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THE WINTER SALE FEBRUARY 20-21, 2026

THE WINTER SALE 2026 Featuring

The Robert S. Doochin Collection of Sporting, Wildlife, and Western Art

THE SPORTING LIFE As Copley celebrates twenty years in the auction arena, I am both thrilled and humbled by the success of the firm over the last two decades. As we put the finishing touches on the pages of this catalog, not only am I excited by our firm’s accomplishments, but, more importantly, I continue to revel in the friendships and partnerships we have developed along the way. Art, conservation, and the outdoor life define our days at Copley, but it is the camaraderie found within these pursuits that truly fulfills us.

Welcome to the Sporting Life. As you flip through this catalog, we hope that the objects within these pages move you. Maybe an old weathered decoy takes you back to a day your father brought you down to Crisfield to meet the Ward brothers, or perhaps a painting triggers the memory of a night sitting around the campfire with your mates howling at the moon, or that day in the field with that certain dog.

Along these lines, I recently had the opportunity to walk the halls of the one-hundred-year-old American Paper & Twine Company in Nashville, Tennessee, with its past president and CEO, Bob Doochin. As we strolled down the hallways and took in Bob’s collection, I turned to him and asked if there was a particular theme or script he had followed in gathering so many masterworks. His answer was self-effacing and succinct: “I simply wanted to chronicle the history of American Sporting, Wildlife, and Western art from 1870 to the present.” Viewing Bob’s collection is a rare opportunity to explore the past, celebrate the majesty of America’s beauty, and marvel at top artists and their insightful creations. The Doochin Collection is in one sense historic and, at the same time, new, sparked by pinnacle contemporary works. It is a visual celebration and embodiment of the Sporting Life, the spaces where we hunt, fish, and choose to be. We look forward to showing you these works and many others at our gallery or at our next major show—The Southeastern Wildlife Exposition (SEWE), taking place February 13–15th in Charleston, South Carolina. Thank you for your continued support.

Stephen B. O’Brien Jr. Lot 215 (detail), John Martin Tracy, Good and Bad Luck. 3

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 Tackle & 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 © 2026 Copley Fine Art Auctions, LLC. All rights reserved. Like us on Facebook Facebook.com/copleyfineartauction Follow us on Instagram Instagram.com/copleyfineartauctions Printed in the USA

TABLE OF CONTENTS

Schedule of Events

Important Notices

Properties

The Winter Sale | Feb. 20 | 10AM | Lots 1-300

214

The Winter Sale | Feb. 21 | 10AM | Lots 301-638

348

Index

352

Terms and Conditions of Sale

353

Buyer Pre-Registration Form

354

Absentee/Telephone Bid Form

355

Authorized Shipping Release Form

THE WINTER SALE

SCHEDULE OF EVENTS

AUCTION: FEBRUARY 20-21 Day 1:

Friday, Feb. 20, 10:00AM Lots 1-300

Day 2: Saturday, Feb. 21, 10:00AM Lots 301-638 Live-streamed from Massachusetts; there will be no in-person bidding during the auction.

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

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

ONLINE BIDDING Live online bidding will be available through Copley Live, Bidsquare, and Live Auctioneers. There will be a 23% buyer’s premium for Bidsquare and Copley Live and a 25% buyer’s premium for Live Auctioneers.

Please review the Terms and Conditions of Sale on page 352 and Important Notices on page 11 of this catalog.

COPLEY FINE ART AUCTIONS, LLC | info@copleyart.com | 20 Winter Street | Pembroke, MA 02359 | 617.536.0030

THE WINTER SALE

IMPORTANT NOTICES

lease be advised that all persons wishing to bid at this auction P should read, and be familiar with, the Terms and Conditions of Sale in this catalog prior to bidding. Buyer’s premium

A buyer’s premium of 20% (23%-25% for online bidding) of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the Buyer to Copley Fine Art Auctions, LLC as part of the purchase price. 3 Consign to our next sale Copley Fine Art Auctions, LLC is accepting consignments for The Sporting Sale 2026. Please contact us by phone at 617.536.0030, or by email at consignments@copleyart.com. 4 Pre-registration Pre-Registration forms are available online, as well as in the back of this catalog. 5 Absentee and telephone bidding If you plan to place absentee bids or to bid by telephone, please make sure that we receive your Absentee/Telephone Bid form at least 24 hours before the start of the sale. It is possible that any bids received after this time may not be accepted. You will receive confirmation of your absentee bid(s) within 24 hours of receipt. If you do not receive confirmation, please call our office at 617.536.0030. 6

Sales tax

All bidders holding a valid Massachusetts or out-of-state resale number must provide their certificate, or copy thereof, while registering. Failure to do so will subject the bidder to a mandatory 6.25% Massachusetts sales tax on purchases. 7

Inspection of items offered at this auction

All items are sold “as is” and should be inspected either personally or by agent before a bid is placed. Prospective buyers should satisfy themselves by personal inspection as to the condition of each lot. Although condition reports may be published or given on request, such reports are statements of opinion only. Regardless of whether or not a condition report is given, all property is sold “as is.” The absence of a condition report does not imply that the property is in good condition. Copley Fine Art Auctions, LLC reserves the right, at its sole discretion, to refuse condition requests. 8

Flat art dimensions

Please be aware that all flat art dimensions are approximate and are rounded to the nearest quarter inch. Flat art is measured by height followed by width. Three-dimensional works are measured by height, width, and depth. 9

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

10 Stands Please be aware that stands are not included with items purchased. 11 Condition of objects ear or gunning wear may include all types of wear and W damage that can be inflicted, and may be expected, from hunting, handling, use, or time. This may include, but is not limited to, paint wear, flaking, dings, scratches, checks, cracks, craquelure, age lines, dents, chips, rubs, blunts, broken or missing eyes, shot scars, seam separations, raised grain, rust, filler loss, sap, discoloration, and altered rigging, stick holes, and eyes. The condition of the undersides may not be listed. Clear coats, such as varnish, shellac, and oil, may not be listed. Repairs, restorations, and touch-up may include new material. Paint listed as “working,” “gunning,” or “old” is likely not original first coat. Repairs and construction features that are original to the work, including but not limited to putty, bungs, plugs, patches, and stabilization, may not be mentioned. Replaced and repaired bills may include touch-up near insertion point and extend through back of head, if applicable. Radiographs, or x-ray images, may be available by request for select lots. Please submit additional condition report requests at least ten days prior to the sale date. Additional online photos are considered to be part of the condition. 12 Fragile decoratives F ragile decoratives, like the birds, feathers, flora, and fauna that their makers emulate, can be particularly susceptible to damage, deterioration, and loss. Feathers, wings, legs, tails, leaves, branches, and other parts can become detached from necessary handling. Due to these circumstances, CFAA will not be responsible for any change in condition of decorative lots. Additionally, we recommend that all bidders consider transportation logistics for these special objects prior to the sale. 13 Condition description of “As found” The “as found” designation denotes that condition issues are not listed. It is the responsibility of the buyer to determine condition. The item is sold with any faults and imperfections that may exist. 14 Auction results Unofficial auction results will be available online approximately one week after the auction at copleyart.com. 15 Pick up and shipping Buyers wishing to pick up items after the auction at our office may do so only by appointment. If you would like your items shipped, please complete and return the Authorized Shipping Release form found in the back of this catalog. 16 Auction day contact information On site: 617.536.0030 Auctioneer Peter J. Coccoluto MA License #2428 11

PROPERTIES FROM Collection of the American Folk Art Museum Dave Campbell Collection Peter Carton Collection Mike Caton Collection A descendant of Everett Banfield Davenport Robert S. Doochin Collection A descendant of Dr. Emil J. Dul A descendant of Giraud Foster Matt Geis Collection A descendant of Robert Glidden Jeff and Joyce Hay Collection Estate of Marilyn M. Herlin Donald Kirson Collection Masterworks of the Illinois River Collection William C. McMaster M.D. Collection Robert Metcalf Collection Curt Mettam Collection A descendant of Everett Mills A descendant of Ogden Pleissner Estate of Paul Plishka A descendant of Louis Rathmell Bruce and Rachel Roberts Collection Estate of Edwin Schultz A Southern Plantation A descendant of William Zimmerman Private Collections from AL, AZ, CA, CO, CT, DC, FL, GA, IL, IN, MA, MD, ME, MN, MT, NJ, NY, PA, SC, TX, UT, VA, and WI

THE WINTER SALE 2026 LOTS 1-300 DAY 1 | FEB. 20 | 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.

Lots 1-5 and 25-30 Select Miniature Carvings by A. Elmer Crowell Select miniature carvings by Elmer Crowell were recently discovered in a box, locked away in a hidden wall compartment, within a closet, of the master bedroom in an old lighthouse keeper's home in Chatham, Massachusetts. Copley is pleased to introduce the decoy collecting community to the early and rare carvings of this previously hidden estate collection. Additionally, we are honored to have the opportunity to shed light on two important early Crowell collectors: Loring Underwood (1874–1930) of “The Three Bears” and Everett Beaumont Mills (1893-1959).

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

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

Provenance: From a Chatham, Massachusetts, Estate $2,000 - $4,000

An exceptional miniature decorative tern on a carved clamshell base marked with the maker’s early “MFR” ink stamp. This early example has sleek form with very long and refined wing tips and tail carving. This tern was recently discovered locked in a hidden wall compartment in a lighthouse keeper’s home in Chatham, Massachusetts. Original paint with light wear and an old minute chip to bill and wing tips.

3 Miniature Hooded Merganser

Provenance: From a Chatham, Massachusetts, Estate

$2,500 - $3,500

$800 - $1,200

2 Miniature Little Green Heron

4 Miniature Ruddy Duck

This rare Crowell’s species is signed with the maker’s circular “MFR” ink stamp on its white underside. It features rare scratch-feather texturing on the wings. Original paint with light wear and touch-up to tips of bill of and crest and line around neck.

A rare early miniature with Crowell’s circular “MFR” ink stamp on its white underside. Original paint with light wear.

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

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 3 in. tall

This carving is inscribed “Hooded Merganser” and very faintly bears Crowell’s circular “MFR” ink stamp on its white underside. Original paint with light wear, including to bill and tail tips.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 1/2 in. long

Provenance: From a Chatham, Massachusetts, Estate $800 - $1,200

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

5 Miniature Preening Canada Goose

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 4 3/4 in. long

An exceptional miniature decorative goose made in the pose of the carver’s iconic life-size masterwork. The whole body is finished with expertly blended paint and the maker’s rectangular stamp on the underside. This carving was recently discovered locked in a hidden wall compartment in a lighthouse keeper’s home in Chatham, Massachusetts. Excellent original paint with light wear. Provenance: From a Chatham, Massachusetts, Estate $5,000 - $8,000

Related preening Canada goose (left) by Elmer Crowell, circa 1915. Photo courtesy of Copley Fine Art Auction, LLC, The Harry V. Long Collection of A. Elmer Crowell Decoys, Boston, MA, 2009, p. 64.

6 Large Special Miniature Wood Duck A. Elmer Crowell (1862-1952) East Harwich, MA, 1933 4 1/2 in. tall

The carving bears a rectangular stamp, is signed, dated “1933,” and exhibits a rarely seen “$5.00” pencil marking. This is a very rare, large miniature that measures 50% longer than his standard miniature wood ducks. It also features special attention to the paint, as illustrated by the extra color and feathering along the sides. Excellent original paint with light wear.

$4,000 - $6,000

7 The Miniature Eider Decoy A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1900 5 1/4 in. long

Eider of any size are rare by Crowell; additionally, miniature decoys by the maker are also seldom seen. This miniature eider decoy is the only carving of this type known to have surfaced. Original paint with light wear and minimal darkening to craquelure on breast. $3,000 - $5,000 18

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

8 Miniature Ruffed Grouse A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 4 1/2 in. tall

An alert grouse miniature with the maker’s rectangular stamp signature on the underside of the chip-carved base. Original paint with light wear and very small ding to left wing. $2,000 - $4,000

9 Miniature Pheasant

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 3 1/2 in. tall

This miniature bears the maker’s rectangular stamp signature on the underside of the chipcarved base. Original paint with light wear. $2,000 - $4,000

10 Miniature Woodcock

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 3 in. tall, 5 1/2 in. long

A woodcock carving with the maker’s signature blue-paper label which reads: “A. E. Crowell & Son Bird Carving East Harwich, Mass.” on the underside of the driftwood base. Original paint with light wear. $3,000 - $5,000

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

11 Miniature Curlew

13 Miniature Upland Plover

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear.

$2,000 - $4,000

$2,000 - $3,000

12 Early Miniature Black-Bellied Plover

14 Miniature Piping Plover

A rare and early pre-stamp example with tight paint details. Original paint with light wear.

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear.

$2,000 - $4,000

$2,000 - $3,000

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 3 in. tall

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 in. tall

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 3 1/4 in. tall

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 1/4 in. tall

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

15 Miniature Purple Sandpiper

17 Miniature Jack Snipe

The underside is signed by the maker with his rectangular stamp. It is also painted black and debossed with a species name and ink stamped for the Joseph French Collection. Original paint with light wear.

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 3/4 in. tall

Provenance: Joseph French Collection Private Collection $2,000 - $3,000

16 Miniature Semipalmated Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 1/2 in. tall

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 1/2 in. tall

$2,000 - $3,000

18 Miniature Least Sandpiper A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 1/2 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $2,000 - $3,000

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

19 Miniature Mallard Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 3 1/2 in. tall

Original paint with light wear, a ding to left side of tail, and some touch-up to head and neck. $1,500 - $2,500

20 Miniature Mallard Hen A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 3 1/4 in. tall

This hen has a turned head, rare for a Crowell miniature. Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $800 - $1,200

21 Miniature Redhead Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 3 in. tall

A plump drake with the maker’s faint ink stamp on the underside. Original paint with light wear. $1,500 - $2,500

22 Miniature Bluebill Hen

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 3 in. tall

An early, pre-stamp miniature with fine paint detail. Original paint with light wear and paint flake under bill. $1,500 - $2,500

23 Miniature Reaching Mallard A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 2 1/2 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $1,500 - $2,500

24 Miniature Wood Duck

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 3 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $1,500 - $2,500

25 Miniature Blue-Winged Warbler A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 1 3/4 in. tall

This colorful carving is inscribed “Blue-Winged Warbler” and bears Crowell’s circular “Maker” ink stamp on the underside. Original paint with light wear. Provenance: From a Chatham, Massachusetts, Estate $1,000 - $2,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

26 Miniature Scarlet Tanager

29 Miniature Maryland Yellowthroat

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

Also known as the “yellow bandit,” this colorful carving is inscribed “Maryland Yellow Throat” and bears Crowell’s circular “Maker” ink stamp on the underside. Original paint with light wear.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 2 1/2 in. long

Provenance: From a Chatham, Massachusetts, Estate $1,000 - $2,000

27 Miniature Swallow

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 1 3/4 in. tall

This carving is inscribed “Barn Swallow” and bears Crowell’s circular “Maker” ink stamp on the underside. Original paint with light wear. Provenance: From a Chatham, Massachusetts, Estate $1,000 - $2,000

28 Miniature Yellow-Throated Vireo

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 2 in. tall

Provenance: From a Chatham, Massachusetts, Estate $1,000 - $2,000

30 Miniature Towhee

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 2 1/2 in. tall

This carving is Inscribed “Chewink or Tohee [sic]” and bears Crowell’s circular “Maker” ink stamp on the underside. Original paint with light wear. Provenance: From a Chatham, Massachusetts, Estate $800 - $1,200

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1920 2 3/4 in. long

Signed with Crowell’s “Maker” ink stamp. Original paint with light wear. Provenance: From a Chatham, Massachusetts, Estate $1,000 - $2,000

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

31 The Davenport Turned-Head Golden Plover A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 10 in. tall

This carving was made by Crowell for Everett Banfield Davenport, and it has remained with his descendants for nearly a century. In addition to its quality, condition, and appeal, its discovery is especially notable considering the rarity of this striking model depicting a golden plover in full breeding plumage. Indeed, a review of the Father of American Bird Carving book and Songless Aviary catalog reveal no comparables. A study of decades of auction records reveals a single related carving from the esteemed John S. duMont Collection. This carving remains in excellent original condition with no loss or repairs after almost one hundred years. A reminder of the perils of time, this plover is an earthquake survivor. During a quake, this bird was fortunate to remain intact on a shelf while another Crowell from the Davenport estate suffered a break in a fall.

fectly with a special two-ended screw. Counterbalancing the turn and detail of the head and bill, the wings have slight separation at their tips and they bend to the left over a canted tail, giving the bird a lively posture. The plumage is striking with high contrast, soft blending, bright yellows and golds, and a pronounced white S-curve from the head to the wing. The underside of the base is signed with Crowell’s pristine rectangular stamp. Excellent original paint with light wear. Provenance: Everett Banfield Davenport Collection, acquired from the artist Private Collection, Concord, Massachusetts, by descent Literature: Stephen B. O Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, no related examples illustrated. $20,000 - $40,000

This carving features a turned head, a decorative variation Crowell took seriously. He applied the head, affixing it per-

THE DAVENPORT TURNED-HEAD GOLDEN PLOVER

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

32 The Underwood Wing-Up Greater Yellowlegs A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 12 in. tall

The preening posture presents an exceptionally difficult challenge for any maker. Crowell was a master of preening forms, and he used this special wing-up model to showcase his deft painting abilities. He seems to thrive within the self-presented challenge of doubling the size of his canvas and adding two different plumage presentations, one on each side of the wing. Crowell’s wing-up examples with his best paint are rare and highly sought after. To wit, a closely related wing-up greater yellowlegs with similar paint treatment reached over $80,000 at Copley’s Sporting Sale 2022. This grand wing-up mantel bird has a dropped left wing tip and a slightly open bill, which is preening an individual feather. The maker’s rectangular stamp is on the underside of the base. The base is also inscribed “Mrs. Underwood, Chatham” for the original owner, Mrs. Emily Underwood, the wife of Mr. Loring Underwood (1874-1930). Mr. Underwood was a Harvard man and an accomplished landscape architect remembered for the insights he shared on revealing hidden beauty in our environment. Perhaps his best revelation was as one of “The Three Bears,” a trio who were early employers and patrons of Elmer Crowell. While Underwood has been known as a key player in the development of Crowell as a waterfowling legend, this rare wing-up greater yellowlegs carving adds color to the Underwood story. Indeed, it appears to be the first Underwood Collection Crowell carving to have surfaced for the collecting public. Excellent original paint with light wear and some tight craquelure mostly to endgrain on breast. Loss to left rear toe. Provenance: Loring and Emily Underwood Collection, acquired from the artist Private Collection Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 147, related Evans Collection curlew example illustrated, p. 234, Harry V. Long’s “dream” example illustrated. $30,000 - $50,000

Photograph of Crowell in his workshop, along with detail of Long's caption in his 1932 journal: "Elmer Crowell at work, he promised me that winter (yellowlegs] on the right four years ago - 'just a dream.'"

THE UNDERWOOD WING-UP GREATER YELLOWLEGS

Loring Underwood (1874-1930) Loring Underwood (1874–1930) has always been part of the Crowell story; however, until now collectors haven’t had the opportunity to connect the East Harwich master’s carvings with this figure. Underwood was a Harvard graduate, one of the first landscape architects in the Boston area, an author, a lecturer, the president of the Boston Society of Landscape Architecture, and the creator of both Chatham Country Club’s residential plan and the town of Chatham’s 1928 landscaping plan. Though the general public remembers Underwood for being a renowned landscape architect who “revealed the hidden beauty in one’s environment,” in the decoy arena, Underwood’s most enduring revelation was discovering the extraordinary talent of Elmer Crowell in the late-19th century. Underwood, along with financier and real estate developer Charles Ashley Hardy and U.S. Golf Association president G. Herbert Windeler (1860–1937), established a hunting camp on Pleasant Lake and called themselves “The Three Bears.” The trio hired Elmer Crowell, an experienced local market gunner, to be their camp manager in the 1890s. Over the years, the Hardy family commissioned Crowell to carve many exceptional carvings which have added great color to our understanding of Crowell’s development. In contrast, this yellowlegs marks the first Underwood Collection Crowell carving known to have surfaced for the collecting public. This work’s inscription on the underside, “Mrs. Underwood, Chatham,” denotes that it was a commissioned carving for Mrs. Emily Walton Underwood (1874–1961), Loring’s wife. Mrs. Underwood now joins several women, including three generations of Hardys, who were early Crowell collectors in their own right.

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

33 The Mills Running Yellowlegs A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 9 1/2 in. tall, 13 1/2 in. long

Anthony Elmer Crowell was born in 1862 in the town of East Harwich, Massachusetts, the son of a Cape Cod mariner and cranberry grower. The legend of A.E. Crowell and his famous carvings has many of the common threads of a classic artist’s tale. It is the story of a boy of modest means, born at the right time, and befriended by encouraging patrons. Names including Underwood, Chace, Phillips, Long, and Cunningham have long been documented by historians and collectors. This yellowlegs hails from the Everett Mills Collection, and it has remained in the family for over a century. The Crowell collection of Everett Mills (1893-1959) has been a well-kept secret held in high regard by the few who learned of it. Like John C. Phillips, Mills was an early patron who hired Crowell to assist with his gunning camp. Mills’ shooting stand was on Richmond

Pond in Westport, Massachusetts, and he is now known to have hunted over Crowell decoys. Mills continued his relationship with Crowell as a patron of his decorative carvings and miniatures. This early running example exhibits excellent feather blending atop the delicately carved body. The underside of the base bears the maker’s early oval brand. Original paint with light wear, slight craquelure as seen on left shoulder, and a small drip of sealer between legs. Provenance: Everett Mills Collection, acquired from the artist Private Collection, by descent Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 197, related carving illustrated. $20,000 - $40,000

THE MILLS RUNNING YELLOWLEGS

Everett Beaumont Mills (1893-1959) The importance of Everett Beaumont Mills (1893-1959) as a significant Crowell patron has just come to light through the revelation of this carving and its provenance. Similar to John C. Phillips (1876–1938) and “The Three Bears,” Mills, a Fall River merchant, hired Crowell to manage his gunning camp. Mills’ shooting stand was located on Richmond Pond in Westport, Massachusetts, where he hunted over Crowell decoys. Mills continued his relationship with Crowell as a patron of his decorative carvings and miniatures.

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

34 Life-Size Piping Plover

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 5 in. tall

This mantel shorebird carving with delicately blended feathering is signed by the maker with his rectangular stamp on the bottom of the base. Original paint with light wear. Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, no piping plover illustrated. $6,000 - $9,000

35 Life-Size Golden-Winged Warbler on Branch A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1925 backboard has 6 in. diameter

A rarely-seen rendering of a warbler with bright yellow plumage. The bird is perched on its original branch which is fitted with a double-ended screw for wall mounting. Shown mounted on a removable backboard. Original paint with minimal wear and minor touch-up to reset tail crack. $2,000 - $3,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

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

36 Kingfisher with American Perch A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 8 1/4 in. tall

A rare and exceptional female belted kingfisher mantel carving with its original, and notably detailed, yellow perch within its bill. The bowed head has a lively saw-tooth crest and the tail has incised feather detail.

Provenance: Private Collection, Cape Cod

The carving is signed and rectangular-stamped by the maker on the underside of the ornately carved and painted base. Excellent original paint with light wear, touch-up to toes, perch’s pectoral fin, and to several minute spots, including sides and tip of bill.

$15,000 - $25,000

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 265, related example illustrated.

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

37 Blue Jay

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1925 7 3/4 in. tall

An exceptional early and rare blue jay carving with an ink signature and oval brand on the underside. This example displays accurate bill detail and a sharp crest. This brilliant bird’s plumage is well represented with bright blue feathering with wet-on-wet blending. Original paint with light wear, including slight craquelure to shoulders and under tail. Professional touch-up to half of toes and both thighs.

Provenance: Private Collection, Cape Cod Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, no blue jay illustrated. $15,000 - $25,000

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

38 Rare Standing Mallard

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 12 1/2 in. tall, 20 in. long

Crowell’s life-size standing waterfowl are difficult to find, with the mallard among the rarest. This example displays an inquisitive pose with a long-reaching neck and finely carved bill. Revisiting a construction technique of his earliest masterworks, the raised-and-split wing tips were crafted from a wooden insert. The tail has deeply incised feather carving. This large drake is finished with Crowell’s exceptional feather painting details. Crowell is known to have used a related standing mallard on a trade-sign post outside of his East Harwich workshop. Even today a reproduction of his standing mallard adorns the sign post outside of the restored Crowell shop, now located at Brooks Academy in Harwich. This lot likely spent a short time on the trade-sign post as well. It has an extra set of leg holes that were filled and painted over by Crowell before he applied the base. Given the good condition and

Crowell’s modification, it is possible that this carving was purchased directly off the post. The wooden base features both carved natural wood and some painting. The base’s underside is signed with his rectangular stamp. Original paint with even wear, including a rub to small spot in center of back and a few small flakes by the right speculum. Check in underside and first leg holes touched-up by Crowell. Provenance: Private Collection, Cape Cod Literature: Guyette and Schmidt, North American Decoys at Auction, July 26 & 27, 2001, Easton, MD, back cover and p. 141, lot 736, exact decoy illustrated twice. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 35, Evans Collection mallard drake illustrated. $30,000 - $50,000

RARE STANDING MALLARD

Crowell’s workshop entrance along with one of his signature mallard trade signs, c. 1935. Image courtesy of Jim Parker.

Elmer Crowell’s workshop 2025, with a reproduction of his original mallard trade sign.

FRANK W. BENSON 1862-1951

39 Frank W. Benson (1862-1951) Flying Woodcock signed “F.W. Benson” lower left watercolor, 19 by 24 in.

Frank Weston Benson, one of the Ten American Painters and a leading influence in the Boston School of American Impressionism, was born in Salem, Massachusetts, on March 24, 1862. In his youth, Benson was a gifted athlete and excelled at boxing, sailing, and tennis. Growing up along the extensive marshes surrounding his native Salem, Benson learned to hunt and fish at an early age. Benson loved nature and birds in particular. He wanted to combine his love for birds and art by pursuing a career as an ornithological illustrator in the manner of John James Audubon. As a child, he spent many hours at the Museum of Comparative Zoology at Harvard. Benson’s mother, herself a painter, encouraged him in this pursuit. In 1880 he enrolled at the School of the Museum of Fine Arts in Boston. He studied with the school’s founding teachers, Otto Grundmann and Frederick Crowninshield. Willard Metcalf, Edmund C. Tarbell, and Joseph Lindon Smith were among his classmates. Benson learned quickly and was recognized as a particularly gifted student. In 1882, while still attending classes at the Museum School, Benson began to teach free evening drawing classes in Salem.

In 1885 Benson rented a painting studio in Salem. He began to exhibit at the Boston Art Club and the National Academy of Design in New York, receiving much critical acclaim and numerous awards. After his marriage to Ellen Peirson in 1888, he taught at the Boston Museum School with his friend Edmund Tarbell intermittently until 1930. By 1898, Benson was recognized as a gifted teacher, a sought-after portraitist, and a painter of wide-ranging subjects. He would later earn the title of “America’s Most Medaled Painter.” In this work, with its beautiful bright colors, Benson shows both his dedication to ornithology and his ability to perfectly capture a woodcock in flight, one of the hardest birds to render properly. Provenance: Private Collection, New York $20,000 - $30,000

FLYING WOODCOCK

FRANK W. BENSON 1862-1951

40 Frank W. Benson (1862-1951)

Two Duck Hunters, 1926 signed and dated “F.W. Benson ‘26” lower left watercolor, 24 1/2 by 17 1/2 in. Vose Galleries, Boston, Massachusetts, label on back

Showing elements of his “Big Four” etchings, Two Duck Hunters showcases Benson’s figural skills as an artist. This fine watercolor of two hunters returning from a successful hunt at the end of the day with a good bag of waterfowl is comparable to the original watercolor of “Old Tom,” which was painted in 1923 and today can be found in the permanent collection of the Museum of Fine Arts, Boston. Indeed, many consider this work to be Benson's most important watercolor depicting waterfowling. Exhibited: (possibly) New York, E. & A. Milch Gallery, An Exhibition of Etchings and Watercolors by Frank W. Benson, November–December, 1926. Boston, Massachusetts, Vose Galleries, Frank W. Benson Watercolor Exhibition, October 7–December 1, 1997.

Provenance: E. & A. Milch Gallery, New York, 1926 William H. Wheelock, Mt. Kisco, New York By descent in the family Private Collection Private Collection, Dover, Massachusetts Private Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2010, lot 10 Literature: Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 27, illustrated. Sotheby’s, American Paintings, Drawings, and Sculpture, New York, May 24, 2000, p. 58, lot 36, illustrated. Copley Fine Art Auctions, The Sporting Sale 2010, Plymouth, MA, July 22-23, 2010, lot 10, illustrated. Exhibited: Peoria, Illinois, Masterworks of the Illinois River, Center for American Decoys, Peoria Riverfront Museum. Boston, Massachusetts, Vose Galleries, Frank W. Benson Watercolor Exhibition, October 7-December 1, 1997. $60,000 - $90,000

Benson's "Big Four" Etchings

Old Tom

Winter Wildfowling

Marsh Gunner

The Gunner

TWO DUCK HUNTERS

WILLIAM J. SCHALDACH 1896-1982

41 William J. Schaldach (1896-1982) Leaping Brook Trout signed “Wm J. Schaldach” lower right watercolor, 12 1/2 by 17 1/4 in.

Many of Schaldach’s paintings and etchings reflect his background as a sportsman. His favorite subjects were wildfowl, anglers with fly rods in rivers, streams, and lakes, and game fish in the water. Schaldach was employed by the magazine Forest and Stream as a managing editor until the late 1930s. He returned to the magazine, then renamed Field and Stream, after World War II. In addition to writing many magazine articles about sporting art, Schaldach wrote and illustrated a number of books, including Fish by Schaldach, Currents and Eddies, Coverts and Casts, Upland Gunning, and Path to Enchantment: An Artist in the Sonoran Desert, a book about his own paintings of the Sonoran Desert that he completed between 1948 and 1956. He was also the author of a biography of the well-known wildlife artist, Carl Rungius. Schaldach was a member of the Society of American Etchers, the Independent Society of Printmakers, and the Salmagundi Club of New York. His work has been exhibited at the Chicago Society of Etchers, the Artists for Victory at

the New York Metropolitan Museum of Art, the 1939 New York World's Fair, the National Academy of Design, the American Watercolor Society in New York, and in numerous other galleries and museums throughout the country. No other artist was more consistent in capturing leaping trout in action, especially in the difficult medium of watercolor. This original painting was published in Schaldach’s book, The Wind on Your Cheek, as the leading image of his chapter about trout fishing. Furthermore, it was reproduced as a limited edition print, making it one of Schaldach’s most coveted images. Literature: William J. Schaldach, The Wind on Your Cheek: More Chips from the Log of an Artist Sportsman, Rockville Centre, NY, 1972, p. 33, exact painting illustrated. $2,000 - $4,000

WILLIAM J. SCHALDACH

1896-1982

42 William J. Schaldach (1896-1982)

Atlantic Salmon, 1937 signed and dated “W. J. Schaldach ‘37” lower left watercolor, 17 1/2 by 14 in. titled on Salmagundi Club, New York label on back

This work was exhibited and sold in the Salmagundi Club Benefit Auction Exhibition in New York City. Founded in 1871, the Salmagundi Club is New York’s oldest art club. Provenance: Mrs. G. Ernest Dale, Jr. Collection Salmagundi Club Benefit Auction Exhibition, New York, New York Private Collection, New Jersey Private Collection, Connecticut Literature: William J. Schaldach, Fish by Schaldach, 1937, Plate No. 6. $3,000 - $5,000

43.1

43 William J. Schaldach (1896-1982)

Two Watercolors each signed “Wm. J. Schaldach” lower right each 7 1/2 by 14 in. Canvasbacks and Pintails

Two waterfowl paintings showing canvasbacks soaring above blue seas and pintails feeding in a marsh. $1,000 - $2,000

43.2

BRETT JAMES SMITH B. 1958

44 Brett James Smith (b. 1958) Summer Days signed “Brett J Smith ©” lower right oil on canvas, 30 by 36 in. signed and titled on back

Brett J. Smith was born on March 19, 1958, in New Orleans, Louisiana. His early introduction to sporting art came from his father who worked professionally as an illustrator and moonlighted as a fine artist, contributing paintings for covers of the early outdoor and Western magazines. Collectors are drawn to Smith’s work because it is visually exciting, authentic, and draws on his intimate knowledge of the sporting experience. Smith’s paintings have been featured in such publications as Gray’s Sporting Journal, Ducks Unlimited Magazine, Sporting Classics, Shooting Sportsman, and Double Gun Journal. He has also been

recognized for his work with such organizations as Gulf Coast Conservation Association, Atlantic Salmon Federation, Ruffed Grouse Society, Ducks Unlimited, and many others. This grand-scale oil is vintage Brett Smith, with meticulously rendered fishermen situated in a pristine Western riverine landscape. The figure in red holds a giant trout, while one of his companions on the shore tends to camp with an axe. Provenance: Private Collection, Massachusetts $12,000 - $18,000

BRETT JAMES SMITH

B. 1958

45 Brett James Smith (b. 1958) Holding Tight signed “Brett J Smith ©” lower left oil on canvas, 16 by 20 in. signed and titled on back

Two quail hunters walk up on two pointers holding steady. $5,000 - $8,000

46 Brett James Smith (b. 1958) Stopping For Lunch signed “Brett J Smith” lower right oil on canvas, 11 by 14 in. signed and titled on back

In this oil, Smith captures the moment two Western fly fishermen stop on the riverbank to fix a meal. $4,000 - $6,000

DAVID A. MAASS B. 1929

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47.2

47 David A. Maass (b. 1929)

48 David A. Maass (b. 1929)

Dynamic and grand, this Maass painting shows a group of pintails as they depart from a scenic pool. Jackson Hole’s Teton Mountains rise in the background, with the sharp peak of Grand Teton rising prominently. Maass’ preliminary sketch is included in the lot. This 5 1/2 by 6 3/4 inch graphite sketch is signed and dated by the artist.

A fine oil by the renowned wildlife artist depicting seven colorful mallards as they glide into the swamp. Included in this lot is Maass’ preliminary 5 by 6 inch graphite sketch for the commissioned painting. The sketch is signed and dated.

Grand Teton Pintails, 1964 signed “Maass” lower left oil on board, 20 by 24 in.

Incoming Mallards, 1965 signed “Maass” lower left oil on board, 20 by 24 in.

Provenance: Dr. Emil J. Dul Collection, commissioned from the artist Private Collection, Maryland, by descent from the above $6,000 - $9,000

48.1

48.2

Provenance: Dr. Emil J. Dul Collection, commissioned from the artist Private Collection, Maryland, by descent from the above $6,000 - $9,000

DAVID A. MAASS B. 1929

49.1

49.2

49 David A. Maass (b. 1929)

50 David A. Maass (b. 1929)

A quintessential Maass scene with bluebills locking their wings to drop into turbulent water on a snowy, overcast day.

In this commissioned work, snow geese land in a cornfield, with “late afternoon warm light in the sky - carrying into [the] cornfield’s ochres and browns.” This lot includes Maass’ preliminary 5 by 6 inch graphite sketch with the artist’s notes and signature.

Bluebills, 1964 signed “Maass” lower left oil on board, 20 by 24 in.

Snow Geese Landing, c. 1965 signed “Maass” lower left oil on board, 20 by 23 1/2 in.

This lot includes Maass’ preliminary 5 by 6 inch sketch for the commissioned painting. The sketch is signed and dated by the artist. Provenance: Dr. Emil J. Dul Collection, commissioned from the artist Private Collection, Maryland, by descent from the above

Provenance: Dr. Emil J. Dul Collection, commissioned from the artist Private Collection, Maryland, by descent $6,000 - $9,000

$6,000 - $9,000 50.1

50.2

REDFISH ALONG THE BANK

51 Peter Corbin (b. 1945)

52 Peter Corbin (b. 1945)

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.

Taking a break from a quail hunt, Corbin depicts part of the caravan associated with a plantation shoot.

Redfish Along the Bank signed “Peter Corbin” lower right acrylic on canvas, 16 by 30 in. titled on artist’s label on back

$10,000 - $15,000

Lunch Break signed “Peter Corbin ©” lower right acrylic on canvas, 20 by 30 in. titled on artist’s label on back

$5,000 - $8,000

53 Peter Corbin (b. 1945)

A Thomasville Tradition signed “Peter Corbin” lower right acrylic on canvas, 20 by 30 in. titled on artist’s label on back $5,000 - $8,000

PETER CORBIN B. 1945

PERCIVAL ROSSEAU 1859-1937

54 Percival Rosseau (1859-1937)

Bill’s Covey, 1933 signed and dated “Rosseau 1933” lower right oil on canvas, 24 1/2 by 40 1/2 in.

