 in. diameter

This wheel was selected by Bruce and Doranna Wendel for their 2024-2025 exhibit at the Museum of American Folk Art. An outstanding, bright, and colorful game wheel with red, black, green, yellow, pink, and white slices radiating out from the center. A single blue stripe with a painted star represents the grand prize, and the perimeter is studded with metal pegs.

Provenance: Collection of Stephen & Patricia Center

The Bruce and Doranna Wendel Collection, acquired from New Haven Auctions, April 2, 2022, lot 49

Exhibited: New York, NY, Museum of American Folk Art, Playing with Design: Gameboards, Art, and Culture, September 13, 2024 - January 26, 2025.

$2,000 - $4,000

493 Baseball Dart Board

This gameboard was selected for the 2024-2025 gameboard exhibit at the Museum of American Folk Art. An explosion of color and kaleidoscopic pattern, this outstanding baseball-themed dartboard captures the full drama of America’s favorite pastime. Complete with hand-painted sections labeling strikes, foul balls, outs, base hits, and a bold yellow bullseye painted “HR” for home run, the board is as charming as it is welldesigned.Whetheronabackporch or set up at a carnival, the dart holes clustered around the center indicate that this board has been enjoyed by many. The opposite side of this board displays a circular-patterned baseball dartboard using similar colors.

Provenance: The Bruce and Doranna Wendel Collection

Exhibited: New York, NY, Museum of American Folk Art, Playing with Design: Gameboards, Art, and Culture,September 13, 2024 - January 26, 2025.

$2,000 - $4,000

492 Baseball “Home Run” Board 23by20in.

A painted board with a baseball diamond and “Home Run” across the top, possibly from a carnival game. One of several fine pieces of sports-themed folk art from the Wendel Collection.

Provenance: The Bruce and Doranna Wendel Collection

$600 - $900

494 Bullseye 21 1/4 by 20 1/2 in.

A target of some sort, four concentric circles in red, blue, yellow, and green are painted on a cream background. With a clean and tight design, the colors here work in an unexplainably satisfying way. In a different context, this board could hang alongside notable works of Pop Art, with Jasper Johns’ own target paintings coming immediately to mind.

Provenance: The Bruce and Doranna Wendel Collection

$600 - $900

495 “Shoot Out” Foul-Mouthed Clown Early-20th Century oil on canvas, 12 by 11 1/2 by 3 1/4 in.

This piece was selected for the 2024-2025 gameboard exhibit at the Museum of American Folk Art. A grinning clown face, rendered in red, blue, and black, fills out this carnival piece. A comedic play on words, this foul-mouthed clown beckons players with the painted dare “HIT ME HERE” across its red nose, and the word “FOUL” between its lips, doubling as both game instruction and a punchline.

Provenance: The Bruce and Doranna Wendel Collection

Exhibited: New York, NY, Museum of American Folk Art, Playing with Design: Gameboards, Art, and Culture, September 13, 2024January 26, 2025.

$600 - $900

496 Large Baseball Dartboard 48by48in.

A large baseball-themed gameboard with painted sections allowing players to play the great American sport using darts. The design is excellent, with a tight diamond-patterned playing field in green, red, black, and grey that makes for an appealing geometric composition.

Provenance: The Bruce and Doranna Wendel Collection

$1,000 - $2,000

497

59 1/2 in. diameter, 5 1/4 in thick

Carnival goers would gather around this mouse wheel, place their bets on a color, and then a live mouse would be released onto the center of the spinning wheel. The winning color was chosen by the mouse, which would dive into a hole along the perimeter. Each radiating stripe is painted in bold red, yellow, blue, green, cream, brown, or black, and would presumably have different betting odds. A wonderfully designed carnival game and work of folk art.

Provenance: The Bruce and Doranna Wendel Collection

$3,000 - $5,000

498 Ringo Wheel Gameboard Late-19th Century 31 in. diameter

This rich and appealing game wheel was featured in Bruce and Doranna Wendel’s 1984-1985 exhibit at the Museum of American Folk Art. It wasalsofeatured in their book, Gameboards of North America, which accompanied the exhibit. In the book, the Wendels write, “In ringo, the pieces of one player defend the ‘citadel’ in the center from the attachingpiecesoftheotherplayer,whichinitiatethegame from the perimeter.”

Provenance: The Bruce and Doranna Wendel Collection

Literature: Bruce & Doranna Wendel, GameboardsofNorthAmerica, New York, NY, p. 4, exact board illustrated.

Exhibited: New York, NY, Museum of American Folk Art, Winning Moves:GameboardsofNorthAmerica, December 14, 1984 - March 3,1985.

$600 - $900

499 Carnival Game Board 53 1/4 by 24 by 2 1/2 in.

A grid of eighteen painted squares in red, yellow, blue, and ochre against a deep green background. Used as a target board, each square appears to have once been affixed with labels to designate a points system. This board has a three-dimensional aspect that captures the viewer from any angle. Its unintentional minimalism brings to mind modern artists, such as Ellsworth Kelly.

Provenance: The Bruce and Doranna Wendel Collection

$3,000 - $5,000

500 “Shoot Three Out” Carnival Game Early-20th Century 23 3/4 by 17 1/4 by 7 in.

This carnival game was prominently displayed by Bruce and Doranna Wendel in their 2024-2025 exhibit at the Museum of American Folk Art. A shooting gallery target board, players aimed at the eyes and mouth of a clown-like painted face, with the rules spelled out plainly in hand-lettered text. A player must “SHOOT THREE OUT,” likely with a cork gun, to win a choice prize. The naive figure is compelling in its own right, almost reminding one of the intensely expressive portraits of Francis Bacon. An excellent artifact that fits at the intersection of folk and outsider art.

Provenance: The Bruce and Doranna Wendel Collection

Exhibited: New York, NY, Museum of American Folk Art, Playing with Design: Gameboards, Art, and Culture, September 13, 2024January 26, 2025.

$10,000 - $20,000

501 “Circle Wins” Coin Toss Board

44 1/4 by 47 3/4 in.

Decorated with a grid of numbered squares painted in black, red, and bold yellow, each orderly square leads into four triangles that read “Circle Wins $1.00,” with a small “1.00” circle falling directlyinthecenter of the board. Two half-circle openings would allow the showmen to sweep coins off the board into a container.

Provenance: The Bruce and Doranna Wendel Collection

$2,000 - $4,000

502 Stars and Stripes Parcheesi and Checkers Board 171/4by17in.

A patriotic double-sided Parcheesi and checkers board painted in a bold red, white, and blue palette. The Parcheesi side features a crisp cross-shaped track with star-dotted center squares, giving it an unmistakably American quality.

Provenance: The Paul and Margaret Weld Collection Private Collection, acquired from the above through Skinner Auctioneers, August 13, 2000, lot 7 The Bruce and Doranna Wendel Collection, acquired from Northeast Auctions, August 2, 2014, lot 254

$1,000 - $2,000

503 “Jaws” Backgammon Box 28 by 14 by 1 1/2 in.

A double-sided backgammon box with inlaid alternating red and white “teeth” over a black background. The outer surfaces of this folding gameboard have inlaid checkers boards. A finely crafted piece, this box even has a keyed lock that would keep it securely closed.

Provenance: The Bruce and Doranna Wendel Collection

$600 - $900

504 Fox and Geese and Checkers Board 17 3/4 by 11 1/2 in.

A foxandgeese gameboard painted in a warm teal with orange dots and yellow lines mapping out the game’s crossing paths. Circle designs in each corner are reminiscent of Pennsylvania-Dutch or Celtic folk art. The reverse has a black and white checkerboard with white borderlines.

Provenance: The Bruce and Doranna Wendel Collection

$600 - $900

505 Parcheesi Gameboard Early-20th Century 23 by 23 14 in.

A Parcheesi board decorated with excellent red, white, blue, and black shapes and patterns. The outline of each shape is lightly incised. Made from a solid piece of what appears to be walnut.

Provenance: The Bruce and Doranna Wendel Collection, acquiredfromNewHavenAuctions

$600 - $900

506 Fox and Geese, Mill, and Checkers Gameboard 16 1/4 by 16 in.

One side of this board features patterns for FoxandGeeseandMill,withthetwo black line drawings floating against a deep red in a way that calls Frank Stella’s early geometric work tomind.The opposite side has a clean and appealing checkers board.

Provenance: The Bruce and Doranna Wendel Collection

$2,000 - $4,000

507 Folding Gameboard 22 1/4 by 22 1/2 in.

A folding Parcheesi board in red, orange, and dark green on one side, and a checkerboard with red and wood-toned squares on the other.

Provenance: The Bruce and Doranna Wendel Collection

Literature: Stacy C. Hollander, "The Game is Afoot," The Magazine Antiques, July/August 2013, p. 85, exact gameboard illustrated in living room.

$600 - $900

508 Red Checkerboard 16by28in.

A well-loved gameboard with each playing square cut into the wood rather than simply painted. Recessed areas on either end would hold captured pieces while playing.

Provenance: The Bruce and Doranna Wendel Collection

$600 - $900

509 Checkers and Mill Game 12 by 12 in.

Painted in bold mustard yellow and black, this double-sided gameboard offers Mill (also called Nine Men’s Morris) on one side and checkers on the other. With an excellent surface and very appealing craquelure, the same two-tone palette carries through both games. The simplicity and geometric patterns of this work give it a modern art flair.

Provenance: The Bruce and Doranna Wendel Collection

$600 - $900

510 Snakes & Ladders and Checkers Gameboard 22 by 28 1/2 in.

A double-sided gameboard featuring a colorful and impressive Snakes and Ladders game on one side, and a finely executed checkerboard on the other. The alternating red, green, and blue board features fifteen snakes, eight ladders, and 192 individually numbered squares.

Provenance: The Bruce and Doranna Wendel Collection

$600 - $900

511 Solitaire Marble Gameboard 10 by 10 in.

A Solitaire marble gameboard, complete with a set of what appears to be its original clay marbles set against a cream background with a great old craquelured surface.

Provenance: The Bruce and Doranna Wendel Collection

$1,000 - $2,000

512 Geometric Checkers Board 173/4by131/2in.

An appealing checkers board patterned with red, black, and pink squares separated by white lines. These white lines are not painted through every row or column, creating interesting shapes and patterns within the board. The borders are painted with red and black sectionsthatcreate a yin-yang-style perimeter.

Provenance: The Bruce and Doranna Wendel Collection

$600 - $900

Each is 9 1/2 by 9 1/2 in.

Two hexagonal tiger-maple boxes with carefully arranged interiors.

The first has a center round print of a lighthouse surrounded by seeds and shells in a star and other patterns. Thesecondhasacenterroundprintofasailingshipwith icebergs, polar bears, whale, dogs, kayaks, and people. Good condition.

$1,000 - $1,500

Each is 10 3/4 by 10

Two hexagonal boxes with carefully arranged interiors.

The first has a center disc of a sailing ship with a flag with the words “Essex, CT” surrounded by patterns of shells. The secondhasacompass rose decorated disc signed “K McClelland” surrounded by shells arranged in patterns. Good condition.

Provenance: Harry and Judy Bextell Collection

$1,000 - $1,500

515

515 Golden Plover

Captain James Wyer (1816-1899)

Nantucket, MA, c. 1880 11 in. long

An adult with green, gold, and white plumage. Original paint with gunning wear, thin ding on left, and a few old nails securing grain lift on right side. Bill appears to be replaced.

$1,000 - $2,000

516 Golden Plover

Coffin Family

Nantucket, MA, c. 1870 9 1/2 in. long

A two-piece plover with vibrant green and white plumage. Original paint with light gunning wear and repair to bill tip.

Literature: John and Shirley Delph, New England Decoys, Exton, PA, 1990, p. 128, exact decoy illustrated.

$1,000 - $1,500

516

517 Golden Plover Pair

Massachusetts, c. 1880

10 1/2 in. long

These decoys display gold and white feathering and highly pronounced breasts. According to an early Massachusetts decoy historian, this pair is of Mattapoiset origin and was hunted over by President Grover Cleveland. Original paint with even gunning wear. One has a tight bill crack and the other has a slight grain lift under the bill.