The three dogs in this masterful painting are Transue Bill, Captain Fram, and Denwood Frank. Transue Bill was a setter belonging to William Transue, who went to Swarthmore College, served in World War I, ran a boys’ camp in Wyomissing, Pennsylvania, and “was recognized as one of the most expert breeders and trainers of dogs in this country,” according to his 1938 obituary. His English setter, Miss Blazeway, took the All-Age and Subscription Stakes at the Wyoming Valley Field Trial Club Meet in 1926. In 1920 Rosseau painted at Denwood, the home and club of Pemberton Hare Powel. Dog historian A. F. Hochwalt writes, “Down at Denton, N.C., is the Denwood Fishing and Hunting Club, composed of a dozen or more gentlemen from the North. The club house is a modern arranged building in every respect, the cuisine is on par with that to be found in any city and the other comforts are fully as great. In connection with this club a kennel is maintained for the benefit of those members who come south for their annual shooting...The members of this club seem to be perfectly satisfied with the way their dogs are kept at the Denwood Club and that after all is the principal test as to whether or not a kennel is properly managed.” Denwood Frank belonged to and was bred at Denwood by P. H. Powel, who summered in Newport, Rhode Island, and wintered at popular hunting grounds in North Carolina and, at times, North Georgia. The Denwood line of pointers remained prominent for many years. Powel was a leading sportsman who, among his pursuits, co-won a mid-winter trap-shooting competition in Pinehurst, North Carolina, in 1910, was active with the Aquidneck Gun Club in Rhode Island, and judged pointers for the Morris and Essex Kennel Club in New Jersey in 1935. His father, John Hare Powel Jr., served in the Civil War, was mayor of Newport, and was known for his fondness for field sports. Of Rosseau’s Denwood paintings, Edward Wilbar wrote, “One could almost see the broom straw...sway in the gentle southern breeze, every dog stood there pointing and backing, tense and sure, and one by one you began to pick out old friends. Sportsmen are keen critics of dog art. They catch the stilted and unreal portraiture of the sporting dog. That Mr. Rosseau's brush is guided by the hand of a sportsman and dog lover is shown in his work, and that he ‘satisfies’ is shown in the very keen appreciation every well-known dog lover takes in his beautiful canvases as they appear.”

Rosseau also etched Bill’s Covey, in which depicts only two dogs. The etching has been described: “Here’s a brace of dogs to warm the heart of any hunter--a couple of seasoned campaigners, staunch on point, steady to wing and shot, with meat-in-the-pot noses that seldom miss a bird. They locate game with decision, point with firmness and style, hold firm until the gun is fired and are quick to retrieve the birds that are dropped. They have the endurance to carry them through long hours of casting about in search of game, but they temper their enthusiasm and stay within range of the gunner. “It’s ideal hunting weather and game is fairly abundant. The country is broken but both dogs display initiative in locating birdy places. Suddenly, Transue Bill, in the lead, stiffens at point. The scent he has followed brings him close to the game he has been searching out. His partner, a few paces to the rear, freezes in his tracks, backing up the point on birds he has not yet sighted. It’s 'Bill’s Covey' and, like the excellent field dog he is, his team mate honors Bill’s point without questions." This painting was also reproduced as a print. Provenance: Private Collection, Colorado Literature: A. F. Hochwalt, “Kennels and Their Construction,” Outer’s Book - Recreation, July 1918, Vol. LVIV, No. 1, pp. 60-63. Edward Russell Wilbur, “Old Friends and Well-Known Scenes in the North Carolina Fields Strikingly Portrayed on Canvas by the Master Hand of Percival Rosseau,” Forest and Stream, February 1920. $60,000 - $90,000

Percival L. Rosseau at work outdoors, Lyme, Connecticut. Photo courtesy of © Peter A. Juley & Son Collection Smithsonian American Art Museum.

BILL’S COVEY

HARRY CURIEUX ADAMSON 1916-2012

55 Harry Curieux Adamson (1916-2012) Covey Rise - Quail 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. Born in Seattle in 1916, he studied under Paul J. Fair, who is best known for his wildlife photography. Adamson began painting after serving in World War II, selling a painting to the president of Mexico within the first decade of his career. His success continued, and he was honored as the first California Waterfowl Association Artist of the Year, as well as the 1979 Ducks Unlimited Artist of the Year. His works have been included in shows at the Smithsonian American Art Museum, the British Museum, and the Carnegie Museum of Natural History. Admired by his fellow artists, Adamson had a knack for capturing birds in their natural habitats, including the sky. Adamson produced very few bobwhite quail paintings. Provenance: Private Collection $30,000 - $50,000

56 Walter Matia (b. 1953)

Southern Pines Pointer, 2022 signed, numbered, and dated “Matia 3/10 2022” on base bronze, 37 by 45 1/2 by 16 in. edition 3 of 10

Walter Matia is known for the remarkable amount of 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 pointer. 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.” $20,000 - $25,000

WALTER MATIA B. 1953

MILTON C. WEILER 1910-1974

57 Milton C. Weiler (1910-1974)

58 Outstanding Preening Black Duck

As a conservationist and an outdoorsman, Milton C. Weiler lived the life he painted, and his watercolors have authenticity as a result. Nelson Bryant of The New York Times comments, “Weiler was considered one of the most accomplished painters of hunting and fishing scenes in the country, and he was also an expert carver of decoys.”

Charles Edward “Shang” Wheeler is widely recognized as the most celebrated bird carver from Connecticut. While his predecessor, Albert Laing (1811-1886), is credited with originating what would become the Connecticut style, it was Wheeler who took the region’s decoy-making craft to the next level. He introduced innovative carving and painting techniques and created everything from sandhill cranes to sailfish and rattlesnakes. Shang, as everyone called him, was an enigmatic figure: oysterman, politician, boxer, cartoonist, public speaker, conservationist, and world-renowned decoy carver.

Black Ducks Alighting twice signed “M C Weiler” lower right watercolor, 15 1/2 by 12 in.

$3,000 - $5,000

Charles “Shang” Wheeler (1872-1949) Stratford, CT, c. 1930 15 in. long

In 1923 Wheeler arrived on the competition carving scene with a bang. A newly formed conservation group led by Joel Barber, called the Anti-Dusker Society, sponsored one of the first decoy shows in the country in Bellport, Long

CHARLES "SHANG" WHEELER 1872-1949 | STRATFORD, CT

“Wheeler worked from nature. He loved to watch the ducks in the local ponds and estuaries, especially when they were relaxing and resting. He studied their attitudes and, in particular, their head positions. Then, he would go home and try to catch their gracious, fluid shapes in his manmade birds. He was a realist with a sure instinct for sculptural form.” — Adele Earnest, The Art of The Decoy: American Bird Carvings, 1965 from hunting and acquired from a friend of Shang’s by Ruth and Harvey Lapp, who owned a game farm in New York. A collector’s stamp on the underside reads “DSC,” denoting the Dave Campbell Collection. Excellent original paint with very light wear.

Island. A carving competition held at the event was geared towards the hunters in attendance to further advance the concept of shooting over decoys. The inaugural event attracted amateur and professional carvers from near and far, and it was Wheeler who took home top amateur honors. Joel Barber stated that Wheeler’s model had demonstrated “the highest development yet reached in the American art of decoy carving.” Indeed, Wheeler’s contribution has influenced generations of carvers around the country.

Provenance: Ruth and Harvey Lapp Collection, acquired from a friend of the artist Judge James Estate, acquired from the above Dave Campbell Collection

This preening decoy is one of Wheeler’s finest works and shows Shang at the height of his innovation and ability. Like A. Elmer Crowell, Wheeler had a special affinity for the native black duck, which is apparent here with his best scratch paint to the head and soft feathering to the body.

Literature: Dixon MacD. Merkt, Shang: A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, front cover, pp. 19, 129, 152, 172, and 173, pl. 5, 107, 142, 188-192, black ducks illustrated. Guyette and Schmidt, North American Decoys at Auction, April 26 & 27, 2001, Ogunquit, ME, p. 66, lot 257, exact decoy illustrated. Laurence Sheehan, The Birding Life, New York, NY, 2011, p. 95, O’Brien straight-head decoy illustrated.

No other black ducks of this model and quality are known to have surfaced in the Shang monograph or in the modern auction market. This hollow pine decoy was preserved

$30,000 - $50,000

Illustration published in Hunter-Trader-Trapper, September 1907.

59 The Shang Wheeler Rattlesnake Charles “Shang” Wheeler (1872-1949) Stratford, CT, c. 1930 16 in. long

The many storied pursuits of “Shang” Wheeler have been chronicled for over a century, yet one compelling chapter of his life has remained largely untold: that of Connecticut’s most famous rattlesnake hunter. There was a thriving population of rattlesnakes on the Schaghticoke Indian Reservation in Kent, Connecticut, in the foothills of the Berkshires. Beginning in 1903, a band of Schaghticoke Rattlesnake Club members from the coast of Connecticut made their annual pilgrimage to the reservation, where they met tribal leaders and embarked on their hunt. After trekking miles into the mountains to find the rocky rattlesnake lairs, these men would catch the live snakes with their bare hands. Within this club, which boasted over one hundred members, Shang was revered as “the most expert of all the Schaghticoke members in deftly gliding the rattlers into the canvas bag,” according to a 1909 New York Times article. Several articles in popular papers from New York and Connecticut tell tales of these hunters bagging snakes, narrowly avoiding strikes, and sometimes being bitten. In 1908 The Herald Democrat documented that Shang himself was bitten in the hand. Luckily, “Rattlesnake Pete” Gruber and Dr. Spencer were close at hand to slash his wound, suck out the venom, and inject him with permanganate of potash. Despite his wounds, Shang reportedly showed up for work the next day.

A newly discovered carving, The Shang Wheeler Rattlesnake adds breadth and history to this already impressive artist. Indeed, no rattlesnakes are shown or mentioned in the Wheeler book; it is even absent in the “Missing Works By Wheeler” list within the volume. Not only is this one of Wheeler’s most complex and distinctive creations, but it is difficult to find a finer snake carving in the world of animal sculpture. Sitting in a coiled pose, this giant snake’s rattler stands straight while its forked copper tongue flicks at the air, reminiscent of the copper curl feathers found on some Wheeler mallards. Fully unraveled, this rattlesnake would measure nearly seven feet long, and it reaches roughly seven inches in circumference at its thickest. The entire surface is realistically patterned with scratched-paint scales throughout, similar to other Wheeler carvings. The underside has a rectangular cavity where it appears an inlaid piece was fitted. It is signed “Chas. Shang Wheeler” and faintly inscribed. Original paint with light even wear. Literature: “Snake Hunters Bag 24 Rattlers; Easy for ‘Shang’ Wheeler,” The New York Times, May 31, 1909, p. 7. “Schaghtichoke Rattlesnake-Club,” Hunter-Trader-Trapper, Volume XIV, Issue 6, September, 1907, pp. 27-29. “Annual Snake Hunt Of Famous Rattler Club,” The Herald Democrat, May 20, 1908. “The Rattlesnake Club Makes a Good Haul; Third Annual Hunt in Connecticut Nets Six Serpents,” The New York Times, May 21, 1906, p. 9. “One Snake Hunter Bitten; Schaghticoke Rattlesnake Club Holds Drive and Bags Twenty Snakes,” The New York Times, May 30, 1910, p. 20. Dixon MacD. Merkt, Shang: A Biography of Charles E. Wheeler, Spanish Fork, UT, 1984, no rattlesnakes included. $12,000 - $18,000

"Shang did some startling feats by picking one up in each hand and posing in different attitudes for his picture." Hunter-Trader-Trapper, Volume 14, Issue 6, September 1907. 54

CHARLES "SHANG" WHEELER 1872-1949 | STRATFORD, CT

“You’ve heard of the Schaghticoke Rattlesnake Club— the brave band of physicians, lawyers, mayors and former mayors, undertakers, druggists, editors, professional swordfishermen, artists and blacksmiths from Bridgeport, especially, and from Derby, South Norwalk, Stratford, New Haven, and New York, who on Sunday of each May leave Bridgeport early in the morning and go straight north into the beginning of the Berkshires to catch Rattlesnakes alive. You must nail the ‘varmints’ to the ground gently, respectfully with a forked stick up among the rocks until Curator Shang Wheeler comes with his burlap bag at your call—or yell—and help Shang to pick the snake up behind the ears and drop it into the bag.” — Vilas County News, Eagle River, Wisconsin, June 9, 1909

LOUIS C. RATHMELL 1898-1974 | DANBURY, CT

60 The Rathmell Family Mallard Drake Louis C. Rathmell (1898-1974) Danbury, CT, c. 1948 17 1/2 in. long

This rare and exceptional decoy is making its auction debut after remaining in the family for decades. The rarity of vintage Atlantic coast mallards by top makers from the Maritimes to the Carolinas cannot be overstated. The species was not common in the flyway during the golden age of decoy making. This is one of two drakes known by Rathmell, and it was selected by the Rathmell family to be withheld.

Literature: Cliff Alexander, “Lou Rathmell: A decoy maker who lived in a castle,” Decoy Magazine, November/December 2015, related decoys illustrated. $18,000 - $24,000

Rathmell and Horace Merwin were Shang Wheeler’s two disciples who, at times, even surpassed Connecticut’s most famous carver. This decoy’s design, with a full body and low head, turned and reaching to the right, is reminiscent of the famous Wheeler champion mallard drake in the Shelburne Museum. The hollow body is finished with Rathmell’s best paint and a copper double-curl feather. Helping to explain the refinement of this decoy, Rathmell was known to enter his carvings in the early competitions with esteemed judges, including Barber and Mackey. A professional appraisal for this decoy in 1983 by Anthony Waring listed this decoy at $6,200, a substantial value for the pre-1986 era. Excellent original paint with minimal gunning wear. Provenance: Louis Rathmell’s Personal Gunning Rig Private Collection, by descent in the carver’s family

A Lou Rathmell mallard floats in the foreground while William J. Mackey Jr. (left) and Joel Barber (right) judge the American Decoys Makers Contest in New York. Photo by Tommy Webber courtesy of the Shelburne Museum.

CHARLES A. SAFFORD 1877-1957 | NEWBURYPORT, MA

61 Canada Goose “18”

Charles A. Safford (1877-1957) Newburyport, MA, c. 1920 24 1/2 in. long

A newly discovered Safford goose from his personal gunning rig, this decoy was found alongside the Crowell Davenport Turned-Head Golden Plover in this sale, lot 31. The maker’s “C. A. Safford” rig brand is found on the underside, along with a Roman numeral “XVIII” and the back of the bird shows a matching stenciled “18.” Original paint with gunning wear, including some tight cracks, some bear wood on endgrain, roughness to bill tip, and a small tail chip. Some darkening to wear and professional repair to crack in left side.

Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 158, rigmate illustrated. Gwladys Hopkins, Massachusetts Masterpieces, Lincoln, MA, 2016, pp. 20-22 and 78-79, rigmate illustrated and Safford discussed. $7,000 - $10,000

Provenance: Private Collection, Concord, MA

Charles Safford in his custom-built sneak boat. Photo courtesy of Gigi Hopkins.

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

62 Rare Blue-Winged Teal Pair A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 13 1/4 in. long

As blue-winged teal are primarily a warm-weather duck, Crowell made very few of this species. Indeed, this may be the only life-sized pair to have surfaced. The pair was likely commissioned to join a Southern gunning rig. These teal display turned heads, excellent blended paint, and the maker’s rectangular stamp on the undersides. Excellent original paint with light gunning wear. Each has a small area of touch-up to front edge of neck seams.

Provenance: Davis Pearson Collection Private Collection Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 114, Cunningham drake illustrated. $20,000 - $30,000

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

A. Elmer Crowell business card, c. 1930. Photo from the Copley Archives.

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

63 Rare Canvasback

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 15 in. long

As a highly regarded gamekeeper and breeder of waterfowl, Crowell possessed a thorough knowledge of avian anatomy, which is on full display with this “king of ducks.”

Provenance: Private Collection, Duxbury, Massachusetts

The body is fitted with a turned head with rasped feather detail and a long sweeping bill true to the species. This drake was finished with exceptional blended and detailed paint features from head to tail. The underside is signed with his rectangular stamp.

$8,000 - $12,000

This decoy was passed down in a Duxbury, Massachusetts, family that was friends with Dr. George Ross Starr Jr. Excellent original paint with light wear, including minor craquelure on lower edges of breast. Neck seam appears original.

Back of lot 63 showing the marker's exceptional blended feathering. > 60

Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 116, related Cook collection drake illustrated.

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

64 Early Goldeneye Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 15 in. long

A rare working decoy that appears to have avoided the rigors of hunting. Few, if any, makers were more successful at boiling waterfowl species down to their most basic elegant lines. The underside bears an early strike of Crowell’s oval brand. This exact decoy was selected for the Ward Museum’s Massachusetts Masters exhibition and book. Excellent original paint with light wear, including a few minor rubs along lower sides.

Exhibited: Salisbury, Maryland, Massachusetts Masters: Decoys, Shorebirds and Decorative Carvings, Ward Museum of Wildfowl Art, Salisbury University, LeMay Gallery, October 1, 2010-January 23, 2011. $12,000 - $18,000

Literature: John Clayton, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings, The Ward Museum of Wildfowl Art, Salisbury University, 2010, p. 83, exact decoy illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 159, oval brands illustrated.

A. Elmer Crowell posing for a photograph with a related goldeneye in the lower left.

JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

65 Exceedingly Rare White-Winged Scoter Joseph W. Lincoln (1859-1938) Accord, MA, c. 1910 17 in. long

The rarity of this refined scoter model is significant, with possibly only three other examples known to have surfaced in any condition. Lincoln made four other scoter models with far less refinement, including canvas and self-bailing forms. This decoy showcases Lincoln’s best carving, including the thin neck and precise bill carving.

Excellent original paint with light gunning wear. Crack along underside and professional restoration to small bill tip chip. Literature: Cap Vinal, Joseph W. Lincoln, Rockland, MA, 2002, pp. 47-51, Lincoln scoter illustrated. $10,000 - $15,000

< Joseph Lincoln at work outside his Accord workshop.

STEVE WEAVER B. 1950 | SANDWICH, MA

works of past carvers who inspire Weaver. Fellow Cape Codder Elmer Crowell (1862-1952) has heavily influenced Weaver’s style. Steve was first introduced to his carvings in 1992 when he viewed the Songless Aviary exhibition at Heritage Plantation, now called the Heritage Museum and Gardens. After studying the East Harwich master’s works on display, Weaver decided to try his hand at carving miniatures, a discipline that marries well with his scrupulous style. While he began mainly carving songbirds, Weaver gradually broadened his scope to include raptors, shorebirds, and even frogs as well. The maker reflects: “Cape Cod offers endless inspiration for my carvings. My inspiration comes from the variety of birds that inhabit Cape Cod as well as those that migrate through.” Though no longer a hunter, Weaver loves being outdoors Steve Weaver in front of Wakeby Wildlife Studio.

and observing nature. Indeed, when enjoying his longtime hobby of fishing, he now prefers catch and release.

As a boy, Steve Weaver spent his formative years hunting

Weaver’s passion for the natural world extends to advocacy

and fishing. Weaver explains, “My father also worked at the

and education through his work with the Thornton W.

state-run pheasant farm so we would come into contact

Burgess Society, a nonprofit organization on the Cape

with an abundance of wildlife, pheasant, quail, great blue

which provides environmental education programs for

herons, kingfishers, great horned owls, goshawks, and

children and adults.

grouse just to name a few — to me it was pretty exciting stuff.” A lifelong Cape Codder, Steve Weaver discovered

Weaver’s carvings have recently achieved world-record

his passion for bird carving when he happened upon Henry

prices at auction with Copley. Additionally, the Sandwich

Menard’s workshop during a Vermont road trip in his mid-

maker’s works have been on view in several exhibits over

20s.

the decades. Selected to portray Massachusetts’ state bird, Weaver’s black-capped chickadee carving was part of the

Weaver’s first carving attempt was a tufted titmouse,

Ward Foundation Museum’s fifty-state exhibition.

which he fashioned out of a piece of basswood. He explained in a 2015 article, “I don’t think I ever finished

In a Hunting & Fishing Collectibles article, the maker credits

that titmouse — but it was the beginning of what became

his rapid advancements as a creator and a carver to his

a passion for me. I knew that it was what I was put on this

fifteen years of teaching students. In addition to giving

earth to do!”

lectures, workshops, and demonstrations throughout New England, Weaver also restores carvings and decoys by

Over the past three decades, Weaver has devoted himself

other makers.

to honing his craft. By meticulously studying the anatomy and attitude of birds in the wild, He has developed a keen understanding of avian species, which informs his carvings. Form and paint quality are the paramount attributes in the

SOURCES: Shannon Goheen. “Steve Weaver: Master Carver in the Cape Cod Tradition.” Hunting and Fishing Collectibles, Nov/Dec 2012. Kristine George. “Acclaimed carver Steve Weaver makes his mark.” The Star Democrat, Dec 10, 2015.

STEVE WEAVER B. 1950 | SANDWICH, MA

66 Preening Yellowlegs Steve Weaver (b. 1950) Sandwich, MA, 2008 9 1/2 in. tall

Drawing from the work of Elmer Crowell, this carving shows Weaver at the height of his craft. Signed by the artist in three locations, including the clam base. Original paint with light wear. $2,000 - $4,000

67 Brook Trout

Steve Weaver (b. 1950) Sandwich, MA, 1996 12 by 14 by 8 in.

Signed and dated by the artist on the underside of its base. The branch bears the maker’s burned initials. Original paint with light wear. $2,000 - $4,000

STEVE WEAVER B. 1950 | SANDWICH, MA

68 Miniature Sleeping Flamingo Steve Weaver (b. 1950) Sandwich, MA, 2007 8 in. tall

A rare carving, signed and dated by the artist on the underside of its base. The top of base bears the maker’s debossed initials and a lone feather. Original paint with minimal wear. $1,500 - $2,500

68 69

69 Miniature American Egret Steve Weaver (b. 1950) Sandwich, MA, 2017 7 in. long, 6 3/4 in. tall

Titled Cautious Approach, signed and dated by the artist on the underside of its branch base. The top of the branch bears the maker’s incised initials and a lone feather. Original paint with minimal wear. $1,500 - $2,500

70 “Lucky” the Frog

Steve Weaver (b. 1950) Sandwich, MA 2 1/2 in. long

One of only two mink frogs ever made by Weaver. This life-size frog was named “Lucky” and was placed on a card table when the carver played Canasta. Signed and identified on the underside. Original paint with light wear. Provenance: Collection of the artist Private collection, New York $2,000 - $4,000

ARNOLD T. MELBYE

1909-2000 | SOUTH YARMOUTH, MA

71 Life-Size Cardinal

Arnold T. Melbye (1909-2000) South Yarmouth, MA, c. 1970 7 3/4 in. tall, 11 in. long

This dropped-wing carving has finely incised feather detail and a turned head. Signed by the maker on underside of bird. Original paint with light wear. Tight shrinkage crack above base of bill. $2,000 - $3,000

72 Miniature Stilt Sandpiper Arnold T. Melbye (1909-2000) South Yarmouth, MA, c. 1967 4 in. tall

Signed on the underside and bears the maker’s label. This carving’s form, paint, and design illustrate why Melbye is considered to be one of the masters of his era. Indeed, he set a bar that many still strive to reach today. Original paint with minimal wear. $600 - $900

LIFE-SIZE SWORDFISH

“It is said, by those who knew Ira, that he only made about a dozen or so fish carvings to give to friends and sell as decorative items to local restaurants. His carvings were mostly of billfish, white marlin that ranged in size from twelve inches up to almost six feet in length. Just a handful of his rare carvings are known to exist.” — Ron Swanson, Fish Models, Plaques & Effigies discussing this fish

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

73 Life-Size Swordfish

Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1920 67 in. long

A singular life-size and full-bodied swordfish carving. This early work has excellent craftsmanship with inlaid oak fins, a long inset bill, and a glass eye. This grand carving was selected by the late fish historian and collector Ronald Swanson for his Fish Models, Plaques & Effigies, in which he describes the carving: “A great Swordfish or Xiphius Gladius made by Ira Hudson of Chincoteague. At 68 inches in length it is almost the largest of the Hudson carvings.” Hudson made a white marlin that is said to be longer. Very good condition for a fish of its age and size. Original paint with even wear, including crack to side and tight crack in end of bill. Touch-up around replaced sliver in top of mouth and old darkening to paint wear, mostly at base of bill. Replaced pectoral fin and restored chips to two fin tips on bottom by Gigi Hopkins. Provenance: Private Collection, California Literature: Ronald S. Swanson, Fish Models, Plaques & Effigies, Far Hills, NJ, 2009, p. 108, pl. 171, exact fish illustrated and discussed. Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, pp. 12-13, fish illustrated. $18,000 - $24,000

Ira Hudson standing outside of his Chincoteague, Virginia workshop. Photo courtesy of Henry Stansbury. 69

74 Old Town Salesman Sample Canoe with Two Paddles Old Town Canoe Company (1903-present) Old Town, ME, c. 1925 51 in. long

The Old Town Canoe Company of Old Town, Maine, is a historic maker of canvas-covered wooden canoes. Incorporated in 1901, Old Town is the largest and most well-known American canoe maker and they are still in business today. The individual build records for Old Town’s canoes that were built prior to 1976 still exist and disclose that approximately thirty-five forty-eight-inch-long samples were made between 1922 and 1927. It is believed that Old Town rewarded its wholesale distributors with a free forty-eight-inch sample if they ordered a railway boxcar load of canoes, about forty full-size canoes. Distributors received two forty-eight-inch-long samples or one eight-foot sample if they ordered two boxcar loads. Thus, the samples were really used as “premiums” to recognize favored distributors, not routinely handed out to salesmen, though they are often called such. Old Town Canoe Co. was by far the greatest maker and distributor of “display” samples, which were also often referred to as “sign” canoes. Display samples were not sold to individual buyers. Most were distributed prior to the 1930s and were placed in window displays or hung prominently in outfitter stores. Given the relatively low production numbers and disappearance through attrition, they are scarce and highly sought-after collectibles today. With wood construction throughout, Old Town Canoe Co. banners along the sides, ribbed interior with one cane-bottomed seat and two braces, a keel with copper sheathing fore and aft, and two wooden paddles to scale, this exemplary canoe

represents one of the finest examples to come to market. Its orange hue is far more rare than the more common green models. At the time of its sale in 2013, this canoe set the world record auction price for any Old Town salesman sample. Literature: Stephen B. O Brien Jr. Fine Arts, American, Sporting & Western Paintings, Antique Decoys & American Folk Art, 2004 Catalog, Boston, MA, 2004, lot 35, related canoe illustrated. $18,000 - $24,000

75 Ralph Cahoon (1910-1982) Brant Point Mermaids signed “R. Cahoon” lower right oil on board, 22 by 28 in.

As a direct descendant of the first Dutch settlers of Cape Cod, Ralph Cahoon grew up sailing, fishing, digging clams, and sketching the Massachusetts coast. His works were heavily influenced by Swedish, Pennsylvania-Dutch, and American folk traditions. This fine example of Ralph’s work depicts a whimsical scene at Brant Point lighthouse on Nantucket. A group of mermaids swim, fish, paint, and play alongside the iconic

coastal landmark. A sailor napping in the sand, possibly intoxicated, is about to receive a cold shower from the mischievous mermaid on the rocks above. Blending island imagery with fanciful storytelling, this painting embodies Ralph Cahoon’s enduring appeal and his unique and charming vision of coastal Americana. This painting has never come to market, as it was purchased from the artist by the current owner’s mother in the late 1950s. Provenance: Private Collection, acquired from the artist in the late 1950s Private Collection, by descent $20,000 - $30,000

76 Martha Cahoon (1905-1999)

Sandpiper and Balloons, 1973 signed and dated “Martha Cahoon 73” lower right oil on board, 10 1/4 by 13 3/4 in.

This coastal composition shows a perched sandpiper with a scallop shell, oysters, a whelk, sailboats on the horizon, and the Cahoon’s signature hot air balloons in the sky. $2,000 - $3,000

77 Martha Cahoon (1905-1999) Seashells signed “Martha Cahoon” lower right oil on board, 8 3/4 by 10 3/4 in.

A still-life of seashells on a New England beach. $1,000 - $1,500

78 Swordfish

Colin McNair (b. 1986) Kingston, MA, 2025 40 in. long

A swordfish carving displaying a carved eye, a raised pectoral flipper, and the maker’s incised signature on the backside of the Spanish cedar body. One of the fastest and most powerful predatory fish in the ocean, this species uses its bill to slash and stun their prey. Original paint and wear. $3,000 - $5,000

79 Outstanding Nantucket Creel or Basket (Fish not included) 9 1/2 in. tall, 15 in. wide

This traditional fishing or food basket with a leather strap displays the classic weave from its native island home. Provenance: Estate of Marilyn M. Herlin $3,000 - $5,000 80

80 Bogdan A & F 100M Salmon Reel Stan Bogdan (1918-2011) Nashua, NH, 1962 3 1/2 in. diameter

The 200M is one of the three reel models that Bogdan made for Abercrombie & Fitch’s catalog. The reel’s foot is marked “AF 100M” and “62-109.” Right-hand-retrieve. In working condition with heavy fishing wear and rubbing. $800 - $1,200

81 Trophy Bluefish Carving

82 White Sperm Whale

The carved fish is thirty-two inches long and the upper right corner of plaque is signed “Ellen McCaleb.” Original paint with minimal wear and a reglued right pectoral fin.

This carving is likely a nod to Moby Dick, a fictional white sperm whale and antagonist in Herman Melville’s 1851 novel Moby-Dick. Melville based the whale in his book on a notoriously hard-to-catch albino whale of that period called Mocha Dick, so named because he was first encountered off Mocha Island near the Chilean coast. His survival of many pursuits and his unusual appearance made him infamous among Nantucket whalers. The underside of the base bears the maker’s incised “F” signature. Original paint with light wear.

Ellen McCaleb Barrington, NH plaque is 42 in. long, 12 in. wide

$1,000 - $2,000

Frank Finney (b. 1947) Capeville, VA 19 1/2 in. long

$1,000 - $2,000

83 Miniature Pheasant Pair Frank Finney (b. 1947) Capeville, VA 8 in. long

Both bear carved feather detail and the maker’s serifed “F” and “Finney” ink stamp signatures on the undersides of the bases. Original paint with light wear. $1,000 - $1,500

MIKE BORRETT B. 1960 | MADISON, WI

84 Bonefish Carving

85 Trophy Tarpon Carving

An exceedingly rare warm water species for Borrett. Signed by the maker on the back. Original paint with light wear.

A grand, full-body, life-size carving of the silver king. An exceedingly rare warm water species for Borrett. Signed with the maker’s “Borrett” brand on the back side. Original paint with light wear.

Mike Borrett (b. 1960) Madison, WI plaque is 24 in. long

$800 - $1,200

Mike Borrett (b. 1960) Madison, WI 52 in. long

$3,000 - $5,000

MIKE BORRETT B. 1960 | MADISON, WI

86 Flying Ruffed Grouse Carving

88 Barn Owl Carving

Signed and dated on the left wing and mounted on a decorative base. Original paint with minimal wear and tight seam showing in center of tail.

Signed on the back by the maker. Original paint with light wear.

Mike Borrett (b. 1960) Madison, WI, 2001 16 in. tall on base

Mike Borrett (b. 1960) Madison, WI 21 in. tall

$500 - $800

$800 - $1,200

89 Rare Flying Raven Carving 87 Great Horned Owl Carving Mike Borrett (b. 1960) Madison, WI 24 1/2 in. tall

Signed on the back by the maker and fitted with dynamic glass eyes. Original paint with light wear. $500 - $800

Mike Borrett (b. 1960) Madison, WI 24 in. wingspan

This work has textured feather detail, an incised tail, an open bill, and the maker’s incised “BORRETT” on the back. The raven species gained notoriety thanks to Edgar Allen Poe’s wildly popular poem entitled “The Raven.” As a testament to the importance of the poem and the poet, Baltimore’s National Football League team was named the Ravens in honor of Poe, who was from Maryland. Original paint with light wear. $800 - $1,200 75

ROBERT VERITY CLEM 1933-2010

90 Robert Verity Clem (1933-2010)

Crows at the Water’s Edge, 1959 signed and dated “Robert Verity Clem 1959” lower left watercolor, 17 1/2 by 26 1/2 in.

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, in 1967. Clem was a trustee of the Chatham Conservation Foundation and had multiple shows at the Mass Audubon Visual Arts Center in Canton, Massachusetts. He died in 2010. 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.” This painting of crows combing the tideline for food is an excellent example of Clem’s earlier work, which presents the birds as larger and more central to the composition. Provenance: Private Collection, Connecticut Private Collection, Massachusetts $2,000 - $4,000

91 Robert Verity Clem (1933-2010)

Gulls, 1975 signed and dated “Robert Verity Clem 1975” lower right watercolor, 11 1/2 by 15 3/4 in. $2,000 - $4,000

JOSEPH HENRY SHARP 1859-1953

92 Joseph Henry Sharp (1859-1953)

New England Beach Scene signed “J. H. Sharp” lower left oil on canvas, 12 by 24 in. an old paper label appears to read “Bathing ______, Neck, Maine $50.00”

Joseph Henry Sharp was born in Bridgeport, Ohio. Due to an illness, he went deaf at age twelve, and was encouraged to pursue the visual arts. He began his studies at the McMicken School of Design in Cincinnati, traveled and painted with Frank Duveneck, and studied for two years at the Antwerp Academy in Belgium. Thus, as an artist, he was steeped in the realist traditions of portraiture, still life, and history paintings. He taught at the Cincinnati Art Academy for ten years. He later turned his eye towards the Taos landscape and its inhabitants, as well as the Montana landscape where the Crow lived. Sharp was a founding member the Taos Society of Artists, as well as a member

of the Salmagundi Club in New York and the California Art Club. Many of his works are in the Cincinnati Art Museum, the Smithsonian Institution, and the Gilcrease Institute in Tulsa, Oklahoma. His Taos studio is preserved at the Couse-Sharp Historic Site. He was an inveterate traveler who represented landscapes and scenes from all over the world, including Toledo, Spain, the Pyramids of Giza, Hawaii, and China. This gem of a coastal scene calls to mind the work of Winslow Homer and William Merritt Chase at the turn of the 19th century. $20,000 - $30,000

93 Warren W. Sheppard (1858-1937) Along the Coast signed “Warren Sheppard” lower right oil on canvas, 17 3/4 by 28 1/2 in.

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 these sections of the Atlantic coast. $10,000 - $15,000

94 George W. Chambers (1857-1897)

Coastal Sunrise signed “G. W. Chambers” lower right oil on canvas, 12 by 16 in.

Though born in St. Louis, Chambers studied painting in Paris under Jean Leon Gerome and Julien Dupre in the early 1880s and exhibited at the Paris Salon. He returned to the States in 1885, settling in Nashville, Tennessee, where he founded the Nashville School of Art. Chambers showed his work at the Pennsylvania Academy of Fine Art and the Art Institute of Chicago, where he won a prize in 1890. This peaceful coastal scene reveals a sunrise with bright colors and rolling surf. $3,000 - $5,000

ALFRED THOMPSON BRICHER

1837-1908

95 Alfred Thompson Bricher (1837-1908) Seascape with Rocks signed “A T Bricher” lower right oil on canvas, 10 by 20 in.

Born in Portsmouth, New Hampshire, in 1837, Bricher worked as a clerk and studied art at the Lowell Institute in Boston as a teen. He then became a professional artist in 1858 at the age of 21. During his lifetime, Bricher was a member of the Boston Art Club and frequently exhibited at the National Academy in New York and the Boston Athenaeum. In 1868 he moved his studio to New York, though he continued to paint the shoreline throughout New England, from Massachusetts to Maine. The Metropolitan Museum in New York and the Brooklyn Museum each have marine landscapes of his in their permanent collections, and the MFA in Boston has twenty-seven of his paintings, including Along the Cohasset Shore.

In this coastal landscape, Bricher presents a luminous golden sky with light reflecting off the ocean and the top of a dramatic rock. A lonely dory pulled up on the shore suggests past and future excursions out to sea, with two sailboats at the left, as well as the suggestion of three others in the distant center. Blue-grey clouds are touched by the angled sun as the artist creates a Luminist meditation on a seaside setting. $10,000 - $15,000

FRANK FINNEY B. 1947 | CAPEVILLE, VA

96 Flying Snowy Egret

97 Calling Peregrine Falcon

This grand life-size and full-bodied egret was made to hang on a wall. The underside has an incised signature. Carved with a calling pose as if just lifting out of a marsh. Original paint with minimal wear.

Living in Capeville, Virginia, Finney was well positioned to observe the comeback of this iconic speedster along the Chesapeake Bay Bridge Tunnel. This grand life-size carving has extensive detailing and a calling pose befitting this vocal raptor. Signed with a serified “F” on the base. Original paint with light wear.

Frank Finney (b. 1947) Capeville, VA 39 in. wingspan, 35 1/2 in. long

$18,000 - $24,000

Frank Finney (b. 1947) Capeville, VA 20 in. long, 15 in. tall

$4,000 - $6,000

FRANK FINNEY

B. 1947 | CAPEVILLE, VA

TRAINING CATS 98 “Training Cats” Mechanical Box Frank Finney (b. 1947) Capeville, VA 17 1/2 in. long, 12 in. tall, 12 in. wide

This playful work depicts five mice toying with one feline, which is reclining on a book entitled Training Cats. Another cat hiding within the box is visible peering out through a mouse hole. The mechanized hinge not only lifts the box’s lid, but also moves a mouse that is “running” along the

outside of the box. The inside and outside of this candle box are ornately grain painted and the underside has a incised signature. Original paint with minimal wear. $15,000 - $20,000

FRANK FINNEY

B. 1947 | CAPEVILLE, VA

BEAVER MECHANICAL BANK

FRANK FINNEY

B. 1947 | CAPEVILLE, VA

99 Beaver Mechanical Bank Game Frank Finney (b. 1947) Capeville, VA 14 in. tall, 10 1/2 in. wide

This unique Finney carving shows the artist at the height of his creative and engineering prowess. A coin slot is hidden under the hinged cap atop the whimsical beaver. The right paw twists and there is a second coin slot between the webbed feet. When a coin is placed in the moveable palm and another coin is dropped in the head slot, the game is to see if the palmed coin will successfully drop into the lower slot. The underside reveals a circular removable inset base for access to the bank’s vault. The base bears the maker’s “Frank Smith Finney” stamp and incised “F” signatures, along with the pencilled notation: “’If you watch your pennys [sic], you won’t have to watch your dollars.’ Martha Bartlett.” Finney’s attention to detail is extraordinary; the cap is fitted with two holes that accommodate the beaver’s protruding ears, and the spinning propeller has incised “F”s. The removable base has four screw holes with matching Roman numerals to insure proper reassembly. Original paint with minimal wear.

Frank Finney on a successful duck hunt.

$10,000 - $15,000

FRANK FINNEY B. 1947 | CAPEVILLE, VA

100

100 Life-Size Bluebird Trio Frank Finney (b. 1947) Capeville, VA 11 1/2 in. by 11 in. by 15 in.

A dynamic carving with three open-billed bluebirds on a branch. The rectangular beveled base is signed with the maker’s incised serifed “F” on the side. Original paint with minimal wear. $3,500 - $4,500

101

101 “My Best Dog CoCo” Frank Finney (b. 1947) Capeville, VA 8 in. long, 4 in. tall

The underside bears the maker’s incised “F” and the Finney ink stamp signatures, as well as his pencilled notation “My best dog CoCo.” Original paint with light wear. $2,000 - $4,000

FRANK FINNEY

B. 1947 | CAPEVILLE, VA

102 Prothonotary Warbler Frank Finney (b. 1947) Capeville, VA 6 in. long

102

Signed by the maker with his incised “F” on the underside. Original paint with light wear. $600 - $900

103 Rose-Breasted Grosbeak Frank Finney (b. 1947) Capeville, VA 7 in. long

Signed by the maker with his incised “F” on the underside. Original paint with light wear.

103

$1,000 - $1,500

104 Blackburnian Warbler Frank Finney (b. 1947) Capeville, VA 5 1/2 in. long

Signed by the maker with his incised “F” on the underside. Original paint with light wear. $600 - $900

104

105 Purple Finch

Frank Finney (b. 1947) Capeville, VA 5 1/2 in. long

Signed by the maker with his incised “F” on the underside. Original paint with light wear. $600 - $900

106 Cliff Swallow

105

Frank Finney (b. 1947) Capeville, VA 5 in. long

Signed by the maker with his incised “F” on the underside. Original paint with light wear. $600 - $900

106

WILLIAM GIBIAN B. 1946 | ONANCOCK, VA

107

WILLIAM GIBIAN

B. 1946 | ONANCOCK, VA

108

107 Cornfield Feast - Passenger Pigeons

108 Toucan and Moth

This grand decorative carving is signed and dated by the maker on his business card, which is affixed to the underside. The card also identifies the species as an extinct passenger pigeon pair and a Brewer’s black bird. With an appearance similar to an oversize mourning dove, the passenger pigeon was estimated to be the most abundant land bird species in North America. The world’s last passenger pigeon passed away at the Cincinnati Zoo in 1914. Original paint with light wear.

A bright and ambitious carving by Gibian, this grand work is signed and dated by the maker on his business card, which is affixed to the underside. “Chestnut mandibled toucan, my first and one of my favorite carvings.” written on the card. Original paint with light wear, minute chip to lower mandible.

William Gibian (b. 1946) Onancock, VA, 2024 26 1/2 by 24 by 17 in.

William Gibian (b. 1946) Onancock, VA, 2014 24 by 19 1/2 by 14 in.

$6,000 - $9,000

$10,000 - $20,000 89

WILLIAM GIBIAN B. 1946 | ONANCOCK, VA

109

110

109 Preening Wing-Up Curlew William Gibian (b. 1946) Onancock, VA 15 in. long

This long-billed curlew carving displays a dramatically turned head position, carved feather detail, and is signed by the maker with an incised “GIBIAN” on the underside. Original paint with light wear and paint shrinkage. Provenance: Estate of Marilyn M. Herlin $1,500 - $2,500

110 Long-Billed Curlew William Gibian (b. 1946) Onancock, VA 21 1/2 in. long

This raised-wing carving is signed by the maker with an incised “GIBIAN” on the underside. Original paint with light wear and even sap bleeds. Provenance: Estate of Marilyn M. Herlin $1,500 - $2,500

HANS J. PEETERS

B. 1937

111

111 Hans J. Peeters (b. 1937)

Curlews in the Marsh signed “Hans Peeters” lower right acrylic on canvas, 20 by 40 in.

Hans Peeters was born in Germany, but moved to California as a teenager, where he studied zoology at Berkeley. Over the course of his career as an ornithologist and artist, he illustrated three field guides for the University of California Press and, in 1970, he wrote and illustrated

the text “American Hawking.” His paintings can be found in the permanent collection of the Leigh Yawkey Woodson Museum in Wausau, Wisconsin, among others. $2,000 - $3,000

AUGUSTUS "GUS" AARON WILSON 1864-1950 | SOUTH PORTLAND, ME

112 Oversize Preening Eider Hen

Augustus “Gus” Aaron Wilson (1864-1950) South Portland, ME, c. 1900 18 1/2 in. long

This boldly carved sea duck is one of the finest traditional Maine decoys to ever be offered at public auction. The carving features an exceptionally rendered turned head with carved eyes and upper bill, and raised wings. This impressive sculpture epitomizes the decoy as American folk art. A singular and closely related drake in original paint is held in the Jerry Lauren Collection and appears to be a rigmate. Representing North America’s largest duck, this oversize decoy measures eighteen-and-one-half-inches in length. The two-piece construction features a prodigious eightinch by four-inch inletted head. The bill tip just touches the back left corner of the inlay, fully completing the graceful turn while maintaining structural integrity. The bottom displays an anchor line ring fastened with an old fence staple. Wilson was born “Down East,” on Mount Desert Island, Maine. Though he is foremost remembered as a carver, he was also a boat builder, 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. As a lighthouse keeper, he was perfectly positioned to study eider poses at all hours and tides, and it permitted him the downtime to carve.

A closely related eider drake illustrated on the cover of Copley's Winter Sale 2013 catalog.

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 are featured in the American Identities exhibit, on display as a part of the permanent collection of the Brooklyn Museum in Brooklyn, New York. Though Wilson is widely celebrated for his variety, it is important to note the form, quality, condition, and scale of this hen, which separates it from other known examples. Original paint with even gunning wear, small tail chip, spot of original fill on breast and a few small cracks. Provenance: Private Collection

David A. Schorsch and Eileen M. Michaelis, American Decoys II: A Follk Art Tradition, 1998, front cover, exact decoy illustrated.

Literature: David A. Schorsch and Eileen M. Michaelis, American Decoys II, Boyertown, PA, 1998, front cover and p. 55, exact decoy illustrated. Frank Maresca and Roger Ricco, American Vernacular: New Discoveries In Folk, Self-Taught, And Outsider Sculpture, New York, NY, 2002, p. 42, Lauren Collection drake illustrated. $25,000 - $30,000

WILSON PREENING EIDER HEN

112

"This striking large eider decoy in a dramatic preening position ranks among the most superb examples of American folk sculpture.” — David A. Schorsch, American Decoys II: A Folk Art Tradition, 1998

MACKEY LONG-BILLED CURLEW

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113 Mackey Long-Billed Curlew c. 1875 18 1/2 in. long

This iconic reaching long-billed curlew from the Mackey Collection was selected for both his and Colio’s books. “The Long-billed Curlew, most majestic of all shore birds,” Mackey writes while discussing this exact bird, “was common on Long Island before 1850. As it declined to the vanishing point, its place was taken by the Hudsonian Curlew. Very few Long-billed Curlew decoys exist. A decoy must be tremendous in size and carry the original curved bill to be beyond question the Long-billed Curlew.”

Literature: William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 44, pl. 23, exact decoy illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, p. 67, exact decoy illustrated. Gene and Linda Kangas and Donald Kirson, ed., Bonfire of Swans, Concord, OH, 2012, p. 151, Mackey holding exact decoy. $15,000 - $25,000

The Mackey family held this decoy back from the first nine sessions of the Mackey auctions, keeping it for nearly a half century. The bird retains the Mackey Collection stamp on its underside. Original paint with minor wear, chips to underside of bill tip and very tight crack in neck. Provenance: William J. Mackey Jr. Collection Private Collection

William J. Mackey Jr. holding one of his favorite curlew decoys, lot 113. Photo courtesy of Jim Allen.

CAPE MAY MERGANSER PAIR

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114 Important Cape May Merganser Pair Cape May, NJ, c. 1880 17 in. long

These Cape May mergansers hail from the Fred and Ellen Noyes Collection, founders of the Noyes Museum of Art. This pair is among New Jersey’s most distinct decoy forms. Their only known comparables are the celebrated Mackey-Rockefeller pair seen in Quintina Colio’s 1972 book American Decoys. This Noyes pair was chosen by illustrator and naturalist Kenneth Gosner for his Working Decoys of the Jersey Coast and Delaware Valley book in 1985.

Literature: Kenneth L. Gosner, Working Decoys of the Jersey Coast and Delaware Valley, Cranbury, NJ, 1985, pl. 36, exact carvings illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, pp. 20-21, Mackey-Rockefeller pair illustrated. $30,000 - $50,000

Each bird features distinctly upswept bills, serpentine necks with proud sweeping breasts, and long and sleek bodies. The heads have thin carved wooden crests and incised eyes. The underside of each retains its poured rectangular weight and stamped Noyes Collection number. Current research attributes these birds to the Stites family. Both birds have original and old working paint with moderate gunning wear. Both crests and drake’s bill restored. Drake has tight neck crack. Provenance: Fred and Ellen Noyes Collection Private Collection

Exact decoys, lot 114, illustrated in Kenneth L. Gosner’s Working Decoys of the Jersey Coast and Delaware Valley, color plate 36 (detail), 1985.

“The Atlantic City-Cape May area has been the source of some especially stylish early sheldrakes...”

— Kenneth Gosner, Working Decoys of the Jersey Coast and Delaware Valley 95

NATHAN ROWLEY HORNER 1882-1942 | WEST CREEK, NJ

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115 Outstanding Swimming Brant Nathan Rowley Horner (1882-1942) West Creek, NJ, c. 1920 18 in. long

One of the finest Horner brant to have surfaced, this decoy features the maker’s racy lines with bold cheeks, a graceful thin neck, and a sharp tail. Horner’s decoys are considered by many to be the finest ever produced in New Jersey. The underside is stamped with a small “E” in several places. Original paint with light gunning wear and some stacking rubs typical of the rig.

Provenance: Private Collection Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, pp. 89-97, rigmate illustrated. Gene and Linda Kangas, Decoys: A North American Survey, Spanish Fork, UT, 1983, p. 41, pl. 66, rigmate illustrated. Kenneth L. Gosner, Working Decoys of the Jersey Coast and Delaware Valley, Cranbury, NJ, 1985, pl. 25, related example illustrated. $20,000 - $30,000

Related brant illustrated in Kenneth L. Gosner’s Working Decoys of the Jersey Coast and Delaware Valley, color plate 25 (detail), 1985.

NATHAN ROWLEY HORNER 1882-1942 | WEST CREEK, NJ

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116 O’Brien-Johnson Canada Goose Nathan Rowley Horner (1882-1942) West Creek, NJ, c. 1930 21 1/2 in. long

An exceptional and rare Horner goose made with the maker’s signature tucked-head style found in his best waterfowl decoys. The full and hollow body is finished with a shoulder groove behind the neck and the maker’s patterned, stippled, and blended paint. This decoy is one of only four known with this form. Two others are held in esteemed private collections and the fourth is a part of the Shelburne Museum collection. Original paint with minimal gunning wear, touch-up to reset neck and to rub on left side.

Provenance: Jack Conover Rig and Collection Donal C. O’Brien Jr. Collection The Johnson Collection, acquired from Stephen O’Brien Jr. Fine Arts, 1999 Private Collection Literature: Stephen B. O’Brien Jr., American, Sporting & Western Paintings, Antique American Bird Decoys, 1999 Catalog, Boston, MA, front cover, exact decoy illustrated. $20,000 - $30,000

JESS HEISLER

1891-1943 | BURLINGTON, NJ

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117 Sleeping Black Duck Jess Heisler (1891-1943) Burlington, NJ, 1920 14 in. long

An excellent and important sleeping decoy from a river region dominated by straight-head decoys. John English is credited with drawing up the region’s pattern and setting an unsurpassed bar for quality. In his broad wake, Heisler rose to the top and is believed to have introduced the sleeper to the region, with some later makers following his lead, to the delight of collectors. Along with its rarity, this well-executed carving is among the maker’s finest, with thin carved tail feathers and crisp primaries. The head and bill are carefully inlaid into the three-piece hollow body. Further separating this decoy from its few peers is the special attention paid to the stylized feather paint adorning every facet of the plumage with patterns of loops, dots, and dashes. The underside is marked with a “BP-6” for the collection of Bob and Pauline White. When the Whites sold this decoy, it was conveyed that the bird had been exhibited at

the Burlington County Museum and the Mercer Museum. Original paint with light wear. Provenance: Private Rig, Florence, New Jersey, and Odessa, California Bob White Collection Kangas Collection of Folk Art and Decoys Private Collection, Florida Literature: Decoy Magazine, May/June 2019, p. 28, exact decoy illustrated. H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, p. 96, straighthead example illustrated. Exhibited: Doylestown, Pennsylvania, Ducks, Decoys and the Delaware: A Regional Hunting Tradition, The Mercer Museum, 2004. $10,000 - $20,000

JOHN ENGLISH

1848-1915 | FLORENCE, NJ

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118 The White English Mallard Hen John English (1848-1915) Florence, NJ, c. 1880 15 3/4 in. long

John English was “the innovator of the Delaware River decoy,” yet his existence eluded collectors for years. An understanding of his portfolio of carvings and decoys is still coming to light for collectors, especially as it relates to English decoys in original English paint. English’s importance as the father of the Delaware River school of carving is documented by virtually every authority from the region. Robert “Bob” White, describes English as “the ultimate Delaware River carver.” Author Kenneth L. Gosner notes, “The work of John English set a standard against which other Delaware River makers have been measured and compared ever since. Indeed, for many collectors, the English style is the Delaware River style.” The rarity of English mallards and mallard hens cannot be overstated, with far more pintails, black ducks, and wigeon

surfacing. This decoy retains its original English paint, which is rarely found as many were repainted in by John Dawson. This decoy displays seamlessly integrated carving and painting patterns, a feat that few other makers have accomplished. This hollow carving, with its clean lines, thin tail, sharp wing tips, and incised feather detail, is the epitome of the region’s archetype. This may be the finest John English mallard hen known to exist. Original paint with gunning wear, including some flaking. Provenance: Bob White Collection Private Collection Literature: Kenneth L. Gosner, Working Decoys of the Jersey Coast and Delaware Valley, Cranbury, NJ, 1985, pp. 89-91. Allen Linkchorst, “John English,” Decoy Magazine, March/April 2000, front cover and p. 9, related drake illustrated. $15,000 - $25,000

LEVI RHODES TRUEX 1860-1934 | ATLANTIC CITY, NJ

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119 Rare Ruddy Turnstone

Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 174, no turnstones illustrated. Kenneth L. Gosner, Working Decoys of the Jersey Coast and Delaware Valley, Cranbury, NJ, 1985, p. 166, related example illustrated.

While many examples of shorebirds by this well-known New Jersey maker exist, the ruddy turnstone represents an exceedingly rare species for Truex. To wit, James Doherty’s comprehensive Classic New Jersey Decoys book illustrates curlew, plover, and yellowlegs, but no turnstones. Additionally, decoy historians and authors Fleckenstein and Headley/Somers feature Truex birds in their respective books, but nary a turnstone can be found. A deep dive into Gosner’s book reveals one related example. This tremendously rare carving hails from the Davis Pearson Collection. Original paint with even gunning wear and an original knot in lower right side. Minor ding in back.

$6,000 - $9,000

Levi Rhodes Truex (1860-1934) Atlantic City, NJ, c. 1910 10 3/4 in. long

Provenance: Davis Pearson Collection Private Collection

120

100

Truex yellowlegs, willet, and black-bellied plover, from the Johnson Collection. Photo from the Copley Archives.

AMOS WHEATON

1853-1921 | SEAVILLE, NJ

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120 Early Merganser Drake Levi Rhodes Truex (1860-1934) Atlantic City, NJ, c. 1890 17 1/2 in. long

The Truex merganser represents one of the region’s best and rarest forms. Jim Doherty sought out a rigmate to this decoy for inclusion in his Classic New Jersey Decoys book. Of that nearly identical example, the legendary collector and historian noted, “This is the earliest and finest known example of a Rhodes Truex Decoy. Possibly made in his early years when he worked in Tuckerton. World record price for this maker...” The hollow body of this rigmate has a high back and thin paddle tail. The refined head has subtle cheeks and a delicate sweeping crest. The underside bears a small “WGG” collector brand and the weight has a rig marking of “EWS.” Very few Truex mergansers exist, making this example with its original crest, bill, and tail all the more desirable. Original paint with moderate gunning wear, and a possible working wash of white on the underside. Provenance: Private Collection, New Jersey Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, pp. 156-157, rigmate illustrated twice. John Clayton, “Levi Rhodes Truex,” Decoy Magazine, Sept/Oct

2012, front cover and p. 25, rigmate illustrated and discussed. Henry A. Fleckenstein Jr. New Jersey Decoys, Exton, PA, 1983, p. 131, related examples illustrated. $3,000 - $5,000

121 Rare Goldeneye

Amos Wheaton (1853-1921) Seaville, NJ, c. 1890 13 1/2 in. long

These folky decoys have long been celebrated for the artist’s unique take on the goldeneye’s pronounced head shape. This exact decoy was selected for Ricco and Maresca’s American Vernacular. The underside has a museum acquisition code. Original paint with even gunning wear, including some flaking to bill. Provenance: Edwin and Alberta Gamble Collection Property from the Collections of the American Folk Art Museum, gift from above Literature: Frank Maresca and Roger Ricco, American Vernacular: New Discoveries In Folk, Self-Taught, And Outsider Sculpture, New York, NY, 2002, p. 47, exact decoy illustrated. Adele Earnest, The Art of the Decoy: American Bird Carvings, New York, NY, 1965, p. 64, related example illustrated. Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 32, pl. III, and p. 142, pl. 326, related examples illustrated. James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 166, pl. 351, related example illustrated. $4,000 - $6,000

101

122

122 Black Duck

Tom Fitzpatrick (1887-1958) Delanco, NJ, c. 1930 16 in. long

A hollow Delaware River decoy with a tucked head. Original paint with even gunning wear, some wear around body seam nails. Provenance: Matt Geis Collection $600 - $900

123 Swimming Goose

Chris Sprague (1888-1982) Beach Haven, NJ, c. 1930 25 in. long

123

A large hollow swimming decoy with a star-head nail in the rigging and Sprague’s notes under the tail. Original paint with even gunning wear and early wash to the black. Provenance: Albert Ziegler Rig John Hillman Collection Harold Emmit Collection Estate of Edwin Schultz $400 - $600

124 Hollow Bluebill Pair

124

Capt. Jesse Birdsall (1843-1927) Barnegat, NJ, c. 1900 13 in. long

One is marked with a “B” on the weight and both have Doherty Collection stickers. Original paint with even gunning wear, white on sides of drake may be an early second coat. Provenance: Jim Doherty Collection Private Collection, New Jersey $2,000 - $3,000

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Bruce and Rachel Roberts Collection of McNair Carvings By Chelsie Olney

Copley is honored to introduce the collection of Bruce and Rachel Roberts to the decoy collecting community. 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

Bruce and Mark after a flight over the Chesapeake Bay, June 2016.

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 proud to showcase a selection of these carvings in the Winter Sale 2026.

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 the Atlantic coast, with a view similar to that of the birds he has spent his lifetime carving, Mark described how the network of barrier islands below has always been a dynamic environment of shifting sands. Bruce caught a 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

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

126

125

125 Flicker

126 Great Horned Owl

Flicker decoys of any vintage are rare, with only a handful of early examples originating from the Crisfield, Maryland, area. This appears to be the first McNair flicker decoy to surface at auction. The underside bears the incised “McNair” signature and a metal ring to hang the woodpecker on the nail of its original base. Original paint and wear.

A rare live-size owl decoy carved from a single cedar log with subtle details. The ears, or plumicorns, are faced with leather, 12-gauge Winchester brass was used for the eyes, and carved talons embrace the log below. Under the left wing is an incised “McNair” and date. Original paint with light wear and original check along the bird’s back.

Mark McNair (b. 1950) Craddockville, VA, c. 2000 11 in. long

Provenance: Bruce and Rachel Roberts Collection $2,000 - $3,000

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Mark McNair (b. 1950) Craddockville, VA, 2019 23 in. tall on base

Provenance: Bruce and Rachel Roberts Collection $4,500 - $6,500

MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

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127 High-Tri Merganser Drake with Mussel Mark McNair (b. 1950) Craddockville, VA, c. 1993 14 1/2 in. long

Literature: Curtis Badger, “Mark McNair,” Wildfowl Carving and Collecting, Harrisburg, PA, Summer, 1993, front cover, related pair illustrated. $6,000 - $9,000

A robust red-breasted merganser with high-bodied and pegged construction. This drake is holding a mollusk in his open bill. The underside bears an incised “M. S. McNair” signature.

128 Canada Goose

This rare design is an evolution of the maker’s “tri-merganser” model and McNair refers to it as the “high-tri.” A related pair from the Stavis Collection were the cover feature of the summer 1993 issue of Wildfowl Carving and Collecting magazine and recently set a new auction record. Original paint with light wear.

This grand carving appears to be modeled after the giant Canada goose subspecies. It bears the maker’s incised “M.S. McNair” signature on the underside of the hollow body. Original paint with even wear and some minor sap mostly on lower half.

Provenance: Bruce and Rachel Roberts Collection

Mark McNair (b. 1950) Craddockville, VA, c. 1995 27 in. long

Provenance: Bruce and Rachel Roberts Collection $3,000 - $5,000

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105

129 Early Great Blue Heron Mark McNair (b. 1950) Craddockville, VA, c. 1975 33 in. long

A vintage Mark McNair carving and his first heron, it was made while the fledgling carver was still in Old Lyme and Essex, Connecticut. The underside of the carving bears an incised “MSM” signature. A McNair stand is available with the bird. Original paint with even wear and some cracks, including bill, left wing, and at the head-to-neck seam. Provenance: Bruce and Rachel Roberts Collection $3,000 - $5,000

129

130 Tern Pair

130

Mark McNair (b. 1950) Craddockville, VA, c. 1990 17 1/2 in. long

A graceful pair of tern carvings with wide bodies and sides applied with wooden pins. The maker’s incised “MCNAIR” signature is on the undersides. Original paint with light wear and a few dark flecks on the left side of one. Provenance: Bruce and Rachel Roberts Collection $2,000 - $3,000

131 Miniature American Egret Pair

131

Mark McNair (b. 1950) Craddockville, VA largest is 8 in. tall

Each “root-head” is made from a single twisted branch of mountain laurel. Signed with incised “McNair” inside the removable mortise-and-tenon neck joints. Original paint with light wear. Provenance: Bruce and Rachel Roberts Collection $2,000 - $4,000

106

MARK S. MCNAIR

132 Long-Billed Curlew #4

B. 1950 | CRADDOCKVILLE, VA

Mark McNair (b. 1950) Craddockville, VA, c. 2019 18 in. long

The carving’s construction includes a mortise-and-tenon head and a hollow body secured with pegs. The head is slightly turned and the inside of the detachable head joint is marked with a matching “4.” The underside of the carving bears an incised “McNair” signature. Original paint with light wear. Provenance: Bruce and Rachel Roberts Collection $2,000 - $3,000

132

133 “Egyptian” Yellowlegs Pair Mark McNair (b. 1950) Craddockville, VA, c. 1990 11 1/2 in. long

133

These “Egyptian yellowlegs” display turned heads, fine stippling, and an incised “McNair” on the undersides. This pair is a more animated take on a model that was inspired by a visit to the Egyptian wing of the Metropolitan Museum of Art in New York City. Original paint with light wear. Provenance: Bruce and Rachel Roberts Collection $2,500 - $3,500

134 Hollow Golden Plover Mark McNair (b. 1950) Craddockville, VA, c. 2015 11 1/2 in. long

134

A refined hollow decoy in transitional plumage with a slightly turned head, incised primaries, and a “MCNAIR” signature. Original paint with light wear. Provenance: Bruce and Rachel Roberts Collection $1,000 - $2,00

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

135 Wood Duck

135

Mark McNair (b. 1950) Craddockville, VA, c. 1985 14 in. long

The underside of the carving bears an incised “McNair” signature. Original paint and wear. Provenance: Bruce and Rachel Roberts Collection $3,000 - $5,000

136 Rare Harlequin

136

Mark McNair (b. 1950) Craddockville, VA, 1989 12 1/2 in. long

Mark McNair’s first harlequin carving, it remains one of perhaps only three known. The underside of the carving bears an incised “McNair,” the maker’s inked signature, the date, and a personal inscription “My First Harlequin.” Original paint and wear. Provenance: Bruce and Rachel Roberts Collection $2,000 - $4,000

137 Hooded Merganser Pair

137

Mark McNair (b. 1950) Craddockville, VA, c. 1985 11 in. long

Each has raised wing tips, incised tail feathers, and the undersides bear the incised “McNair” signature. Original paint and wear. Drake has original age line in left side. Provenance: Bruce and Rachel Roberts Collection $2,500 - $3,500

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

138

140

139

141

138 Brook Trout

140 “Brookie Boy” Brook Trout

This trout carving is mounted on a triangular base, bears a hanging ring, and is signed with a stamped “MCNAIR” on the underside. Original paint with light wear.

This little fish decoy bears a painted “MSM” signature and “Brookie Boy” on the underside. Original paint with light wear.

Provenance: Bruce and Rachel Roberts Collection

$1,000 - $2,000

139 Catfish Decoy

141 Pickerel

This rare catfish bears leather whiskers and metal fins. The underside is weighted and is incised “MCNAIR.” Original paint with light wear, right leather whisker is reset.

This fish decoy bears a stamped “MCNAIR” on the underside. Original paint with light wear.

Mark McNair (b. 1950) Craddockville, VA, c. 1990 10 1/2 in. long

Mark McNair (b. 1950) Craddockville, VA, c. 1990 7 1/2 in. long

Provenance: Bruce and Rachel Roberts Collection

Mark McNair (b. 1950) Craddockville, VA, c. 1990 5 1/2 in. long

Mark McNair (b. 1950) Craddockville, VA, c. 1990 10 1/2 in. long

Provenance: Bruce and Rachel Roberts Collection $1,000 - $2,000

$1,000 - $2,000

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GRAYSON CHESSER B. 1947 | SANFORD, VA

142 Preening Goose

Grayson Chesser (b. 1947) Sanford, VA 24 in. long

A preening hollow decoy signed with the maker’s incised “C” on the underside. Original paint with light wear and slight paint loss at base of neck. Provenance: Estate of Marilyn M. Herlin $1,000 - $2,000

143 Black Duck

Grayson Chesser (b. 1947) Sanford, VA 16 in. long

142

Signed with an incised “C” on the underside of the hollow body. Original paint with light wear.

143

Provenance: Bruce and Rachel Roberts Collection $200 - $400

144 Standing Brant

Grayson Chesser (b. 1947) Sanford, VA 22 in. long

Signed with the maker’s incised “C” on the underside. Base is removable. Original paint with even gunning wear. Provenance: Bruce and Rachel Roberts Collection $200 - $400

145 Outstanding Pintail

Cameron McIntyre (b. 1968) New Church, VA 20 1/2 in. long

144

This dynamic form has a high and turned head canted to the side and extensive combed vermiculation. Signed with an incised “CTM” on the underside of the hollow body. Original paint with light wear. Literature: Steve Russell, “Cameron McIntyre’s One-of-a-kind decoys,” Garden and Gun Magazine, October/November, 2020. $5,000 - $8,000

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CAMERON MCINTYRE B. 1968 | NEW CHURCH, VA

145

146 Mason-Style Pintail Pair Cameron McIntyre (b. 1968) New Church, VA 19 1/2 in. long

An expertly crafted pair of hollow decoys with slightly turned heads, painted feather detail, and the maker’s incised “CTM” initial signature and “’Premier’ Flats Model” inked on the undersides. Original paint and wear.

Literature: Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 106, exact pair illustrated. Exhibited: Peoria, Illinois, Center for American Decoys, Peoria Riverfront Museum. $5,000 - $8,000

146

111

CAMERON MCINTYRE B. 1968 | NEW CHURCH, VA

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147 Hanging Black Duck and Gadwall Cameron McIntyre (b. 1968) New Church, VA, 1998 board is 30 1/4 by 18 1/4 in.

A hanging game-bag carving featuring a grand red-legged black duck and a gadwall drake. McIntyre’s understanding of both the subject and medium is on full display, showing astute details paired with his blade and rasp tool marks. Indeed, this scene is directly from the life this Eastern Shore hunter lives; “I haven’t bought beef from a grocery store in thirty years,” he told Garden & Gun Magazine in 2020. “We live on deer, ducks, geese, and doves. We garden and chop our own firewood. I’m not a survivalist, but I want to live as close to nature as I can.” The front of the board bears an incised “CTM” signature and date. Original paint with light wear.

112

Literature: “Journey’s End: The Nature Morte Art of Cameron T. McIntyre,” Hunting and Fishing Collectibles Magazine, January-February 2012, front cover, related carving illustrated. Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, pp. 103-105, related carvings illustrated. Steve Russell, “Cameron McIntyre’s One-of-a-kind decoys,” Garden and Gun Magazine, October/November 2020, nature morte carvings discussed. Exhibited: Peoria, Illinois, Center for American Decoys, Peoria Riverfront Museum. $5,000 - $8,000

Shorebirds from the Estate of Henry Bishop By Chelsie Olney

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 guns used during the Revolutionary 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. Henry Bishop, circa 2021.

Muller Jr. In addition to duck hunting together, Bishop asked Muller to view the carvings he had acquired over

Throughout his life, Henry I. Bishop (1942–2025) possessed

the years. Muller summarily told him that his collection

tremendous energy and focus which he directed toward his

was “firewood” and became Bishop’s collecting mentor.

passions, namely collecting, fishing, and hunting. When he

An enduring friendship developed as the two attended

identified something he was interested in, such as Kentucky

auctions together and discussed carvings at length,

rifles and later shorebird decoys, Bishop learned about it with

thus explaining the remarkable overlap of the two decoy

steadfast determination, searching for and then absorbing as

collections.

much information as possible. As a result of his penchant for research, this born collector developed an informed and keen

Bishop’s obsession with obtaining accurate detailed

eye in his various collecting fields.

information when pursuing his passions led to him being a stickler for condition and provenance when it came to

In addition to his bright mind and thirst for learning, Bishop

shorebird decoy collecting. As a result, virtually every

was a skilled craftsman. In a high school woodworking class,

example in his collection is first rate. The Muller and

he carved a replica of a Revolutionary War-era Kentucky rifle,

Bishop collections are known for their near-mint birds by

also known as an American Longrifle, which his son, Aaron,

top makers, including Elmer Crowell, Joseph Lincoln, the

later used to hunt deer. His enthusiasm for these flintlock

Webster Family, the Folger Family, George Boyd, the Fox

muzzle-loading firearms propelled him to become an

Rig, Obediah Verity, William Southard, Thomas Gelston,

expert in the field and collect some of the top examples. In

Charles Sumner Bunn, Dan Lake Leeds, Harry V. Shourds,

particular, Bishop became an authority on master gunsmith

and the Mason Decoy Factory. Many of the carvings that

Johannes “John” Bonewitz (1758–1828), and is credited with

Bishop acquired came from top collectors, such as Dr.

discovering his homestead and grave site in Womelsdorf,

James McCleery, Donal C. O’Brien Jr, William J. Mackey Jr.,

Pennsylvania. He also penned a series of three articles on

Dr. Peter Muller Jr., John Hillman, and Alan Haid, among others.

113

Shorebirds from the Estate of Henry Bishop (continued) By Chelsie Olney purchased a forty-acre horse farm in northern Georgia for Gina and did a lot of the construction himself, including building a thirty-stall barn. Inspired by her father’s love of dogs, Gina now trains working dogs and competes at an international level. A longtime participant in the decoy collecting arena for over forty years, Henry Bishop was highly respected amongst his peers for his attention to detail and keen eye. Copley is honored to present this collection of shorebird decoys, curated by one of the field’s most knowledgeable historians and acquisitors. Lot 623, John James Audubon (1785-1851), Yellow Shank (No. 58, Plate 288), 1836.

SOURCES Henry I. Bishop. “John Bonewitz Master Gunsmith Womelsdorf,

A consummate outdoorsman and devoted father, Bishop

PA.” The Kentucky Rifle Association Bulletin, Vol. 29, No. 2. Winter

shared his outdoor passions with his children, Eugenia

2002.

“Gina” and Aaron. He taught them how to fish, hunt, and use guns safely. Bishop, a member of the Atlanta Saltwater Sportsman’s Club, took his family on fishing trips to the Keys and Costa Rica, among other places. Bishop

114

MR. WEBSTER

NANTUCKET, MA

148

148 Golden Plover

Mr. Webster Nantucket, MA, c. 1850 10 1/4 in. long

This early plover with a sharp tail cut is among the best of its kind from the iconic Webster rig. Created in an upright posture, the swooping lines of this alert siren are on full display. Early collectors Donal C. O’Brien Jr., William J. Mackey Jr., Adele Earnest, and Dr. Peter Muller all believed that the plover from this rig were some of the finest works of American folk art they had ever come across. Indeed, Mackey and Donal O’Brien hunted down and acquired fifteen of the seventeen examples that surfaced. The majority continue to reside in the Donal O’Brien Collection. One can be seen in Mackey and Weiler’s Classic Shorebird Decoys portfolio and three were recently featured in the Peterson Collection exhibition and catalog revisiting the Weiler folio.

The rig is consistent in paint, depicted in bold breeding plumage; however, each bird’s form is slightly different and the maker’s free-hand approach produced a lively flock with no two birds exactly alike. Henry Bishop’s note relays that early Nantucket collector Robert Congdon was told by Franklin Folger Webster that “...he remembers going out with his grandfather and when he got home he had to wash and wipe the birds and put them away in a cloth bag.” No survey of Nantucket shorebirds would be complete without an example of Webster’s contributions to American folk art. Original paint with even gunning wear. Provenance: Webster Family Rig Henry Bishop Collection Literature: Copley Fine Art Auctions, Classic Shorebird Decoys featuring Milton C. Weiler’s Original Watercolors from The Peterson Collection, Exhibition Catalog, November 2025, pp. 40-41, rigmate trio illustrated. Milton C. Weiler, The Classic Decoy Series: A Portfolio of Paintings, New York, NY, 1969, pl. 2, rigmate illustrated. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 13, related example illustrated. Jeff Waingrow, “The American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr.,” The Clarion: America’s Folk Art Magazine, Fall 1981, p. 30, rigmate 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, inside front cover, six rigmates illustrated in Donal O’Brien’s living room. $10,000 - $15,000

115

FOLGER FAMILY GOLDEN PLOVER NANTUCKET, MA

149

149 Golden Plover

Folger Family Nantucket, MA, c. 1880 10 1/2 in. long

116

This highly refined hollow shorebird decoy with incised wing definition is one of the best plover examples from the famous Folger rig, which consisted of Eskimo curlew and these goldens. This example features a forward-reaching, almost running, posture. The Folger rig is considered to be the most important group of decoys to have been carved on the island and are a vital part of Nantucket and migratory bird history.

Provenance: Folger Family Rig Henry Bishop Collection

The surface is finished with a suite of paint techniques highlighted by golden and green stippling along the dark back. As a testament to the fine craftsmanship of this hollow two-piece decoy, the body seam shows no separation. Another subtle hallmark of this model is the original brass bushings that line the stick holes. Original paint with even gunning wear.

$10,000 - $15,000

Literature: Copley Fine Art Auctions, The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II, July 27, 2017, inside front cover, rigmates illustrated in Donal O’Brien’s living room. Copley Fine Art Auctions, Classic Shorebird Decoys featuring Milton C. Weiler’s Original Watercolors from The Peterson Collection, Exhibition Catalog, November 2025, pp. 42-43, rigmates illustrated.