Provenance: Private Collection, Cape Cod

$4,000 - $6,000

518

Cape Cod, MA, c. 1880

10 in. long

These two striking decoys were carved with very thin and alert head positions, reminiscent of the famous Kankakee pintail rig. They were made from one-and-one-quarterinch boards and finished with wire bills. These birds have been associated with Falmouth, on Cape Cod. Original paint with heavy gunning wear showing some bare wood. Some cracks around metal bills and one reset tail.

Provenance: Private Collection, Cape Cod

$3,000 - $5,000

519 Three-Piece Yellowlegs

South Shore, MA, c. 1880 11 in. long

A three-piece bird with applied wings and paint that appears to be by Joseph Lincoln. Original paint with gunning wear and old loss to tail and left wing tip. Replaced bill.

$600 - $900

520 HollowYellowlegs Massachusetts, c. 1880 11 in. long

Outstanding and rare hollow yellowlegs with beautiful feathering reminiscent of stitching or needlepoint. Vertical body seam construction, and two stick holes in underside, one is filled. Excellent original paint with even gunning wear, some flaking to bill.

Provenance: Private Collection, acquired from Charles Street auction

$3,000 - $5,000

521 Mackey Minnow-In-Throat Yellowlegs

Chatham, MA, c. 1880 11 1/2 in. long

From a well-documented gunning rig of Cape Cod shorebirds, this is perhaps the finest to have surfaced. Chip carved with a highly unusual scroll-cut split tail. Original paint with even gunning wear, fill under replaced bill.

Provenance: William J. Mackey Jr. Collection University Club of Milwaukee Decoy Collection Private Collection, Cape Cod

Literature: Copley Fine Art Auctions, The Sporting Sale 2008, July 23-24, 2008, lot 435, exact decoy illustrated.

$1,000 - $1,500

522 “Greenback” Golden Plover

North Shore, MA, c. 1890 12 1/4 in. long

An oversize golden plover with bright green plumageandastringingholeinfrontofthe tail. “Greenback” was a historic name for these prized birds. Original paint with even gunning wear.

Provenance: Private Collection, Cape Cod

$800 - $1,200

523 Hollow Golden Plover

Chipman Family

Sandwich, MA, c. 1880 9 1/2 in. long

Afeatherweightgoldenploverwithdelicate split wing tips that open to show its hollow interior. Thick original paint with even gunning wear, working touch-up to a few shots scars andwear.Touch-uptofacearoundreplacedbill.

Provenance: Chipman Family

Literature: Richard A. Bourne Co., Inc., VeryRare and Important American Bird Decoys from the Collection of the late William J. Mackey Jr. of Belford, New Jersey, Hyannis, MA, 1973, Session III, lot 219, exact decoy illustrated.

$1,000 - $1,500

524 Black-Bellied Plover

North Shore, MA, c. 1900 11 3/4 in. long

A rare plover with a deeply incised “JPN” in the underside. This decoy shows parallels with the works of Tom Wilson, including the carving of the wing tips and the broad paddle tail. Original paint with even gunning wear. Bill may have been carved down.

Provenance: Private Collection, Cape Cod

$1,000 - $2,000

525 Plover Mayo Family (attr.) Orleans, MA, c. 1900 11 1/2 in. long

The Mayo family used decoys by Joe Lincoln and A. Elmer Crowell. This decoy shows a close connection to shorebirds that Cap Vinal attributed to Lincoln in his monograph on the maker. Original paint with gunning wear and a replaced bill.

Provenance: Private Collection, Cape Cod

$500 - $700

526 Willet

Charles W. Thomas (b. 1875) Assinippi, MA, c. 1900 15 1/2 in. long

A very rare oversize willet, this model was used as a model for a Mason Decoy Factory special-order decoy. Appears to be original paint with even gunning wear.

Provenance: Bud Ward Collection Henry Bishop Collection, acquired from the above, 1989

$1,500 - $2,500

527 Black-Bellied Plover OldSaybrook,CT,c.1900 10 in. long

ArareConnecticutshorebirddecoy with elaborate carved wing details. A related plover by this unnamed maker, collected by Dr. James McCleery, was marked by William J. Mackey Jr. as Old Saybrook, Connecticut. Original paint with gunning wearandareplaced bill.

Provenance: Estate of Edwin Schultz

Literature: Henry A. Fleckenstein Jr., Shore Bird Decoys, Exton, PA, 1980, p. 55, pl. XXIII, exact decoy illustrated.

$1,000 - $2,000

528

529 530

528 Black-Bellied Plover

George H. Boyd (1873-1941)

Seabrook, NH, c. 1910

10 1/2 in. long

As found with original paint and heavy wear.

Provenance: Private Collection, Massachusetts, by descent

$800 - $1,200

529 Peep

Nantucket, MA, c. 1890

7 1/2 in. long

This peep exhibits painted eyes, pronounced wing paint, and a delicate split tail. Important rigmates were collected byDonalC.O’BrienJr.andRobertCongdononNantucket, and at least one example resided in the collection of Dr. James M. McCleery. Original paint with even gunning wear, some flaking and residue to right side, and a replaced bill.

$1,000 - $2,000

530 Golden Plover E. Frank Adams (1871-1944) West Tisbury, Martha’s Vineyard, MA, c. 1910 9 in. long

A fine Vineyard shorebird decoy with strong stippled paint and an “O.S.M.” rig brand, likely designating a member of the Stanley Murphy family, on the underside. Stanley Murphy authored Martha’s Vineyard Decoys, published by David R. Godine in 1978. Original paint with light gunning wear and old bill-tip replacement.

Provenance: Jim and Robin Collins Collection, acquired from Bourne auction in 1979 Private Collection

$2,000 - $3,000

531 MackeyWillet

CharlesThomas(b.1875)(attr.)

Assinippi, MA, c. 1900 12 1/4 in. long

A large shorebird with a high applied head and a deep wing-tipcut. Original paint with gunning wear and some old working touch-up to bill.

Provenance: William J. Mackey Jr. Collection Joe French Collection, acquired from the above, 1957 Private Collection, Cape Cod

$1,000 - $2,000

532 Yellowlegs

Captain James Wyer (1816-1899) Nantucket, MA, c. 1880 11 in. long

A rare species for this important Nantucket maker. Old paint with gunning wear.

$400 - $600

533 Willet Massachusetts, c. 1900 12in.long

This decoy has a thin tail, fancy paint, a wire bill, and was carved from a two-inch board. Original paint with gunning wear and touch-up to bill.

Provenance: Private Collection, Cape Cod

$400 - $600

534 O’Brien Dowitcher

David Goodspeed (1862-1943)

Duxbury, MA, c. 1890 10 in. long

A shorebird in breeding plumage acquired by Donal C. O’Brien Jr. from Dr. George Ross Starr Jr. The underside has the O’Brien Collection ink stamp. Original paint with gunning wear, age lines on left side, replacedbill,andasmallarea of touch-up under tail tip.

Provenance: Dr. George Ross Starr Jr. Collection

Donal C. O’Brien Jr. Collection

Private Collection

$600 - $900

535 Running Golden Plover

William Mayhew

WestTisbury,c.1900 12 1/4 in. long

An exceedingly rare running golden plover made with a vertical body seam and finished with white, green, and gold stippling. Old working paint with moderate gunning wear, including a couple of flakes to left side.

Provenance: Private Collection, Cape Cod

Literature: Decoy Magazine, September/October 1999, p. 33, exact decoy illustrated.

$800 - $1,200

536 Sanderling Pair

New Jersey, c. 1920 6 in. long

A small pair of New Jersey beach birds with wire bills and split wing tips. As found with old paint by the maker.

Provenance: Richard and Lynn Gove Collection

Private Collection

$100-$200

537 Golden Plover Trio

Lafayette Seabury (1823-1910)

Bridgehampton, Long Island, NY, c. 1875 10 in. long

Original paint with gunning wear, one bird has original rough patch on left side.

$600 - $900

538 Long Port Yellowlegs

Long Port, NJ, c. 1900 11 in. long

Bears a “WGG” brand on the underside. Strong original paint with some flaking mostly to left side of head, and missing eyes.

$600 - $900

539 Black-Bellied Plover

Obediah Verity (1813-1901)

Seaford, Long Island, NY, c. 1880 11 in. long

A beetle-headed form with an incised “X” under the tail. An old Seaford gunning warrior with good form. Multiple coats of old Verity paint with gunning wear, glass eyes are missing.

$1,000 - $2,000

540 Long-Billed Dowitcher

Thomas Gelston (1851-1924)

Quogue, Long Island, NY, c. 1880 11 1/2 in. long

A full-bodied shorebird decoy with a reddish back and breast in breeding plumage. Original paint with areas of crazing, paint loss, and light gunning wear.

Provenance: Shiller Martin Collection Private Collection, New York

$2,000 - $4,000

541 Black-Bellied Plover

Andrew “Grubie” Verity (1881-1976)

Seaford, NY, c. 1900 11 1/2 in. long

This is among the more dynamic and stylish decoy forms to emanate from Long Island. It has strong raised wing carving and the underside has a “J.M.” brand. Old working paint with heavy gunning wear, check in right side, and original indentation toleft.

$1,500 - $2,500

542 Feeding Yellowlegs

Thomas Gelston (1851-1924)

Quogue, Long Island, NY, c. 1890 14in.long

An iconic Long Island form, a related Gelston running pattern was chosen by the Long Island Decoy Collectors Association as the basis for their logo. This decoy is one of several Gelstons discovered on Cape Cod. They had passed down through a family for over seventy years. The underside has a small incised “V” under the original paint and a penciled species identification. Original paint with light wear.

Provenance: Private Collection, acquired on Cape Cod, 1951 Private Collection, by descent from the above Henry Bishop Collection

Literature: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 74, pl. 53, related example illustrated in New England chapter.

$5,000 - $8,000

543 Rare Brayton Rig Red-Throated Loon

Westport, MA, c. 1910

17 1/2 in. long

Any old gunning loon decoy is rare. At half the size of a common loon, this decoy is an exceedingly rare red-throated loon in winter plumage. Jack Brayton hailed from Westport, MA, and this decoy bears two “J Brayton” brands. The Brayton family purchased and hunted with decoys from Joseph Lincoln and Elmer Crowell. Asfound with gunning wear.

Provenance: Jack Brayton Rig Private Collection, Cape Cod

Brandontheundersideof lot543.

544 Canvas Canada Goose

George H. Boyd (1873-1941)

Seabrook, NH, c. 1920 26 in. long

This decoy shows Boyd’s canvas-over-slat frame and it has an extra high back. As found with repaint.

Provenance: Private Collection, Massachusetts, by descent

$800 - $1,200

545 Swimming Canada Goose

Samuel Soper (1863-1943) (attr.) Barnegat,NJ,c.1900

30 3/4 in. long

A rare, hollow swimming decoy with tack eyes, carved bill detail, and a large inletted weight. Soper, a member of the U.S. LifesavingService, was known for carving long-necked geese in animated postures. In old working repaint with gunning wear, a neck and bill tip repair, and age lines.

Provenance: Ronald S. Swanson Collection Private Collection

$1,000 - $2,000

546 Black Duck

Capt. Jesse Birdsall (1843-1927) Barnegat, NJ, c. 1910 16 in. long

Birdsall aligned the grain pattern of the wood to great effect. Stamped “HWD” in the weight and branded “WGG” on the underside of the hollow body. Original paint with even gunning wear.

$1,800 - $2,400

548

547 McCleery Tyler Pintail

Lloyd Tyler (1898-1970) Crisfield, MD, c. 1930 20in.long

A very long and sleek decoy with a turned head exemplifying Tyler’s extreme take on the Crisfield decoy design. The underside has a faint McCleery ink stamp and auction sticker, a Philadelphia Waterfowl Exposition ink stamp, and a Richardson Collection ink stamp. Original paint with gunning wear, tight crack up base of loose neck seat, and roughness to left edge of bill and to right side of back.