150 Golden Plover

A. G. Fox Rig Massachusetts, c. 1880 10 1/2 in. long

150

A wax-eyed golden plover with the “FOX” rig marking stamped on the underside of the tail. The form, paint, and condition of this true Fox-rig decoy place it among the maker’s finest surviving examples. Gigi Hopkins selected two rigmates for her Massachusetts Masterpieces book in which she attributes them to Chatham or Duxbury, Massachusetts. Original paint with light gunning wear. Provenance: A. G. Fox Rig Private Collection, Cape Cod Henry Bishop Collection Literature: Gwladys Hopkins, Massachusetts Masterpieces, Lincoln, MA, 2016, pp. 42-43, 98-99, rigmate illustrated. The Ward Museum, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings, Salisbury, MD, 2010, p. 35, similar decoy illustrated. $3,000 - $5,000

151 Morton Rig Golden Plover Pair

151

W. S. Morton Rig Nantucket, MA, c. 1850 10 in. long

A pair of early plover with dynamic and refined transitional feather paint from tip to tail with tight gold and white patterning. The Morton moniker is credited to the rig of William Saxton Morton (1809-1871), a wealthy attorney from Quincy, Massachusetts. Morton was also the founder of the Quincy Mutual Fire Insurance Company in 1851. Both decoys in this lot bear his “W. S. Morton” brand and have two stick holes for a pair of side-by-side legs. The impact of these branded Morton rig decoys has lent the Morton title to all decoys by this early unnamed Island carver. Original paint with even gunning wear. Griffith bird has some roughness to tail edge. Provenance: Dr. Lloyd Griffith Collection (one) Henry Bishop Collection Literature: John and Shirley Delph, New England Decoys, Exton, PA, 1981, p. 86, exact Griffith Collection plover illustrated twice. $5,000 - $8,000

117

JOSEPH W. LINCOLN 1859-1938 | ACCORD, MA

152

152 Yellowlegs Pair

Joseph W. Lincoln (1859-1938) Accord, MA, c. 1920 11 1/2 in. long

This pair of yellowlegs features one carving from the McCleery Collection and its rigmate. The McCleery decoy was featured in Robert Shaw’s Call to the Sky: The Decoy Collection of James M. McCleery, M.D. and bears the “McCleery” ink stamp on the underside. Both have fine feather detail and wire bills. Original paint with very light gunning wear, and one has a few shot scars on the right side. Traces of fine dark splatter on underside. Provenance: Dr. James M. McCleery Collection Henry Bishop Collection

Literature: Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22—23, 2000, lot 307, exact decoy illustrated. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 31, exact decoy illustrated. $6,000 - $9,000

153 Yellowlegs Pair

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

A particularly fine Lincoln yellowlegs pair with good form and tight stippling. One has a screw eye in breast for rig stringing. Original paint with light wear, one has a reset bill crack. Provenance: Henry Bishop Collection $2,500 - $4,500

153

118

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

155

154

154 Golden Plover in Fall Plumage

155 Golden Plover in Spring Plumage

According to hunting lore, carvings painted in molting plumage, such as this one, were favored because the birds were hunted more heavily during these transitional seasons. Original paint with light gunning wear.

A rare model with rich paint and bright golden spots. Original paint with light gunning wear.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 10 in. long

Provenance: Henry Bishop Collection Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 223, golden plover illustrated.

A. Elmer Crowell (1862-1951) East Harwich, MA, c. 1910 9 1/2 in. long

Provenance: Henry Bishop Collection Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 223, related example illustrated. $8,000 - $12,000

$8,000 - $12,000

119

GEORGE H. BOYD 1873-1941 | SEABROOK, NH

156 Black-Bellied Plover

156

George Boyd (1873-1941) Seabrook, NH, c. 1910 11 in. long

This black-bellied plover in breeding plumage exhibits fine feather paint detail, good patina, shoe-button eyes, and a Goldberger Collection ink stamp on the underside. Original paint with light gunning wear and minor roughness to reset wing tip. Provenance: Russ J. Goldberger Collection Henry Bishop Collection Literature: Winthrop L. Carter, George Boyd: The Shorebird Decoy--An American Folk Art, Fayetteville, NY, 1978, p. 8, exact decoy illustrated. $5,000 - $8,000

157 Plover in Winter Plumage

157

George Boyd (1873-1941) Seabrook, NH, c. 1920 11 1/2 in. long

This rare black-bellied plover in winter plumage exhibits fine feather paint detail, good patina, and shoe-button eyes. Original paint with even gunning wear and slight color to end grain. Half of bill replaced. Provenance: Henry Bishop Collection Literature: Winthrop L. Carter, George Boyd: The Shorebird Decoy--An American Folk Art, Fayetteville, NY, 1978, p. 8, exact decoy illustrated. $3,500 - $5,500

120

CHARLES SUMNER BUNN 1865-1952 | SHINNECOCK, NY

158

158 The Muller Bunn Willet

Charles Sumner Bunn (1865-1952) Shinnecock, NY, c. 1900 10 3/4 in. long

“The shorebirds are ‘sui generis,’” writes historian and curator Bob Shaw in discussing Bunn shorebirds “carved to suggest nuances of body forms and underlying bone and muscle that no other carver even attempted.” Regarding Bunn’s best works, Shaw states, “[They] transcend the decoy genre to rank among the finest bird portraits created by an American artist.” Original paint with even gunning wear, darkening to a few minor spots on head and neck, touchup to bill and chin. Minor restoration to less than half-inch of right wing tip. Some traces of dark paint around stick hole. Less than two inches of bill replaced.

Provenance: Dr. Peter J. Muller Jr. Collection Henry Bishop Collection Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 180-181, related examples illustrated. $12,000 - $18,000

121

159

159 Surace-Muller “Red Backed” Sandpiper William H. Southard (1874-1940) Seaford, Long Island, NY, c. 1900 9 1/2 in. long

A racy sandpiper in a fully extended posture with excellent red and black stippling. Frank Surace, the owner of this decoy prior to Dr. Muller, was one of the founding members of the Long Island Decoy Collectors Association in 1971, along with Bud Ward, Malcolm Fleming, and Gil Herzey. The underside bears the Muller Collection ink stamp. Original paint with even gunning wear and touch-up to patch of white on undersides of the neck and tail. Some roughness around stick hole.

Joe Engers, “Dr. Peter J. Muller: Bringing a good eye and an artistic approach to decoy collecting,” Decoy Magazine, January/February 2008, p. 13, exact decoy illustrated. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 102, pl. 85, related example illustrated. $8,000 - $12,000

160 Running Greater Yellowlegs Thomas Gelston (1851-1924) Quogue, Long Island, NY, c. 1880 15 in. long

Provenance: Frank Surace Collection Dr. Peter J. Muller Jr. Collection Henry Bishop Collection

An iconic Long Island form, the Gelston running pattern was chosen by the Long Island Decoy Collectors Association as the basis for their logo. Original paint with even gunning wear.

Literature: Copley Fine Art Auctions, The Winter Sale 2020, Charleston, SC, February 15, 2020, lot 28, exact decoy illustrated.

Provenance: Adele Earnest Collection Henry Bishop Collection $6,000 - $9,000

160

122

OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

161

161 Red Knot

Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 11 1/2 in. long

A shorebird with one of the world’s longest migrations, the robin snipe, or red knot as it is commonly known, has long been sought after by decoy collectors. Decoy historian Henry Fleckenstein states, “...few robin snipe or knot decoys that were made by Verity have been collected.” Fellow author Jeff Waingrow, discussing Long Island shorebird decoys, states, “Much of the local production was of yellowlegs and plover, though sanderlings, curlews, terns, knots, and turnstones are all known...Almost any shorebird from the area is highly collectible, for as most advanced collectors will agree there was a consistently high standard set in that small town that knows no equal

in the entire world of decoys.” The Verity name is literally synonymous with the sporting mecca of Seaford, having at one time been called Verity Town. Original paint with light wear and a replaced bill. Provenance: Henry Bishop Collection Literature: Jeff Waingrow, American Wildfowl Decoys, New York, NY, 1989, p. 42, Verity discussed. $15,000 - $25,000

123

DANIEL LAKE LEEDS 1852-1922 | PLEASANTVILLE, NJ

162 Megargee Lesser Yellowlegs

162

Daniel Lake Leeds (1852-1922) Pleasantville, NJ, c. 1890 8 1/4 in. long

A painted-eye shorebird decoy with carved raised wings. In Classic Shorebird Decoys: A Portfolio of Paintings, William J. Mackey Jr.’s text reads: “Jeremiah Leeds, keeper of the salt flats, left one descendant, Dan Lake Leeds, who carved bird decoys including sanderling, plover, yellowlegs, turnstones, and curlew. His own rig, numbering over fifty snipe, came to light a few years ago. It was probably the greatest single find of its kind in New Jersey decoy history. The Dan Leeds birds have a stylized exaggeration that has an artistic appeal ... Paint patterns are bright and adequate, and the technique is unusual; Dan used thick oily paint and laid it on instead of brushing it out. This viscous coating made a durable finish, and the rig was found in mint condition. The old gentleman lavished great care on his decoys during their years of service. They stand on their own merit and have little in common with their New Jersey contemporaries.” Original paint with light gunning wear.

163

Provenance: Harry Megargee Collection Henry Bishop Collection $6,000 - $9,000

163 Hillman-Muller Black-Bellied Plover Daniel Lake Leeds (1852-1922) Pleasantville, NJ, c. 1890 9 1/2 in. long

An alert plover with especially fine stippling detail. Original paint with even gunning wear. Provenance: John Hillman Collection Dr. Peter J. Muller Jr. Collection Henry Bishop Collection Literature: Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 11, Mackey text. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 55, similar shorebird illustrated. James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, front cover, and pl. 400, related decoys illustrated. $5,000 - $8,000

124

HARRY V. SHOURDS 1861-1920 | TUCKERTON, NJ

164 Muller Yellowlegs

Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1890 10 1/4 in. long

164

This fine example exhibits Shourds’ best paint. Original paint with even gunning wear. Provenance: Dr. Peter J. Muller Jr. Collection Henry Bishop Collection Literature: Copley Fine Art Auctions, The Winter Sale 2020, Charleston, SC, February 15, 2020, lot 18, exact decoy illustrated. Robert Shaw, Call to the Sky: The Decoy Collection of James M. McCleery, M.D., Houston, TX, 1992, p. 59, related example illustrated. $3,000 - $5,000

165 Plover in Emerging Plumage Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1890 10 in. long

165

A black-bellied plover example showing one of Shourds’ most expressive plumage patterns. Original paint with light gunning wear. Provenance: Henry Bishop Collection $2,000 - $3,000

166 Curlew

Harry V. Shourds (1861-1920) Tuckerton, NJ, c. 1885 13 in. long

166

A fine Shourds curlew decoy displaying painted eyes, a splined bill, and finely blended feathering. Original paint with light gunning wear and slight ding to back of crown. Provenance: Lloyd Johnson Collection Henry Bishop Collection $6,000 - $9,000

125

JOHN HORN OCEANVILLE, NJ

167

167 Hilman-McCleery-Muller Turnstone John Horn Oceanville, NJ, c. 1890 9 1/2 in. long

One of approximately seven Horn turnstones in original paint, this is among the finest examples known. Though few exist, Horn’s decoys have not escaped the purview of the world’s top shorebird collectors, having resided on the shelves of the Noyes, O’Brien, McCleery, Giberson, Headley, Hillman, Muller, and Doherty collections. A letter from Somers Headley, who as a child knew Horn, adds color to this rig. Headley relays that Horn “robbed picket fences for carving wood, he was shot at tearing apart the fences...After the cedar weathered and cured a couple of years the wood was seasoned and easily carved.” The Hillman-McCleery-Muller example displays pronounced cheek carving, a beautifully contoured body, and a delicate thin tail. This is not only one of the finest Horn shorebirds to come on the market, but one of the finer New Jersey ruddy turnstones.

126

The underside retains the Hillman, McCleery, and Muller Collection ink stamps. Original paint with even gunning wear, one-inch bill replacement. Provenance: John Hillman Collection Dr. James M. McCleery Collection Dr. Peter J. Muller Jr. Collection Henry Bishop Collection Literature: Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, January 22—23, 2000, p. 220, lot 606, exact decoy illustrated. $5,000 - $8,000

VIRGINIA CURLEW 168 Virginia Curlew

Northampton County, VA, c. 1900 13 1/4 in. long

This carving hails from a famous rig of curlew by an unnamed maker totaling approximately six or seven examples in original paint. The Northampton County, Virginia, carver was possibly from Hog or Cobb Island. It has expert head carving detail, a well-structured body with a ridge down the back, and excellent feather paint. The form, paint, and condition of this decoy place it among the finest of its kind. It also shows marks from four staples in the back from the application of real wings, a trait also seen in Shourds curlews. Original paint with even gunning wear. A few old paint drips on underside.

168

Provenance: Henry Bishop Collection Literature: Henry A. Fleckenstein Jr., Southern Decoys of Virginia and The Carolinas, Exton, PA, 1983, color pl. LVIII, and p. 208, related example illustrated. Joe Engers, “Dr. Peter J. Muller: Bringing a good eye and an artistic approach to decoy collecting,” Decoy Magazine, January/February 2008, p. 8, related decoy illustrated. $10,000 - $15,000

127

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

169 “Dust Jacket” Black-Bellied Plover

169

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 10 1/2 in. long

This exact decoy was selected for the first edition dust jacket of the Mason Decoy book. It has fine detailed feathering, glass eyes, and the underside bears the “DSC” stamp for the Dave Campbell Collection. Excellent original paint with light gunning wear. Provenance: Dave Campbell Collection Dr. Morton D. Kramer Collection Henry Bishop Collection Literature: Russ J. Goldberger and Alan Haid, Mason Decoys: A Pictorial Guide, Lewes, DE, 1993, p. 101 and back dust-jacket cover, exact decoy illustrated. John and Shirley Delph, Factory Decoys, Exton, PA, 1980, p. 111, exact decoy illustrated. Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 169, pl. 404, rigmate illustrated.

170

$3,500 - $4,500

170 Hillman Long-Billed Dowitcher Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 10 in. long

The underside bears a Hillman Collection ink stamp and staple. Original paint with light gunning wear. Provenance: John Hillman Collection Henry Bishop Collection $2,500 - $3,500

128

MASON DECOY FACTORY

1896-1924 | DETROIT, MI

171

173

172

174

171 Dowitcher in Breeding Plumage

173 Mackey Willet

A glass-eye model in bright red plumage. Original paint with light wear and a tight shot scar behind left eye.

A crisp example with a faint Mackey Collection ink stamp on the underside. Original paint with light gunning wear.

Provenance: Henry Bishop Collection

Provenance: William J. Mackey Collection Henry Bishop Collection

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 10 1/2 in. long

$2,500 - $3,500

172 Long-Billed Dowitcher

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 12 1/2 in. long

A pristine example with “JB” incised under the tail. Original paint with light wear. Provenance: Henry Bishop Collection $2,500 - $3,500

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 13 in. long

$2,500 - $3,500

174 Turned-Head Mourning Dove Pair Mason Decoy Factory (1896-1924) Detroit, MI, c. 1910 10 1/2 in. long

A rare pair of rigmate doves, each bird’s head is turned slightly to the left in an engaging skyward gaze. This pair has glass eyes and very good Mason paint with colorful stippling and tight dotting. Strong original paint with light gunning wear. One has a tight original crack in the head. Provenance: Henry Bishop Collection $3,000 - $5,000

129

MASON DECOY FACTORY 1896-1924 | DETROIT, MI

175 McCleery Special-Order Plover

176 The Mackey-McCleery Special-Order Plover

This special-order carving is one of the best of its kind, curated by Dr. McCleery, who had his pick of many dozens of Mason plover over his decades of collecting and upgrading.

This special-order carving in winter plumage was curated by Bill Mackey and Dr. McCleery, who had their picks of dozens of Mason plover decoys over their decades of collecting.

Dr. McCleery, widely known as one of the leading decoy collectors of all time, once proclaimed, “Masons - The undisputed royalty of factory made decoys.” Illustrating McCleery as a factory decoy aficionado, the McCleery auction sale catalog tallies well over a quarter of his bird decoys as factory made. The bottom of the decoy is stamped “McCLEERY” and the carving comes with its original circular McCleery base. Excellent original paint with minimal wear.

Discussing the top-of-the-line manufacturer in American Bird Decoys Mackey writes, “Not the first, certainly not the last, but by every standard the greatest decoy company in America, was Mason’s Decoy Factory.”

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1905 10 3/4 in. long

Provenance: Dr. James M. McCleery Collection Private Collection 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 129, exact decoy illustrated. Russ J. Goldberger and Alan G. Haid, Mason Decoys: A Complete Pictorial Guide, Burtonsville, MD, 2003, p. 118, exact decoy illustrated. Exhibited: Salisbury, Maryland, Great Lakes and Folk Sculpture, Ward Museum, 2012-2013.

Mason Decoy Factory (1896-1924) Detroit, MI, c. 1905 10 3/4 in. long

The bottom of the decoy is stamped “McCLEERY” and the carving comes with its original circular McCleery base. Excellent original paint with minimal wear. Provenance: William J. Mackey Jr. Collection Dr. James M. McCleery Collection Private Collection 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 125, exact decoy illustrated. Russ J. Goldberger and Alan G. Haid, Mason Decoys: A Complete Pictorial Guide, Burtonsville, MD, 2003, p. 118, rigmate illustrated. Exhibited: Salisbury, Maryland, Great Lakes and Folk Sculpture, Ward Museum, 2012-2013. $18,000 - $24,000

$18,000 - $24,000

Illustration from an early Mason decoy catalog, c. 1910. Image from the Copley Archives.

130

MCCLEERY SPECIAL-ORDER PLOVER

175

176

131

BERT GRAVES 1880-1956 | PEORIA, IL

177 The Masterworks Graves Teal Pair Bert Graves (1880-1956) Peoria, IL, c. 1925 10 1/2 in. long

Teal decoys in good original paint by the top Illinois river decoy makers are exceedingly rare; only a handful are known by the Ellistons and Schoenheider, and a few more by the Perdews survived. Graves teal appear to be the rarest of these decoys. No Graves green-winged teal have come to light and this blue-winged pair are the only two known to have surfaced. The pair has Graves’ distinct hollow-body construction details, and each has an alert head turned to the right. Catherine Elliston’s original paint is an important ingredient for Graves’ best decoys and her mastery of the brush is on full display with this pair. As was a regional custom, the drake’s head is predominantly blue.

Like much of the Masterworks of the Illinois River Collection, these decoys have spent decades on tour in museums throughout the Midwest and Atlantic Coast. Excellent original paint with light gunning wear, including a small rub to drake’s crown. Provenance: Masterworks of the Illinois River Collection Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 101, exact pair illustrated. Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 80, exact pair illustrated. Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2—November 13, 2005. Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9—April 28, 2019. $12,000 - $18,000

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THE MASTERWORKS GRAVES TEAL PAIR

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BERT GRAVES 1880-1956 | PEORIA, IL

178 Outstanding Preening Mallard Hen Bert Graves (1880-1956) Peoria, IL, c. 1920 14 1/2 in. long

Graves built the Graves Decoy Company out of the workshop behind his home. Upon the death of Robert Elliston in 1915, Graves purchased Elliston’s entire business including wood, patterns, tools, and commissioned rigs. He also astutely hired Catherine Elliston to continue painting decoys for his company. As with fellow Illinois River masters Elliston and Perdew, Graves produced preeners and this graceful form is the most coveted by collectors today.

Literature: Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 76 and front dust-jacket cover, related decoy illustrated. Stephen O’Brien and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 98, related decoy illustrated. Donna Tonelli, Fish and Fowl of the Great Lakes, Atglen, PA, 2002, p. 120, related decoy illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 232, related decoy illustrated. $25,000 - $35,000

Graves sold decoys to affluent hunters and to sporting goods stores for the handsome sum of $75-100 per dozen and his decoys today continue to demand a premium among collectors. This Illinois River hollow preener is one of the finest Graves decoys known. The original paint was applied by Catherine Elliston and it is among the best seen on any mallard hen. This decoy was never rigged. When considering the exceptional form, paint, and condition, it is possible this decoy was made as a salesman’s sample. A closely related example has become an icon of the Peoria Riverfront Museum’s Center for American Decoys, appearing not only on promotional material but also on the front dust jacket cover of American Decoy: The Invention. This book documents one of the greatest decoy exhibits of all time. Exceptional original paint with appealing craquelure and light wear. Provenance: Private Collection, Midwest

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American Decoy: The Invention, Peoria, IL, 2020, front dust-jacket cover, closely related decoy illustrated.

OUTSTANDING PREENING MALLARD HEN

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CHARLES H. PERDEW 1874-1963 | HENRY, IL

179 The Masterworks Preening Pintail Hen

Charles H. Perdew (1874-1963) Henry, IL, c. 1925 14 1/4 in. long

“This graceful decoy is rare,” writes Perdew author Ann Lacy of the nearly identical rigmate and the only known comparable. She continues, “...both as a Pintail sleeper and as an unusually fine example of Edna’s subtle yet distinctive painting style. Note the wispy curls of the white along the bars of the speculum and the bold delineation of the feathers across the back between the wings... Judging by its condition this decoy may never have been placed in the water.” Of their many styles, the Perdews are most revered for Charlie’s masterful preening decoys finished with Edna’s best paint. Both Robert Elliston and Charles Perdew felt that the presence of these turned-head forms added a suggested calm to the rig that was more enticing to waterfowl. Whether this actually made any difference to the circling birds is subject to debate; however, the graceful pose inherent in these styles is certainly desirable among collectors. Along with its rigmate, many consider this carving to be the finest Perdew pintail known to exist. Excellent original paint with minimal wear and a faint age line in the bill.

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Provenance: Joe and Donna Tonelli Collection Jim Cook Collection, acquired from the above Masterworks of the Illinois River Collection, acquired from the above Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 79, exact decoy illustrated. Ann Tandy Lacy, Perdew: An Illinois River Tradition, Muncie, IN, 1993, front dust-jacket cover, related mallard illustrated, p. 147, Cook Collection rigmate illustrated. Exhibited: Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9—April 28, 2019. Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2—November 13, 2005. $40,000 - $60,000

THE MASTERWORKS PREENING PINTAIL HEN

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CHARLES WALKER 1873-1954 | PRINCETON, IL

180 The Masterworks Walker Preening Mallard Drake Charles Walker (1873-1954) Princeton, IL, c. 1925 14 1/4 in. long

Preening mallard drakes are exceptionally rare along the Illinois River and this Walker decoy is one of the finest examples known by any of the region’s greatest makers. The design features his early flat-bottom, hollow-body construction and raised wing carving. The head arches high above the back with the bill tip hovering just above the right wing without making contact. Born in Princeton, Illinois, near the wildlife-rich area of Goose Pond and Lake Senachwine, Charles Walker became a heralded outdoorsman early on. Although he had no formal training as a woodworker, his father set a high bar as a talented violin maker and blacksmith. Walker was a member of the exclusive Princeton Fish and Game Club of Bureau, Illinois, from 1902-1910. However, with a wife and four small children to support, the young house and sign painter by trade had to give up the luxury of his duck club membership. Nevertheless, he continued to hunt there as a guest of member G.M. Gibbs. After he made a rig of decoys for Gibbs, other club members took note and started placing orders. Walker’s connection with the Princeton Fish and Game Club proved to be a good one over the years. He eventually began carving decoys in earnest and set up a workshop near his home on Pleasant Street that became a social hub for club members, fellow carvers, friends, and family. During this period, he made this special mallard for the

club member Henry Young. The underside is marked with Young’s bold “H Y” brand straddling the slotted weight. Charles Walker was among the most accomplished makers to draw influence from Robert and Catherine Elliston. That said, he quickly defined his own style and was always experimenting. Indeed, virtually every gunning rig that he produced was slightly different from the next. A trend of sophistication and confidence can be seen in his progression. Further separating Walker’s decoys from those of his regional contemporaries were the Club’s hunting waters. Members shot over ponds and marshes, rather than a flowing river, explaining the flat-bottomed designs of his decoys. Lending to the rarity of Walker’s decoys, especially those in original paint, members of the Princeton Fish and Game Club were notorious for maintaining their rigs in perfect condition. Decoys were often painted at the end of each season and birds with broken bills or birds that leaked during the season were discarded into a pile near the boat landing. The large pile that accumulated, often comprised of Walker, Perdew, and Elliston decoys, was hauled off at the end of each season to be burned. Original paint with even gunning wear. Some working overpaint on the head and white sides. Provenance: Henry Young Rig Masterworks of the Illinois River Collection Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 59, exact decoy illustrated. Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 170, exact decoy illustrated. Robert Shaw, Bird Decoys of North America, New York, NY, 2010, pp. 248-249, related decoys illustrated. Exhibited: Peoria, Illinois, American Decoy: The Invention, Peoria Riverfront Museum, February 9—April 28, 2019. Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2—November 13, 2005. $12,000 - $18,000

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THE MASTERWORKS WALKER PREENING MALLARD DRAKE

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VERNE CHEESEMAN 1897-1956 | MACOMB, IL

181 Masterworks Bluebill

Verne Cheeseman (1897-1956) Macomb, IL, c. 1930 11 1/4 in. long

Verne Cheeseman was a guide for the Sanganois Duck Club. He made decoys primarily for his own use. An acquaintance of Charles and Edna Perdew, Cheeseman often began his decoys using Perdew decoy patterns. He employed the services of Edna Perdew to paint many of his decoys, and at times, it can be challenging to distinguish between a Cheeseman and a Perdew. A noticeable difference is the manner in which Cheeseman finished his heads. Cheeseman heads tend to have longer necks or reared-back heads with rather pronounced cheek carving, as seen here. This carving is finished with strong Edna Perdew paint. The underside has a lead strip weight and a “538” stamp. Original Edna Perdew paint with even gunning wear. Old working paint to black and bill.

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Provenance: Masterworks of the Illinois River Collection Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 129, exact decoy illustrated. $5,000 - $7,000

182 Masterworks Canvasback Verne Cheeseman (1897-1956) Macomb, IL, c. 1930 14 in. long

This exceedingly rare decoy features Cheeseman’s distinct high-head carving with Edna Perdew’s best combed feather paint. Ann Tandy Lacy chose this exact drake to show alongside the famous Cheeseman goldeneye in The Wooden Bird exhibition. She described this duo as “...among the finest examples of the early and widespread influence of Charles Perdew.” The underside has a lead strip weight and a backwards “VC” brand. Original Edna Perdew paint with even gunning wear.

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Provenance: Vern Cheeseman Rig Masterworks of the Illinois River Collection Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 129, exact decoy illustrated. Ann Tandy Lacy, The Wooden Bird: Heritage Bird Carvers of the Upper Illinois River Valley, Washburn, IL, 1989, p. 18, exact decoy illustrated. Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2—November 13, 2005. Peoria, Illinois, The Wooden Bird Exhibition, Lakeview Museum of Arts and Sciences, January 7—February 18, 1990. Springfield, Illinois, The Wooden Bird Exhibition, The Illinois State Museum, March 3—April 22, 1990. $5,000 - $7,000 Lot 181 and 182, Illustrated together in Masterworks of the Illinois River, p. 140.

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183 The Masterworks Preening Bluebill Robert Elliston (1847-1925) Bureau, IL, c. 1880 11 in. long

While the Ellistons are known to have carved several famous preening puddle ducks, this may be the only preening diver to have surfaced. This exact decoy is illustrated in Masterworks of the Illinois River, in which the authors note “Robert Elliston’s great sense of sculptural form.” It was then selected for the front entrance of the Center for American Decoys’ Masterworks of the Illinois River exhibit in a dedicated case.

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This hollow decoy displays an upswept tail, a gracefully arching neck, and full cheeks. The underside bears an incised “F.W.P.” Original paint with heavy gunning wear, and some touch-up to black. Tight reset crack in neck. Provenance: Masterworks of the Illinois River Collection Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 39, exact decoy illustrated. Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, p. 191, exact decoy illustrated. Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2— November 13, 2005. Peoria, Illinois, Masterworks of the Illinois River, Center for American Decoys, Peoria Riverfront Museum.

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$6,000 - $9,000

184 The Masterworks Mallard Silhouette Charles Walker (1873-1954) Princeton, IL, c. 1930 17 1/2 in. long

A folding hinged decoy that can be tightly packed with its bottom board for easy transport and storage. Original paint with even gunning wear and minor touch-up at neck seam. Provenance: Masterworks of the Illinois River Collection Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 58, exact carving illustrated. $1,500 - $2,500

185 Masterworks Canvasback

Charles S. Schoenheider Sr. (1854-1924) Peoria, IL, c. 1910 15 3/4 in. long

While Schoenheider produced very few decoys, the carver’s impact on the region’s decoy portfolio was significant. This canvasback decoy, with its excellent condition and impeccable provenance, is perhaps the

finest Schoenheider canvasback to ever cross the auction block. The underside of the hollow body shows the “C.S. PEORIA” stencil still visible under a wash of white paint. Original paint with working wash of white and black and light gunning wear. Provenance: Schoenheider Rig Walter White Collection Masterworks of the Illinois River Collection Private Collection Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, p. 51, exact decoy illustrated, front cover, related mergansers illustrated. Exhibited: Salisbury, Maryland, The Illinois River Meets the Chesapeake, Ward Museum of Wildfowl Art, September 2—November 13, 2005. $3,500 - $4,500

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The Robert S. Doochin Collection of Sporting, Wildlife, and Western Art By Chelsie Olney Doochin brought his love of learning, attention to detail, and high personal standards to bear when hunting and at work. These same skills enabled Doochin to develop a keen eye for art. A collector by nature, Doochin initially started out collecting coins and stamps, genres with strict collecting parameters, including meticulous quality. He credits his initial fascination with art to an unexpected experience while at Penn. He explains, “Senior year I was looking for easier courses, so I took a class in art history. It turns out it wasn’t easy and I got a D, but it got me excited about art.” Robert S. Doochin with a favorite painting by A. B. Frost, lot 204.

Around 1997 Doochin began collecting hunting art in ernest because he spotted an opening; the works were less expensive because it was a niche genre and attracted

Robert “Bob” S. Doochin was born in Nashville, Tennessee.

a smaller pool of buyers. He reflects, “I did my homework,

In 1958 he travelled northeast to the University of

researched artists’ reputations, and was able to seek out and

Pennsylvania's Wharton School, where he graduated with

acquire high-quality art at prices that were expensive, but

a B. S. in Economics in 1962. Doochin’s father, Nathan,

weren’t through the roof.” Doochin’s hunting informed his

founded American Paper & Twine in 1926. Bob grew up

recognition of and appreciation for exceptional hunting art: “I

working at the family’s supply company, and returned

was able to see the realism on the canvas that matched the

there after college. Over the course of his sixty-year tenure,

actual scene from personal experience. My first piece was a

Doochin took on the mantle of president, chief executive

Robert Abbett work depicting a German short-haired pointer

officer, and then chairman. His art collection graced the

and bobwhite quail. I still have it.”

walls of American Paper & Twine for decades. Doochin was meticulous in what he collected and his art collection is a virtual “Who’s Who,” including major works by Frederic Remington, William de la Montagne Cary, Eanger Irving Couse, Carl Rungius, Eustice Ziegler, Philip R. Goodwin, Frank Hoffman, Frank Stick, W. D. Koerner, R. Farrington Elwell, A. F. Tait, A. B. Frost, Ogden Pleissner, Richard Bishop, Percival Rosseau, Edmund Osthaus, J. M. Tracy, Gustav Muss-Arnolt, Richard LeBarre Goodwin, Bob Kuhn, Davis Maass, and Lynn Bogue Hunt, among others. As a child Doochin always loved fishing and being outdoors. He started quail hunting in 1969, mainly in Tennessee, but later traveling to Kentucky, Georgia, Alabama, Mississippi, Indiana, and Texas. Pheasant hunting brought him to South Dakota and goose hunting to North Dakota. Doochin explained his attraction to hunting in a 2018 article: "I started quail hunting fifty years ago. I was drawn to the sport because of my love of the hunting dogs...” Pointers, English setters, Brittany and English hunting cocker spaniels top his list of hunting companions. Doochin recalls, “When I took up hunting, I had to learn how to shoot. I had to learn about dogs, quail, doves, grouse, woodcock, and waterfowl.”

A dove hunt in 2007 held on the property of The Hermitage, home of President Andrew Jackson. Doochin and his wife, Alberta, chaired the event for three years to raise money for The Hermitage. Doochin reflects, “My Kona, an English hunting cocker spaniel, was something else."

“My goal in collecting was to put together a strong representation of Sporting, Wildlife, and Western art from 1870 to the present by some of the top illustrators and painters in the field.” — Robert S. Doochin Doochin systematically and methodically curated his

Timbers, a Tallahassee-based nonprofit organization with

collection by purchasing art at top auction houses, such

a focus on bobwhite quail conservation. Doochin describes

as Copley, Coeur d’Alene, and Scottsdale Art Auction, and

a current Tall Timbers project: “The Ames Plantation in

through galleries, such as Red Fox and the Sportsman's

Grand Junction, Tennessee, which consisted of 18,000

Gallery, Ltd. Another important influence was Judy

acres, had long been the site of national bird-dog field

Goffman Cutler, whom he met in college. She would go on

trials. Tall Timbers is rejuvenating that property for wild

to found the American Illustrators Gallery, and advised him

quail under agreements with the Ames Foundation and the

with some of his acquisitions.

University of Tennessee.”

In addition to fueling his enthusiasm for Sporting Art over the decades, hunting also cultivated Doochin’s conservation ethos. Like many hunters, Bob has devoted his time and talents to preserving the species that brought him so much pleasure in the field. Doochin reflects in a 2018 article for The Tennessean, "I started quail hunting fifty years ago. I was drawn to the sport because of my love of the bird dogs, but over time I came to appreciate the beauty

Doochin concludes, “As the end of my life approaches, my focus has been on saving the wild quail.” At eighty-five years old, his life has been defined by the pursuit of the things he loves and cares about, whether that is a diverse collection of the finest works by the top Sporting, Wildlife, and Western artists, or the successful stabilization and safeguarding of the Northern bobwhite quail. With a reverence for art, nature, and bobwhite quail, Doochin’s

of this little bird. I fell in love with the quail." The Northern bobwhite quail (Colinus virginianus) is Tennessee’s official state game bird, and Doochin has long feared that the wild variety of the species is at risk of extinction. Since quail don’t migrate, they lack the protections that migratory species are afforded. Doochin states, “Northern bobwhite quail is an environmental travesty. There used to be huge populations, probably fifty million, scattered all the way up to Canada. Now, wild bobwhite quail numbers have declined more than 90%. There are very few spots east of the Mississippi with healthy quail populations. Over the past decades we have learned that loss of land is not the single culprit; the populations have vanished because the birds are victims of excessive predation—nest predation by foxes, skunks, chicken snakes, and opossums. The Cooper’s hawks, a protected predator, severely pressure adult bobwhite.” Not one to wait around for someone else to solve the problem, over the course of the past forty years, Doochin has advocated on behalf of the quail to experts, politicians,

Lot 203 by A.F. Tait.

passion is palpable and his collection and conservation initiatives are testaments to his thoughtful and tenacious efforts. Copley considers it an honor to present Bob Doochin’s collection to the Sporting, Wildlife, and Western Art communities. SOURCES: Jordan Buie. “Why a Nashville CEO is making Tennessee's diminishing state game bird his personal cause.” The Tennessean, August 30, 2018.

and anyone else he thinks could help the cause he champions. Until 2020, he owned a 1,100 acre farm that practiced quail conservation. Today, he donates to Tall

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WILLIAM H. D. KOERNER 1878-1938

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

Quit Your Kidding, 1910 signed and dated “W. H. D. Koerner 1910” lower left oil on canvas, 36 by 25 in. Berry-Hill Galleries, New York label on back loan tag from Amherst College in 1973 on back label from original stretcher on back

Born in Germany, Koerner moved to Iowa with his family when he was three years old. At twenty, he began his artistic career as an illustrator for the Chicago Tribune. He attended the Art Institute of Chicago before moving with his wife to New York City and enrolling in the Art Students League. Koerner then completed his formal education in Delaware with famed illustrator Howard Pyle, whose other students included N. C. Wyeth, Philip R. Goodwin, and William Harnden Foster. Koerner’s artwork can be found in museums across the country, including the American Museum of Western Art in Denver and the Whitney Western Art Museum in Cody, Wyoming, where his studio is replicated. This elaborately detailed work is an iconic Koerner. The lakeside camping scene captures a light-hearted moment around the fire after a successful hunting trip, with a hunter

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recounting the lead-up to bagging a ten-point buck. The fire casts a warm glow on the hunters’ faces, with canoes in the background suggesting the setting. This important work was completed in 1910, while Koerner was in Delaware studying with Pyle. The painting previously belonged to Otis Brumby, who was a Georgia attorney, the publisher of the Marietta Daily Journal, and head of the Brumby Chair Company. Provenance: Estate of Otis Brumby Jr., Marietta, Georgia Robert S. Doochin Collection, acquired from Brunk Auctions, September 15-17, 2016, lot 1271 $20,000 - $40,000

QUIT YOUR KIDDING

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LEE LEBLANC 1913-1988

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187 Lee LeBlanc (1913-1988) Double Date signed “LeBlanc ©” lower right oil on board, 26 by 42 in.

LeBlanc was born in 1913 in Missouri. He studied at the Chouinard Art School in Los Angeles and the Pennsylvania Academy of Fine Arts. After graduating, LeBlanc worked at Disney Studios and later held positions at other major studios, including Fox and MGM. After his retirement, LeBlanc began designing duck stamp prints, and in 1973 he won the Federal Duck Stamp Competition. Provenance: Private Collection Robert S. Doochin Collection $6,000 - $9,000

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ROBERT FARRINGTON ELWELL 1874-1962

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188 Robert Farrington Elwell (1874-1962) Out Shooting signed “R. Farrington Elwell” lower left oil on canvas, 38 by 26 in.

Robert Farrington Elwell was born in Boston in 1874 to a stone mason. He studied to be a civil engineer and pursued art on the side. While sketching Buffalo Bill Cody’s Wild West Show for The Boston Globe in 1892, he caught the cowboy showman’s attention. William F. Cody invited Elwell out West, where he went in 1896, ultimately becoming Cody’s ranch manager and close friend. The artist’s work can be found in the Whitney Western Art Museum at the Buffalo Bill Center of the West in Cody, Wyoming, among other major western collections. He died in Phoenix, Arizona, in 1962.

This grand work depicts a bird hunter along with a pointer backing a setter staunch on point. Provenance: Private Collection, acquired from Christie’s New York, December 1, 1999, lot 91. Robert S. Doochin Collection, acquired from Freeman’s, June 3, 2012, lot 70 Literature: F. Turner Reuter Jr., Animal & Sporting Artists in America, Middleburg, VA, 2008, p. 231, illustrated. $12,000 - $18,000

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EUSTACE PAUL ZIEGLER 1881-1969

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189 Eustace Paul Ziegler (1881-1969)

Caribou Hunters, 1951 signed “Ziegler” lower left oil on canvas panel, 16 by 20 in. signed, dated, titled, and inscribed “Painted for Ray Ferguson, Fairbanks, Alaska” on back

Born in Detroit in 1881 to an Episcopal priest and his family, Ziegler followed his father into the church while simultaneously pursuing a career as an artist. As a young man, he studied at the Detroit Museum of Art and first visited Alaska in 1895 at age fourteen. In the ensuing years, he lived in Valdez and Cordova, Alaska, as his ecclesiastical career progressed. He married in 1911, and in 1920 he and his wife, Mary, moved to New Haven, Connecticut, so he could study at the Yale University School of Art. After his early peripatetic career, he relocated to Seattle in 1924 to complete commissions from Alaska Steamship Company, continuing to visit Alaska regularly after this move. Ziegler was founder and president of the Puget Sound Group of Northwest Painters, and also taught painting for many years. With painterly brushstrokes and the confidence of many years of experience, Ziegler captures the return trip after a successful caribou hunt. The fording hunters and horses 148

angle across the canvas, through the choppy water, with dramatic mountains set in the distance. As a man of the church, Ziegler lived among the rugged mountain men of early Alaska, and as a painter he commemorated their way of life. This painting was included in the major retrospective exhibition on Ziegler that travelled the country in 1998 and 1999. Provenance: Private Collection Robert S. Doochin Collection, acquired from Coeur d’Alene Art Auction, July 27, 2013, lot 202 Literature: Kesler E. Woodward, Spirit of the North: the Art of Eustace Paul Ziegler, Augusta, Georgia: Morris Communications Corp., 1998, p. 12, illustrated. Exhibited: Anchorage, Alaska, Spirit of the North: The Art of Eustace Paul Ziegler, Anchorage Museum of Art, May–September 1998. Augusta, Georgia, Spirit of the North: The Art of Eustace Paul Ziegler, Morris Museum of Art, November 1998–January 1999. $15,000 - $25,000

FRANK B. HOFFMAN 1888-1958

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190 Frank B. Hoffman (1888-1958) Brush Country oil on board, 18 by 24 in. signed “Hoffman” lower left

Hoffman was born in Chicago, but grew up in New Orleans surrounded by horse racing. He became the art director of American Weekly newspaper in Chicago and studied painting at the Art Institute of Chicago. In 1916, he painted Glacier National Park in Montana and served as its public relations director, meeting John Singer Sargent in this capacity. Several years later, he traveled to Taos, New Mexico. Here he continued his successful career as an artist and illustrator for publications such as Saturday Evening Post, studied with Leon Gaspard, and settled on his Hobby Horse Rancho, accounting for the symbol below his signature on this painting. In his later life, he spent fourteen years painting his signature Western scenes exclusively for Brown & Bigelow of Minnesota. Hoffman died in Taos in 1958.

With the vigorous brushstrokes of a confident artist, Brush Country depicts a moose hunting scene. One hunter calls to the alert bull moose emerging from the fog as his partner crouches with his rifle, readying his aim in a brushy, marshy area. Provenance: Private Collection Robert S. Doochin Collection, acquired from Scottsdale Art Auction, April 6, 2013, lot 372 $20,000 - $30,000

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EANGER IRVING COUSE 1866-1936

191 Eanger Irving Couse (1866-1936)

The Hunter’s Return, 1906 oil on canvas, 24 by 29 in. signed “E I COUSE NA” lower left titled on back of frame Berry-Hill Galleries, New York label on back

Several of Couse’s turkey hunting paintings capture the moment before the hunter shoots his arrow. In this famous canvas, however, Couse depicts the aftermath of a successful hunt, as the pursuer drags his quarry back home through the woods. Couse’s extensive photographic archive included at least one image of local tom turkeys for reference, ensuring his accuracy. He worked closely with local models, Ben Lujan, Jerry Mirabal, and Juan Concha (seen in photograph), to carefully construct and craft his compositions, photographing them both in his studio and within the landscape in realistic positions. The hunter in this painting corresponds to a reference photo (shown here) taken by Couse, which is in the collection of the Lunder Research Center. Additionally, the Tia Collection owns a preparatory sketch for the work. Born in Saginaw, Michigan, in 1866, as a young man Couse showed an early aptitude for art and painted decorative ceilings to pay his way through school, starting at the Art Institute of Chicago in 1884 before studying at the National Academy of Design in New York. In 1887, he went to Paris to study at the Académie Julian under the influential artist and teacher William Bouguereau. Couse exhibited at the Paris Salon many times while living in France, where he met and married Virginia Walker, a fellow student from Oregon. They returned to the States in 1897, and Couse set up his studio in New York.

Historical Site facilitates research on the Taos Society of Artists. This painting will be included in the Couse-Sharp Historic Site’s forthcoming catalogue raisonné under cat. no. 0882. This painting previously belonged to Walter Reed Bimson, a pioneering Arizona art collector who founded and headed Valley National Bank. Provenance: Walter Reed Bimson Collection, Valley National Bank, Arizona Berry-Hill Galleries, New York Estate of Otis Brumby Jr., Marietta, Georgia Robert S. Doochin Collection, acquired from Brunk Auctions, September 15-17, 2016, lot 1276 Literature: The West and Walter Bimson, Tucson, AZ, 1971, p. 163. $75,000 - $125,000

Beginning in 1902, he and his family spent twenty-five summers in Taos before moving there permanently. He co-founded the Taos Society of Artists in 1912 and was its first president. Couse died in 1936. Today, the Couse-Sharp

Juan Concha (Taos Pueblo) posing for photo study, ca. 1903-1905. Photograph by E.I. Couse, courtesy of Lunder Research Center, Couse-Sharp Historic Site, Taos, NM. 150

THE HUNTER’S RETURN

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WILLIAM DE LA MONTAGNE CARY 1840-1922

192 William de la Montagne Cary (1840-1922)

After the Buffalo Hunt oil on canvas, 29 1/2 by 45 1/4 in. A copy of a Letter of Authenticity from Gerald Peters Gallery accompanies the lot.

William Cary was born in 1840 in New York to an English architect father. As a young man, Cary apprenticed to an engraver after being noted for his creative talent. At age twenty-one, instead of going to study in Paris, he embarked on a grand adventure to the American West along with two friends. Cary sketched the whole way, and the group spent six weeks at Fort Union, located “on a vast buffalo trail running from northeast to southwest” at the confluence of the Yellowstone and Missouri Rivers in Eastern Montana. Cary participated in at least two buffalo hunts in 1861 “at a time when the buffalo ruled the plains all along the upper river and the huge animals sometimes covered the plains as far as the eye could reach.” After almost a year, Cary returned to New York via ship from San Francisco. The May 16, 1874, issue of Harper’s Weekly featured Cary’s Buffalo Hunt on the Missouri as a full-page engraving. He returned to the West in the same year with a boundary survey party, and, for the remainder of his career, Cary made a good living as an illustrator and artist of the West. He exhibited at the Royal Academy in London in 1885, and had a solo exhibition at the American Museum of Natural History in 1916, which was accompanied by an essay by George Bird Grinnell. Cary knew ornithologist Elliot Coues, Buffalo Bill Cody, and Theodore Roosevelt. He died in

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Brookline, Massachusetts, in 1922. Today, his works can be found in the Gilcrease Museum in Tulsa, Oklahoma, the Whitney Western Art Museum in Cody, Wyoming, the Hood Museum at Dartmouth College, the American Museum of Natural History in New York, and the National Gallery of Art in Washington, DC, among others. The composition of After the Buffalo Hunt echoes Fording the Missouri and Buffalo Swimming the Missouri, which feature bison fording the river. In this work, a group of Native Americans celebrates and prepares after a successful buffalo hunt. The people wading in the water form a gentle S-curve in the wide river. Cary’s painting adeptly captures the beautiful sunlight and abundant sky over the river and plains. Provenance: Eldred’s, July 20, 1995, lot 189 Private Collection Robert S. Doochin Collection, acquired from Coeur d’Alene Art Auction, July 29, 2017, lot 187 Literature: Mildred Ladner, William De la Montagne Cary: Artist on the Missouri River, Norman, OK: 1984, p. 47. $40,000 - $60,000

AFTER THE BUFFALO HUNT

192

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LYNN BOGUE HUNT 1878-1960

193 Lynn Bogue Hunt (1878-1960)

Big Horn Rams signed “Lynn Bogue Hunt” lower left oil on canvas, 29 by 21 in.

Big Horn Rams shows the artist in his element, and it is hard to imagine that Lynn Bogue Hunt did not see himself in this seminal work. The hunter, perched on the steep rocky cliff, is confident in his footing, using only his feet and legs for balance as he grasps his rifle. Hunt conveys the excitement of the hunter’s good fortune, while creating an air of anticipation of a shot at a big ram. The figure does not appear to be the type who will succumb to buck fever as he removes his hat from his head and prepares for the shot.

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Provenance: Private Collection, Ohio Private Collection, Nevada, acquired from Copley Fine Art Auctions, The Sporting Sale 2008, lot 60 Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Winter Sale 2016, lot 23 $50,000 - $80,000

BIG HORN RAMS

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FREDERIC REMINGTON 1861-1909

194 Frederic Remington (1861-1909)

Little Batiste, 1898 signed and dated “Copyright 1898 Frederic Remington” lower left gouache and ink wash on paper, 21 1/2 by 29 in.

This work, which was titled both Little Batiste and I Was Geet Up Un Was Look at de Leetle Man in Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings, is catalogue number 02366. The painting depicts a scene from the story written and published by Remington entitled “Sundown Leflare’s Money.” This piece was first published in Harper’s Monthly in July 1898 and subsequently included in his book Sundown Leflare in 1899. Sundown, pictured here sitting at the center of the image with his hand on the blanket, was a character of Remington’s creation: a half-Crow, half-trapper who speaks with a French-inflected dialect. The scene is a rigged poker match in which Sundown partners with the dealer kneeling on the right and aims to take the money of the other men: “Eet was ‘bout ten o’clock when we was set down on de buffalo-robe un play de pokair wid de t’ree man by de fire.” At this moment, Sundown has lost his share to the dealer and protests, “...accompanied with a look which must have chilled the soul of the frontier gambler.” Sundown and his tales epitomize the stories of the American West and living by one’s wits. Joel Burdick, the first owner of this painting, was a railroad man and a close friend of Remington’s. Among the best-known and most accomplished American artists, Frederic Remington got his start as an artist at the Yale School of Fine Arts. His father, a renowned newspaper publisher from Upstate New York, died after Remington’s first year, so he left school to travel and work in the West. Throughout the next several years, he worked as a cowboy, rancher, lumberjack, gold miner, and, for a brief period, he owned a hardware store and a saloon. All the while, he produced sketches and illustrations that he shipped back to New York City. Remington found a ready market as Harper’s Weekly, Outing Magazine, and Scribner’s all consistently published his work. He also illustrated full-length books, among them Theodore Roosevelt’s Ranch Life and the Hunting-Trail and the novel Oregon Trail by Frances Parkman. Alternating between the harsh life of the West and working in Brooklyn, New York, where he had access to his clients and a foundry to cast his sculpture, Remington was able to build an exceptional career. The quality of the artwork he produced during his twenty-five-year career has made him one of the most historically significant artists in America’s history.

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Provenance: The artist Joel Burdick Marion and Lewis Evans, Bronxville, New York, as a wedding gift, circa 1900 Doris L. Evans, Underhill, Vermont, 1993 Patricia Evans, Chicago, Illinois Private Collection, acquired from Mongerson Gallery, Chicago Robert S. Doochin Collection, acquired from Scottsdale Art Auction, April 15, 2023, lot 300 Literature: Harper’s Monthly, July 1898, p. 197, illustrated. Frederic Remington, Sundown Leflare, New York, 1899, p. 86, illustrated. Peter H. Hassrick and Melissa J. Webster, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings, Volume II, Buffalo Bill Historical Center, Cody, WY, 1996, p. 669. $60,000 - $90,000

LITTLE BATISTE

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CARL RUNGIUS 1869-1959

195 Carl Rungius (1869-1959)

The Rainbow Rams, on the Lava Peak, 1908 oil on canvas, 24 by 18 in. signed “C Rungius” lower right

Carl Clemens Moritz Rungius was born in 1869 in Germany. He was trained classically in the German art tradition in Berlin, including at the Kunstakademie, during his early years. This, coupled with his compulsory military service in the Prussian army, gave him artistic skills and marksmanship experience, which fostered an illustrious career as a big game painter. Rungius had extensive personal experience in the wild. His first trip to the United States in 1894 came at the invitation of an uncle to hunt moose in Maine. The expedition did not bag a moose, so Rungius stayed on for a year to try again the next season. In the course of that year, he completed his first substantial painting in the US, depicting a bull moose head. This work was displayed at M. Knoedler and Co. in New York and drew Rungius wide acclaim. In 1908, Rungius completed this painting for his friend William T. Hornaday, which was used as the colored frontispiece in Camp-Fires on Desert and Lava. Dr. Hornaday’s book gives an account of finding these rams in this mountainous setting complete with a rainbow. Hornaday worked as chief taxidermist at the Smithsonian National Museum of Natural History and then at the Bronx Zoo, and was a passionate conservationist, particularly in regard to the preservation of buffalo. Today, this book is published as a Boone & Crockett Club classic.

Pennsylvania industrialist, hunter, and conservationist John M. Phillips (1861-1953) joined Hornaday on this expedition. In the section “Mr Phillips Tells the Story of the Rainbow Rams,” the book notes, “As I raised my head over a ridge I found that they had moved, and the leader of the band was looking for me. He was standing on the lava ridge across the head of that canyon, on that pinnacle of red lava, outlined against the sky. At the base of the pinnacle, one to the right and two to the left, I could see the heads of the other rams, all looking directly at me. “Just as I dropped on my knee to shoot, the setting sun broke through the clouds behind me, gloriously bringing out all the details. The leader was standing almost broadside to me, his massive head accentuated by the deer-like leanness of his neck and body. The shining sun and the falling rain had formed a rainbow directly back of the pinnacle on which the ram stood. What a wonderful picture it would have made for an artist like Rungius! That magnificent ram, standing like a statue on the pedestal of red bronze lava, washed by the falling rain and lit up by the setting sun; on one side a head with horns quite as massive as those of the central figure, on the other the heads of two younger rams, and the whole group overarched by a gorgeous rainbow.” — John M. Phillips, in Hornaday’s Camp-Fires on Desert and Lava According Phillips, “He [Hornaday] had his friend Rungius paint the picture for the book and it always remained his favorite painting.” This painting will be featured in the forthcoming Carl Rungius Catalogue Raisonne, being created by Adam Duncan Harris under the aegis of the National Museum of Wildlife Art. Provenance: William T. Hornaday Collection Private Collection, acquired from Parke-Bernet, New York, December 7, 1955, lot 425 Private Collection, acquired from Parke-Bernet, New York, March 14, 1968, lot 67 Private Collection, acquired from Sotheby Parke Bernet, New York, October 17, 1980, lot 53 Robert S. Doochin Collection, acquired from Little John’s Auction, October 24-25, 2012, lot 1555

Cover of William T. Hornaday's Camp-Fires on Desert and Lava, New York: Charles Scribner’s Sons, 1908, featuring The Rainbow Rams. 158

Literature: Parke-Bernet Galleries, Inc., The Ornithological Library of the Late Dr. Morton Evans, New York. (sale 1631), December 6 and 7, 1955, lot 425, p. 84. Parke-Bernet Galleries, Inc., American & Canadian Paintings & Drawings of the 19th-20th Centuries, New York (sale 2666), March 14, 1968, lot 67, illustrated. Sotheby Parke Bernet, Inc., American 18th Century, 19th Century & Western Paintings, Drawings, Watercolors & Sculpture, New York (sale 4435M), October 17, 1980, lot 53, illustrated. William T. Hornaday, Camp-Fires on Desert and Lava, New York: Charles Scribner’s Sons, 1908, illustrated on cover and frontispiece. $40,000 - $60,000

THE RAINBOW RAMS

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PHILIP R. GOODWIN 1881-1935

196 Philip R. Goodwin (1881-1935) Bruin’s Dilemma, c. 1925 oil on canvas, 30 by 22 in. signed “Philip R. Goodwin” lower left

In Bruin’s Dilemma, Goodwin captures the essence of a dynamic Western bear hunt with hunters, hounds, and a treed bear. “If Carl Rungius is celebrated for his paintings of moose, then Goodwin should be distinguished by his paintings of bears. More than other animals, Goodwin relished painting the bear...Whatever the scenario, Goodwin loved bears...it remained the bear that he and his patrons most coveted,” writes Larry Len Peterson. This popular painting was published as a color print and appeared on the cover of Outdoor Recreation in December 1925 and Rod and Gun in February 1931. 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 firsthand knowledge 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 Call of the Wild and Theodore Roosevelt’s African Game Trails. Goodwin maintained his illustration career and eventually built up a clientele for his oil paintings as well. Though Goodwin died of pneumonia on December 14, 1935, his art continues to be published and collected to this day. Provenance: Rolph-Clark-Stone Ltd. Collection, Toronto, Ontario, Canada Prominent Private Collection, Canada, acquired from the above, circa 1969 Private Collection, by descent Robert S. Doochin Collection, acquired from Waddington’s, June 20, 2016, lot 47 Literature: Outdoor Recreation, December 1925, illustrated on cover. Rod and Gun in Canada, February 1931, illustrated on cover. Larry Len Peterson, Philip R. Goodwin: America’s Sporting and Wildlife Artist, Hayden, ID, 2001, pp. 266-7, p. 297, fig. 4.56 print illustrated as Bruins Dilemma, cover designs illustrated on p. 223, fig. 3.34, and p. 225, fig. 3.38. $60,000 - $90,000

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BRUIN’S DILEMMA

196

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FRANK STICK

1884-1966

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197 Frank Stick (1884-1966) In the Marshes signed “Frank Stick” lower right oil on canvas, 35 by 26 in.

Two hunters and their dog sit in a duck blind as a flock of pintails set into the decoys during a successful shoot. Born in 1884 in what was then the Dakota Territory, Stick spent his childhood hunting, fishing, and trapping. At the age of 17 he moved to Wisconsin, where he worked as a hunting and fishing guide and supported himself by trapping in the winter. He produced sketches throughout this period along with written accounts of his explorations, many of which he sold to outdoors and sporting magazines. With these publications’ support, he was able to travel extensively throughout the Midwest, the Great Plains, and the Rockies. In 1904, Stick enrolled at the Chicago Institute of Art, selling his first painting after only four months of classes. 162

At the suggestion of his teacher, he traveled to Wilmington, Delaware, to study with famed illustrator Howard Pyle. After his training, Stick moved to Interlaken, New Jersey, where he had a successful career as an illustrator. His work appeared in magazines such as Colliers, The Saturday Evening Post, Sports Afield, and Field and Stream, and he also co-authored and illustrated The Call of the Surf with Van Campen Heilner. Provenance: The Estate of Mark Bojanowski, Philadelphia, Pennsylvania Robert S. Doochin Collection, acquired from Freeman’s, June 9, 2019, lot 80 $8,000 - $12,000

GREG BEECHAM B. 1954

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198 Greg Beecham (b. 1954)

The Surveyor, 2016 signed and dated “G Beecham ‘16” lower right oil on canvas, 48 by 36 in. signed and titled on back

This grand oil perfectly captures America’s biggest cat, the mountain lion, perched in wait. A large canvas for this talented artist, the size, subject matter, and provenance of this important work rank it among Beecham’s finest.

Provenance: Private Collection Robert S. Doochin Collection, acquired from March in Montana, March 22-23, 2019, lot 540 $20,000 - $30,000

Greg Beecham, son of Tom, is an award-winning wildlife artist based in Dubois, Wyoming. He counts his father and Bob Kuhn as important mentors, and aims to “sculpt with paint.” Beecham was SEWE’s featured artist in 2000.

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JOE ABBRESCIA 1936-2005

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199 Joseph Abbrescia (1936-2005) Morning Call signed “Abbrescia” lower right oil on board, 24 by 30 in.

This expertly rendered depiction of elk in a dramatic western mountain landscape captures the crisp morning light and the breath of the bull elk as he bugles to his herd. Born in New York City in 1936, Abbrescia showed an early aptitude for art. As a teenager in Chicago, he studied at the Art Institute and the American Academy of Art before being drafted into the Army, where he worked as an illustrator in Alaska. There he discovered that he liked teaching. Upon his return to Illinois after his service, he joined a major art studio in Chicago and co-founded the Village Art School in Skokie with his brother, Dominick. Later, Abbrescia moved west to Montana and Arizona to pursue painting full-time. He worked “en plain air” in many

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places, including Glacier National Park and Scottsdale, and continued to teach workshops throughout his career. He exhibited widely throughout the West and in Boston, and was a multiple-award winner at The Russell Show & Sale in Great Falls, Montana. Abbrescia died in Kalispell in 2005. Provenance: Private Collection Robert S. Doochin Collection, acquired from March in Montana, March 16-18, 2017, lot 216 $6,000 - $9,000

JOHN DEMOTT

B. 1954

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200 John DeMott (b. 1954)

Herd of Bison, 1996 signed and dated “DeMott 1996” lower right oil on canvas, 40 1/4 by 60 1/4 in. signed and dated on back

John DeMott was born in Southern California and grew up on a thoroughbred horse ranch. A self-trained artist, he and his wife, Cindy, ran a sculptural gift business before he turned to painting full time in 1977. DeMott has lived and painted historical realist paintings from a ranch near Loveland, Colorado, for many years, becoming a leading artist of the American West. This large-scale landscape

captures an oncoming herd of buffalo, the iconic species that roams the plains. Provenance: Private Collection, Cashiers, North Carolina Robert S. Doochin Collection, acquired from Brunk Auctions, July 8, 2016, lot 903 $8,000 - $12,000

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PERCIVAL ROSSEAU 1859-1937

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201 Percival Rosseau (1859-1937)

The Pointer-Deep River-Jim, 1913 signed and dated “Rosseau 1913” lower left oil on canvas, 15 by 22 in.

Percival Rosseau was born near Baton Rouge, Louisiana, in 1859. Although considered a premier painter of sporting dogs, he did not pick up a paintbrush until the age of thirty-five. After leaving an eclectic business career, Rosseau sailed to Paris to attend the Académie Julian, where his entry at the 1904 Paris Salon, a painting of a pair of Irish wolfhounds, garnered pivotal acclaim. He then returned to the United States where he found a ready market for his work among wealthy sportsmen, including Percy Rockefeller, nephew of oil tycoon John. D. Rockefeller and a successful businessman in his own right. This pair of iconic sporting dog paintings bears the title Deep River, likely named after the Deep River in North Carolina near High Point, where wealthy industrialist Clarence H. Mackay built his hunting lodge, Deep River Lodge, in 1904. To run the property, which included kennels for one hundred dogs, Mackay employed breeder, handler, and manager Edward “Ned” Armstrong from Britain. The Armstrong family later bought the land, lodge, and kennel at auction from Mackay’s estate in 1938. Though they sold some of the land for development, Ned Armstrong continued to use the Deep River kennel name for many years. 166

A 1913 Field Dog Stud Book lists three Deep River dogs owned by C. H. Mackay of Roslyn, New York, and in a 1915 report of the Westminster Kennel Club noted, “Sporting Dogs were very good. Jay Gould received much praise for the way he handled pointeres while the return of that sterling sportsman, Clarence H. Mackay, as an exhibitor was greeted with unstinted applause...May Queen B just beat the home-bred Deep River Georgie, which made one of the winning team for Clarence H. Mackay.” Among Mackay’s hunting accomplishments, he presented his collection of specimen moose, elk, and bison to the Boone and Crockett Club in 1911-1912 as part of the National Collection of Heads and Horns, which had its own building at the Bronx Zoo from 1922 until the 1940s. His son John penned the book Mark! in 1956 about his hunting escapades, with a section on Deep River Lodge. T. Edward Nickens wrote, “For a few decades around the turn of the 20th century, North Carolina was known as one of the nation’s glamour spots for well-heeled Northern hunters. In the 1890s, the Southern Railway Company extended lines to High Point and Greensboro, and suddenly, access to North Carolina’s Piedmont was but a 17-hour train ride from New York, short enough passage for a long-weekend lark. Flush with the spoils of the Gilded Age, wealthy hunters flooded in...the rolling farm country of central North Carolina hosted the wealthy

PERCIVAL ROSSEAU 1859-1937

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and the powerful, drawing hunters and pointing dogs to a landscape that has all but vanished.” In 2023, the High Point Museum held an exhibition to commemorate and remember this golden age, Fields and Feathers: Hunting at Deep River Lodge, 1895-1935. These two paintings are artifacts of America’s golden age of sporting art, depicting two dogs from a famed kennel in Rosseau’s classic, Barbizon-inspired style.

202 Percival Rosseau (1859-1937)

The Setter-Deep River-Lad, 1913 signed and dated “Rosseau 1913” lower right oil on canvas, 15 by 22 in. Provenance: Red Fox Gallery Robert S. Doochin Collection $30,000 - $50,000

Provenance: Red Fox Gallery Robert S. Doochin Collection Literature: T. Edward Nickens, “Welcome to Quail Country,” in Our State, October 27, 2020. Charles G. Hopton, “Bench and Kennels, in The Spur, March 15, 1915, p. 42. $30,000 - $50,000

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ARTHUR FITZWILLIAM TAIT 1819-1905

203 Arthur Fitzwilliam Tait (1819-1905)

Pointer, Setter, and Quail, 1871 oil on canvas, 14 by 22 in. signed, dated, and inscribed “A.F. Tait, N.Y., 1871” lower right signed and inscribed “No. 22 / A.F. Tait / Y.M.C.A. 23rd St / N.Y. / 1871” on back of canvas.

Tait’s register entry for this work reads, “[No.] 22 [1871] Two Dogs (Pointer & Setter) & Quail 14 x 22 by Bogardus. to be [$250.00] nett--Paid May 30/71,” according to Henry Marsh’s checklist of the artist’s works. Abraham Bogardus was an early New York photographer, daguerreotypist, and art dealer who handled Tait’s paintings from his studio and gallery at 1153 Broadway near Madison Square Park. Depicting a red setter and a pointer on a small covey of bobwhite quail, this bright and lively masterwork reveals the artist at the peak of his painting abilities. It is a classic Tait quail hunting scene with the setter honoring the pointer. Known as one of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While working for the art firm, Tait was exposed to the works of Edwin Landseer, among others. In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin, which may have whetted the young artist’s appetite to explore life in America. Catlin had spent much of the previous decade living in the American West chronicling the lives of Native Americans, and Catlin’s stories would have captivated the young and talented Tait. In 1850 Tait came to America. By 1852 he was pursuing his interests in wildlife and hunting, working from a studio in New York City, but spending a great deal of time in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which were virtually unrivaled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England. With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Currier and Ives purchased the first 168

of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular American Field Sports series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs A Chance for Both Barrels, Flushed, On a Point, and Retrieving. These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as An Anxious Moment, A Tight Fix, and Trappers at Fault: Looking for the Trail, have become embedded as part of our heritage and serve as signposts along our path as a nation. Today, Tait’s wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art in Andover, Massachusetts, the Adirondack Museum in Blue Mountain Lake, New York, the Metropolitan Museum of Art in New York, and the Shelburne Museum in Vermont, among others. Provenance: The Sportsman’s Gallery Robert S. Doochin Collection Literature: Warder H. Cadbury and Henry F. Marsh, Arthur Fitzwilliam Tait: Artist of the Adirondacks, 1986, pp. 216, no. 71.13, illustrated. $50,000 - $80,000

The inscriptions on the back of the canvas of lot 203.

POINTER, SETTER, AND QUAIL

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ARTHUR BURDETT FROST 1851-1928

204 Arthur Burdett Frost (1851-1928)

Bay Snipe Shooting, 1900 signed and dated “A.B. Frost. 1900” lower right watercolor, 16 1/4 by 25 1/2 in.

This important Frost depicts two competent shorebird hunters crouched in a blind, their bag of birds is piling up behind as they await the next flight. Frost skillfully depicts subtle details such as the water jug, lunch basket, guns, and shorebird decoys. His attention to detail is remarkable, going so far as to place a shotgun shell in the marsh in the lower right. It served as the centerfold illustration in the April 28, 1900 issue of Harper’s Weekly. “Another feature of the work of Mr. Frost is that it is essentially and peculiarly American. The books that he has interpreted by means of his illustrations are concerned with people in almost every part of the Republic - New England, the South, the Middle West, and the Pacific Slope - but the characters he draws are always true to their environment; they belong to the time and the place, and could belong nowhere else; and they all show the influence of the American spirit and breathe in an atmosphere of American humor.” — Joel Chandler Harris A. B. Frost was born in Philadelphia in 1851, but spent his most prolific years in New Jersey. Considered one of the great illustrators of the “Golden Age of American Illustration,” he illustrated more than ninety books and

produced thousands of illustrations for Harper’s Weekly, Scribner’s, and Life magazines. Frost’s illustrative work chronicles the mood and details of the daily life of farmers, hunters, and fishermen, as well as barnyards and pastoral motifs. By 1876 he was on Harper’s staff working on many books, including Tom Sawyer, Uncle Remus, and Mr. Dooley. He also illustrated Theodore Roosevelt’s sporting book, Hunting Trips of a Ranchman. Frost was an ardent sportsman who spent his summers and autumns fishing, rowing, and hunting ducks and snipe. He is best known for his hunting and shooting prints which capture the drama of sport in realistic, detailed settings. Frost lived much of his life at his estate, Moneysunk, in Convent Station, New Jersey. Provenance: Bud Dominic Collection, by descent Donal C. O’Brien Jr. Collection, acquired from the above Robert S. Doochin Collection, acquired Copley Fine Art Auctions, The Sporting Sale 2017, lot 145 Literature: Copley Fine Art Auctions, The Donal C. O’Brien Jr. Collection of Important American Sporting Art and Decoys, Sessions I-II, July 27, 2017, pp. 204-205 and inside back cover spread, lot 145, illustrated. Harper’s Weekly, April 28, 1900, pp. 390-391, illustrated. Arthur Burdett Frost, A Book of Drawings, New York, NY, 1904, p. ix. $60,000 - $90,000

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BAY SNIPE SHOOTING

204

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LYNN BOGUE HUNT 1878-1960

205

205 Lynn Bogue Hunt (1878-1960) Covey of Quail signed “Lynn Bogue Hunt” lower right watercolor, 17 1/2 by 12 1/2 in.

Painted in Hunt’s typical vibrant colors, the artist adeptly portrays a covey of bobwhite quail huddled together. Provenance: Robert S. Doochin Collection $10,000 - $20,000

206 Lynn Bogue Hunt (1878-1960) Bobwhite Covey signed “Lynn Bogue Hunt” lower right oil on canvas, 18 by 24 in.

A covey of bobwhite quail erupts from the field, flying in a vortex and headed for cover. Provenance: Robert S. Doochin Collection $10,000 - $20,000

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206

OGDEN M. PLEISSNER

1905-1983

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207 Ogden M. Pleissner (1905-1983) Morning Flight, c. 1951 signed “Pleissner” lower left watercolor, 17 1/2 by 12 in. print published and copyrighted in 1951 by Hercules Powder Company

A well executed vertical watercolor by the artist depicting two duck hunters in a blind with flight birds’ wings set, headed towards the decoys.

the great N.C. Wyeth and other famous artists [including Ogden Pleissner] to paint illustrations for the annual Hercules calendars.

Theodore Marvin, who commissioned this painting on behalf of the Hercules Powder Company, was born in 1899 in Billings, Montana. After assaying at the Tom Boy and Smuggler Union Mines near Telluride, Marvin attended the Colorado School of Mines in Golden.

In addition to many other industry organizations, Marvin served on the National Safety Council and in the American Mining Congress. He lived with his family in Wilmington, Delaware, and had a one-hundred-acre farm in Pennsylvania. He was an active participant in the Delaware chapter of the Sons of the American Revolution and a member of the Wilmington Club and the Wilmington Country Club.

Marvin then had a successful thirty-year career at Hercules Powder Company, including twenty-two as Director of Advertising and Public Relations. His obituary notes, “His love of the arts was manifested in his interest in the Wilmington Society of the Fine Arts, and his retention of

Provenance: Theodore Marvin Collection, Delaware Estate of Marjorie Pierson Marvin, by descent Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Winter Sale 2022, lot 75 $20,000 - $40,000 173

RICHARD LABARRE GOODWIN 1840-1910

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208 Richard LaBarre Goodwin (1840-1910)

209 Richard LaBarre Goodwin (1840-1910)

This rare and detailed depiction of a pair of live birds by Goodwin expertly depicts two woodcock in their natural setting.

Provenance: Davison B. Hawthorne Collection Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2015, lot 415

Woodcock, 1891 signed and dated “R. La. B. Goodwin 1891” lower right oil on canvas, 18 by 24 in.

Brace of Quail signed “R. LaBarre Goodwin” lower right oil on canvas, 20 by 16 in.

$5,000 - $8,000

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 moving to Washington D.C. While there he found patronage from California Senators Leland Stanford (who is best known as the founder of Stanford University) and George Hearst (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 Pacific Northwest. Provenance: Private Collection, Baltimore, Maryland, acquired before 1948 Private Collection, by descent Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2016, lot 71 $12,000 - $18,000

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210 Howard L. Hill (1822-1888)

211 William Bruce (1861-1911)

A bird hunting scene with two setters on point as the hunter raises his gun.

This painting depicts two dogs on point as a pair of woodcock flush, giving the hunter a rare chance for a relatively easy double.

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

Howard Hill was Norman Rockwell’s grandfather, who immigrated to the United States in the 1860s. He created sporting and genre scenes, exhibiting at the National Academy of Design in 1865 and 1866. Rockwell kept a small painting of quail and chicks by Hill in his studio, now the Norman Rockwell Museum in Stockbridge, Massachusetts. Provenance: Private Collection, New York Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2016, lot 74 $2,000 - $4,000

Taking Aim, 1903 signed and dated “W. Bruce 1903” lower left oil on canvas, 18 by 30 in.

William Bruce was a native of Auburn, New York, who studied painting in New York City and Europe. Initially a portrait artist, he shifted to depicting animals, particularly dogs. His works were commissioned and reproduced by calendar firms. Bruce was a well-liked artist and gentleman who died at age fifty in Auburn. His paintings can be found in the Cayuga Museum in Auburn, New York. Provenance: Private Collection, New York Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Winter Sale 2018, lot 34 $4,000 - $6,000

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THE POND COVER

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AIDEN LASSELL RIPLEY

1896-1969

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212 Aiden Lassell Ripley (1896-1969)

The Pond Cover, 1947 signed and dated “A. Lassell Ripley 1947” lower left oil on canvas, 27 1/4 by 40 in. signed, titled, and dated on back

The Pond Cover is a pinnacle work by Ripley in every sense, with the hunters, dogs, bird, and barn blending seamlessly into the bright, crisp fall landscape. This grand oil celebrates the artist’s love for good hunting companions, dogs, guns, and days spent in the field. The Pond Cover is an intimate look into one of the artist’s greatest passions: upland bird shooting.

Provenance: Private Collection, New York Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Winter Sale 2015, lot 80 $60,000 - $90,000

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BOB KUHN 1920-2007

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213 Bob Kuhn (1920-2007) Pheasant in Nebraska, c. 1970 signed “Kuhn” lower left watercolor, 16 by 24 1/2 in.

In this work, Kuhn masterfully brings the viewer down to the pheasant’s eye level and, in typical fashion, the pheasant runs through the corn stalks. Born and raised in Buffalo, New York, Bob Kuhn enjoyed visiting the Buffalo Zoo and sketching its inhabitants as a child. After studying design, anatomy, and life drawing at the Pratt Institute in New York City, Kuhn made his living working as an illustrator for various wildlife and outdoor magazines. In the early 1970s, Kuhn switched to painting full time. Kuhn’s work is featured in the permanent collections of the National Museum of Wildlife Art in Jackson, Wyoming; the National Cowboy Hall of Fame in Oklahoma City, Oklahoma; and the John L. Wehle Gallery of Sporting Art at the Genesee Country Village and Museum in Mumford, New York. This painting was reproduced as a print in the Upland Game Birds of North America series from the Remington Game Art Collection calendar for January 1971. A framed edition of this calendar accompanies the lot and measures 26 1/2 by 18 1/4 in. Provenance: Robert S. Doochin Collection $15,000 - $25,000 178

MAYNARD REECE

1920-2020

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214 Maynard Reece (1920-2020)

Turkeys, 1989 signed and dated “Maynard Reece 1989” lower left oil on canvas, 22 by 18 in.