Provenance: Dr. James M. McCleery Collection Private Collection, Delaware

Literature: Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22, 2000, lot 201, exact decoy illustrated. Bernard Herman and David Orr, Decoys: A Cultural Interpretation, Philadelphia Wildfowl Exposition, 1979, p. 12, exact decoy illustrated.

Exhibited: Philadelphia, PA, Philadelphia Wildfowl Exposition, The Academy of Natural Sciences of Philadelphia, 1979.

$5,000 - $8,000

548 Canvasback Pair

Taylor Boyd (1856-1944) Perryville, MD, c. 1900 15 1/2 in. long

An excellent pair of Boyd canvasbacks with sweeping lines, angel-wingpaint,and“smiling”billdetail.Theseexemplarybirds were selected for the book Chesapeake Bay Decoys. Original paint with gunning wear and drake has touch-up to area from back of right wing to the original knot under it.

Provenance: Private Collection, Delaware

Literature: R. H. Richardson, ChesapeakeBayDecoys, Cambridge, MD, 1991, p. 61, exact pair illustrated.

$4,000 - $6,000

549 Early Wigeon Drake

Lloyd Aaron Sterling (1880-1964)

Crisfield, MD, c. 1920

14 1/4 in. long

This bold Crisfield decoy is exceedingly rare, as wigeon decoys were often used like swans and gulls, as additions to rigs, rather than as full rigs of baldpate. Adding to the bird’s rarity, finding Sterling decoys in good original paint is challenging. The design of this drake shows the Crisfield archetype which influenced the Ward brothers, with wide bodies and strong lines. It was finished with rich stippled paint and excellent scratch feathering.

In their Ward brothers book, Ron Gard and Brian McGrath chose to include a Sterling wigeon drake to contrast with the Wards’ interpretations. They also addressed the special relationship Crisfielders had with wigeon decoys: “This bird was often referred to as the robber duck for his habit of stealing food that had been loosened from the bottom by the feeding of other ducks, geese, and swans. This habit

is also what made the wigeon decoy into the rigs of other birds such as canvasbacks, scaup, mallards, black ducks, and geese. Swan decoys placed among wigeon decoys made a particularly effective rig. It would seem that even though the wigeon decoyed into other species, hunters and decoy makers alike still used wigeon decoys, possibly because of the attractive coloring of this bird.” Original paint withevengunningwear,includingacrackintheunderside.Bare heartwood on breast, a restored chip along underside of bill, and touch-up to head, including a reset crack.

Provenance: Private Collection, Maryland

Literature: Ronald J. Gard and Brian J. McGrath, TheWardBrothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 92, related wigeon illustrated.

$14,000 - $18,000

550 Outstanding Miniature Canvasback Pair

Leonard E. Pryor (1876-1967)

Chesapeake City, MD, c. 1930 8 in. long

A rare miniature pair with the maker’s name and town stamped on the underside of the hen. Original paint with even wear and a tight crack in the hen’s neck.

$5,000 - $8,000

551 Miniature Redhead Pair

Robert “Bob” McGaw (1879-1958)

Havre de Grace, MD, c. 1930

6 in. long

Original paint with light wear.

$800 - $1,200

552 Miniature Mallard

Robert “Bob” McGaw (1879-1958)

Havre de Grace, MD, c. 1920

6 in. long

A well-executed drake mounted on a replaced base. Original paint with light wear.

$400 - $600

553 Miniature Pintail Pair

Robert “Bob” McGaw (1879-1958) Havre de Grace, MD, c. 1930 6 3/4 in. long

Original paint with light wear.

$800 - $1,200

554 Miniature Canada Goose

Robert “Bob” McGaw (1879-1958)

Havre de Grace, MD, c. 1930 7in.long

Original paint with light wear.

$600 - $900

555 Canada Goose

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1969

23 1/2 in. long

A large hollow goose made for Mort Hanson, a friend of the Wards and important early decoy collector. The underside has a Ward dedication and a Noyes Museum ink stamp. The head is pulled back to the left in a turned position. Original paint with light wear.

Provenance: Mort Hanson Collection Matt Geis Collection

$3,000 - $5,000

556 Rare Hunter Collection Canvasback

Ira D. Hudson (1873-1949)

Chincoteague, VA, c. 1920 16 in. long

A rare Virginia canvasback decoy with a high head and fluted banjo tail. Original paint with gunning wear and some darkening to wear in red and black areas. Right side has roughness to side and a small tail-edge chip.

Provenance: Charles Hunter Collection Estate of a Private Collection

$3,000 - $5,000

557 Turned-Head Wigeon Drake

James “Corb” Reed (1897-1987)

Chincoteague,VA,c.1970 14in.long

This cranked-headcarvingisamongthemaker’s finest. It is signed with a stamped “JC Reed” and inked signature. Original paint with light wear.

Provenance: Michael Boxer Collection Private Collection

$2,000 - $3,000

558 Black Duck

Levi Rhodes Truex (1860-1934)

Atlantic City, NJ, c. 1900 16 1/2 in. long

The body has flocked paint to minimize glare from the sun. The underside has the Conover ink stamp and a “WGG”brand. Original paint with light gunning wear.

Provenance: Jack Conover Collection Private Collection

$300 -$500

559 Black Duck

Roy H. Collins (1883-1949)

Portland,CT,c.1930

16 1/4 in. long

A well-sculpted, hollow decoy with five-piece body construction and a stylish head turned slightly to the left. Original paint with light gunning wearandacrack at left base of neck.

Provenance: Richard and Lynn Gove Collection Private Collection, Florida

$600 - $900

560 Mallard Hen

John English (1848-1915) Florence, NJ, c. 1880 16 in. long

A rare mallard hen with English’s best form and the Hillman Collection ink stamp. Old gunning paint with even wear to the wood.

Provenance: John Hillman Collection

Matt Geis Collection

$600 - $900

561 Tucked-Head Black Duck

Jess Heisler (1891-1943) Burlington, NJ, c. 1920 16 in. long

A tucked-head model with Heisler’s lively form and hollow construction. Original paint with scattered touch-up to areas of wear. A couple tight age lines to back of head.

Provenance: Dave Campbell Collection Matt Geis Collection

$800 - $1,200

562 Blue-Winged Teal

C. Ridgway Marter (1893-1977)

Burlington, NJ, c. 1950

12 1/2 in. long

A hollow Delaware River decoy exhibiting raised primaries with incised definition and carved tail feather and bill detail. The maker’s stamp is struck four times in the underside. Original paint with light wear.

Provenance: Pasquale “Babe” Sabatini Collection

$600 - $900

563 Black Duck

Ira D. Hudson (1873-1949)

Chincoteague,VA,c.1925 16 in. long

This decoy was selected for Henry Fleckenstein’s SouthernDecoys book and has Purnell’s “WHPJR” brand on the underside of the balsabody. Original paint with gunning wearandadarkworking wash. Possible old repaintonbill.Righteye gone, short cracks at loose neck seam.

Provenance: William H. Purnell Collection Private Collection.

Literature: Henry A. Fleckenstein Jr., Southern Decoys of Virginia and The Carolinas, Exton, PA, 1983, p. 59, exact decoy illustrated.

$500 - $1,000

564 Black Duck

Harry V. Shourds (1861-1920)

Tuckerton, NJ, c. 1890 16 in. long

A full-body hollow decoy with collection marks on the underside by one of New Jersey’s top makers. Original paint with even gunning wear including hairline crack along left side and ding on crown, old neck crack is reset, and some old darkening on underside.

$1,000 - $2,000

565 Turned-Head Brant

Harry V. Shourds (1861-1920)

Tuckerton, NJ, c. 1900

16 1/2 in. long

The rarity of the slightly turned head is notable, as Shourds made virtually all of his decoys pointing in a straight line. The sides have strong original striping, and the undersidehasasmall“WGG” brand. Original paint with even gunning wear including some flaking on back and old touch-up to reset neck crack.

$2,000 - $4,000

566 Early Broadbill

Harry V. Shourds (1861-1920)

Tuckerton,NJ,c.1880

14 1/4 in. long

An early Shourds model with a low tail and a wide bill. Original paint with even gunning wear and touch-up around reset neck crack.

$1,000 - $2,000

THE CURLY JOHNSON PUNT GUN

567 The Curly Johnson Punt Gun c.1850

8 feet 4 inches long

This early antique punt gun measures one hundred inches in length. Accompanying the gun is a vintage photo illustrating Mr.Johnsoninahatholdingthisexact gun as a relic well after punt-gun use for waterfowling had been prohibited.

This muzzle loading waterfowling gun has a hexagonal base to the tapered steel barrel. The inner diameter of the smooth bore measures approximately one-and-three-eighths inches, making this approximately a two-gauge. The flintlock is stamped “Harper’s Ferry 1825.”

The back of the photo cites “Curly Johnson” in ink. Asfound with gunning wear.

Provenance: Robert Metcalf Collection

$3,000 - $5,000

CurlyJohnsonholdingthis puntgun,lot567, in a vintagemid-twentieth-centuryphotograph.

SPECIAL-ORDER BACON GOLDENEYE HEN

568 Special-Order Bacon Goldeneye Hen Mason Decoy Factory (1896-1924) Detroit, MI, c. 1905 14 1/4 in. long

A very rare and early Mason special-order, round-bottom George Bacon model. Bacon was a decoy maker from Burlington, Vermont, who hunted Lake Champlain. Few of these birds were ever made, and only a handful survive in any condition today. When they have surfaced, rigmates have made market headlines since the 1980s; in 2007, a pair sold for over $97,000. Original paint with gunning wear, including some rubs along chine, and an age line in right side and underside.

Literature: Russ J. Goldberger and Alan Haid, MasonDecoys: Expanded Edition, Lewes, DE, 2014, p. 114, Starr Collection rigmate illustrated.

Decoy Magazine, July/August 1988, cover, rigmate illustrated. Decoy Magazine, January/February 2007, p. 43, rigmate illustrated. Bernard W. Crandell, Decoying: St. Clair to the St. Lawrence, Erin, ON, 1988, p. 182, rigmate pair illustrated.

$4,500 - $6,500

“Bacon”modelrigmatefeaturedonthefront coverof Decoy Magazine,July/August1988. 568

569 Premier-Grade Black Duck

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1915 18 in. long

Strong swirl paint and stamped “S” twice under the tail. Strong original paint with light gunning wear, repair to small tail tip chip, and touch-up around neck seam.

repairto chip,and touch-uparound

$1,000 - $2,000

570 Challenge-Grade Mallard

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 17in.long

17 in. long

goodcondition

Original paint with even gunning wear. Overall in good condition with touch-up to very small tail tipchip,andtoacouplespotsatneckseam.Ding in bill, knot in left side, crack along bottom.

$1,000 - $2,000

wear.Overallin

Decoy Magazine authorand“mathmogul”Jackson posingwitharelated“Bacon”modelgoldeneye. Imagecourtesyof Decoy Magazine.

DecoyMagazine author and “math mogul” Jackson Parker posing with a related “Bacon”model goldeneye. Image courtesyof DecoyMagazine.

MASON DECOY FACTORY

571 Early Pintail Hen

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1900

17 1/2 in. long

A rare and early challenge-grade sprig hen with tight stippling and strong swirls. The bottom has a carved rig mark that may be an “a.” This hen is also notable for its long, thin tail, which was typically reserved for drakes. Original paint with even wear and some darkening, two original lines in back and one in underside. Some professional restoration to base of neck and end of tail.

Literature: Guyette and Schmidt, ImportantAuctionofRareWaterfowlDecoys, November 2005, lot 52, exact decoy illustrated.

$4,000 - $6,000

572 Challenge Grade Coot

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1910

11 1/2 in. long

A rare challenge-grade coot with an uplifted head. The underside is branded “HHB” which has been attributed to Harvey H. Brown, an early member of the Winous Point Shooting Club. Original paint with gunning wear, worn bill tip, touch-up to reset neck crack and neck seam. One-and-one-quarter-inch tail chip restoration.

Provenance: Harvey H. Brown Rig, Winous Point Private Collection

$1,500 - $2,500

MASON DECOY FACTORY

573 Early VL&A Premier Broadbill Pair

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1900 13in.long

This pair is very early and closely tracks the ideal Mason form shown the company’s sales catalog. Each is ink-stamped “VL&A” for Von Lengerke & Antoine, the Chicago sporting goods retailer. Original paint with even gunning wear and veryminordarkening to neck seams.

Provenance: Private Collection, acquired from Alan Haid, 2002

$2,500 - $4,500

574 Black-Bellied Plover

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1910 11 1/4 in. long

A glass-eye model in dry and untouched gamebag condition. Original paint with gunning wear.

$1,500 - $2,500

575 Robin Snipe in Winter Plumage

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1910 10 1/2 in. long

A tack-eye red knot in dry and untouched gamebag condition. Original paint with even gunning wear and tight original line in right side.

$2,000 - $4,000

MASON DECOY FACTORY

577 Exceedingly Rare Wood Duck Hen

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1910

14in.long

A glass-eye model with strong swirl paint. Original paint with gunning wear, including some flakes to back, and fill and touch-up to some neck putty and half-inch bill tip repair.

Literature: Russ J. Goldberger and Alan Haid, MasonDecoys:Expanded Edition, Lewes, DE, 2014, p. 87, related example illustrated.

$2,000 - $4,000

578 Blue-Winged Teal Pair

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1910

12 1/2 in. long

A rigmate glass-eye pair with “JRM” stamped under the tails. Original paint with gunning wear, touch-up to filled checks along undersides, hen’s right speculum, neck filler, and darkening to some wear. Drake’s left eye is missing.

$1,500 - $2,500

576 Glass-Eye Pintail Pair

Mason Decoy Factory (1896-1924)

Detroit, MI, c. 1905

18 in. long

A rare rigmate pair of standard-grade, glass-eye sprig-tails. Mason generally made the hen’s tails far shorter than the drake’s; this hen has a long tail, even measured against a drake. Original paint with gunning wear. Hen has wear and age line to back, and loose neck seam with no filler. Drake has touch-up to front of neck putty and one-and-one-half-inch tail tip restoration.

Provenance: Private Collection, acquired 2002

$1,500 - $2,500

Closely related drake featured in the Sept./Oct. 1982 Franklin Mint Almanac article titled “The Hunt is on for Collectible Decoys,” page 30. The caption reads “(Above) The finest shop-made ducks came from Mason’s Decoy Factory in Detroit, especially wood ducks like this rare c. 1900 example.”

579 Wood Duck

Robert “Turk” Libensperger (1932-2012) Tullytown, PA, c. 1960 10 3/4 in. long

This rare decoy was selected for Floating Sculpture in 1982, in which it is described as “a very classy decoy.” It is one of only three wood ducks by the maker. The underside has the maker’s signature Tulllytownweight. Original paint with even gunning wear.

Provenance: Estate of Edwin Schultz

Literature: H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, p. 84, exact decoy illustrated.

$800 - $1,200

580 Winous Point Black Duck Decoy Philadelphia, PA or Ohio, c. 1870 16 in. long

This hollow black duck bears similarities to the “Daguerreotype decoy” from the Winous Point Shooting Club of Port Clinton, Ohio. It was selected by Jeff and Joyce Hay for the special Ohio Decoys exhibition in 2015. In their seminar, they identify this as a decoy used at the Winous Point Shooting Club. Three notches on the underside of the tail may have been a rig marking within the club. Old,possiblyoriginalpaintwitheven

gunning wearandatightbillcrack stabilized by an old pin.

Provenance: Winous Point Shooting Club

DanandKarenYundt

Jeff and Joyce Hay Collection

Literature: Jeff and Joyce Hay, Ohio Decoys,St. Charles, IL, 2015, front cover and pp. 12 and 13, exact decoy illustrated and discussed. Donna Tonelli, Fish and Fowl of the Great Lakes, Atglen, PA, 2002, p. 27, exact decoy illustrated.

$1,000 - $2,000

581 Winous Point Mallard Drake Ohio, c. 1860 16 1/2 in. long

This decoy is stamped “G.A S” for the George A. Stanley rig. It was then stamped four times for the J. W. Harris Rig and marked with a J. B. Jackson rig brand. This decoy was chosen as the first-page feature of the Ohio Decoys” publication. Original paint with gunning wear, including to crown and tail edge, darkening to original line along left side.

Provenance: Stanley, Harris, and Jackson Rigs, Winous Point

Jeff and Joyce Hay Collection

Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, p. 1, exact decoy illustrated twice.

$1,000 - $2,000

582 Canada Goose

Lloyd Johnson (1910-1965)

Bay Head, NJ, c. 1950 18 in. long

This rare decoy bears a “SGH” stamp, denoting its place in the Somers Headley Collection. Original paint with light wear.

Provenance: Somers Headley Collection Estate of Edwin Schultz

$1,200 - $1,800

583 Mechanical Black Duck

James H. Whitney (1892-1982) Falmouth Foreside, ME, c. 1939 19 in. long

The underside has an elaborate geared brass mechanism with a 1939 patent stamp. A pull on the lever pivots the head 270 degrees. Original paint with light gunning wear.

$2,000 - $3,000

584 Wood Duck

Harold Augustus Wilkins (1877-1965) Ontario, Canada, c. 1930 14in.long

A rare working wood duck from Ontario with strong paint and excellent condition. Original paint with light gunning wear.

$1,500 - $2,500

FLOYD SCHOLZ

585 Kestrel

Floyd Scholz (b. 1958) Hancock,VT,1995 10 in. long, 16 in. tall on base

Floyd Scholz is a raptor specialist and a five-time U.S. National Champion, havingalso won the 2005 World Master’s Best in Show. This highly refined decorative falcon is signed and dated below the tail. As found with original paint with minimal wear and some putty added around feet.

$1,000 - $2,000

586 Harris Hawk

Floyd Scholz (b. 1958) Hancock, VT, 1996 15 in. long bird, 31 1/2 in. tall

An excellent and detailed rendition of this famously social raptor standing on one leg. The underside of the bird is signed, numbered, and dated. The bird can be removed from base for safe transport. As found with minimal wear to bird and large cactus is reset to base.

$2,000 - $4,000

587 Presentation Swimming Mallard

Robert G. Kerr (b. 1935) Smith Falls, Ontario, Canada, 1971 19 in. long

Representing the maker’s finest work, this mallard drake displays carved bill detail, raised wings, and fine comb-feather paint. Along with the maker’s brand, a signed dedication reads “Made for Bud Keller July 1971” on the bottom of the carving. Original paint with minimal wear and a small dent in left side.

$800 - $1,200

588 Canada Goose

Jay Polite New Castle, DE, 1973 27 1/2 in. long

271/2in.long writtenup

in both The NewYorkTimes Polite“won bestof

This noted competition carver has been written up inboth Sports Illustrated and TheNewYorkTimes. The Sports Illustrated article states that Polite “won best of show with a black duck at Babylon.” Original paint with minimal wear.

Literature: Robert H. Boyle, “Fine Feather Help Make Better Birds,” Sports Illustrated, November 1, 1976.

Literature:RobertH.Boyle, MakeBetter ,November

$1,500 - $2,500

589 Preening Wood Duck

JackSweet(1928-2012) Erie,PA,c.1955 12in.long

Jack Sweet(1928-2012) Erie, PA,c.1955 12in. long evenwear.

Penned under the wing “#25 one of a kind by Decoys Unlimited, Jack Sweet.” Traces of an ink stamp on underside. Original paint with even wear.

$800 - $1,200

590 Green-Winged Teal Pair

Ben Heinemann (b. 1954) Durham,NC 10 1/2 in long

Green-WingedTeal (b.1954) inlong

A highly refined decorative pair with the maker’s burned signature on the undersides. As found with a small tail chip to hen, both appear to have some dust in recessed feather areas.

Ahighly both featherareas.

$2,000 - $4,000

591 Green-Winged Teal Pair

Green-WingedTeal

Frederick “Rick” Brown Point Pleasant, NJ, 2025 12in.long

“Rick”Brown NJ,2025 12 in. long

Signed and dated on the underside of the hollow bodies. Original paint with minimal wear.

$300-$500

$300 - $500

592 Wood Duck Trio

Frederick “Rick” Brown Point Pleasant, NJ, c. 2023 13 1/2 in. long

“Rick”Brown NJ,c. in.long

bythistalented NewJersey maker. Each is signed anddated

A fine small rig by this talented New Jersey maker.Eachissigned and dated on the underside of its hollow body. Original paint with minimal wear.

$600 - $900

593 The Hillman Tinnie Rig Strater & Sohier Boston, MA, c. 1875 12 in. wide box

This rig retains its latched box, twelve sticks, and twelve folding metal yellowlegs decoys. All twenty-five pieces have the Hillman ink stamp. The decoys have the 1874 patent ink stamp. Asfound.

Provenance: John Hillman Collection Estate of Edwin Schultz

$800 - $1,200

594 Decorative Curlew

Milton C. Weiler (1910-1974) Garden City, NJ, c. 1969 14in.long

A rare Weiler shorebird carving, signed “M. C. Weiler” on the side. The collector’s notes identifying it as a commissioned Eskimo curlew are on a label on the base. Original paint with light wear, some seams

showing around putty shrinkage, mostly around legs.

Provenance: Joseph D. Bates Jr. Collection, acquired from Weiler, by descent in the family

$400 - $600

595 Four Large Round Bowls largest is 22 in. wide

Four nested bowls with diameters ranging from twelve-and-one-half inches to twenty-two inches. Three are burl and the largest is tiger maple. Asfound.

Provenance: Estate of Edwin Schultz

$400 - $600

596 Seven Shorebird Whistles largest is 5 in. long

A fine assortment of shorebird calls. One silver call has “AF” inside a star, possibly for

Abercrombie & Fitch. Asfound.

$300-$500

597 Avocet Eric Kaiser (b. 1952) Cotuit,MA 10 1/4 in. tall

Signed on the underside of the base by the maker, a World Champion decorative carver. Asfound.

Provenance: Private Collection, Massachusetts, by decent

$800 - $1,200

598 Wooden Bowl 28 1/2 by 18 1/2 by 7 1/2 in.

A large wooden container with four incorporated handles. As found with some cracks and a filledchipinoneend.

Provenance: Estate of Edwin Schultz

$300-$500

599 Flying Mallard Pair

Mike Borrett (b. 1960) Madison, WI, 2001 19 in. long, 17 1/4 in. wingspan

Signed and dated by the maker. Original paint with even wear.

Provenance: Robert Metcalf Collection

$1,500 - $2,500

600 Flying Redhead Pair

Mike Borrett (b. 1960) Madison, WI, 2000 18 in. long, 17 1/4 in. wingspan

Signed and dated by the maker. Original paint with light wearandasmalltoe chip on drake.

Provenance: Robert Metcalf Collection

$1,500 - $2,000

601 Plump Rainbow Trout

Mike Borrett (b. 1960) Madison, WI 20 3/4 in. fish

A full-body fish, the board is signed on the back. Original paint with light wear.

$500 - $800

602 Trophy Largemouth Bass

Mike Borrett (b. 1960) Madison, WI 26 in. long

Afull-bodyfishcarving,signedby the maker on the back of the board. Original paint with light wear.

$500 - $800

603 Smallmouth Bass

Mike Borrett (b. 1960) Madison, WI, 2010 23 in. long

A full-body trophy, signed and dated on the back. Original paint with light wear, one-inch spot of touch-up on top of head.

$800 - $1,200

604 Canada Goose

Mike Borrett (b. 1960) Madison, WI 21in.long

A rare working decoy from the maker’s personal gunning rig, this carving is signed with Borrett’s brand on the underside. Borrett paint with heavy gunning wear.