An ardent conservationist, Maynard Reece donated artwork to benefit numerous environmental and conservation causes throughout his career. To date, he has won the Federal Duck Stamp contest more than any other artist, with his design chosen in 1948, 1951, 1959, 1969, and 1971.

Provenance: Private Collection, Delaware Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Winter Sale 2018, lot 28 $6,000 - $9,000

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JOHN MARTIN TRACY 1843-1893

215 John Martin Tracy (1843-1893) Good and Bad Luck signed “J. M. Tracy” lower right oil on canvas, 24 by 16 in.

John Martin Tracy is one of the earliest successful American sporting artists. Born in 1843 in Ohio, he was largely raised by his grandparents when his abolitionist preacher father died and his mother, Maria Conant, supported her children with an international career as a journalist. Tracy studied at Oberlin College and Northwestern University before fighting in the Civil War from 1861. After the war, he worked as a teacher to save funds to attend the École des Beaux-Arts in Paris in 1867. He made a trip to California in 1869, then set up a studio in Chicago before returning to Paris for more study and artistic opportunities, such as participating in the Paris Salon. By the late 1870s, Tracy had settled on his sporting subject matter, and by 1881 he located his studio in Greenwich, Connecticut. He died in 1893 in Ocean Springs, Mississippi, on the Gulf Coast where he often spent his winters. Known for his exceptionally accurate works, in 1895 The New York Times opined that “J. M. Tracy was a painter to delight the heart of all sporting men...He painted the hunter before the flock of birds, the dog with tail extended and

paw uplifted, as he stood quivering over the scent; and he did it all con amore, faithfully and with full understanding and knowledge of his subject.” His works can be found in the permanent collections of the Smithsonian American Art Museum in Washington, D.C., and the AKC Museum of the Dog in New York. Additionally, Tracy’s finely rendered paintings of field trials are in the Johnson Collection in Spartanburg, South Carolina, and the Morris Museum of Art in Augusta, Georgia. Where A.B. Frost depicted “good luck” and “bad luck” in a pair of two different duck hunting paintings, Tracy creatively portrays the two outcomes of a hunt in the same composition within the hunters’ faces, postures, and even the dogs are in on the comparison. The water of the stream is exceptionally well done, with green highlights reflecting the grass and woodland landscape, and the detail on the dogs is meticulous. This painting is one of Tracy’s masterworks in every sense, including subject, composition, and execution. Provenance: Robert S. Doochin Collection $40,000 - $60,000

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GOOD AND BAD LUCK

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EDMUND HENRY OSTHAUS 1858-1928

216 Edmund Henry Osthaus (1858-1928) On Point signed “Edm. H. Osthaus” lower right oil on canvas, 34 by 24 in.

This painting, depicting a setter and a pointer who have located their quarry, belonged to Alvin Brooks Tillinghast of Toledo, Ohio. Tillinghast was a larger-than-life businessman and patron of the arts who had a storied life. He is remembered as “one of Toledo’s most important industrialists.” He built what is now known as the Tillinghast Willys Bell Home in Toledo, an exuberant Tudor mansion that appeared in The Inland Architect in 1901. Tillinghast lived there until 1909, when financial difficulties forced him to sell. Toledo journalist Linkhorn notes, “Though Mr. Tillinghast didn’t live at the home long, he certainly made his impression on Toledo, the town he came to as an eager 19-year-old. He was one of the original trustees of the Toledo Museum of Art and the last remaining member of that group when he died in 1951 at age 98. He was wellknown and quite active right up to the end. Newspapers gleefully covered Mr. Tillinghast’s birthday tradition of four decades, playing billiards with an old friend. He was also a close friend of Osthaus, and at one point they lived down the street from one another. They served together on the board of the Toledo Tile Club, with Osthaus as vice president and Tillinghast as secretary. The Tile Club was a social club for men that also held an annual exhibition at the Toledo Museum of Art. Both were sustaining members of the Toledo Museum when it was built, and Tillinghast donated paintings to the institution. His wife also served as secretary and treasurer of the Athena Society at the museum. Tillinghast was a Shriner, a Freemason, vice president of the board of the Toledo Symphony Orchestra, and an important patron of

the Toledo Conservatory of Music, which held a birthday tea for him when he turned 94. Tillinghast had varied and extensive business concerns, including the retail grocery business, owner of a powdered licorice company, vice president of the Central Savings Bank Company, president of the Royal Brush & Broom Company, traveling book salesman for James Pott & Co. Publishers, and founder of the Toledo Rocker Tip Company. By the 1920s, Tillinghast was investing in mining and land interests. With the Depression and the up-and-down nature of his businesses, he asked his insurance agent, Merritt Mason, for help when he could not keep up with payments. Family lore and a handwritten note on the back of the painting report that Mason bought On Point in 1927 or 1928 while he was a district manager for Northwest Mutual Insurance in Northwest Ohio. According to Don Waters, an Ohio conservationist who advised Mason on the purchase of the painting, “Mr. Osthaus was friend of mine and hunted pheasants with me in the years 1927-1928. The orange & white setter is a very fine likeness of his ‘Uncle Billy’ which was one of the last orange & white setters which he owned. I kept him for about 6 months in 1927 for the artist. Mr. Osthaus was very partial to the orange & white coloring. Osthaus was a wonderful sportsman having hunted all his life in America. He was a great field trial judge, and ran many of his own dogs in competition.” Provenance: Private Collection, St. Louis, Missouri, received in 1999 by descent in the family Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Winter Sale 2017, lot 92 Literature: Kay and George Evans, “Dogs that Live Forever,” Field & Stream, Vol. LXXV, No. 2, June 1970, pp. 234-240. $50,000 - $80,000

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ON POINT

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DAVID A. MAASS B. 1929

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217 David A. Maass (b. 1929) Winter Wonder - Ruffed Grouse signed “Maass” lower left oil on board, 31 1/2 by 26 1/2 in.

Bill Webster handled dozens of paintings by Maass throughout his life, and this work was a personal favorite. The family recounts, “This painting sat in our sun porch in which our dad retired each evening after dinner. From his favorite chair he could look out the window and see his beloved Lake Pepin as well as view one of the best ruffed grouse paintings by one of his best friends, David Maass." This painting was reproduced as a color print in a limited edition.

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Provenance: William B. Webster III Collection Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Winter Sale 2106, lot 39 $15,000 - $25,000

DAVID A. MAASS B. 1929

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218 David A. Maass (b. 1929) In to Feed - Wigeon signed “Maass” lower left oil on board, 24 by 32 in.

An avid sportsman and ardent contributor to conservation organizations, David Maass has been actively painting game birds for more than fifty years. Over the decades, Maass has designed more than thirty conservation stamps and prints, a distinction few artists can claim. Ducks Unlimited, the National Wild Turkey Federation, and the Minnesota Wildlife Heritage Foundation have each named David Maass as their Artist of the Year. Maass’ original paintings and limited edition prints have been exhibited in

galleries and shows throughout the country, including the Smithsonian American Art Museum in Washington, D.C. and the Leigh Yawkey Woodson Art Museum in Wausau, Wisconsin. Provenance: Robert S. Doochin Collection $10,000 - $20,000

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DAVID A. HAGERBAUMER 1921-2014

219 David A. Hagerbaumer (1921-2014)

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Canada Geese signed “David Hagerbaumer” lower left watercolor, 22 by 30 in.

Provenance: Robert S. Doochin Collection $1,500 - $2,500

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220 David A. Hagerbaumer (1921-2014) Hog Ranch Point - Black Brant, 1974 signed “David Hagerbaumer” lower left oil on canvas, 22 by 36 in. signed, dated, and titled on back

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

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game birds and waterfowl, is made obvious in his accurate and thoughtful depictions. Provenance: Robert E. Peterson Estate Robert S. Doochin Collection, acquired from Little John’s Auction, October 24-25, lot 643 $6,000 - $9,000

MANFRED SCHATZ GERMAN, 1925-2004

221 Manfred Schatz (German, 1925-2004)

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Mallards Pitching In signed “Schatz” lower left oil on canvas, 23 3/4 by 31 3/4 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: Robert S. Doochin Collection $4,000 - $6,000

222 Manfred Schatz (German, 1925-2004) Fasanen - Pheasant signed “M Schatz” lower left oil on canvas, 23 1/2 by 31 1/2 in. signed and titled on back

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Titled with the species’ German moniker, this work depicts three pheasants foraging in the grass near a pond. Provenance: Robert S. Doochin Collection $4,000 - $6,000

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ARTHUR DAVENPORT FULLER 1889-1966

223 Arthur Davenport Fuller (1889-1966) Not This Trip, Old Pal, 1917 signed and dated “A. D. Fuller ‘17” lower right oil on canvas on panel, 40 1/2 by 26 in.

Not This Trip, Old Pal depicts a young man in military dress standing at a gate on a path, looking down at his setter before he leaves and joins the marching soldiers on the road deploying to Europe. Hercules Powder Co. issued the work as a print first in 1917 for World War I, and again in 1943 with the caption, “In the spirit of ‘We did it once; we’ll do it again,’ Hercules dedicates anew its 1918 calendar, ‘Not This Trip, Old Pal,’ to Americans who are fighting and working for Victory.” A copy of this print is in the Pritzker Military Museum and Library in Kenosha, Wisconsin. Fuller painted a companion piece titled A Surprise Party, published as a print in 1919, which features the soldier returning home to the same dog, who is followed by a brood of rambunctious puppies. Fuller was born in Exeter, New Hampshire, in 1889. He studied at Exeter Academy, Harvard University, the Fenway School of Illustration in Boston, and the Chicago Academy

The Hercules Powder Company poster of Not This Trip, Old Pal originally published in 1917. Courtesy of the Hagley Museum and Library. Not This Trip, Old Pal, 1917, Hercules Powder Company calendar illustrations and Laflin and Rand display cards (1973.295), Hagley Museum & Library, Wilmington, DE 19807

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of Fine Arts. An ardent sportsman all his life, he became known for his hunting and fishing pictures, charming covers, and story illustrations. When Fuller died in 1966 at the age of seventy-seven, his house was on Plover Lane in Saugatuck Shores, Westport, Connecticut. His New York Times obituary noted, “Mr. Fuller was best-known for his pictures of wild life and sporting subjects. His illustrations appeared in such magazines as The Saturday Evening Post and Field and Stream." Among his memberships and accomplishments during his lifetime, he was a member of the Harvard Club, the Salmagundi Club, the Society of Animal Artists, and the Society of Illustrators in New York. Today his papers are at the University of Oregon, and his works can be found in the permanent collections of the National Army Museum in London, England, and the National Gallery of Art in Washington, D.C. Provenance: Private Collection, acquired from Christie’s New York, February 13, 2002, lot 86 Private Collection Robert S. Doochin Collection Literature: “Arthur D. Fuller is Dead; Painter and Illustrator” in The New York Times, Sunday, December 11, 1966. $20,000 - $30,000

The Hercules Powder Company calendar featuring Fuller’s companion piece, A Surprise Party. Courtesy of the Hagley Museum and Library. A Surprise Party, c. 1919, Hercules Powder Company calendar illustrations and Laflin and Rand display cards (1973.295), Hagley Museum & Library, Wilmington, DE 19807

NOT THIS TRIP, OLD PAL

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JOHN MARTIN TRACY 1843-1893

224 John Martin Tracy (1843-1893) On Point - Come Quick signed “J. M. Tracy” lower right oil on canvas, 35 3/4 by 28 1/2 in.

Meredith Long was a noted American art dealer who sold from his River Oaks, Houston gallery for over half a century. Pat Rutherford was a Texas oil man, co-founder of Southwest Airlines, and, along with his wife, Susan, a keen supporter of the arts in Houston. This classic sporting work focuses on two attentive setters in the foreground who point to their quarry just out of the frame. A hunter stands behind them, signaling to his

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companion who is mostly hidden by the brush at the right. Tracy’s signature accuracy and detailed rendering of the hunter’s garb, the dogs’ coloring and fur, and the intricacies of a fall landscape is on full display. Provenance: Meredith Long & Company, Houston, TX Estate of Patrick Rutherford Jr., acquired in 1982 Robert S. Doochin Collection, acquired from Christie’s New York, January 19, 2022, lot 38 $40,000 - $60,000

ON POINT - COME QUICK

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225 Richard E. Bishop (1887-1975)

From a Pit, 1952 signed and dated “Richard Bishop ‘52” lower right oil on canvas, 24 by 30 in. signed, titled, and dated on back

This work depicts a flock of Canada geese landing in a field. In 1936 Bishop wrote and illustrated Bishop’s Birds. He produced Bishop’s Waterfowl in 1948. In 1962 he collaborated with Edgar M. Queeny on Prairie Wings. The artwork in Bishop’s books are superb renderings of birds in their natural habitat, as he was able to capture the fluidity of a bird’s flight and recreate detailed landscapes in the background. Bishop’s work is held in the Honolulu Museum of Art, the Everson Museum of Art in Syracuse, New York, and the Philadelphia Museum of Art.

Closely related work (bottom) featured on the cover of The Ways of Wildfowl, 1971 edition, published by J. G. Ferguson.

Provenance: Robert S. Doochin Collection $5,000 - $8,000 226

226 Aiden Lassell Ripley (1896-1969)

American Widgeon, 1941-1942 signed “A. Lassell Ripley” lower right drypoint, 6 by 8 1/4 in. titled lower left framed with a 1941-1942 Federal Duck Stamp, 1 1/2 by 2 in. Provenance: Robert S. Doochin Collection $800 - $1,200

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227 Gustav Muss-Arnolt (1858-1927)

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Retriever and Canada Goose signed “G. Muss-Arnolt” lower right oil on canvas, 26 1/2 by 15 1/2 in.

Though not as prolific as Percival Leonard Rosseau or Edmund Henry Osthaus, Gustav Muss-Arnolt is recognized as one of America’s greatest dog painters. He specialized in the depiction of hunters and their dogs. He worked as a judge in dog shows, served on the board of the American Kennel Club from 1906-1909, and demonstrated an incredible knowledge of a variety of sporting breeds in his paintings. Throughout his career, Muss-Arnolt’s illustrations were published in magazines, such as Harper’s Weekly and the American Kennel Club Gazette. Provenance: Robert S. Doochin Collection $10,000 - $20,000

228 Roy Anderson (1930-2019)

Someday, 1984 signed and dated “Roy Anderson 1984” lower left oil on canvas, 20 by 16 in.

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In this painting, the artist captures the charming dream of a determined black and tan coonhound. Provenance: Robert S. Doochin Collection $3,000 - $5,000

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229 Robert Watson (1855-1921)

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Cattle in the Highlands, 1913 signed and dated “R. Watson 1913” lower right oil on canvas, 20 by 30 in.

Robert William Watson was born to a family of artists that often focused on animal and landscape portraiture, with Robert specializing in painting sheep and cattle in the Scottish Highlands. Provenance: Hilda Cates, Houston, TX Robert S. Doochin Collection $3,000 - $5,000

230 Fletcher Charles Ransom (1870-1943) No Huntin’ Aloud signed “© Fletcher C. Ransom” lower right oil on canvas, 22 by 28 in.

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Two upland bird hunters offer a landowner a peace offering. Provenance: Private Collection, Atlanta Robert S. Doochin Collection, acquired from Brunk Auctions, May 12, 2016, lot 560 $2,000 - $4,000

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231 Arthur Sarnoff (1912-2000) Hunters with Hounds signed “Arthur Sarnoff” lower left oil on Masonite, 22 by 28 in.

Provenance: Private Collection, Virginia Robert S. Doochin Collection, acquired from Brunk Auctions, September 15-17, 2016, lot 1275 $2,000 - $4,000

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232 Paco Young (1958-2005)

234 Paco Young (1958-2005)

Paco Young lived and worked in the South for most of his life, and in 1994 he moved to Bozeman, Montana, where he spent much of his time outdoors, either painting “en plein air” or fly fishing. He is known for his ability to capture the subtle effects of nature in his works and for his accurate depictions of animals in their habitats. Popular in his lifetime, Young died relatively young, leaving behind a small body of highly collectible work.

Provenance: Robert S. Doochin Collection

Grouse Hunting signed “Paco Young” lower right oil on canvas, 22 by 30 in.

Provenance: Private Collection, Massachusetts Robert S. Doochin Collection, acquired from Copley Fine Art Auctions, The Sporting Sale 2013, lot 500 $4,000 - $6,000

233 Lee Stroncek (b. 1952)

Autumn in the North Country, 2005 signed “L. Stroncek” lower left oil on board, 11 by 14 in. signed, titled, and dated on back

Pheasant Hunting signed “Paco Young” lower right oil on canvas, 14 by 18 in.

$3,000 - $5,000

235 Robert Christie (20th/21st Centuries)

Pointer, 1992 signed and dated “Robert Christie 1992” lower right oil on board, 8 1/2 by 11 1/2 in.

Robert Christie was born in New York, where he studied at the Pratt Institute and the Art Students League. Now based in Atlanta, he paints equestrian and sporting dog portraits, and shows and field trials his own German shorthaired pointers. Provenance: Robert S. Doochin Collection $600 - $900

A lone bull moose wades in the water, with a beaver lodge and brilliant fall foliage in the background. Provenance: Robert S. Doochin Collection $1,200 - $1,800

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THOMAS AQUINAS DALY B. 1937

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236 Thomas Aquinas Daly (b. 1937) Tundra Storm Clouds - Moose, 2022 signed “ta daly” lower left oil on board, 18 by 24 in. signed and titled on back

Daly crafted this atmospheric wildlife painting over time, finally satisfying his vision by creating “a more dramatic sky with the addition of threatening storm clouds. I also opened up the landscape to make it recede deep into the distance, making the tundra appear more vast.” Two of the top three Daly paintings ever sold were big game oils of close proximity in scope and size to Tundra Storm Clouds. Vintage Daly, this work vividly captures the stormy day’s mood and energy.

After training as a graphic artist at the University of Buffalo and working in the commercial printing world, Tom Daly turned to fine art full time in 1981. His distinctive watercolors and oils capture the light and moods of hunting and fishing landscapes with sensitivity and lyricism. Two books are dedicated to his body of work, Painting Nature’s Quiet Places and The Art of Thomas Aquinas Daly, and his paintings have appeared in many magazines and sporting art publications, including Sporting Classics and Gray’s Sporting Journal, among others. Provenance: The artist Private Collection, Montana $8,000 - $12,000

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JOHN HAUSER 1859-1913

237 John Hauser (1859-1913)

Another Successful Shot, 1903 signed and dated “John Hauser 1903” lower right oil on canvas, 21 1/2 by 11 1/2 in.

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This painting, Another Successful Shot, captures a wintry sunset in the pine woods, with a standing figure, a shot deer, and a spirited companion dog. A similar work titled Successful Hunt is one of several of Hauser’s work in the collection of the Cincinnati Art Museum. Hauser was born in Clifton, Ohio, in 1859. As a young man, he trained in drawing at the Ohio Mechanic’s Institute, followed by art studies at the Cincinnati Art Academy and the McMicken Art School. He travelled to Germany in 1880 to study at the Munich Royal Academy of Fine Arts. From 1886 to 1891 he embarked on a second round of European study in Munich, Dusseldorf, and Paris, this time with noted artist Joseph Henry Sharp. Hauser returned to Cincinnati and was an early member of the Cincinnati Art Club. When Hauser returned to the States in 1891, he visited Arizona and New Mexico for the first time. There he settled on his mature subject matter of depicting Native American individuals and their lifestyles. Attesting to his dedication, in 1901 he and his wife, Minnie, were made adopted members of the Sioux nation. Hauser died at age fifty-four in 1913 in Cincinnati, one year after his friend Sharp moved to Taos, New Mexico. $10,000 - $20,000

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238 Bonnie Marris (b. 1951)

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Pronghorn Antelope signed “B. Marris” lower left oil on board, 20 by 27 1/2 in.

Always fascinated with the natural world, Marris achieved degrees in zoology and animal behavior. The famed artist and conservationist David Shepherd was her mentor. Regarding her art, Marris explains, “If anyone has never had the opportunity to see a fox running through a field and stopping suddenly to listen for a mouse or to watch a pack of wild wolves at play, [I want] to give that person some of the experience with a painting.” Marris had nine works selected for John Orrelle’s book The Red Fox in Art, which featured works by top wildlife artists, including John James Audubon, Lynn Bogue Hunt, Ken Carlson, and Bob Kuhn, among others. Provenance: Private Collection, Indiana $3,000 - $5,000

239 Michael Coleman (b. 1946) Black Bears in the Tetons signed “Michael Coleman” lower left oil on board, 24 by 36 in.

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Michael Coleman spent his youth hunting, fishing, and trapping throughout the Rocky Mountains, laying the foundation for his career depicting the animals and landscapes of the West. Since his first retrospective in 1978, Coleman’s paintings and bronzes have been exhibited in prominent galleries and museums around the country. He credits the early-19th-century Hudson River School painters and Carl Rungius with influencing his style. Coleman’s works can be found in the collections of the National Wildlife Art Museum, the Charlie Russell Museum, the Buffalo Bill Historical Center, the Anschutz Collection, and the White House. This large oil depicts a mother black bear and her two cubs on the edge of an alpine meadow. Standing prominently in the background are tall, craggy peaks, partially shrouded by misty clouds. Provenance: Private Collection, Montana $6,000 - $9,000

“In a flash, a small bobwhite covey breaks the silence of a late afternoon, only to settle in again a short distance away. I leave it for the viewer to imagine what stirred them.” — Brian Grimm >

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BRIAN GRIMM B. 1968

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240 Brian Grimm (b. 1968)

241 Brian Grimm (b. 1968)

The Rise of Autumn - Whitetail Deer signed “Brian Grimm” lower right oil on board, 16 by 20 in.

Fall Flash - Bob White Quail signed “Brian Grimm” lower right oil on board, 20 by 16 in.

Brian Grimm’s art explores the animal world and invites viewers to become immersed. The faithful portrayal of wildlife in his paintings is supported by years in the field. Strong brushwork, confident style, and attentive editing reflect respect for the animal, while also resting on the foundations of design principles.

$4,500 - $6,500

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Grimm has exhibited at the National Museum of Wildlife Art in Jackson, Wyoming, and his work can be found in periodicals, such as Sporting Classics, Western Art Collector, and Southwest Art Magazine. This work depicts a trophy ten point buck and a doe along the edge of the woods. $4,500 - $6,500

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FRIEDRICH WILHELM KUHNERT 1865-1926

242 Friedrich Wilhelm Kuhnert (1865-1926)

In the Jungle - Tigers, 1911 signed “Wilh. Kuhnert” lower left oil on board, 14 1/2 by 24 1/2 in. titled and dated on The Fine Art Society, London label on back painted in red “2. 7 10” lower left

The visceral power of the tiger has been recognized since the beginning of mankind. The lord of the jungle is remarkable not only for its strength and dexterity, but for its beauty and grace. A fixture in ancient mythology and lore, the tiger represents royalty, fearlessness, and wrath in Asian culture, and is one of the twelve Chinese zodiac animals. The largest of the cat species, the tiger has a body length of up to eleven feet and a maximum recorded weight of seven hundred pounds. The tiger, along with the lion, African elephant, leopard, and rhinoceros, are the five big game animals, and are considered to be amongst the most impressive creatures on the planet. As the result of a variety of social and environmental factors, the tiger’s numbers have dwindled to an estimated 1,500-3,500 from over 100,000 in the early twentieth century.

A technically gifted painter from a young age, Friedrich Wilhelm Kuhnert was known for his assiduous approach to his work. Primarily focused on painting wildlife, he was specifically interested in big game. Unlike most of his contemporaries, Kuhnert was not content with sketching animals in captivity, he sought out big game in the wild rather than drawing animals at the zoo. Observing these animals in their natural habitat, Kuhnert eliminated any trace of stiffness and artificiality from his paintings. Sotheby’s auction catalog noted, “The late Hansjörg K. Werner kindly confirmed the authenticity of this work in 2005. It is registered under his index no. 4216.” Werner compiled the Kuhnert catalogue raisonné. Provenance: The Fine Art Society, London, May 1911, no. 34 Winston Guest Collection Frederick Guest Collection, by descent Private Collection, United Kingdom, acquired from Sotheby’s, New York, 2 December 2005, lot 155 Private Collection Private Collection, Montana $100,000 - $125,000

A closely related Kuhnert painting titled “Roused, A Tiger and Tigress,” which sold in Copley’s Sporting Sale 2012 for $333,500.

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IN THE JUNGLE

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243 Rare High-Head Canada Goose Art Fizer (1912-2008) Galt, CA 23 in. long

A grand Canada goose decoy with the maker’s brass tag on the underside. The head swivels on a dowel and is removable for easy transport. Fizer was an early force in the restoration of wood duck populations in California. Original paint with even wear. Provenance: William C. McMaster M.D. Collection $2,000 - $3,000

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244 Snow Goose 21 in. long

A vintage hollow goose decoy that likely started as a Canada goose and was updated for shifting migration trends. Old paint with heavy gunning wear, including roughness to tail and chip to left edge of bill. Provenance: Peter Carton Collection $400 - $600

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245 Cast-Iron Canvasback Wing Duck Upper Bay, Maryland, c. 1900 14 in. long

A cast-iron sinkbox weight with a rigging hole in the tail. Traces of early gunning paint. Provenance: Charlie Hunter Collection Private collection $600 - $900

246 Rare Cast-Iron Ruddy Duck North Carolina, c. 1890 9 in. long

A rare wing duck species. A nearly identical casting is featured on the lead-in page of the North Carolina chapter of The Great Book of Wildfowl Decoys. Appears to be in gunning repaint.

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A cast-iron sinkbox weight with raised eyes and bill detail. These heavy decoys were used on the “wings” of sinkboxes to balance them at the water level. Traces of original paint with gunning wear. Provenance: Donal C. O’Brien Jr. Collection Private Collection Literature: Copley Fine Art Auctions, The Donal C. O Brien Jr. Collection of Important American Sporting Art and Decoys, Plymouth, MA, July 19, 2018, lot 10, exact decoy illustrated. $1,000 - $1,500

248 Great Horned Owl

David B. Ward (1947-2020) Essex, CT 21 1/2 in. tall

Literature: Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 169, similar decoy illustrated leading the North Carolina chapter.

The great horned owl uses its strong talons to instantly kill large prey, including ospreys, falcons, and other owls, in addition to smaller animals. This rare life-size carving bears the maker’s “DBW” stamp by the tail. Original paint with light wear.

$800 - $1,200

Provenance: Mike Caton Collection

Provenance: Private Collection

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249 Screech Owl

David B. Ward (1947-2020) Essex, CT 14 1/4 in. tall

Signed with the “DBW” stamp by the tail. Original paint with light wear. Provenance: Mike Caton Collection $800 - $1,200

250 Bluebill Cut in Half Stevens Factory Weedsport, NY, c. 1870 13 1/2 in. long

Henry Bishop and Dr. Peter Muller, the author of The Stevens Brothers book, were good friends. It is believed that they found a rig of bluebills and decided to cut one in half to literally understand Stevens carvings inside and out. As found with body cut in half and head loose. Provenance: Henry Bishop Collection $200 - $400

$1,500 - $2,500

247 O’Brien Canvasback Wing Duck William Heverin (1860-1951)(attr.) Charlestown, MD, c. 1905 15 in. long

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251 Mackey-Matthews Rig Long-Billed Curlew

254 Rare Dowitcher

A large decoy with incised wing carving and its head canted far to the left side. As found taken down to bare wood with replaced bill.

This shorebird appears to be the result of a special order from the Dodge factory. Original paint with gunning wear, including a bald crown, and a small chip to tail and at base of bill.

William J. Matthews (1855-1930s) Rig Assawoman, VA, c. 1890 16 1/2 in. long

Provenance: William J. Mackey Jr. Collection Lawrence A. Carton Jr. Collection, acquired from the above, circa 1950 Peter Carton Collection, by descent from the above $1,000 - $1,500

252 Yellowlegs

George Boyd (1873-1941) Seabrook, NH, c. 1910 11 in. long

A classic Boyd yellowlegs decoy with wet-on-wet stippled paint and collector notes penciled on the underside. Original paint with even gunning wear, appealing craquelure, and a reset neck. $1,500 - $2,500

253 Golden Plover Massachusetts 10 1/2 in. long

A plump plover with a vibrant gold and white paint pattern. Original paint with even gunning wear, touch-up around base of bill and to top of crown. $1,000 - $1,500

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J. N. Dodge Factory (1883-1893) Detroit, MI, c. 1885 10 1/2 in. long

$1,000 - $1,500

255 Whaling Implements 18 1/2 in. long

A miniature set of whaling tools, including a harpoon. As found. $200 - $400

256 Salesman Sample Canoe Robert Glidden (born c. 1899) Bangor, ME, c. 1920 28 in. long

According to the consignor, this twenty-eight-inch model canoe was made by Robert Glidden of Bangor, Maine. Robert attended Old Town High School and worked at the Old Town Canoe Company headquarters in town, later becoming a machinist. There he became intimately familiar with the designs of their canoes, replicating many aspects of their construction in this model. This canoe has two woven seats and comes with four paddles. One of the paddles included in this lot was made by Robert to commemorate his high school graduation, as it is inscribed "OHS," initialed "RCG," and dated 1915. This canoe has been passed down in the Glidden/Dysart family for the last century to the current owner, and has never before

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been offered at auction. Given the relatively low production numbers and disappearance through attrition, early canoe models such as this are scarce and highly sought-after collectibles today. As found. Appears to be structurally sound and original, with repainted green and wear commensurate with age.

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259 Two Black Duck Silhouettes and Three Heads Louis C. Rathmell (1898-1974) Danbury, CT, c. 1950 duck is 14 1/2 in. tall

As found.

Provenance: Private Collection, by descent from the maker

Provenance: Louis Rathmell Private Collection, by descent in the carver’s family

$2,000 - $4,000

$200 - $400

257 Six Ohio Shell Crates Ohio

260 Six Shell Crates

One Austin Cartridge Co. crate that appears to be 12 gauge. Five Peters crates, including a .410, 16 gauge, 20 gauge, 12 gauge, and air rifle. As found.

Four Peters crates, including a .410, 10 gauge, 12 gauge quick shot, and 12 gauge high velocity. One Winchester Co. 12 gauge crate and one Wards 12 gauge crate. As found.

largest is 9 by 9 3/4 by 15 1/4 in.

Provenance: Jeff and Joyce Hay Collection

largest is 9 by 9 3/4 by 15 1/4 in.

Provenance: Jeff and Joyce Hay Collection

258 A & F Tackle Box Trophy Abercrombie & Fitch 8 by 19 by 6 3/4 in.

A rare Abercrombie & Fitch wooden tackle box that was given as a trophy in the 1965 Eastern States shooting competition. Good original condition with even wear. $400 - $600

261 Classic Shorebird Decoys: A Portfolio of Paintings Milton C. Weiler and William J. Mackey Jr., Classic Shore Bird Decoys, New York, NY: Winchester Press, 1971, edition 742 of 975. Text by William J. Mackey Jr. and foreword by Ed Zern. In original branded shipping box with matching edition number. Signed and numbered by Weiler. As found. Provenance: Henry Bishop Collection $200 - $400 205

AIDEN LASSELL RIPLEY 1896-1969

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262 Aiden Lassell Ripley (1896-1969) Grouse on Pine Bough signed “A. Lassell Ripley” lower right etching, 8 3/4 by 11 3/4 in. titled lower left

Provenance: Curt Mettam Collection $600 - $900

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265 Aiden Lassell Ripley (1896-1969) Point On Quail signed “A. Lassell Ripley” lower right drypoint, 8 3/4 by 14 in.

A superb etching depicting quail hunting. Provenance: Curt Mettam Collection $600 - $900

263 Aiden Lassell Ripley (1896-1969) Woodcock Shooting signed “A. Lassell Ripley” lower right etching, 8 3/4 by 14 in. titled lower left

Two hunters aim at a woodcock flying over a brook while their English setter looks on. Provenance: Curt Mettam Collection $600 - $900

264 Aiden Lassell Ripley (1896-1969) A Pair of Grouse, c. 1937 signed “A. Lassell Ripley” lower right drypoint, 8 3/4 by 13 3/4 in. titled lower left

Provenance: Curt Mettam Collection $600 - $900

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266 Aiden Lassell Ripley (1896-1969) Flight Woodcock signed “A. Lassell Ripley” lower right etching, 9 by 12 in. titled lower left

Provenance: Curt Mettam Collection $600 - $900

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MARGUERITE KIRMSE 1885-1954

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267 Marguerite Kirmse (1885-1954)

269 Marguerite Kirmse (1885-1954)

$300 - $500

Three of the Finest, c. 1935 signed “Marguerite Kirmse” lower right etching, 7 1/4 by 9 3/4 in. edition of 100 titled lower left

English Setter on Point signed “Marguerite Kirmse” lower right etching, 8 3/4 by 11 3/4 in.

268 Marguerite Kirmse (1885-1954) Style signed “Marguerite Kirmse” lower right etching, 7 3/4 by 10 in. titled lower left

Two Etchings

This work depicts a setter and two pointers holding steady.

A pointer stands firm in a forest, framed by trees.

Hold It signed “Marguerite Kirmse” lower right etching, 6 1/2 by 9 in. titled lower left

$300 - $500

This work depicts a pointer holding steady. $500 - $800

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FRANK W. BENSON 1862-1951

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270 Frank W. Benson (1862-1951)

The Duck Blind, 1925 signed “Frank W. Benson” lower left etching, 7 3/4 by 10 3/4 in. titled on Gus Mayer Gallery, New York label on back Paff #245, edition of 150 $1,500 - $2,500

271 Frank W. Benson (1862-1951) Wildfowler, 1923 signed “Frank W. Benson” lower left etching, 7 3/4 by 11 3/4 in. Paff #220, trial proof, edition of 11

This rare trial proof includes Benson’s pencil lines in the sky. Provenance: Private Collection, New Jersey, acquired from Ernest Hickok Private Collection $800 - $1,200

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272 Frank W. Benson (1862-1951) The Punter, 1927 signed “Frank W. Benson” lower left etching, 7 3/4 by 11 3/4 in. Paff #273, edition of 150 $500 - $1,000

273 Frank W. Benson (1862-1951) The Gunner’s Blind, 1921 signed “Frank W. Benson” lower left etching, 8 by 9 3/4 in. Paff #204, edition of 150 $1,000 - $2,000

FRANK W. BENSON 1862-1951

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274 Frank W. Benson (1862-1951) Canoeman, 1919 signed “Frank W. Benson” lower left etching, 8 by 6 in. Paff #161, edition 26 of 150 $800 - $1,200

275 Frank W. Benson (1862-1951) Heron Fishing, 1919 signed “Frank W. Benson” lower left drypoint, 3 1/2 by 5 1/2 in. Paff #164, edition of 150 titled lower left, inscribed lower right $800 - $1,200

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276 Frank W. Benson (1862-1951) On The Kedgwick, 1923 signed “Frank W. Benson” lower left etching, 7 3/4 by 11 3/4 in. Paff #222, edition of 150 titled lower left $800 - $1,200

277 Frank W. Benson (1862-1951) Supper, 1920 signed “Frank W. Benson” lower left etching, 6 3/4 by 5 in. Paff #182, edition of 150 titled lower left of sheet $800 - $1,200

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FRANK W. BENSON 1862-1951

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282 Frank W. Benson (1862-1951)

$800 - $1,200

Provenance: Private Collection, Indiana

279 Frank W. Benson (1862-1951) Yellowlegs No. 3, 1923 signed “Frank W. Benson” lower left etching, 8 by 6 in. Paff #224, edition of 150 $800 - $1,200

280 Frank W. Benson (1862-1951) The Start, 1922 signed “Frank W. Benson” lower left etching, 5 by 3 3/4 in. Paff #211, edition of 150 $500 - $1,000

281 Frank W. Benson (1862-1951) Soaring Fish Hawk, 1923 signed “Frank W. Benson” lower left drypoint, 6 by 8 in. Paff #225, edition of 150 titled lower left $800 - $1,200

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278 Frank W. Benson (1862-1951) Flying Bufflehead, 1930 signed “Frank W. Benson” lower left etching and drypoint, 3 by 4 in. Paff #308, edition of 150

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Two Canoes, 1927 signed “Frank Benson” lower left etching, 5 3/4 by 7 1/2 in. Paff #266, edition of 150

$1,000 - $2,000

283 Frank W. Benson (1862-1951) Moose Caller, 1915 signed “Frank W. Benson” lower left etching, 11 3/4 by 9 3/4 in. Paff #65, edition 39 of 50 numbered lower right titled “65 The Moose Caller” lower left $800 - $1,200

284 Frank W. Benson (1862-1951) Pintails Passing, 1930 signed “Frank W. Benson” lower left etching, 15 by 9 3/4 in. Paff #300, edition of 150 titled lower left $800 - $1,200

ROLAND CLARK 1874-1957

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285 Roland Clark (1874-1957)

288 Roland Clark (1874-1957)

$400 - $600

286 Roland Clark (1874-1957)

289 Roland Clark (1874-1957)

$400 - $600

Chincoteague Marshes, 1927 signed “Roland Clark” lower right drypoint, 5 by 7 in. titled lower right of sheet edition of 75

Bluebird Weather, 1928 signed “Roland Clark” lower right drypoint, 7 3/4 by 9 3/4 in. titled lower center edition of 60

Setting Out, 1921 signed “Roland Clark” lower right drypoint and etching, 2 1/4 by 5 1/2 in titled lower center edition of 75

The Blind, 1929 signed “Roland Clark” lower right drypoint, 8 1/2 by 12 in. titled lower left of sheet edition of 75

287 Roland Clark (1874-1957) Setting Out Decoys signed “Roland Clark” lower right drypoint, 10 by 8 in. $400 - $600

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ROLAND CLARK 1874-1957

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290 Roland Clark (1874-1957)

293 Roland Clark (1874-1957)

$400 - $600

This trial proof has graphite sketching to fill in the woodcock and background foliage.