$400 - $600

605 Clara Louise Van Vredenburgh (1858-1926)

Two Pointers

signed “C. L. Van Vredenburgh” lower left oil on canvas, 30 1/2 by 39 1/2 in.

Clara Louise Van Vredenburgh was a New York-based artist born in Ossining, known for her portrait paintings of dogs and cats. Her work appeared in newspaper supplements and book illustrations during the late-19th and early-20th centuries. She has gained notoriety, particularly for her depictions of sporting dogs. This painting of two pointers in the field is one of the largest and finest of her paintings to come to market.

Provenance: Bryant B. Stringer Collection, Washington State

$3,000 - $5,000

606 Edgar Bundy (British, 1862-1922)

The Huntsman’s Story

signed “Edgar Bundy” lower right watercolor, 14 1/2 by 21 1/2 in.

A jovial and lighthearted scene of hunters relaxing after an outing.

$400 - $600

607 Franz Freundlinger (Austrian, 20th Century)

Pair of Setters

signed “F. Freundlinger” lower right oil on canvas, 24 by 36 in.

Showing similarities to the works of fellow dog painter Thomas Blinks (1860-1912), this work depicts two setters working in the field.

Provenance: Private Collection, California

$1,000 - $3,000

608 European School (19th-20th Century)

Woodcock Hunting oil on canvas, 14 by 20 in.

Two hunters take aim as their dogs bound after a woodcock.

Provenance: Private Collection, California

$1,000 - $2,000

610 Manfred Schatz (German, 1925-2004)

Water's Edge

signed“M. Schatz” lower right oil on canvas, 11 by 14 3/4 in.

Schatz expertly renders a rock-filled shoreline with a pair of ducks in the distance.

Provenance: Private Collection, Colorado

$800 - $1,200

609 Manfred Schatz (German, 1925-2004)

Ice Hole Mallards

signed “M. Schatz” lower right oil on canvas, 27 3/4 by 38 in.

Born in 1925 in Stettin, Germany, Schatz is known for his ability to capture motion, such as the elusive movement of ducks in flight. His works are held in the permanent collections of the Genesee Country Museum in Mumford, New York, the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin, and the National Museum of Wildlife Art in Jackson, Wyoming.

Provenance: Private Collection, Colorado

$3,000 - $5,000

611 Manfred Schatz (German, 1925-2004)

Pheasants in Snow

signed “M. Schatz” lower left oil on canvas, 13 by 17 in.

Provenance: Private Collection, Colorado

$800 - $1,200

612 George Louis Viavant (1872-1925)

Nature Morte: Quail, 1914 signed and dated “G.L. Viavant N.O. 1914” lower left watercolor, 17 1/2 by 11 1/2 in.

George Viavant was a Louisiana artist who specialized in “nature morte” or hanging game paintings of local fauna. Born and raised near New Orleans, he spent many hours in the swamps and bayous. He studied painting with Italian artist Achille Perelli at the Southern Art Union, and his works are noted for their careful attention to detail as

he painted fromspecimensheandhisfriendsobtained directly.

$3,000 - $5,000

613 George Louis Viavant (1872-1925)

Nature Morte: Snipe, 1914 signed and dated “G.L. Viavant N.O. 1914” lower left watercolor, 17 1/2 by 9 1/2 in.

$3,000 - $5,000

614 Charles M. Jenckes (Fl. Late-19th Century)

Golden Plover,1884

signed and dated “C. M. Jenckes 1883” lower left oil on canvas, 14 3/4 by 10 3/4 in. signed and dated on back

A rare still-life painting of a hanging golden plover.

$400 - $600

615 John Fery (1859-1934)

A Successful Hunt

signed“J. Fery” lower right oil on canvas, 18 by 28 in.

From 1910 to 1913, railroad tycoon Louis W. Hill commissioned Fery to capture the landscapes of what later became Glacier National Park. In 1911, Fery and his family lived in a cabin on the south end of Lake McDonald, near the summer cottage of famed cowboy artist Charlie Russell and his wife, Nancy. Fery died in Everett, Washington, in 1934, and his works can be found in private collections, as well as the National Museum of Wildlife Art in Jackson, WY, the Charles M. Russell Museum in Great Falls, MT, and the Boise Art Museum in Boise, ID, among others.

$2,000 - $4,000

616 Peter Williams (New Zealand, 1934-2018)

Morning Workout signed “Peter Williams” lower left oil on canvas, 12 by 16 in.

inscribed “Mr. W. Rudy” on back

William H. Rudy, who owned this work, was a prize-winning sportswriter who covered the Chicago Cubs and thoroughbred racing during his career. Peter Williams was born and raised in New Zealand and became a successful equine artist in the 1980s, ultimately movingto Kentucky.

Provenance: William H. Rudy Collection Private Collection, Massachusetts, by descent in the family

$1,500 - $2,500

617 Henry P. Megargee (1887-1978)

Four Bird Paintings each oil on board

Snipe 16by12in.

signed “Harry Megargee” lower left inscribed “Wilson’s Snipe also called Jack Snipe and English Snipe. Equals Grouse, Quail and Woodcock as a great sporting bird and is prized by gourmets. Its range extends over most of North America & Northern So. Am.” onback

Willets 16by12in.

signed “Harry Megargee” lower left inscribed “Willet Semipalmated Snipe length about 15 inches Flashing using pattern voice’Pill-Will-Willet’” on back

Redheads Pitching to a Bar titled and inscribed on back 16by12in.

signed “Harry Megargee” lower left

Pintails 14 by 10 in.

Inscriptions on the backs of several of these works show the artist sold them to The US Playing Card Co., who then had “the exclusive right to reproduce for playing cards.”

$1,200 - $1,800

618 Edgar Burke (1889-1950)

618 Edgar Burke (1889-1950)

Green-Winged Teal Trio signed “Edgar Burke” lower right oil on board, 13 3/4 by 16 in.

Green-Winged TealTrio signed “Edgar Burke” lower right oil on board,133/4by16in.

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

Dr. EdgarBurke was a surgeon,avid outdoorsman, and artist. He practiced medicine formany years at the Jersey CityMedical Center and raced pigeons, amonghis many sporting pursuits.

Provenance: Joseph D.BatesJr. Collection, bydescentin the family

Provenance:JosephD.Bates Jr.Collection,bydescentinthefamily

$800 - $1,200

$800 - $1,200

619 S. J. Mulak (20th Century)

619 S. J.Mulak (20thCentury)

Little Scoters at Bass Hole,1971

signed and dated “S.J. Mulak 71” lower right watercolor, 20 by 24 1/2 in. titled on mat lower right

Little Scoters at Bass Hole, 1971 signed and dated “S.J.Mulak71” lower right watercolor,20 by 241/2 in. titled on matlower right

Two sea-duck hunters sit in their beached layout boats as a groupofscoter land in their spread.

Twosea-duck hunters sit in their beached layout boats as a group ofscoter land in their spread.

$200 - $400

$200 - $400

620 Arthur Schneider (1866-1942)

620 Arthur Schneider (1866-1942)

DecoysCaughtinMovingIce signed “Arthur Schneider” lower right oil on canvas, 16 by 20 in.

DecoysCaughtinMoving Ice signed “Arthur Schneider” lower right oil on canvas,16by 20in.

A member of the Salmagundi Club, Schneider was an avid hunter. This painting captures a coastal hunter as he clears ice from the merganser, long-tailed duck, and bluebill decoys in his spread.

A member of the Salmagundi Club, Schneider wasan avid hunter. This painting captures a coastalhunter as he clears ice fromthe merganser, long-tailed duck, and bluebill decoys in his spread.

$2,000 - $4,000

$2,000 - $4,000

621 Richard Amundsen (1928-1997)

621 Richard Amundsen (1928-1997)

Black Lab with Mallards signed “Amundsen” lower left oil on board,51/2by 7 1/4in.

Black Lab with Mallards signed “Amundsen” lower left oil on board, 5 1/2 by 7 1/4 in.

Provenance: Private Collection, Indiana

Provenance: Private Collection, Indiana

$300-$500

$300 - $500

622 Frank W. Benson (1862-1951)

Pair of Snipe, 1932

signed “Frank Benson” lower left etching, 4 by 6 in.

Paff #323, edition of 150

$600 - $900

623 Frank W. Benson (1862-1951)

Pair of Pintails, 1930

signed “Frank W. Benson” lower left drypoint, 8 by 10 in.

Paff #294, edition of 150

$200 - $400

624 Frank W. Benson (1862-1951)

Canvasbacks,1926

signed “Frank W. Benson” lower left etching, 5 3/4 by 11 3/4 in.

Paff #261, edition of 150

$400 - $600

625 Frank W. Benson (1862-1951)

Two Etchings, 1921 (one shown) each signed “Frank W. Benson” lower left Calm

Paff #199, edition of 150 4 3/4 by 6 3/4 in.

Widgeon Drinking

Paff #202, edition of 8 6 3/4 by 4 3/4 in.

$600 - $900

626 Frank W. Benson (1862-1951)

Wild Goose Drinking signed “Frank W. Benson” lower left etching, 8 by 5 in.

Paff #45, edition 4 of 50 numbered lower right

$600 - $900

627 Aiden Lassell Ripley (1896-1969) Pheasants

signed“A. Lassell Ripley” lower right etching, 9 by 13 in.

titled lower left

$400 - $600

628 Frank W. Benson (1862-1951) OldSquawsNo.2,1918

signed “Frank W. Benson” lower left drypoint, 5 by 10 in.

Paff #144, edition 19 of 136 numbered lower right

$400 - $600

629 Roland H. Clark (1874-1957) EveningFlight, 1929

signed “Roland Clark” lower right etching, 11 3/4 by 14 3/4 in. edition of 75

$400 - $600

630 Frank W. Benson (1862-1951) In Dropping Flight,1926

signed “Frank W Benson” lower left drypoint, 10 1/4 by 13 3/4 in.

Paff #255, edition of 134

$400 - $600

631 Frank W. Benson (1862-1951) Sunrise, 1920

signed “Frank W Benson” lower left etching, 6 7/8 by 10 3/4 in.

Paff #180, edition of 150 titled lower left

Provenance: John Cuthbert Collection

$800 - $1,200

632 Frank W. Benson (1862-1951) Here They Come!, 1928

signed “Frank Benson” lower left drypoint, 13 3/4 by 11 3/4 in. Paff #278, edition of 150

One of the artist’s best large-scale waterfowl plates.

$800 - $1,200

Abbett, Robert K.: 462

Adams, E. Frank: 530

Adamson, Harry Curieux: 169, 447, 448

Amundsen, Richard: 618

Aspevig,Clyde:239

Audubon, John James: 485, 486

Beard, James Henry: 186

Beneker, Gerrit A.: 477

Benson, Frank W.: 279-291, 622-626, 628, 630-632

Bextel, Harry: 513, 514

Bickford,Sid:207

Birdsall, Capt. Jesse: 546

Bishop,RichardE.:292-299

Blackstone, Jess: 384, 387

Blair Sr., John: 108, 109, 111

Borrett, Mike: 599-604

Boyd, George H.: 86, 528, 544

Boyd, Megan: 203, 205

Boyd, Taylor: 548

Brackett, Sidney Lawrence: 185

Brackett, Walter M.: 208

Brewer, Josh: 427

Bronson, Clark: 188

Brown, Frederick “Rick”: 591, 592

Browne, George: 221

Bundy, Edgar: 607

Bunn, Charles Sumner: 176, 177

Burke, Edgar: 202, 621

Burr, Russ P.: 388

Carlsen, Dines: 478

Carlson,Ken:472

Chesser, Grayson: 428

Chipman Family: 523

Clark, Charles S.: 119

Clark, James Lippitt: 58

Clark, Roland H.: 629

Clem, Robert Verity: 458-459

Coffin Family: 516

Coffin,CharlesF.:74

Collins, Roy H.: 559

Corbin,Peter:463,464

Crossman, Rod: 170, 171

Crowell, A. Elmer: 79-85, 89, 131-144, 327, 329-340, 351-383

Daly, Christine A.: 62

de Groot, Ewoud: 236-238

DeCamp, Joseph Rodefer: 480, 481

Dilley, John: 175

Dingle, Edward Von Siebold: 272

DiVita, Frank: 245

Elliston, Robert: 148-150, 157-159

Elmer, Stephen: 183

English,Dan:317-319

English, John: 110, 560

Ettinger, Churchill: 167

Falkinburg, Brad: 385

Fery, John: 615

Finney, Frank: 37-39, 431-442

Fitzpatrick, Tom: 343

Foote, Jim: 246

Footer, David A.: 227

Frazier, Luke: 231-234, 451, 452

Freundlinger, Franz: 606

Frost,ArthurBurdett:47-49

Frost, John: 50

Gant,Percy:324

Gelston, Thomas: 540, 542

Gibian, William: 420-426

Gilley, Wendell: 244

Goebel, Wilhelm J.: 63

Goodspeed, David: 71, 534

Goodwin, Richard LaBarre: 180

Graves, Bert: 153, 154

Griffith, Bill: 226

Gruppe, Emile Albert: 475, 476

Guy, Doug: 386

Hagerbaumer, David A.: 41-44, 466-471

Hanson, Marty: 389-392

Hardenbergh,GerardR.:184

Hardie, Eldridge: 271

Heinemann, Ben: 590

Heisler, Jess: 323, 342, 348, 561

Hemingway, Ernest: 212

Hobbs, Homer: 346, 347

Holmes, Lothrop: 76, 78

Hudson, Ira D.: 556, 563

Huey,GeorgeR.:96

Hunt, Lynn Bogue: 54-57, 210, 211

Jenckes, Charles M.: 614

Johnson, Lloyd: 582

Kaiser,Eric:597

Kelson, James: 162

Kerr,RobertG.:587

King, Allen J.: 127-130

King, Joe: 310, 311

Lawrence, Melvin Gardner: 77

Lehman, Sam: 218

Libensperger, Robert “Turk”: 579

Liljefors, Bruno Andreas: 235

Lincoln, Joseph W.: 101, 102, 104-107

Loring, William Henry: 61

Lucio, Jason: 266-268

Machen, William H.: 181, 182

Macklin, H.: 488

Madara, Clark: 320-322

Markham Rig: 349

Marter, C. Ridgway: 562

Mason Decoy Factory: 257-259, 568-578

Mason, Roy Martell: 473

Matia, Walter T.: 64, 168

Mayhew, William: 536

Mayo Family: 525

McDaniel, Henry: 222, 223

McGaw, Robert “Bob”: 551-554

McIntosh, Leo H.: 263, 264

McIntyre, Cameron: 1-4

McNair,Ian:394,385

McNair, Mark: 5-36, 393, 396-409

Megargee, Edwin: 166

Megargee, Henry P.: 617

Merwin, Horace B.: 88

Monroe, Lanford: 273-278

Mueller,Keith:124-126

Mulak, S. J.: 619

Murray, Jack: 191, 192

Nash,JohnWaldo:214

Nichol, Davey W.: 265

Nickerson, Fred C.: 326

Nickerson, Luther M.: 95

Northcote, James: 487

OldTown Canoe: 219

Osthaus, Edmund Henry: 45-46, 59, 60

Perdew, Charles H.: 151, 152

Pleissner, Ogden M.: 51-53, 164, 460

Polite, Jay: 588

PopeJr.,Alexander:450

Poppleton, Chad: 454

Pryor, Leonard E.: 550

Quinn, William: 309, 312-316, 344

R. Goodwin, Philip: 220

Rataczak, Jim: 453

Reed, James “Corb”: 557

Reneson, Chet: 172, 173, 224, 455-457

Ripley, Aiden Lassell: 65, 163, 449, 461, 627

Safford,Charles:87

Schatz, Manfred: 249, 250, 609-611

Schmidt, Benjamin: 160

Schmiedlin, Jim: 443-446

Schneider, Arthur: 620

Schoenheider, Sr., Charles S.: 147

Scholz, Floyd: 585. 586

Schultz, William: 161

Seabury,Lafayette:537

Sheppard, Warren W.: 483

Shilstone,Arthur:190

Shourds, Harry V.: 254-256, 564-566

Sloane, Eric: 474

Smallwood,Kenneth:270

Smith, Benjamin D.: 98

Smith, Brett James: 240-243, 247, 248

Soper, Samuel: 545

South Bend Bait Company: 199-201

Southard, William H.: 178, 179, 252

Squire, Samuel: 97

Sterling, Lloyd Aaron: 549

Stevens, Harvey: 350

Strater & Sohier: 593

Strunk,George:410-419

Stuart, Allen P.: 325

Susinno, Mark A.: 228-230

Swan, John: 193, 194

Sweet, Jack: 589

Tarbell, Edmund Charles: 479, 482

Taylor, DeCourcy L.: 225

Thomas, Charles W.: 261, 526, 531

Tibor Reel Corporation : 196-198

Truex, Levi Rhodes: 345, 558

Tunnicliffe, Charles Frederick: 465

Tyler,Lloyd:547

Van Staal Fishing Tackle: 195

Van Vredenburgh, Clara Louise: 605

Vance, Arthur B.: 112

Verity, Andrew “Grubie”: 541

Verity, Obediah: 174, 251, 539

Verity, Smith Clinton: 253

Viavant, George Louis: 612, 613

Walker, Charles: 155

Walker, William Aiken: 484

WardBrothers:114-118,555

Ward, Lemuel T.: 113

Warin, George: 145

Watson, Dave “Umbrella”: 120

Weaver, Steve: 429

Weiler, Milton C.: 187, 189, 594

Wheeler, Charles “Shang”: 100

White,Robert“Bob”:300-308

Whitney, James H.: 583

Wildfowler Decoys Inc.: 213

Wilkins, Harold Augustus: 584

Williams, Peter: 616

Wilson, Augustus “Gus” Aaron: 91-94, 328, 341

Wilson, John Thomas: 260

Winous Point: 580, 581

Wozny,Eddie:40,430

Wyer, Captain James: 515, 532

Zachmann, John F.: 146

ABSENTEE/TELEPHONE

ABSENTEE/TELEPHONE BID FORM

Name:___________________________________________________

Name:

Company Name: __________________________________________

Company Name:

Email: ___________________________________________________

Email:

PrimaryPhone:____________________________________________

Primary Phone:

BackupPhone:_____________________________________________

Backup Phone:

BillingAddress: ___________________________________________

BillingAddress:

City:___________________________State:_______Zip:_________

City: State: Zip:

ShippingAddress:_________________________________________

Shipping Address:

City:___________________________State:_______Zip:_________

City: State: Zip:

Do you have a sales tax exemption certificate? ❑ Yes ❑ No

Doyou have a sales tax exemption certificate? ❑ Yes ❑ No

Ifyes, please provide with your registration. Ifsuccessful I will:

If yes, please provide with your registration. If successful I will: ❑ Pick up in Pembroke, MA ❑ Pick up at show:__________________________ ❑ Have lots shipped

❑ Pickup in Pembroke, MA

❑ Pick up at show:

❑ Have lots shipped

Have you bid with us before? ❑ Yes ❑ No

Have you bid with us before? ❑ Yes ❑ No

New clients are asked to provide an auction or bank reference.

New clients are asked toprovide an auction or bank reference.

Contact: ___________________________________

Company: __________________________________

Contact:

Phone:______________________________________

Company:

Phone:

All bids must be received by 5:00 PM the day before the sale. Confirmation will be sent by email upon receipt. If you do not receive confirmation within 24 hours, please contact info@copleyart.com

All bids must be received by 5:00 PM the day before the sale. Confirmation will be sent by email upon receipt. If you do not receive confirmation within 24 hours, please contact info@copleyart.com

LOTNUMBERLOT

(ASECONDPAGEIS PROVIDED IFYOU NEED ADDITIONAL SPACE.)

All bids are subject to the Terms and Conditions of Sale. Copley Fine Art Auctions is not responsible for errors or failure to execute bids. Absentee bids are executed competitively at the lowest possible price allowed by reserve and competing bids. In the event of identical absentee bids, the first received will take precedence.

All bids are subject to the Terms and Conditions of Sale. Copley FineArt Auctions is not responsible forerrorsorfailure to execute bids. Absentee bids are executed competitively atthe lowest possible price allowed by reserve and competing bids. In the event of identical absentee bids, the firstreceivedwill take precedence.

A buyer’s premium of 20% applies to the hammer price up to and including $1,000,000, and 15% on anyamount above $1,000,000, plus any applicable sales tax.

A buyer’s premium of 20% applies to the hammer price up to and including $1,000,000, and 15% on any amount above $1,000,000, plusany applicable sales tax.

I have read and agree to be bound by the Terms and Conditions of Sale printed in this catalog.

I have read and agree to be bound by the Terms and Conditions of Sale printed in this catalog.

SIGNATURE: DATE

ABSENTEE/TELEPHONE BID FORM (CONT.)

ABSENTEE/TELEPHONE BIDFORM(CONT.)

Name:______________________________________________________________

Name:

CompanyName:_____________________________________________________

All bids must be received by 5:00 PM the day before the sale. Confirmation will be sent by email upon receipt. If you do not receive confirmation within 24 hours, please contact info@copleyart.com

Email: ______________________________________________________________

PrimaryPhone:_______________________________________________________

All bids must be received by 5:00 PM the day before the sale. Confirmation will be sent by email upon receipt. If you do not receive confirmation within 24 hours, please contact info@copleyart.com

All bids are subject to the Terms and Conditions of Sale. Copley Fine Art Auctions is not responsible for errors or failure to execute bids. Absentee bids are executed competitively at the lowest possible price allowed by reserve and competing bids. In the event of identical absentee bids, the first received will take precedence.

All bids are subject to the Terms and Conditions of Sale. Copley FineArt Auctions is not responsible forerrorsorfailure to execute bids. Absentee bids are executed competitively atthe lowest possible price allowed by reserve and competing bids. In the event of identical absentee bids, the firstreceivedwill take precedence.

A buyer’s premium of 20% applies to the hammer price up to and including $1,000,000, and 15% on anyamount above $1,000,000, plus any applicable sales tax.

A buyer’s premium of 20% applies to the hammer price up to and including $1,000,000, and 15% on any amount above $1,000,000, plusany applicable sales tax.

I have read and agree to be bound by the Terms and Conditions of Sale printed in this catalog.

I have read and agree to be bound by the Terms and Conditions of Sale printed in this catalog.

SIGNATURE: DATE

TERMSANDCONDITIONSOFSALE

TERMS AND CONDITIONS OF SALE

1 Your bidding on items indicates your acceptance of the following Terms and Conditions of Sale by Copley Fine Art Auctions, LLC. These terms are subject to amendment before or during the sale. Copley Fine Art Auctions, LLC operates as an agentoftheselleronlyandisnot responsible in any way in the event the seller or buyer fails to fulfill their respective agreements. In all instances, the auctioneer’s interpretation of these conditions is final and binding on all bidders.

1 Your bidding on itemsindicatesyouracceptance of the following Terms andConditions of Sale by Copley Fine Art Auctions, LLC. Thesetermsare subject to amendment before or during the sale. Copley Fine Art Auctions, LLCoperates as an agentofthe seller onlyand isnot responsiblein any wayin the event the seller or buyerfailsto fulfill their respective agreements. In all instances, the auctioneer’s interpretation of these conditions is final and binding on all bidders.