Winter Yellowlegs signed “Roland Clark” lower right drypoint, 8 3/4 by 12 1/4 in. titled lower center

291 Roland Clark (1874-1957) Jack Snipe, 1928 signed “Roland Clark” lower right drypoint, 11 3/4 by 8 1/2 in. titled lower center edition of 70 $400 - $600

292 Roland Clark (1874-1957) Green Wing, 1928 signed “Roland Clark” lower right drypoint, 11 3/4 by 14 3/4 in. titled lower center edition of 60

Three green-winged teal take off from a marsh. $400 - $600

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Woodcock Trial Proof signed “Roland Clark” lower right etching and graphite, 12 by 9 3/4 in. inscribed “Trial 1 - (3 only)” lower left

$400 - $600

294 Roland Clark (1874-1957) Canada Goose Bookplate, 1933 signed “Roland Clark” lower right etching, 11 3/4 by 10 3/4 in. titled “Sportsman’s Credo”

A well-composed bookplate with geese in the center and wigeon, snipe, quail, mallards, grouse, and woodcock around the border. $400 - $600

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295 Frank W. Benson (1862-1951)

Springing Teal, 1930 signed “Frank W. Benson” lower left drypoint, 13 3/4 by 9 3/4 in. Paff #306, edition of 150

Provenance: Private Collection of Frank W. Benson By descent in the family to his great grandson Private Collection $800 - $1,200

296 William J. Schaldach (1896-1982) Grouse Head signed “W. J. Schaldach imp.” lower right etching, paper is 6 by 5 1/2 in.

A portrait of a partridge head by this renowned artist and illustrator. $100 - $200

297 Frank W. Benson (1862-1951) Three Geese signed “Frank W Benson” lower left lithograph, 11 1/4 by 15 3/4 in.

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299 Five Frank Benson Paff Books

Adam E. M. Paff, Etchings and Drypoints by Frank W. Benson, ed. 104/275, 1917. Adam E. M. Paff, Etchings and Drypoints by Frank W Benson, Volume Two, ed. 111/275, 1919. Frontispiece is an original signed etching by Frank W. Benson, Two Geese. Adam E. M. Paff, Etchings and Drypoints by Frank W. Benson, Volume Three, ed. 287/525, 1923. Frontispiece is an original signed etching by Frank W. Benson, On Set Wings. Adam E. M. Paff, Etchings and Drypoints by Frank W. Benson, Volume Four, ed. 548/600, 1929. Frontispiece is an original signed etching by Frank W. Benson, Flying Pintail. Adam E. M. Paff, Etchings and Drypoints by Frank W. Benson, Volume Five, ed. 351/400, 1959. Frontispiece is an original signed etching by Frank W. Benson, Perching Grouse.

A complete set of the original Paff books cataloging Frank Benson’s etchings and drypoints. Each book contains an original etching signed by Benson as the frontispiece. All books have retained their original paper dust jackets. $1,200 - $1,800

300 John Walter Scott (1907-1987) Two Fishing Drawings (one shown) each pencil drawing, 8 by 9 in.

$300 - $500

Choosing the Lure, Saltwater signed “John Scott” lower left

298 John Walter Scott (1907-1987)

Choosing the Lure, Freshwater signed “J.S.” lower right

Grouse Hunting signed “John Scott” lower right pencil drawing, 14 by 10 in.

In this action shot, a flushed grouse drives straight at the viewer while a startled hunter raises his double barrel.

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These pencil illustrations of fishermen show the arduous, but engaging process of choosing the next lure. $300 - $500

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THE WINTER SALE 2026 LOTS 301-638 DAY 2 | FEB. 21 | 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.

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MIKE STIDHAM B. 1954

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301 Mike Stidham (b. 1954)

Eye on the Fly - Tarpon signed “M Stidham” lower left oil on board, 26 by 46 in.

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

trips he takes to see, study, and pursue his subjects in their natural environment. “It is one thing to paint a fish as if simply describing it. It is something quite different to make a painting about it. My work is of course influenced by years spent in pursuit of fish, but I have recently found new artistic energy studying the likes of John Singer Sargent and Joaquin Sorolla,” Stidham writes. $10,000 - $15,000

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MIKE STIDHAM B. 1954

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302 Mike Stidham (b. 1954) Bonefish on the Flats signed “M Stidham” lower left oil on board, 24 by 36 in. $7,000 - $10,000

303 Chet Reneson (b. 1934) Silver Rocket signed “Reneson” lower left acrylic on board, 21 by 35 in.

This well-executed acrylic depicts the heart-stopping lift off of a tarpon after being hooked. 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

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fishing, and Bahamian scenes. Reneson's work has graced the covers of Sporting Classics, Gray's Sporting Journal, and Sports Afield, among others. He is a past member of the Connecticut Watercolor Association and the Old Lyme Art Association. He was the Ducks Unlimited Artist of the Year in 1982, the Atlantic Salmon Federation Artist of the Year in 1982 and 2001, and the Bonefish & Tarpon Trust Artist of the Year in 2018. There are two books published on Reneson’s work, Shadow on the Flats and The Watercolors of Chet Reneson. $5,000 - $8,000

304 Chet Reneson (b. 1934) Bonefishing signed “Reneson” lower left acrylic on board, 21 by 35 in.

The acrylic version of one of the artist’s most celebrated subjects: fly fishing for bonefish in the Bahamas. $5,000 - $8,000

CHET RENESON

B. 1934

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CHET RENESON B. 1934

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305 Chet Reneson (b. 1934)

306 Chet Reneson (b. 1934)

Two hunters rise from their blind and shoulder their guns at the approaching flock of locked-wing ducks. A loyal black Lab waits patiently outside the blind in this fine painting.

$2,000 - $3,000

Here they Come - Duck Hunting signed “Reneson” lower left acrylic on board, 21 by 35 in.

$5,000 - $8,000

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Landlocked Salmon Fishing signed “Reneson” lower left watercolor, 21 1/4 by 28 1/4 in. titled on back

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307 Chet Reneson (b. 1934)

Snowy Duck Hunt, 1977 signed and dated “Reneson ‘77” lower left watercolor, 21 1/2 by 29 in.

Depicting a hunter as he poles out into the marsh, kicking up a flock of ducks ahead of him. $3,000 - $5,000

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308 Al Barker (b. 1941)

Two Paintings, 2025 each signed “Al Barker” lower left oil on board, each 4 by 8 in. After the Hunt and The Pit Blind

Al Barker grew up hunting and fishing in the area surrounding New York City where he was raised. His love of the outdoors sparked his interest in studying environmental science. He earned a B. A. and M. A. in Forestry, and later was granted a National Fellowship for doctorate work. Al was the 2025 Easton Waterfowl Festival Featured Artist of the Year. 308.2

Regarding his works, Barker states, “The small towns and villages and the wildlife which border and utilize the tidal marshes/ estuaries have always interested me. The seasonal influence as well as the daily tidal changes constantly create interesting color patterns. The changing color is, I think, the most important aspect which influences me for after completing a painting I want people to say to themselves, ‘I have been there and have seen that.'" $900 - $1,200

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

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309 Parker’s Island Plover Rig Mark McNair (b. 1950) Craddockville, VA, c. 2000 largest is 12 in. long

An inspired group of a half-dozen plover decoys made after observing a migrating flock on Parker’s Island in the Chesapeake Bay. Mark McNair has been making shorebird rigs for over a half century, with most sold as individual birds or sometimes pairs. The filmmaker Matt Aeberhard now uses McNair’s plover rigs in his BirdStory: Birds of America film project. This intact flock presents a rare opportunity to own a complete rig. Displaying emerging

plumage, all bear the maker’s incised signature on the underside. Original paint and wear. Literature: Zac Zetterberg, ed., American Decoy: The Invention, Peoria, IL, 2020, pp. 107-108, related rigs illustrated. Exhibited: Peoria, Illinois, Center for American Decoys, Peoria Riverfront Museum. $5,000 - $10,000

A related rig of McNair golden plover in use. Film still courtesy of Matt Aeberhard's, BirdStory: Birds of America film.

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

“Mark McNair is the dean of contemporary decoy carvers. We have all the great masters here at the Shelburne Museum: Albert Laing, Elmer Crowell, Charles ‘Shang’ Wheeler...and it really speaks to Mark’s place within this field that he is the only living artist we have in the museum’s collection.” — Kory Rogers, The Francie and John Downing Senior Curator of American Art, Shelburne Museum, Vermont 310 Swan

Mark McNair (b. 1950) Craddockville, VA, 2016 28 1/2 in. long

An exceptional and unique hollow swan decoy with a serpentine neck that ranks among McNair’s finest works. This design draws parallels with the famous Harry V. Long Collection nesting Canada goose by A. Elmer Crowell. A related example and its preening mate from the Barrie and Bernice Stavis Collection were acquired by the Shelburne Museum in Copley Fine Art Auctions’ Sporting Sale 2009.

The underside bears an incised signature, heart-shaped weight, and rare star-burst copper nails. Original paint with light wear and fill to crack in underside by the artist. Provenance: Private Collection Literature: Kory W. Rogers, Birds of a Feather, Shelburne, VT, 2017, p. 149, related Stavis pair illustrated. $20,000 - $30,000

The body was carved from a single Atlantic white cedar log that was halved and hollowed. The neck draws back and rests in the body before sweeping forward to the left where the cheek settles within the rising breast.

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MARK S. MCNAIR B. 1950 | CRADDOCKVILLE, VA

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311 Eider with Mussel

312 Cobb-Style Hissing Canada Goose

This Maine-style eider decoy carving features a mussel in the mouth. It bears the maker’s incised “McNair” signature on the underside. Original paint with even wear.

This hollow decoy is modeled after the famous Adele Earnest decoy, which is now featured on the front dust jacket of Dr. S. Lloyd Newberry’s Cobb book. The underside bears an incised signature. Original paint and wear.

Mark McNair (b. 1950) Craddockville, VA 16 1/2 in. long

Provenance: Estate of Edwin Schultz $1,500 - $2,000

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Mark McNair (b. 1950) Craddockville, VA, c. 1990 25 in. long

$3,000 - $4,000

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313 Miniature Sleeping Swan Mark McNair (b. 1950) Craddockville, VA 6 in. long

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The head and body are carved from one piece of wood with a resting serpentine neck. The underside of the rare carving is rigged and bears an incised “McNair” signature. Original paint with minimal wear. $2,500 - $3,500

314 Black Duck

Mark McNair (b. 1950) Craddockville, VA, c. 2000 17 1/2 in. long

Signed with an incised “McNair” on the underside along with a painted rig designation. Original paint with even gunning wear.

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Provenance: Paul Plishka Rig Estate of Paul Plishka $1,000 - $2,000

315 Long-Billed Dowitcher Mark McNair (b. 1950) Craddockville, VA, c. 2015 11 in. long

This dowitcher has a bone bill, a stringing hole in the tail, and the underside bears an incised ”McNair” signature. Original paint with light wear and tight reset crack to bill and neck.

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Provenance: Estate of Paul Plishka $1,000 - $2,000

316 Early Root-Head Yellowlegs Mark McNair (b. 1950) Craddockville, VA, c. 1974 13 1/2 in. long

This early carving was owned by the artist’s father. The underside bears the maker’s incised “M.” Original paint and wear with cracks. Provenance: Robert McNair Collection, the artist’s father Private Collection $1,500 - $2,500 223

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317 Narwhal

Colin McNair (b. 1986) Kingston, MA, 2025

A wall-mounted whale carving made with a removable Alaskan yellow cedar spiral tusk and the flipper can be rotated on a dowel joint. Signed with an incised “C McNair” on the back. Original paint with light wear. $2,000 - $3,000

318 Rig of Three Yellowlegs

Ian McNair (b. 1981) Craddockville, VA, c. 2016 22 in. long

This preening example is incised “I McNair” on the underside of the hollow body. This exact decoy is illustrated in the feature on the artist in the May/June 2014 issue of Decoy Magazine. Original paint with light wear. Provenance: Paul Plishka Rig Estate of Paul Plishka

Ian McNair (b. 1981) Craddockville, VA, 2025 13 in. long

Literature: Chad Tragakis, “Ian McNair: A Master in the Making,” Decoy Magazine, May/June 2014, pp. 36-37, exact decoy illustrated twice.

This trio of yellowlegs is gracefully carved and painted with an incised “I McNair” signature on underside of each. Original paint with light wear.

$1,000 - $2,000

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319 Preening Goose

WILLIAM GIBIAN

B. 1946 | ONANCOCK, VA

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320 Standing Labrador Duck Pair

321 Raised-Wing Preening Wood Duck

The undersides of both raised-wing carvings bear incised signatures and signed cards under the bases. The drake’s reads, “This is the first pair and probably the last pair of Labrador ducks.” The one on the hen reads, “This is one of the most lovely hens that I have made.” Included with the birds is a stand with a background landscape. Original paint with light wear.

This carving bears a dramatically turned head and is inscribed “Gibian” on the underside. Original paint with light wear and thin darkened chip on left side of tail.

William Gibian (b. 1946) Onancock, VA, 2009 13 1/2 in. long

William Gibian (b. 1946) Onancock, VA 13 in. long

Provenance: Estate of Marilyn M. Herlin $1,000 - $2,000

Provenance: Frank Jonczak Collection Private Collection $5,000 - $8,000

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WILLIAM GIBIAN B. 1946 | ONANCOCK, VA

322 Preening Pintail

William Gibian (b. 1946) Onancock, VA 18 1/2 in. long

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A hollow preening pintail with raised wing tips, combed feathering, and a long sprig showing influence of Elmer Crowell. Inscribed “Gibian” on the underside. Original paint with minimal wear. Provenance: Estate of Marilyn M. Herlin $1,000 - $2,000

323 Early Wood Duck Pair

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William Gibian (b. 1946) Onancock, VA 15 in. long

This pair is signed with “Gibian” on the underside. The drake has a “#1.” Original paint with light wear, and a spot of wear to the hen’s bill. Provenance: Estate of Edwin Schultz $1,500 - $2,000

324 Pintail Pair

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William Gibian (b. 1946) Onancock, VA drake is 19 1/4 in. long

A pair of hollow pintail decoys. The drake has combed feather paint and raised, articulated wing tips. The hen has finely blended paint and a slightly turned head. Original paint with light wear. Hen has light crazing on front of breast and marks on bill. Provenance: Estate of Marilyn M. Herlin $1,500 - $2,500

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WILLIAM GIBIAN

B. 1946 | ONANCOCK, VA

325

327

326

328

325 Dove

327 Sleeping Dunlin

This carving is signed by the maker with an incised “GIBIAN” on the underside. Original paint with light wear and loss to end of tail.

This carving is signed by the maker with an incised “GIBIAN” on the underside. Original paint with light wear.

William Gibian (b. 1946) Onancock, VA 12 in. long

Provenance: Estate of Marilyn M. Herlin

William Gibian (b. 1946) Onancock, VA 7 in. long

Provenance: Estate of Marilyn M. Herlin $500 - $800

$500 - $800

328 Black-Bellied Plover Pair 326 Godwit

William Gibian (b. 1946) Onancock, VA 13 1/2 in. long

This carving is signed by the maker with an incised “GIBIAN” on the bottom. Original paint with light wear and some sap in breast. Provenance: Estate of Marilyn M. Herlin

William Gibian (b. 1946) Onancock, VA 11 in. long

One carving is signed by the maker with an incised “GIBIAN,” while the other is signed with an incised cursive “g” on the underside. Original paint with light wear. Provenance: Estate of Marilyn M. Herlin $1,000 - $2,000

$500 - $800

227

WILLIAM GIBIAN B. 1946 | ONANCOCK, VA

329 Avocet Pair

William Gibian (b. 1946) Onancock, VA 16 1/2 in. long

This pair of carvings is signed by the maker with an incised “GIBIAN” on the undersides. Original paint with light wear, some sap bleeds, and a crack in the right side of the runner. Provenance: Estate of Marilyn M. Herlin

329

$1,000 - $2,000 330

330 Lesser Yellowlegs Trio William Gibian (b. 1946) Onancock, VA largest is 9 1/4 in. long

All three shorebirds bear the maker’s incised “Gibian” on the undersides. Original paint with light wear. Provenance: Estate of Marilyn M. Herlin $1,500 - $2,500

331 Dowitcher Pair

William Gibian (b. 1946) Onancock, VA 13 in. long

331

This pair of carvings is signed by the maker with an incised “GIBIAN” on the undersides. Provenance: Estate of Marilyn M. Herlin $1,000 - $2,000

332 Three Rare Miniature Shorebirds William Gibian (b. 1946) Onancock, VA largest is 8 in. long

332

Two curlew and a robin snipe are all signed by the maker with an incised “GIBIAN” on the undersides. Original paint with light wear and one reset curlew bill. Provenance: Estate of Marilyn M. Herlin $1,500 - $2,500

333 Rare Miniature Curlew and Yellowlegs William Gibian (b. 1946) Onancock, VA 7 in. long

These carvings are signed by the maker with an incised “GIBIAN” on the undersides. Original paint with light wear. Provenance: Estate of Marilyn M. Herlin $1,000 - $1,500 228

333

334

335

334 Flying Wood Duck Pair Mike Borrett (b. 1960) Madison, WI 18 in. long, 20 3/4 in. wingspan

This pair of wood ducks is flying at a sharp angle and has bright, dynamic paint. The carvings display fine paint blending, have mounting rings attached, and are signed by the maker on the top of the wings. Original paint with light wear. $1,500 - $2,500

335 Peacock Life

Eddie Wozny (b. 1959) Cambridge, MD 8 1/4 in. tall, base is 10 1/2 in. long 336

A detailed courting peacock vying for the attention of a peahen. She is more interested in a ladybug on a leaf. Signed on the underside of base. Original paint with light wear. $1,500 - $2,500

336 Miniature Osceola Turkey Eddie Wozny (b. 1959) Cambridge, MD 6 1/2 in. tall

A decorative turkey carving with extensive carved details. Retains the maker's signature on the bottom. Original paint with light wear. $1,500 - $2,500

229

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

337 Rare Miniature Willet

337

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 3 3/4 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $2,000 - $3,000

338 Miniature Black-Bellied Plover

338

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 3/4 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $2,000 - $3,000

339 Miniature Godwit

339

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 3 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear including minor paint rub to back of head. $2,000 - $3,000

230

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

340

342

344

341

343

345

340 Miniature Blue Jay

343 Miniature Baltimore Oriole

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear.

Signed by the maker on the bottom of the base with his rectangular stamp. This striking species was the number one bird in Crowell’s miniature set list. Original paint with light wear.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1940 3 in. tall

$1,000 - $2,000

341 Miniature Bluebird

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear and slight wear spots to paint at tip of tail and back of base. $1,000 - $2,000

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 in. tall

$1,000 - $2,000

344 Miniature Robin

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 1/2 in. tall

A split-tail carving with the maker’s rectangular stamp signature on the underside. Original paint with light wear. $1,000 - $2,000

342 Early Miniature Baltimore Oriole A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 3 in. long

An early pre-stamp miniature with bright orange plumage, including on the back, and the species name inscribed on the underside. Original paint with light wear, including a miniscule chip under bill.

345 Miniature Brown Thrasher A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 3/4 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $1,000 - $2,000

$1,000 - $2,000

231

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

346

348

350

347

349

351

346 Miniature Reaching Black Duck

349 Miniature Long-Tailed Duck

An early pre-stamp and especially fine miniature decorative. Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with a minute spot of darkening to a flake on the back and a rub on the tail edge.

A split-tail miniature with the maker’s rectangular stamp signature on the underside of the base. Original paint with minimal wear.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 2 in. tall

Provenance: Rev. Claude C. Curtis Collection Private Collection $2,000 - $3,000

347 Miniature Green-Winged Teal A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 2 3/4 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $800 - $1,200

348 Miniature Bluebill Hen A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 3/4 in. tall

Bears the maker’s rectangular stamp signature on the underside of the base. Original paint with light wear. $800 - $1,200

232

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 1/2 in. tall

$800 - $1,200

350 Miniature Bluebill Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 3 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $800 - $1,200

351 Miniature Red-Breasted Merganser Hen A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 1/4 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $800 - $1,200

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

352

354

356

353

355

357

352 Miniature Canada Goose

355 Miniature Bufflehead

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear.

$1,500 - $2,500

$800 - $1,200

353 Miniature Blue-Winged Teal

356 Miniature Redhead Hen

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear.

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear, area of craquelure to breast and left wing, restored bill.

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1925 4 1/4 in. tall

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 3 in. tall

$800 - $1,200

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 1/2 in. tall

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 4 in. tall

$800 - $1,200

354 Miniature Pintail Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 3 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $800 - $1,200

357 Miniature Bluebill Drake A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1925 2 3/4 in. tall

This early carving by the maker has a pencilled species identification on the underside of the base. Original paint with light wear. $800 - $1,200

233

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

358 Miniature Canvasback Hen A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 2 3/4 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $800 - $1,200 358

359 Miniature Mallard Drake

359

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 3 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $800 - $1,200

360 Miniature Wigeon Drake

360

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1935 2 1/2 in. tall

Signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $800 - $1,200

361 Miniature Reaching Merganser

361

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 1/2 in. tall

This red-breasted merganser is signed by the maker on the bottom of the base with his rectangular stamp. Original paint with light wear. $800 - $1,200

362 Miniature American Merganser

362

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 2 3/4 in. long

An alert merganser with the maker’s rectangular stamp signature on the underside of the base. Original paint with light wear. 234

$800 - $1,200

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

363

363 Exemplary Dowitcher A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1910 12 1/4 in. long

Crowell started out in his teens as a market hunter and a pioneering keeper of live waterfowl. These passions helped Crowell to develop an intrinsic knowledge of both waterfowl and other birds. His familiarity with bird anatomy enabled Crowell to create carved wood sculptures that bear exceptional likeness to their species. This rare and important working Crowell dowitcher decoy displays split-tail carving with painted primaries and richly blended feathering detail. It is challenging to find early examples of this species by Crowell as he concentrated primarily on black-bellied plover and yellowlegs during the first quarter of the 20th century. Some, including Delph, identify birds from this rig as yellowlegs. Describing a similar decoy from the Museum of American Folk Art Collection in his book, American Wildfowl Decoys, Jeff Waingrow writes, “Crowell’s dowitcher decoy is a transitional carving, displaying the virility of his earlier

work with a measure of new refinement found in the later examples. It possesses enough of the best qualities from each period, however, to deserve a place among the finer examples of Crowell shorebirds.” Excellent original paint with light gunning wear, two hairline cracks in neck. Provenance: Private Collection, Cape Cod Literature: John and Shirley Delph, New England Decoys, Exton, PA, 1981, p. 153, exact decoy illustrated (identified as a yellowlegs). Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 20 B, similar decoy illustrated. Jeff Waingrow, American Wildfowl Decoys, New York, NY, 1989, p. 97, similar example illustrated. Brian Cullity, The Songless Aviary: The World of A.E. Crowell & Son, Sandwich, MA, 1992, p. 49, pl. 1, similar bird illustrated. Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 213, related dowitcher illustrated. $10,000 - $15,000

235

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

364

364 Mallard Drake

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1930 16 in. long

Crowell carved relatively few mallard decoys, with this example displaying exemplary form and paint. The pronounced breast sweeps to a drawn-back and pleasing head that turns to the right. The head has crisp rasped finishing, eye grooves, and bill detail. The body is finished with his excellent wet-on-wet feather blending. The long sweeping body exhibits the maker's coveted raised wings and carved tail feathers. The underside of this decoy was fitted with two large poured weights and a felt covering to sit atop the mantel. Original paint with even wear, some craquelure at base of tail, and touch-up to neck seam. Provenance: Private Collection, Cape Cod Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, p. 35, related drake illustrated, p. 37, related hen illustrated. $10,000 - $20,000

236

A. ELMER CROWELL

1862-1952 | EAST HARWICH, MA

365

365 Early Redhead Hen

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

An early pre-brand redhead hen with all of the features found in Crowell’s best early waterfowl decoys. The full body has crossed raised primaries, incised tail carving, a turned head finished with rasped detail, and the maker’s wet-on-wet blended paint. Crowell redheads are not common, making this raised-wing hen is a rare find. Indeed, no related hens are illustrated in either of the publications dedicated to the maker. This decoy is likely from the rig of early Crowell patron F. Prescott Fay, a Martha’s Vineyard hunter who was also known to have decoratives by the maker. Related examples are believed to be held by two Massachusetts institutions. Original paint with even gunning wear, original knot in lower right side. Minor ding in back. Provenance: Private Collection, Massachusetts Private Collection Literature: Stephen B. O’Brien Jr. and Chelsie W. Olney, Elmer Crowell: Father of American Bird Carving, Hingham, MA, 2019, pp. 68 and 70, related smooth-wing pair and carved-wing drake illustrated. Dr. George Ross Starr Jr., Decoys of the Atlantic Flyway, New York, NY, 1974, color plate 19, related pair with heavy wear illustrated, p. 157, Fay rig discussed. John and Shirley Delph, New England Decoys, Exton, PA, 1981, p. 123, rigmate illustrated. $18,000 - $24,000

237

366

366 Goldeneye Hen

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1925 12 in. long

An early turned-head carving with rasp marks on the back of head and the oval brand on the underside. Original paint with heavy gunning wear and restoration, including neck seam, both sides, and center of breast. Provenance: H. Wray and Hilda B. Sherman Estate Private Collection $1,000 - $2,000

367 Preening Black Duck

367

A. Elmer Crowell (1862-1952) East Harwich, MA, c. 1900 15 1/2 in. long

An early pre-brand decoy in a classic preening pose with carved raised wing tips and incised tail feathers. Restored by Steve Weaver. Provenance: Dr. George Ross Starr Jr. Collection Gifted to a Private Collection in Duxbury, Massachusetts Mike Caton Collection, by descent in the family $2,000 - $4,000

368

368 Bufflehead Trio

Winsor White (1902-1975) Duxbury, MA, c. 1940 9 1/2 in. long

Winsor White was an early collector from Duxbury, Massachusetts, preceding and overlapping with Dr. George Ross Starr Jr. These three decoys have cork bodies, wooden tails, and bottom boards. Original paint with light gunning wear. $1,000 - $2,000 238

AUGUSTUS “GUS” AARON WILSON 1864-1950 | SOUTH PORTLAND, ME

369 Preening Black Duck

Augustus “Gus” Aaron Wilson (1864-1950) South Portland, ME, c. 1920 15 1/2 in. long

369

In American Vernacular, authors Frank Maresca and Roger Ricco write, “Augustus ‘Gus’ Wilson was a master carver whose career spanned more than fifty years. He worked as a fisherman and a lighthouse attendant. Typical details of his work are carved eyes and bills, raised wings, and inletted necks; he is famed as well for his skillful execution of rocking heads, swivel heads, and preening and sleeping poses.” Wilson’s carvings have been highly regarded for over a century and are cornerstones of top collections across the country. Original paint with gunning wear, putty loss, and some darkening to flaked areas. Provenance: Private Collection, Maine Private Collection, Florida

370

Literature: Frank Maresca and Roger Ricco, American Vernacular, Boston, MA, 2002, p. 38. $6,000 - $9,000

370 Preening Scoter

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

Known for creating decoys with dynamic forms, this preening scoter bears the maker’s signature inletted-head construction and best form. Original paint with a black wash and reapplied speculums, moderate gunning wear and bare wood on right shoulder. Provenance: Jim Andrews Collection Estate of Edwin Schultz $3,000 - $5,000

239

371 Black-Bellied Plover

Levi Rhodes Truex (1860-1934) Atlantic City, NJ, c. 1910 9 3/4 in. long

The underside of this glass-eyed plover bears several collectors’ notes and a small “WGG” collector brand. Original paint with light gunning wear. Literature: James R. Doherty, Classic New Jersey Decoys, Louisville, KY, 2011, p. 174, similar plovers illustrated. Hal Sorenson, “Levi Rhodes Truex,” Decoy Collector’s Guide, 1977, p. 79, similar decoy illustrated. $300 - $500 371

372 Rare Early Feeding Yellowlegs Otis Seaman (attr.) Somers Point, NJ, c. 1890 6 in. tall, 10 3/4 in. long

372

This early and elaborate New Jersey carving is among the most significant late-19th/early-20th-century decorative shorebird carvings made outside of Elmer Crowell’s workshop. It is made in the Shourds and Barnegat Bay style, in which the feeding pose is exceedingly rare. It closely resembles, and may even be the work of, Shourds. The sides, wing tips, and toes are all applied and the legs are copper. Original paint with even wear, some craquelure, and a replaced bill. Literature: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 178, pl. 431, related example illustrated. $4,500 - $6,500

373 Long-Billed Dowitcher

373

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 $5,000 - $7,000

240

FOLGER FAMILY

NANTUCKET, MA

374

374 Golden Plover

Folger Family Nantucket, MA, c. 1850 11 in. long

An important plover decoy by one of the Island’s most talented 19th-century carvers. This rig was made from a distinct and dense wood, perhaps mahogany. Given Nantucket’s place in global trade, the material could have come from any corner of the earth. The rig was carefully stored in a cloth bag and includes both adults and juvenile

“pale bellies.” This mature decoy is in full breeding plumage with excellent gold feathering on an umber back. Original paint with even gunning wear. Bill and chip to underside of tail are restored. $10,000 - $15,000

A decorative map of Nantucket Island illustrated by Fred Gardner, 1933. 241

CHARLES SUMNER BUNN 1865-1952 | SHINNECOCK, NY

375

375 Dowitcher

Charles Sumner Bunn (1865-1952) Shinnecock, Long Island, NY, c. 1900 10 in. long

One of the finest dowitcher decoys known. This richly colored shorebird decoy exhibits pronounced shoulder, cheek, raised-wing, and slightly dropped tail carving. The head has deeply-recessed German bead glass eyes.

Copley Fine Art Auctions, The Winter Sale 2015, back cover and lot 381, exact decoy illustrated. $12,000 - $18,000

In 1970, pioneer decoy collectors William Mackey, Milton Weiler, and Ed Zern wrote in their Classic Shorebird Decoys of this maker’s work “...[they] have the feel of real birds. His knowledge and study of the live bird and his skill with a knife transferred the feel of the wishbone, the unfolded wings and the modeling of the bone structure to blocks of wood. His was a unique talent not given to any other decoy maker.” Mackey also states “nothing finer has been found ever since.” Original paint with light gunning wear and minor restoration to very tips of wings and less than half of bill tip. Literature: Dr. Cynthia Byrd, The Decoys of Long Island, Water Mill, NY, 2010, p. 39, related example illustrated. Quintina Colio, American Decoys, Ephrata, PA, 1972, pp. 68 and 69, related example illustrated. William J. Mackey Jr., American Bird Decoys, New York, NY, 1965, p. 103, pl. 87, related example illustrated. Milton C. Weiler and William J. Mackey Jr., Classic Shorebird Decoys: A Portfolio of Paintings, New York, NY, 1971, pl. 3, related decoys illustrated.

242

Back cover of the Copley Winter Sale 2015 with exact bird (right), lot 375 illustrated.

JOHN DILLEY

QUOGUE, LONG ISLAND, NY

376

376 Outstanding Golden Plover John Dilley Quogue, Long Island, NY, c. 1890 10 1/2 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 feathering is among the most elaborate seen on any shorebird decoy by any maker. A celebrated decoy from the collection of one of the early Detroit area collectors that included Michael and Julia Hall, Clune Walsh, and the past owner of this decoy, Ron Swanson. Strong original paint with light, even wear and some touch-up, including to tight filled crack along left side and darkening to bill. Old and tightly reset chip to right corner of tail.

Provenance: Ronald S. Swanson Collection Private Collection Literature: Ronald Swanson, The Decoy as Folk Sculpture, Cranbrook Academy of Art Exhibition Catalog, January 1987, p. 21, fig. 32, exact decoy illustrated. Timothy Sieger, The Decoys of Long Island, Water Mills, NY, 2010, p. 47, rigmate illustrated. Exhibited: Bloomfield Hills, Michigan, The Decoy as Folk Sculpture, Cranbrook Academy of Art, January 27–February 22, 1987. New York, New York, American Decoys: A Folk Art Tradition, David A. Schorsch American Antiques, Inc., Fall 1996. $15,000 - $20,000

243

THE AITKEN FEEDING PLOVER

377

377 The Aitken Feeding Plover

378 Plump Ruddy Turnstone

This rare plover hails from the Russell B. Aitken Collection. It showcases one of Long Island’s most iconic and rare forms. The underside has an inked “Mackey” and pencilled “444," indicating it likely came from William J. Mackey Jr. Old paint and gunning wear, restoration to bill and front of head. Some scattered spots of touch-up to wear.

An extremely rare Verity species, this classic Seaford decoy carving has a clean and ornate plumage design and a rich red back with tight stippling. This is one of, if not, the plumpest Verity turnstones to have ever come to market. Old paint with moderate gunning wear and some roughness to bill.

Provenance: Russell B. Aitken Collection Private Collection

$6,000 - $9,000

Literature: Christie’s, The Russell B. Aitken Collection of Waterfowl Decoys, New York, NY, January 18, 2003, lot 1310, exact decoy illustrated. Henry Fleckenstein Jr., Shore Bird Decoys, 1980, p. 46, related decoy illustrated.

379 Ruddy Turnstone

Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1875 10 in. long

$30,000 - $50,000

Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1875 9 in. long

Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1875 9 1/2 in. long

A difficult-to-find Long Island shorebird decoy species. Appealing old gunning paint with moderate gunning wear and lifted crack under right wing. $5,000 - $7,000

244

OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

378

379

245

OBEDIAH VERITY

1813-1901 | SEAFORD, LONG ISLAND, NY

380

381

380 Black-Bellied Plover

381 Red-Backed Peep

A very well-carved plover showcasing Verity’s best stippled paint. Original paint with even gunning wear and some bare wood on left wing, typical old dark wash to black on front. Original tight crack in top of head.

An excellent Verity runner from the Joe French Collection with rare bright red stippling. The underside had the conjoined “JF” stamp and French’s collection markings visible only under ultraviolet light. Original paint with a few areas of touch-up to feathering, including top of head, lower edges of wings, and top of tail.

Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 11 1/2 in. long

$6,000 - $9,000

Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 8 in. long

Provenance: Joe French Collection Private Collection, New York $6,000 - $9,000

246

382 Long-Billed Dowitcher

Thomas Gelston (1851-1924) Quogue, Long Island, NY, c. 1890 13 in. long

A large shorebird decoy with an extra long bill and winter plumage. Original paint with light wear. Provenance: William C. McMaster M.D. Collection $4,500 - $6,500

382

383 Black-Bellied Plover

Obediah Verity (1813-1901) Seaford, Long Island, NY, c. 1880 11 in. long

383

A classic old Long Island warrior with clean form and tight stippling. Old gunning repaint with moderate gunning wear. Bill appears to be an early working replacement. $2,000 - $4,000

384 Verity Family Plover

Seaford, Long Island, NY, c. 1880 11 1/2 in. long

384

This decoy displays exciting variations not often seen in the Seaford school of carving. The pose is in a distinct down-looking position. The wing tips are crossed and the shoulders have special carved treatment with sharp, distinct white wing patches. Appears to be original paint on the wings and old working paint elsewhere, old replaced bill, bark scar on back. $3,000 - $5,000

247

385

387

386

388

385 High-Head Yellowlegs

387 Long-Tailed Duck

One of the maker’s best known examples, this high-head model displays a slightly turned head with Corwin’s “WC” brand displayed on the underside. Original paint with even gunning wear and a chip to top of tail.

A rare Verity duck carving with sleek form. Old paint with heavy gunning wear and old repairs to neck. Restored chip to chin and underside of bill.

Wilbur R. Corwin (1852-1914) Bellport, Long Island, NY, c. 1900 12 in. long

Joshua Verity (1827-1911) (attr.) Seaford, Long Island, NY, c. 1880 12 in. long

$1,000 - $2,000

$1,500 - $2,500

388 Brant 386 Rare Bluebill

Captain Charles Sammis (1845-1933) Huntington, Long Island, NY, c. 1890 15 in. long

A rare swimming bluebill with a turned head and a tight stippled grid on the back. The underside has fore and aft rigging and a poured weight. Sammis created some of the most animated waterfowl decoy designs from this most storied gunning island. Original paint with even gunning wear.