2 All bids are per lot as numbered in the catalog unless otherwise announcedby the auctioneer. The sales price shall consist of the final bid price plus the buyer’s premium, plus any applicablesalestax.The successful bidder is responsible for all taxes and other similar charges by any federal, state, or local government authority relating to the sale. If applicable, you shall provide Copley with a reseller exemption or taxexempt certificate upon completion of your successful bid. Abuyer’s premium of 20% of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, plus any sales tax, will be applied to each lot sold and will be paid bythebuyer as part of the purchase price. Purchases made through any internet bidding platforms or apps, including Copley Live, will be subject to an additional charge, 3% for CopleyLiveand5%forLiveAuctioneers.

2 All bidsare per lot as numbered in the catalog unless otherwise announced by the auctioneer. Thesales price shall consist of the finalbid priceplusthe buyer’s premium,plusany applicable sales tax. Thesuccessful bidder is responsiblefor all taxesand other similar chargesbyany federal,state,orlocal government authorityrelating to the sale. If applicable, youshallprovide Copley with a reseller exemptionortax-exempt certificate when registering tobid. Abuyer’s premium of 20% of the final bid price upto and including $1,000,000, plus 15% of the final bid price over $1,000,000,plus any sales tax, will be applied toeach lot sold and will be paid bythe buyer as partof the purchase price. Purchases made through anyinternet bidding platforms or apps, including Copley Live, will be subject to an additional charge, 3% for Copley Live and 5% forLiveAuctioneers.

3 The auctioneer reserves the right to reject any bid that, in his opinion, is not commensurate with the value of the lot.

3 The auctioneer reserves the right to reject any bid that, in his opinion, is not commensurate with the value of the lot.

4 The auctioneer has the sole right to re-offer a lot and/or settle disputed bids. The record of sale kept bytheauctionhousewillbetaken as final in the event of a dispute. Additionally, items may be withdrawn at any time prior to the offering of each lot.

4 The auctioneer has the sole right to re-offer a lotand/orsettle disputedbids.The recordof salekept by the auction house will be taken as final in the event of a dispute.Additionally,itemsmaybe withdrawnat anytimeprior tothe offering of each lot.

5 Except with respect to the guarantee for decoys as set forth below in paragraph 6, all goods are sold “as is” and all sales are final with no exchanges or refunds. Copley Fine Art Auctions, LLC and its consignors make no representations or warranties as to merchantability, fitness for a particular purpose, the correctness of the online listing, or other description of physical condition, quality, size, medium, importance, rarity, provenance or historical relevance of any property, and no statement made at the sale, or in the bill of sale, or invoice, or elsewhere shall be deemed such a warranty or representation or an assumption of liability. The purchaser assumes complete responsibility for items at the fall of the hammer.

5 Except with respect to the guaranteefor decoys as set forth below in paragraph 6, all goods are sold “as is” and all sales are final with no exchanges orrefunds.Copley Fine Art Auctions, LLC and its consignorsmakenorepresentations or warranties as to merchantability,fitness for aparticular purpose, the correctness of the online listing, or other description of physicalcondition, quality,size, medium, importance,rarity,provenance or historical relevanceofanyproperty,and nostatement made at the sale, or in the bill of sale, or invoice, or elsewhere shall be deemed such a warrantyorrepresentation or an assumption of liability. The purchaser assumescomplete responsibility foritemsat the fallof thehammer.

6 The Copley decoy team is committed to accurately cataloging all decoys. To this end, all decoy lots in this online sale carry guaranteed condition reports. Copley encourages all potential bidders to contact our decoy specialists at least 2 days before the auction ends with any questions or concerns regarding condition. Since opinions can differ in the matter of condition and age, Copley Fine Art Auctions, LLC will be the sole judge in the matter of refunds. If we fail to identify a flaw that significantly impacts the decoy’s value, the purchaser may return the decoy.

6 TheCopleydecoy teamiscommitted to accurately cataloging alldecoys.To this end, all decoy lots in this online sale carry guaranteedcondition reports. Copley encourages all potential bidders to contactour decoy specialists at least 2 daysbeforethe auction ends with anyquestions or concerns regardingcondition. Since opinions can differ in thematter ofcondition andage, Copley FineArt Auctions, LLC will be the sole judge in the matter ofrefunds. If we failto identify a flaw that significantly impacts thedecoy’s value, the purchaser may returnthe decoy.

Duration of Guarantee: Any request for refund of any decoy lot in the auction must be within 48 hours of receipt of the decoy. It is the purchaser’s responsibility to examine the decoy and identify in writing any flaw or flaws that significantly impact the value of the lot. In order to be eligible for the guarantee, Copley Fine Art Auctions, LLC must receive payment for the decoy within 7 days of the conclusion of the auction. Receipt of the decoy bythepurchaser must take place no more than14 days after the auction ends. Please note that it is the purchaser’s responsibility to arrange the pick-up or shipping of the lot. The guarantee in all cases will end 21 days after the auction ends

Duration of Guarantee:Any request forrefund of anydecoy lot in the auction must be within 48 hours ofreceipt of the decoy.It is thepurchaser’s responsibility to examine the decoyand identify in writingany flaw orflaws that significantly impact the value of the lot. In orderto be eligible for the guarantee, Copley Fine Art Auctions, LLC mustreceive paymentfor the decoy within 7 days of the conclusion of the auction. Receipt of the decoy by thepurchaser must takeplacenomore than 14 days after the auction ends. Please note that it is the purchaser’s responsibility toarrange the pick-up or shipping of the lot. The guarantee in all cases will end 21 days after the auction ends

7 SuccessfulSuccessful bidders are to pay for their purchases during or immediately after the sale unless other arrangements have been authorized in writing bytheauctionhouse.Payment may be made by cash, check, ACH transfer, or wire transfer. Credit cards may be used only for amounts up to $10,000 of the total invoice. The auction house reserves the right to hold property until payment has cleared. A monthly service charge of 1.5% will be added to unpaid balances beginning 30 days after the sale date. A $50.00 fee will be added for returned checks. If a check fails to clear after

the second deposit, the purchaserwillbeheldresponsible for any and all fees incurred until we have collected good funds.

7 Successful bidders are to pay for their purchases during or immediatelyafter the sale unless other arrangements have been authorized in writing by the auction house. Payment may be madeby cash, check, ACHtransfer,orwiretransfer. Credit cardsmay be used only for amounts up to $10,000 of the total invoice.The auction house reserves the right tohold property until payment hascleared. A monthly service charge of 1.5% will be added to unpaid balances beginning 30 days after the sale date.A$50.00 fee will be added forreturned checks. If a check failsto clear afterthesecond deposit, the purchaser will be held responsible forany and all fees incurred until wehave collected goodfunds.

8 If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Copley Fine Art Auctions, LLC may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale, and applying any payments made by the purchaser to the damages caused bythepurchaser’s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has failed to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale..

8 If the purchaser breaches anyof its obligations under these Conditions of Sale, including its obligation to pay infull thepurchase price of all items for whichit was thehighest successful bidder, Copley FineArt Auctions, LLC may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale, and applying anypayments madebythe purchaser tothedamages causedby the purchaser’sbreach, and/or(b) offering at public auction, without reserve,any lot oritemfor which the purchaser has failedto pay in full the purchase price, holding the purchaserliable forany deficiency plus all costs of sale.

9 Prospective buyers should satisfy themselves by personal inspection as to the condition of each lot. Neither the auctioneer, Copley Fine Art Auctions, LLC, nor the consignor is responsible for the accuracy of any printed or verbal descriptions. Copley Fine Art Auctions, LLC strongly encourages clients to personally examine lots prior to the auction so as to best determine the condition of lots. Although condition reports may be published or given on request, such reports are statements of opinion only. Regardless of whether or not a condition report is given, all property issold“asis.” The absence of a condition report does not imply that the property is in good condition. Copley Fine Art Auctions, LLC reserves the right, at its sole discretion, to refuse condition requests. All weights and measurements are approximate

10 Some of the lots in this sale carry reserves or minimum selling prices. This is a confidential figure set bytheconsignor and the auction house below which a lot will not be sold. The reserve will not exceed the low estimate, and the auction house will execute the reserve bids by bidding for the consignor. Estimates are subject to change at any time prior to the offering ofeachlot.

11 Absentee and telephone bids will be executed when possible as a convenience to customers; the auction house will not be held responsible for any errors or failures to accurately execute bids. Allabsenteeand telephone bids must be received by 5:00 PM the day before the sale.

9 Prospectivebuyers should satisfy themselvesbypersonal inspection as tothecondition of each lot. Neither the auctioneer, Copley FineArt Auctions, LLC, nor the consignor is responsible for the accuracy of anyprinted or verbal descriptions. Copley FineArt Auctions, LLC stronglyencourages clients to personally examine lots prior to the auction so as to best determinethe condition of lots. Although condition reports may be published orgivenonrequest, such reportsarestatements of opinion only. Regardless of whether or not a condition reportisgiven, all propertyissold “as is.” Theabsence ofacondition report does not imply that the property isingoodcondition.Copley FineArt Auctions, LLC reserves the right, at its sole discretion, to refuse condition requests. All weights and measurements are approximate.

12 Internet bidding is offered as a convenience to our bidders. Neither consignorsnorprospective bidders shall hold Copley Fine Art Auctions, LLC liable for any errors in bid execution or for any interruption, delay, or failure resulting from the use of online bidding platforms, applications, or software, including third-party systems.

10 Some of the lots in this sale carry reserves or minimum selling prices. This is a confidential figureset by the consignor and the auction house below which a lot will not be sold. Thereservewill notexceed the low estimate, and the auction house will execute thereservebidsby bidding for theconsignor. Estimatesare subjecttochange at anytimeprior tothe offering of each lot.

13 Buyers wishing to pick up items after the auction at our office may do so only by appointment. We kindly ask that all items be removed from our warehouse within 30 days of the auction’s end to avoida$5dailystorage fee.

11 All absenteeandtelephone bids must be receivedby 5:00 PMthe day before the sale The auction house will not be held responsible foranyerrors or failuresto accuratelyexecutebids.

14 Shipping is the responsibility of the buyer. Upon request, we will provide a list of shippers who deliver within the United States and overseas. Once your payment has cleared, items may be released for shipment. Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyers should allow up to four weeks for shipment.

12 Internet bidding is offered as a convenience to our bidders. Neitherconsignorsnor prospective biddersshall hold Copley FineArt Auctions, LLC liable foranyerrors in bid executionor for anyinterruption, delay,orfailure resultingfrom the use of online biddingplatforms, applications, or software, including third-party systems.

13 The auction at our officemaydo so only by appointment. We kindly ask that all itemsberemovedfromourwarehouse within 30 daysofthe auction’sendto avoid a $5 daily storage fee.

15 Copley Fine Art Auctions, LLC may, at its discretion and at the buyer’s request, package and ship sold items as directed bythepurchaser. In such instances, 1) the buyer shall prepay all related expenses, and 2) the buyer agrees that all packaging, handling, and shipment is at the sole risk of the purchaser, and Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyer should allow up to four to five weeks for shipment.

14 Shipping is the responsibility of the buyer.Uponrequest,wewill provide a list of shippers who deliver within the UnitedStates and overseas.Onceyour paymenthas cleared,items may be releasedfor shipment. Copley FineArt Auctions, LLC shall have no liability foranyloss or damage to such items.Buyers should allowupto fourweeks for shipment.

16 Some property sold at auction can be subject to laws governing export from the United States, such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute delay or cancellation in payment for the total purchase price of these lots.

TERMS AND CONDITIONS OF SALE (CONT.)

15 Copley Fine Art Auctions, LLC may, at its discretion and at the buyer’s request,package and ship sold items asdirected by thepurchaser. In such instances,1)the buyer shall prepay all related expenses, and 2) the buyeragrees that all packaging, handling, and shipment is at the sole risk of the purchaser,and Copley FineArt Auctions, LLC shall haveno liability forany loss or damage to such items.Buyer should allowupto fourto five weeks for shipment.

17 Bidding increments will normally follow the pattern below, but may vary at the sole discretion of the auctioneer:

EstimateIncrement

To 950 50

1,000 – 2,400 100

2,500 – 4,750 250

5,000 – 9,500 500

10,000 – 24,0001,000

25,000 – 47,5002,500

50,000 – 95,0005,000

Over 100,000 at auctioneer’s discretion

16 Someproperty sold at auction can be subject to laws governingexportfrom the UnitedStates, such as items that include material from some endangered species. Import restrictions fromforeign countries are subject tothesesame governing laws.Granting of licensing for import or exportof goods from local authorities is the sole responsibility ofthe buyer. Denial or delayoflicensing willnot constitute delayor cancellation inpaymentfor the totalpurchase price ofthese lots.

17 Bidding increments will normally follow the pattern below, but may vary at the sole discretion of the auctioneer:

Estimate Increment To 950 50 1,000– 2,400100

18 Copley Fine Art Auctions, LLC is the owner of the images of each lot offered for sale, and may use such images at any time at its sole discretion for advertising, publicity, and for archival purposes.

2,500 – 4,750250

5,000– 9,500500

10,000– 24,0001,000

19 If you are bidding as an agent for another individual or company, and you execute a bid on behalf of someone else under your bidder number, then you are responsible for the settlement of that account.

25,000– 47,5002,500

50,000– 95,0005,000

Over100,000at auctioneer’sdiscretion

20 In no event will the liability of Copley Fine Art Auctions, LLC to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item.

18 Copley Fine Art Auctions, LLC is the ownerofthe imagesof each lot offered for sale, andmayuse such images at anytime at its solediscretionforadvertising, publicity,and forarchival purposes.

21 Any legal disputes arising from this auction shall be settled in the court system of the Commonwealth of Massachusetts.

19 Ifyou are bidding as an agentfor another individual or company,and youexecute a bid on behalf of someone else underyour bidder number, then you are responsible for the settlement of that account.

20 In noevent will the liability ofCopley FineArt Auctions, LLC to anypurchaser with respect to anyitem exceed the purchase priceactually paid by such purchaser for such item.

will be made bythetransferring FFL and, where applicable, the buyer’s receiving FFL.

21 Anylegal disputes arising from this auction shall be settled in thecourt system of the Commonwealth of Massachusetts.

TRANSFER, DELIVERY, AND POSSESSION

SALE ROOMNOTICE — FIREARMS LOT

This notice supplements the Terms and Conditions of Sale for The Sporting Sale 2026 and applies to any lot in this sale that includes a firearm. By bidding on such a lot, the buyer accepts all terms set forth herein. In the event of any conflict between this notice and any general pickup, release, packing, shipping, or delivery provision in the Terms and Conditions of Sale, Important Notices, invoice, catalog, or other sale materials, this notice controls as to firearms lots.

SOLD AS COLLECTOR ITEM — NO WARRANTY OF SAFETY

All firearms are sold strictly as collector items. Copley Fine Art Auctions, LLC, its consignors, employees, and agents make no representation or warranty as to safety, mechanical condition, functionality, operability, or fitness to fire. Buyers are advised to have any firearm examined by a qualified licensed gunsmith before loading, firing, disassembly, or any use.

This notice supplements the Terms and Conditions of Sale forThe Sporting Sale 2026and applies to any lot in this sale that includes a firearm.By bidding on such a lot, the buyeraccepts all terms setforthherein. In the event of any conflict between this notice andany general pickup, release, packing, shipping, or delivery provisioninthe Terms and Conditions of Sale, Important Notices, invoice, catalog, or other sale materials, this notice controls as to firearms lots.

SOLD AS COLLECTOR ITEM — NO WARRANTYOF SAFETY

By bidding, the buyer releases,indemnifiesandholdsharmless Copley Fine Art Auctions, LLC, its consignors, employees, and agents from all liability for any injury, death, or property damage arising from the handling, loading, firing, use, misuse, attempted use, or transfer of any purchased firearm, to the fullest extent permitted by law.

BUYER ELIGIBILITY AND LEGAL COMPLIANCE

Firearms are not in Copley Fine Art Auctions, LLC’s possession. They are held by a licensed Federal Firearms Licensee and will be transferred only by or through that FFL in accordance with applicable federal, state, and local law. Copley Fine Art Auctions, LLC will not physically handle, store, transport, release, deliver, pack, ship, or transfer the firearm and is not the transferring dealer.

orcompliancewithfederal,state, or local firearms laws; such determinations will be made bythe transferring FFL and, where applicable, the buyer’s receiving FFL.

TRANSFER, DELIVERY,AND POSSESSION

Notwithstanding any contrary pickup, release, packing, shipping, or delivery provision in the Terms and Conditions of Sale, Important Notices, invoice, catalog, or other sale materials, the firearm will be released, transferred, packed, and shipped only by or through the FFL holding the firearm. The firearm will not be released directly to any buyer except as permitted by law and approved bythetransferring FFL.

Firearms are not inCopley FineArt Auctions, LLC’s possession. Theyare held by a licensedFederalFirearms Licensee andwill betransferredonlyby orthrough that FFL in accordancewith applicable federal,state, and local law. Copley FineArt Auctions, LLCwillnotphysically handle, store, transport, release, deliver, pack, ship,ortransferthefirearm and is not the transferring dealer.

By bidding, the buyer represents that they are legally eligible to purchase, receive, and possess the firearm under all applicable federal, state, and local laws, and assumes sole responsibility for determining the legality of the purchase,receipt, possession, transfer, shipment, and delivery in their jurisdiction prior to bidding. Copley Fine Art Auctions, LLC does not make final determinations regarding buyer eligibility, transferability, required licenses, background checks, registration, shipping requirements, or compliance with federal, state, or local firearms laws; such determinations

All firearms are sold strictly as collectoritems.Copley FineArt Auctions, LLC, itsconsignors, employees,andagents makeno representation or warrantyasto safety, mechanical condition, functionality, operability, or fitness tofire. Buyers are advised tohave any firearm examinedby a qualified licensed gunsmith before loading, firing, disassembly,or any use.Bybidding, the buyer releases, indemnifies and holds harmless Copley Fine Art Auctions, LLC, itsconsignors, employees,andagents fromall liability foranyinjury, death, or propertydamagearisingfrom the handling, loading, firing, use, misuse, attempted use, or transfer of anypurchasedfirearm, to the fullest extentpermitted bylaw.

BUYER ELIGIBILITY AND LEGAL COMPLIANCE

By bidding, the buyerrepresents that theyare legallyeligible to purchase, receive,andpossessthe firearm under all applicable federal,state, and local laws, and assumessole responsibility for determining the legalityof the purchase, receipt,possession, transfer, shipment, and delivery in their jurisdiction prior to bidding. Copley Fine Art Auctions, LLCdoesnot makefinal determinations regardingbuyer eligibility,transferability, required licenses,backgroundchecks,registration, shipping requirements,

The buyer is solely responsible for all required documentation, transfer requirements, licensing, background checks, receiving-FFL arrangements, shipping, insurance, storage, and associated costs. Failure or inability to complete any required firearm transfer, background check, licensing requirement, receiving-FFL arrangement,shipment,ordelivery for any reason, including buyer ineligibility or restrictions in the buyer’s jurisdiction, shall not constitute grounds for cancellation, rescission, nonpayment, chargeback, refund, or delay in payment. Any return transfer, storage, re-consignment, resale, shipping, insurance, or administrative costs arising from a failed or delayed transfer are the buyer’s sole responsibility.

Notwithstanding any contrary pickup, release, packing, shipping, or deliveryprovisioninthe Terms and Conditions of Sale, Important Notices, invoice, catalog, or other sale materials, the firearm willbe released, transferred,packed, and shipped only by orthroughthe FFL holding the firearm. Thefirearm will not be released directly to any buyer exceptaspermitted bylaw and approved by the transferring FFL.

Thebuyer is solely responsible for all required documentation, transferrequirements, licensing, backgroundchecks, receiving-FFL arrangements, shipping, insurance, storage, and associated costs. Failure or inability to complete any required firearmtransfer,background check, licensing requirement,receiving-FFL arrangement, shipment, or deliveryforany reason, including buyer ineligibilityor restrictions in the buyer’s jurisdiction, shall not constitute grounds for cancellation,rescission, nonpayment, chargeback, refund, or delayin payment. Any return transfer,storage,re-consignment, resale, shipping, insurance, or administrative costs arising froma failed or delayedtransferarethe buyer’s soleresponsibility.

OUT-OF-STATE DELIVERY AND AUTHORIZED SHIPPING RELEASE FORM

Shipping may be arranged with the shipping company of your choice. Below is a list of shippers that we frequently work with. Please email them directly if you would like a quote. Once you have decided on a shipper, please return this form with your payment or email to info@copleyart.com

TheUPSStore#4423

The UPS Store#4423

Wakefield, MA

781.224.2500 or store4423@theupsstore.com

The UPS Store #2631 Kingston,MA

781.585.0602 or upskingston2631@gmail.com

TheUPSStore Kingston, MA store2631@theupsstore.com

Boston Pack and Ship

BostonPack

781.849.8696 or 1.800.400.7204 info@bostonpackandship.com

U.S.Art - Specializing in high-value art, large works, and specialty items

U.S. Art - high-value art,large works, and specialtyitems yourchoice. youwould aquote.

781.986.6500 or 1.800.872.7826

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Gravity Boxes - one pickup a week after the sale Saugerties, NY 845-217-5533 or ship@gravityboxes.com

Scott Cousins Art Handling

Hand-delivery service 978.491.9353 or scottcousins22@aol.com

PeterCoccoluto

Peter Coccoluto

Hand-delivery service 508.560.8631 or manateeriverauctions@gmail.com

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If Copley Fine Art Auctions, LLC is required to deliver the items to a purchaser outside of Massachusetts or to an interstate carrier for delivery to the out-of-state destination, the sale is exempt from Massachusetts Sales Tax under MGL 64H §6(b).

IfCopley isrequiredto itemsto toan totheout-of-state MGL64H

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STORYTELLING & TALL TALES

Thesehave always been time-honoredtraditions,passed from generation to generation. Nowhereis this more evident than at the iconic Waterfowl Festivalin Easton, Maryland.

Since 1971, artisansandartists,musicians, craftsman, decoy carvers,hunters, andcallershave gatheredto share the rich heritage of the Eastern Shore culture lifestyle. Thefestival began with a determined group of hunters and conservationists, who knew that unlessthey worked to preserve the landscape theyloved, they would be lost forever.

Over the decades, theseremarkable men andwomen–and now inmany cases, their childrenand grandchildren–have worked tirelessly to educate,entertain, and inspire. For55 years, theWaterfowl Festivalhasbeena must attendevent celebrating the best of wildlife art, sportingtraditions, and conservation.

Visitors can enjoy decoy carving, calling demonstrations, retriever and raptor exhibitions, live music, and delicious Eastern Shore food thatkeeps them coming back a year after year. Join us thisyear and discover why theWaterfowl Festival remains a legendary celebration of art, heritage, and the wild spirit of the Eastern Shore.

November 13-15, 2026 Forinformation, and to purchase tickets, visit waterfowlfestival.org

PRIVATE SALES

Copley is not only one of the world’s leading sellers at auction, but also offers confidential private buying and selling opportunities outside the auction arena.

For more than three decades, Copley principals Steve and Cinnie O’Brien have exhibited at many of the nation’s premier Americana and Antiques shows, including the American Antiques Show in New York, the Philadelphia Antiques Show, the Delaware Antiques Show, and the Palm Beach Jewelry, Art & Antique Show. The trust and relationships built with the country’s leading collectors and dealers through these events have been paramount to Copley’s success.

There are virtually no limits to the objects of art that can be acquired privately through Copley. We provide a discreet, trusted, and proven avenue for sourcing properly vetted objects. Let us know what you are looking for, and we will put our extensive network and decades-long relationships to work on your behalf.

If you are considering selling artwork or antiques discreetly at a fixed price, private sales may be the best option for you. Contact us to discuss commission rates and learn more.

ExceedinglyRare Marbled Godwit

A. Elmer Crowell (1862-1952) EastHarwich, MA, c. 1930 12 in.tall