248

David Henry Cochran Blue Point, Long Island, NY, c. 1900 17 in. long

A boldly carved brant decoy used on Great South Bay from the rig of Walter L. Suydam of Blue Point, Long Island, branded “W. L. Suydam” on bottom. Original paint with even gunning wear. Original knot imprint under tail.

Provenance: Private Collection, Cape Cod

Literature: Harold Sorenson, Decoy Collector's Guide, Burlington, IA, July-Sept. 1965, p. 18, rigmate illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 108, rigmate illustrated.

$3,000 - $5,000

$1,000 - $2,000

JOHN ENGLISH

1848-1915 | FLORENCE, NJ

389

389 The Hillman English-Dawson Pintail Hen John English (1848-1915) Florence, NJ, c. 1880 14 3/4 in. long

English’s importance as the father of the Delaware River school of carving is documented by virtually every authority from the region. Robert “Bob” White describes English as “the ultimate Delaware River carver.” Author Kenneth L. Gosner notes, “The work of John English set a standard against which other Delaware River makers have been measured and compared ever since. Indeed, for many collectors, the English style is the Delaware River style.”

Literature: Kenneth L. Gosner, Working Decoys of the Jersey Coast and Delaware Valley, Cranbury, NJ, 1985, pp. 89-91, quote, color pl. 27, exact decoy illustrated. H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, p. 121, exact decoy illustrated. Henry A. Fleckenstein Jr., Decoys of the Mid-Atlantic Region, Exton, PA, 1979, p. 67, exact decoy 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. 93, lot 400, exact decoy illustrated. Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 40, pl. XXX, exact decoy illustrated. $20,000 - $30,000

A Decoy Magazine article on the Delaware River master explains “... a large rig of John English decoys were acquired by John Dawson [1886-1959], a hunter from nearby Trenton, who repainted the rig in bold geometric patterns... this unplanned collaborative effort produced a rig that is highly sought by collectors...” This exact hen is part of John Hillman’s English-Dawson pintail pair, which is illustrated in no less than five major decoy publications. In the 1996 Hillman Collection auction, the drake was the first English-Dawson decoy to break the six-figure mark. The underside is marked with both the Muller and Hillman Collection ink stamps. In Dawson’s excellent working repaint with minimal wear and working touch-up to four nail holes and a small section of the body seam under the tail. Provenance: John Hillman Collection Dr. Peter J. Muller Jr. Collection Matt Geis Collection

Exact decoy, lot 389, illustrated with rigmate drake in Kenneth L. Gosner’s Working Decoys of the Jersey Coast and Delaware Valley, 1985.

249

JOHN BLAIR SR.

1843-1929 | PHILADELPHIA, PA

390

390 The Will-Hunter Blair Black Duck Pair John Blair Sr. (1843-1929) Philadelphia, PA, c. 1870 18 in. long

These rigmates represent the most dynamic Blair pair known to exist. Blair swimmers do occasionally appear, such as Dr. McCleery’s swimming mallard pair; however, Blair’s preeners are virtually nonexistent. Indeed, in the case of the preening decoy, this may be the only bird of this form known by the maker. Each sleek body is handhollowed and retains tight body seams after 150 years. The swimmer features nearly identical form as the famous aforementioned McCleery pair. The underside of each carving retains the classic chamfered Blair pad weight and rig brands. Each has a “C. WILL” brand and a “J. HUNTER” brand is struck once on the swimmer and multiple times on the preener. Old appealing gunning paint with wear mostly to head and tail edges. The original bill on the swimmer has been reset. Provenance: C. Will Rig J. Hunter Rig Private Collection, Maryland Matt Geis Collection Literature: Sotheby’s and Guyette and Schmidt, American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery, New York, NY, 2000, lots 1-2, related mallards illustrated. $18,000 - $24,000

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John Blair Sr. posing with his side-by-side.

JOHN ENGLISH

1848-1915 | FLORENCE, NJ

391

391 The O’Brien English Pintail Hen John English (1848-1915) Florence, NJ, c. 1880 15 3/4 in. long

This is among the finest Delaware River pintail decoys known, showing the region’s premier maker at the height of his abilities. It hails from the collection of Donal C. O’Brien Jr., who also owned the record-setting rigmate, the singular, exalted English Pintail Drake. Authors Huster and Knight describe this exact decoy in Floating Sculpture as a “rare pintail hen in winter plumage made by John English.” They also chose a painting of an English pintail hen as the front dust-jacket feature of their book. This decoy has highly refined form and carving detail, including raised “V” wing tips and layered tail feathers. The brushwork complements the sculpture, with echoing “V” feathering and fine details from head to tail. Donal C. O Brien’s English pintail drake and hen together show a design foresight on the part of the maker that has not been seen elsewhere. As this hen is dominated by the “V” shape, the drake shows a series of clean “S” curves through its form and paint design. A testament to this hen’s importance, the drake that it was paired with is one of the Delaware River’s most iconic carvings and holds the auction record for the entire region. Excellent original paint with even gunning wear, old gunning darkening to tail edge chips. Line wrap rub to left shoulder and minor wear to lower right breast.

Provenance: Donal C. O’Brien Jr. Collection Bruce Williams Collection Matt Geis Collection Literature: Harrison Huster and Doug Knight, Floating Sculpture: The Decoys of the Delaware River, Spanish Fork, UT, 1982, front cover has a stylized illustration of an English pintail hen, p. 54, exact decoy illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 127, exact decoy illustrated. $20,000 - $30,000

Architectural illustration of a related English pintail hen in summer plumage from Huster and Knight's Floating Sculpture, p. 160.

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JOHN ENGLISH 1848-1915 | FLORENCE, NJ

392 Rare Wigeon Drake John English (1848-1915) Florence, NJ, c. 1880 14 in. long

An English decoy showcasing the maker’s best form with exceptional wing tip and tail refinements. This hollow-carved Delaware River decoy still exhibits its original paint, having avoided the workshop of John Dawson. Authors Huster and Knight highlight this carving in Floating Sculpture, showcasing it with a full-page color detail in their mostly black and white publication. Original paint with gunning wear, minor touch-up, and some old working paint, mostly on the underside. Provenance: Mort Hanson Collection Herb Wetanson Collection Matt Geis Collection

392

Literature: Harrison Huster and Doug Knight, Floating Sculpture: The Decoys of the Delaware River, Spanish Fork, UT, 1982, p. 53, pl. 22, exact decoy illustrated.

393

$5,000 - $8,000

393 Rare Wigeon Hen John English (1848-1915) Florence, NJ, c. 1880 14 1/4 in. long

A rare English decoy demonstrating the maker’s best form with exceptional wing tip and tail refinements. This hollow-carved Delaware River decoy retains its original paint with excellent feathering on the back. Original paint with heavy gunning wear and some old working paint, mostly on the underside. Some dents and shot to the head. Provenance: Mort Hanson Collection Herb Wetanson Collection Matt Geis Collection

394

Literature: H. Harrison Huster and Doug Knight, Floating Sculptures: The Decoys of the Delaware River, Spanish Fork, UT, 1982, pp. 53, 56, and 60, related drake illustrated. $3,000 - $5,000

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JOHN BLAIR SR.

1843-1929 | PHILADELPHIA, PA

395

394 High-Head Pintail Drake

395 Swimming Wigeon Drake

English was in complete command of his artistry when creating this hollow decoy, which exhibits refined features, from the thin bill and high neck to the precise raised wingtip carving that marks the region’s style. This early work is one of the few English decoys that relates closely to the Delaware River’s masterwork, the O’Brien English pintail, which holds the regional auction record for a decoy.

An exceptionally hollow, round-bottomed Delaware River decoy with a thin neck and grand form. This early decoy is held tightly together with cut finish nails. The excellent sculpture was finished with the stylish, crisp paint pattern that has come to define the Philadelphia style. Original with some gunning paint and touch-up with moderate wear, including age lines at nails. Restoration to tail edge and bill.

The underside bears a “J. D. PERKINS" brand, which is partly obscured by a lead pad weight. The Perkins rig is known for having included a number of English’s best surviving forms. Early working paint with even gunning wear, an upper neck crack, and a chipped tail.

Provenance: Private Collection, Washington State Matt Geis Collection

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

Provenance: J. D. Perkins Rig Jim Stokes Rig Peter Bartlett Collection Trenton Spolar M.D. Collection Matt Geis Collection

John Blair Sr. (1843-1929) Philadelphia, PA, c. 1870 14 1/2 in. long

Literature: Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, p. 179, related decoy illustrated. Hal Sorenson, “The Blair Mystery,” Decoy Collector’s Guide, Burlington, IA, 1977, p. 73, related decoy illustrated. $10,000 - $15,000

Literature: Guyette, Schmidt & Deeter, North American Decoys at Auction, St. Charles, IL, 2013, lot 563, exact decoy illustrated. Allen Linkchorst, “John English,” Decoy Magazine, March/April 2000, front cover and pp. 8-12, O’Brien English pintail illustrated. $4,000 - $6,000

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396

396 Exceedingly Rare Hollow Coot Charles Nelson Barnard (1876-1958) Havre de Grace, MD, c. 1920 11 1/2 in. long

This Susquehanna Flats carver is best known for his highhead canvasback decoys that were used in sinkbox rigs. He is also recognized as one of the few carvers from the region to make hollow decoys, as is found in this rare coot. This high-head, hollow decoy has two-piece body construction and a reared-back head. Despite its age, this carving has retained its bright yellow eyes and a coot-signature red dot on its forehead. C. John Sullivan notes in his Barnard chapter in Waterfowling on the Chesapeake, 1819-1936, “No one known to me has yet to uncover one of his coot decoys.” This is the only Barnard coot known to have come to market, and collectors agree that it is one of the most important coot decoys from any region. Appears to be in dry, original paint with some early, dark gunning wash and light, even wear.

397

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Provenance: Private Collection, Florida Literature: Henry A. Fleckenstein Jr., Decoy of the Mid-Atlantic Region, Exton, PA, 1979, p. 229, Barnard coot rig mentioned. C. John Sullivan, Waterfowling on the Chesapeake, 1819-1936, Baltimore, MD, 2003, p. 133, Barnard coot mentioned. $6,000 - $9,000

397 Blue-Winged Teal

Captain Ben Dye (1821-1896) (attr.) Perryville, MD, c. 1875 11 1/2 in. long

A rare and early Upper Bay decoy with similar lines to the work of John Graham. In restored paint and gunning wear. Literature: Henry A. Fleckenstein Jr., Decoys of the Mid-Atlantic Region, Exton, PA, 1979, p. 84 (upper left), related example illustrated. $3,000 - $5,000

AIDEN LASSELL RIPLEY

1896-1969

398

398 Aiden Lassell Ripley (1896-1969)

Grouse On a Log, 1949 signed and dated “A. Lassell Ripley 1949” lower right oil on canvas, 27 by 40 in. signed, titled, and dated on back

This grand oil, along with a handful of other 27-by-40-inch canvases of grouse, resides at the nexus of the artist’s greatest and most noteworthy works. This painting, depicting the artist’s favorite bird, shows Ripley as the master of upland bird portraits. Sporting art collector Guido R. Perera, a friend and patron of the artist, marveled at

Ripley’s knowledge of his favorite game bird, “Aiden may have been a grouse in one incarnation...” Literature: A. Lassell Ripley, Sporting Etchings, Barre, MA, 1970, p. 8. Stephen B. O'Brien Jr. and Julie Carlson Wildfeur, The Art of Aiden Lassell Ripley, 2009, p. 31, closely related painting on two-page spread. $30,000 - $50,000

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399 Aiden Lassell Ripley (1896-1969)

399

Woodcock Hunting signed “A. Lassell Ripley” lower left watercolor, 19 by 29 1/2 in.

A classic upland scene, with hunters taking aim at the alighting woodcock in the center of the painting. $3,000 - $5,000

400 Jon Ruehle (1949-2020)

This proud setter gazes up behind a brace of three grouse. It was created for the National Sporting Fraternity Limited. Jon Ruehle became a professional sculptor in 1974, and his work can be found in the collection of the National Academy of Design in New York as well as the National Wildlife Art Museum in Jackson, Wyoming. Additionally, Ruehle worked for many years as a biology instructor in Arkansas after completing a PhD in plant developmental genetics. He was a member of the Society of Animal Artists, among other honors in his art career. $2,000 - $3,000

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400

EDMUND HENRY OSTHAUS

1858-1928

401

401 Edmund Henry Osthaus (1858-1928) Two Setters and a Pointer on Point signed “Edm. H. Osthaus” lower right watercolor, 25 1/2 by 39 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, E. 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 1886-1893, 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. “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 Osthaus masterwork displays great colors, with two setters and pointer depicted at very large scale. The layering and depth of field is extremely successful, no easy feat in the medium. The painting further reveals Osthaus as an acute student of hunting dogs, as two of the dogs honor the point of the third. Provenance: Private Collection, Montana Literature: Kay and George Evans, “Dogs That Live Forever,” Field & Stream, vol. LXXV, no. 2, June 1970, pp. 234-240. $30,000 - $50,000

257

OGDEN M. PLEISSNER 1905-1983

402

402 Ogden M. Pleissner (1905-1983) First Leap signed “Pleissner” lower right watercolor, 17 1/2 by 27 1/2 in.

First Leap depicts the exhilarating first moments after hooking a wild Atlantic salmon. The angler’s rod is bent as he attempts to keep the fish in the tail of the pool. The guide, though holding the net, possesses no sense of urgency, indicating the fight is in its early stages. The salmon is a big one, leaping completely out of water, downstream of the angler. Pleissner has expertly captured the essence and beauty of Atlantic salmon angling in this painting. $30,000 - $50,000

258

OGDEN M. PLEISSNER

1905-1983

403 Ogden M. Pleissner (1905-1983)

403

The Home Pool - St. John River, 1971 signed “Pleissner” lower left watercolor, 7 by 10 in. titled and inscribed “The Home Pool - St. John River - Gasp 1971, To Giraud with many thanks from Ogden and Mary.” on back

This painting was gifted by the artist to Giraud Foster who hosted Pleissner and his wife on a salmon fishing trip on the St. John River in Quebec. It is defined and intricate, tightly done with nice figures, a little gem of a salmon fishing painting. Provenance: The Artist Giraud Foster Collection Private Collection, Florida, by descent in the family $5,000 - $8,000

404 Ogden M. Pleissner (19051983)

404

10th Green from 11th Tee, Pebble Beach watercolor, 6 1/2 by 9 1/2 in. stamped on back for the Estate of Marion W. G. Pleissner, and signed and dated by the executor in 1999 titled “10th Green from 11th Tee, Pebble Beach” on back of watercolor paper

This bright golf scene captures the colors of one of the most iconic courses in America with Pleissner’s signature vibrancy. Provenance: The artist The Estate of Marion W. G. Pleissner Private Collection, Connecticut $6,000 - $9,000

259

405

405 Ogden M. Pleissner (1905-1983) Tree signed “Pleissner” lower right watercolor, 20 1/4 by 14 1/4 in.

Provenance: Private Collection, Florida $1,000 - $2,000

406 Ogden M. Pleissner (1905-1983)

Trophy Atlantic Salmon, 1970 signed “Pleissner” lower right watercolor, 16 1/2 by 40 1/2 in. inscribed “30lb Salmon killed by Giraud Foster 1970, Clan de Boye Pool, St Jean River, Gasp Gaspé” lower left Provenance: Giraud Foster Collection Private Collection, Florida, by descent in the family $5,000 - $10,000

406

407 Ogden M. Pleissner (1905-1983) Teton Mountains, 1931 signed and dated “Pleissner ‘31” lower right oil on canvas, 40 by 50 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 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 The New York Times.

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 Arts. His art hangs in the offices of the Pentagon, West Point, and the Air Force Academy. This stunning large-scale landscape by Pleissner depicts the Tetons in all their glory. Pleissner captures the majesty of the mountains and the subtle gradations of green and gray in the landscape, between the mountain lake, the pine trees, and the low sage-colored ground cover. This tour-de-force oil is among the finest of the artist’s Western works, and has descended in the family of the artist. Provenance: The artist Private Collection, South Carolina, by descent in the family $15,000 - $25,000

260

OGDEN M. PLEISSNER

1905-1983

407

408

408 Ogden M. Pleissner (1905-1983)

Wyoming Landscape signed “Pleissner” lower right, faintly lower left, and on back of frame oil on board, 12 by 16 in. Provenance: The artist Private Collection, South Carolina, by descent in the family $3,000 - $5,000

261

LYNN BOGUE HUNT 1878-1960

409

409 Lynn Bogue Hunt (1878-1960)

October Strut Woodcock, 1947 signed and dated “Lynn Bogue Hunt 1947” lower left oil on canvas, 14 by 16 in. titled, inscribed, and signed on back

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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.

painted for private collectors and companies such as DuPont, illustrated over forty books, and produced roughly 250 magazine covers. Though he spent much of his life far from nature in New York City, Hunt had a strong foundation as a knowledgeable outdoorsman, bird hunter, and fisherman, enabling him to accurately capture the essence of the outdoors.

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

$10,000 - $20,000

THE DUPONT INFALLIBLE MALLARDS 410 Lynn Bogue Hunt (1878-1960) The DuPont Infallible Mallards, c. 1909 signed “Lynn Bogue Hunt” lower center oil on board, 29 by 22 in.

410

Commissioned by the DuPont Powder Company, this outstanding mallard painting served as an advertisement for its “Infallible” smokeless powder. Produced as a poster in 1909, it also appeared in Infallible brochures to promote their gunpowder and other products. Reproductions of this painting are sought after in their own right, with collectors paying thousands for the posters. Among Hunt’s finest waterfowl depictions, these life-size mallards display finely detailed plumage as well as under-wing feathering. Another closely related mallard painting by Hunt was also commissioned by DuPont and appeared as the dust-jacket illustration for Van Campen Heilner’s Our American Game Birds. The only notable distinction between the two works is that in this painting, the drake’s bill is open rather than the hen’s. Literature: John Delph, Firearms and Tackle Memorabilia, 1997, pp. 27 and 117, exact work illustrated as a poster and a brochure. Ann Tandy Lacy, Perdew: An Illinois Tradition, Muncie, IN, 1993, p. 103, exact work illustrated as a poster. Donna Tonelli, Top of the Line Hunting Collectibles, Atglen, PA, 1998, p. 219, exact work illustrated as a poster. Van Campen Heilner, Our American Game Birds, 1941, dust-jacket cover and p. 8, related mallard painting illustrated. $10,000 - $20,000

DuPont's 1909 Infallible Smokeless Powder poster featuring the exact painting offered here. Courtesy of Ward's Auctions Inc.

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WILHELM J. GOEBEL B. 1960

411

411 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 Art in Maryland, and created multiple state bird stamps as well as the 1996-1997 Federal Duck Stamp.

412

264

A long-time supporter of conservation causes, he has been Artist of the Year for Ducks Unlimited and the National Wild Turkey Federation. $3,000 - $5,000

412 Wilhelm J. Goebel (b. 1960) Quail Covey signed “© W.J. Goebel” lower right oil on canvas, 18 by 36 in. $3,000 - $5,000

WALTER MATIA B. 1953

413

413 Walter Matia (b. 1953)

A River Runs Through It signed and numbered “Matia 1/15” on rocks bronze, 9 1/2 by 26 3/4 by 6 3/4 in. edition 1 of 15

Walter Matia is the 2026 Artist of the Year for the Bonefish & Tarpon Trust. 50% of the proceeds from the sale of this bronze will go directly to BTT, whose mission is to conserve and enhance global bonefish, tarpon, and permit fisheries and their environment through stewardship, research, education, and advocacy. The BTT serves as a repository for information on the life history of these species and works internationally with anglers, guides, scientists, regulators, and the public to nurture and enhance fish populations. Of this piece, Matia writes, “Having failed to ever cast to a bonefish I actually saw without the help of a guide, I felt a bit of a fraud sculpting one; so, I didn’t. The lines, grace, and memories of large feeding trout are my honored offering to BTT for this year’s event.” $5,000 - $8,000

265

IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

414 Bickel-Rig Turning Black Duck Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1945 16 in. long

This special-order decoy is one of the three iconic Bickel rig black ducks. Two of which, including this bird, were made with their entire body turning from tip to tail. They were commissioned by Arlen Bickel of Hurffville, New Jersey, while he was on a fishing trip to Chincoteague. The full rig was never fulfilled, with Hudson only sending one shipment in a barrel packed with salt hay. Discussing this exact decoy and two rigmates, Henry Stansbury states, "Arguably the finest Hudson black ducks are a group with turned heads, exaggerated flared tails and tightly intricate feathering. When arranged correctly, they appear to be swimming in a circle." Jim Doherty collected the trio of the Bickel birds, including this lot, one other with fully turned form, and one with a turned head. During a visit to the Doherty Collection, Stansbury requested a raised

step to take an overhead photo of the turning trio. The image was used to lead off the black duck chapter in his monograph on the maker. Stansbury eventually acquired the other fully turning bird. Excellent original paint with light and even wear, including appealing tight craquelure. Provenance: Arlen Bickel Rig, acquired from the carver Art Turner Collection, acquired from the estate of the above Jim Doherty Collection, acquired from the above Private Collection, acquired from the above Literature: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, pp. 58-59, exact decoy illustrated and discussed. $30,000 - $50,000

414

Lot 414 (top bird) pictured in Henry Stansbury’s overhead photo of the Bickel rig’s turning trio.

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BICKEL-RIG TURNING BLACK DUCK

414

267

DAVE "UMBRELLA" WATSON 1851-1938 | CHINCOTEAGUE, VA

415 Purnell Watson Pintail Hen

Dave “Umbrella” Watson (1851-1938) Chincoteague, VA, c. 1925 17 1/2 in. long

David “Umbrella” Watson is among the most distinct and revered of all Southern decoy makers. He first left Delaware for Willis Wharf, Virginia, on the upper edge of Northampton County. From there, he eventually settled up the Intracoastal Waterway in Accomack County on the island of Chincoteague. Watson earned his “Umbrella” moniker by always having one on hand, regardless of the weather. He’s also said to have worn boots at all times and is also referred to as “Bootsie.” In studying his exceptional decoys, it appears his broad regional exposure, paired with his peculiar personality, may have led to Watson's unique approach to decoy making. 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. William Purnell owned the best decoys from this Watson rig. In the Great Book of Wildfowl Decoys, Purnell and his co-author relay that Watson “...made brant, geese, and black ducks primarily with a few canvasbacks, redheads, pintails, and bluebills and a limited number of shorebirds. 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.

268

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 hen is rare and unsurpassed by any Watson decoy to have surfaced and represents a unique opportunity to acquire an iconic Southern carving. Collectors, authors, and curators have celebrated this carving for decades. Flipping the hen over, a look at the underside reveals nine unique rig, collector, and exhibition markings, including Purnell’s “P” and “WHP Jr” brands, and the oval tag imprint of Charlie Hunter, and the Assateague Rod & Gun Club’s paw-logo brand. Excellent original paint with even gunning wear. Provenance: Assateague Rod & Gun Club William H. Purnell Jr. Collection Charlie Hunter Collection Donald Kirson Collection Literature: Robert Shaw, Bird Decoys of North America, New York, NY, 2010, p. 211, exact decoy illustrated. Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, pp. 153-154, Watson discussed, p. 158, exact decoy illustrated. John Clayton, Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings, The Ward Museum of Wildfowl Art, Salisbury University, 2010, pp. 47, exact decoy illustrated. Paul A. Johnsgard, The Bird Decoy: An American Art Form, Lincoln, NE, 1976, p. 47, exact decoy illustrated. Exhibited: Lincoln, Nebraska, The Bird Decoy: An American Art Form, Sheldon Memorial Art Gallery, 1975. Salisbury, Maryland, The Ward Museum. $80,000 - $120,000

PURNELL WATSON PINTAIL HEN

"...known as “Umbrella” because he never left the house without carrying one. This quirk intrigued and surprised many members of the community of Chincoteague. Year by year the inevitable legend of the umbrella grew, but collectors have not allowed this eccentricity to dim the image of his carving skill. Watson had another habit, too. In a community of men who wore rubber boots as a way of life, the champion was Dave Watson, who was never seen in public or private without the inevitable boots. From head to toe, “Umbrella” or “Bootsie” was the driest carver on record.” — William J. Mackey Jr., Milton Weiler, and Ed Zern, The Classic Decoy Series: A Portfolio of Paintings

415

269

THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

416 The Turned-Head Bishops Head Black Duck Drake The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, c. 1930 17 in. long

The Bishops Head Fish and Gun Club was a luxury two-story lodge founded by Col. Albanus Phillips and W. Grason Winterbottom around 1923. It was a grand club which included land on a peninsula thirty miles south of Cambridge, MD, it also included Bloodsworth Island across Hooper Strait. The Bishops Head boat dock was shared with members of the Cambridge Yacht Club, which Phillips founded as well. This camp provided Phillips and Winterbottom a place of respite from their booming food-canning business. Phillips was widely known throughout the Eastern Shore and U.S. Presidents Grover Cleveland, Teddy Roosevelt, and Franklin Roosevelt were known to have been guests at his lodge. During its heyday, Bishops Head was considered one of the Eastern Shore’s great hunting clubs. The reputation of Lem and Steve Ward “spread throughout the Chesapeake region, and they produced decoys for gunners in the Upper Bay as well,” reports Maryland decoy historian and author of a book on the club C. John Sullivan. He continues, “A few of the gunning clubs ordered Ward decoys, and in some cases a particular Ward style became associated with a specific club.” The Bishops Head style is one such example. Known for their pronounced crowns, paddle tails, detailed body paint, high heads, and full cheeks, this black duck showcases all of the best traits

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associated with the club. While this distinctive design is most commonly found in geese, it is also seen in a small number of mallards, wigeon, and black ducks. Of the numerous patterns designed by the Ward brothers over a fifty-plus-year career as decoy makers, the Humpback, Pinch-Breast, Beavertail, and Bishops Head models have been the most highly sought after by the nation’s top decoy and folk art collectors. Approximately a half-dozen premier Bishops Head black duck examples are known to have surfaced, with perhaps none finer than this drake. Three of the other black ducks have gone to important collections in Maryland, New Jersey, and Minnesota. Indeed, a single closely related hen with a slightly turned head set the record for a Ward black duck at auction, selling for over $97,000 in 2010. This male, with a thinner neck and head turned forty-five degrees, displays a nearly identical paint pattern. Additionally, this drake has an extended, long, thin paddle tail, separating it from most other Bishops Head birds. Lem’s ability to expertly apply feather paint is on full display across both genders from head to tail. While early decoy makers did not typically differentiate between the hens and drakes of this wary species, Lem communicates each sex through the color of their bills, a blended yellow for this drake and a green shade for the hens.

BISHOPS HEAD BLACK DUCK

416

This decoy is considered one of the finest black ducks from the Eastern Shore. Along with works by Elmer Crowell and Shang Wheeler, it stands out as one of the finest black duck carvings known by any maker. Original paint with light wear and visible neck seam. Provenance: Private Collection, acquired from the North Shore of Massachusetts Private Collection, Florida Literature: C. John Sullivan, Bishops Head Fish and Gun Club, Bel Air, MD, 2018, club history, gunning logs, and related decoys discussed and illustrated. C. John Sullivan, Waterfowling on the Chesapeake, 1819-1936, Baltimore, MD, 2003.

R. H. Richardson, Chesapeake Bay Decoys, Cambridge, MD, 1991, p. 167, Strausburg Collection rigmate illustrated. Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 75-79, Purnell Collection example illustrated. Joe Engers, “Year In Review 2010,” Decoy Magazine, front cover and p. 9, closely related example illustrated. Copley Fine Art Auctions, The Winter Sale 2019, Charleston, SC, February 2019, front cover and lot 169, Bishops Head wigeon pair illustrated. Loy S. Harrell Jr., Decoys: North America’s One Hundred Greatest, Iola, WI, 2000, pp. 160-161, Bishops Head wigeon drake illustrated. $30,000 - $50,000

The Bishops Head Black duck pair, with the drake, lot 416, on the left, and the hen on the right.

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IRA D. HUDSON

1873-1949 | CHINCOTEAGUE, VA

417 Canada Goose

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Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1920 25 1/2 in. long

The underside of this snaky-head carving has William J. Mackey’s inked inscription that reads “Canada Goose Bay side of Eastern Shore Probably Chincoteague. Better than average VA.” We now have the convenience of knowing this decoy is by Ira Hudson from Chincoteague on the seaside of Virginia’s Eastern Shore peninsula. Mackey’s notation is a reminder of the limited resources available during the early decoy collecting days. In working Hudson paint with heavy gunning wear, touch-up to filled crack along each side, and to reset cracks in head and neck. Provenance: William J. Mackey Jr. Collection Lawrence A. Carton Jr. Collection, acquired from the above, circa 1950 Peter Carton Collection, by descent from the above $5,000 - $7,000

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418 Turned-Head Bluebill Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1920 11 1/2 in. long

This full-bodied decoy exhibits one of Virginia’s most dramatically turned heads, cranked ninety degrees to the left. This head position is exceedingly rare in his decoys and is more commonly seen in Ira’s elaborate standing decorative waterfowl. The body is finished with deep shoulder separation and a spread fluted tail. Old gunning paint with gunning wear, including some crazing and tight cracks around nails in neck. Literature: Henry H. Stansbury, Ira D. Hudson and Family, Lewes, DE, 2002, back dust-jacket cover, turned-head decorative illustrated. $5,000 - $8,000

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419 Bluebill Pair

Ira D. Hudson (1873-1949) Chincoteague, VA, c. 1930 13 1/2 in. long

A bold and exemplary bluebill pair with expressive head carving and fluted “banjo” tails. Each grand body was made with two-piece vertical seam construction and finished with deep shoulder carving. Original paint with even gunning wear. Literature: Henry A. Fleckenstein Jr., Southern Decoys of Virginia and The Carolinas, Exton, PA, 1983, p. 64, exact pair illustrated. Henry A. Fleckenstein Jr., Decoys of the Mid-Atlantic Region, Exton, PA, 1979, p. 195 (bottom pair), exact decoys illustrated. $3,000 - $5,000

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420 Rare Pintail Pair

Doug Jester (1876-1961) Chincoteague, VA, c. 1930 18 in. long

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These are among the finest Doug Jester decoys known. Original paint with even gunning wear. Provenance: Private Collection, Eastern Shore of Virginia Literature: Henry A. Fleckenstein Jr., Decoys of the Mid-Atlantic Region, Exton, PA, 1979, p. 200, rigmate pair illustrated. $4,000 - $6,000

421 Black Duck

Charles Birch (1867-1956) Willis Wharf, VA, c. 1910 17 in. long

This hollow decoy shows Birch at his best. Fleckenstein agreed and discusses it in his Southern Decoys book. The weight is marked with a “BB.” Original paint with even gunning wear and an old dark wash to black. A couple faint cracks in neck.

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Literature: Henry A. Fleckenstein Jr., Southern Decoys of Virginia and The Carolinas, Exton, PA, 1983, p. 139, exact decoy illustrated and discussed. $3,000 - $5,000

422 The Bull-Hunter Phillips Black Duck Ike Phillips (1858-1954) Hog Island, VA, c. 1900 15 1/2 in. long

A strong Northampton County decoy with wide hips, a ridged back, and a long neck seat above a narrow breast. Recognized and coveted by Roy Bull and Charlie Hunter, among others, this is among the finest Phillips decoys known. Phillips was a guide who worked the barrier islands up and down the Eastern Shore. He eventually abandoned his island home when it eroded and settled in the seaside town of Wachapreague, Virginia. Original paint on the head with a dark wash on the body, with even gunning wear.

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Provenance: Roy Bull Collection Charlie Hunter Collection Private Collection Literature: Dr. S. Lloyd Newberry, Wings of Wonder: The Remarkable Story of the Cobb Family and the Priceless Decoys They Created on Their Island Paradise, Columbia, SC, 2020, p. 195, Phillips decoys illustrated. $4,000 - $6,000

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423 Canvasback

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1938 16 in. long

The underside displays the date and Lem’s inked signature. Original paint and old working overpaint. Some restoration to bill and tail edge. $1,500 - $2,500

424 Pennock Rig Bluebill

Lloyd Aaron Sterling (1880-1964) Crisfield, MD, c. 1920 14 1/2 in. long

A boldly carved wigeon with a well-sculpted beavertail body and upturned head. The head and back display scratch-painted feathering. Martha’s Vineyard is known for its historic wigeon flights and decoys of this species are often found by numerous different makers, including Joseph W. Lincoln (1859-1938). Original paint with gunning wear, a crack in back and chip to tail.

William Heverin (1860-1951) Charlestown, MD, c. 1920 13 1/2 in. long

Provenance: The Wasque Point Camp, Chappaquiddick Island, Martha’s Vineyard, Massachusetts Private Collection

Incised with “LP” rig marking under tail for Lou Pennock’s rig. Original paint with gunning wear.

Literature: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, p. 92, related wigeon illustrated

$1,000 - $1,500

425 Pennock Rig Canvasback Hen William Heverin (1860-1951) Charlestown, MD 15 in. long

Original paint on the back with old working paint to the brown with gunning wear. $1,000 - $1,500

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426 Wigeon Hen

$3,000 - $5,000

OLIVER "TUTS" LAWSON

B. 1938

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427 Gadwall Pair

Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, 1977 13 in. tall, 24 in. long, 17 in. wide

This is among Lawson’s most accomplished and refined decorative works. It features a dynamic pair of raisedwing dabblers in their native situ. Lawson is credited for being one of the first decorative carvers to introduce sophisticated environments. The sandy base is finished with carved grass and carved cherrystone clams. Signed and dated on the back of the driftwood. This is one of the finest decorative carvings that Tuts has executed and one of the best decoratives to come out of Crisfield. Original paint with light wear, some loss to blades of grass and small chip to tip of hen’s tail. Provenance: Lynwood Herrington Collection Private Collection $14,000 - $18,000

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THE WARD BROTHERS

1896-1984 AND 1895-1976 | CRISFIELD, MD

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428 The Surace Ward Canada Goose

The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1943 24 in. long

Frank Surace was one of the earliest decoy collectors from Long Island and one of the Long Island Decoy Collectors Association’s founding members in 1971. A review of Surace’s collection reveals that by no means did he limit himself to his home island. Indeed, he and his friends William Mackey and Milt Weiler traveled together with a briefcase full of cash on decoy-picking road trips. This large, cedar-bodied goose displays a head which is slightly turned and finished with some of the greatest refinement seen in any of Steve’s waterfowl decoys. The low neck seat sweeps into a grand cedar body with a high tail as variation of their humpback model. The decoy was

finished with Lem’s seemingly effortless blending and feathering. The underside of the carving is signed by both Lem and Steve and dated 1943. Excellent original paint with moderate gunning wear, original fill to tight age lines in underside and back and minimal white wash to fill under tail. Rubs to tail and bill edges. Provenance: Frank Surace Collection Private Collection, acquired from the above in 1973 Matt Geis Collection Literature: Ronald J. Gard and Brian J. McGrath, The Ward Brothers’ Decoys: A Collector’s Guide, Plano, TX, 1989, pp. 112-113, related geese illustrated. $8,000 - $12,000

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THE JOHNSON-WARD BLUE-WINGED TEAL PAIR 429 The Johnson-Ward Blue-Winged Teal Pair The Ward Brothers Lemuel T. (1896-1984) and Stephen (1895-1976) Crisfield, MD, 1962 10 1/2 in. long

“Made Special for Lloyd Johnson” is painted on the underside of both carvings. Johnson was not only one of the leading collectors of the mid-20th century, but he was also a leading decorative carver, alongside the Wards. The Wards seem to have risen to the occasion for their discerning collector; the paint, especially on the hen,

is among the finest seen on any teal. The undersides of the hollow bodies are signed and dated by Lem. Excellent original paint with light wear. Provenance: Lloyd Johnson Collection, acquired from the maker Private Collection $15,000 - $25,000

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432

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430 Wigeon Pair

432 Pintail Pair

The carvings bear the maker’s signature and date on the bottoms. Original paint with light wear.

Both bear the maker’s signature and “Cigar” brand on underside. The hen is signed to Norris Pratt. Original paint with light wear, hen has sap to breast and under tail.

Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, 1981 13 1/2 in. long

$800 - $1,200

Delbert “Cigar” Daisey (1924-2017) Chincoteague, VA 20 1/4 in. long

$2,500 - $3,500

431 Hooded Merganser Pair Oliver “Tuts” Lawson (b. 1938) Crisfield, MD, 1981 13 in. long

The carvings bear the maker’s signature and date on the undersides. Original paint with light wear. $800 - $1,200

433 Green-Winged Teal Pair

Delbert “Cigar” Daisey (1924-2017) Chincoteague, VA, 1989 11 1/4 in. long

The pair bears the maker’s “Cigar” brand, signature, and “Doiley Special” inscription on the undersides. Doily Fulcher authored the book on the Chincoteaguer. Original paint with light wear. $1,500 - $2,500

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436

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434 Hooded Merganser 13 in. long

A hollow hooded merganser decoy with full cheeks and a “PB” stamped on the bottom board. Done in the style of Ed McNeil. Original paint and wear. $300 - $500

435 Rare Hooded Merganser Pair William “Billy” Ellis (1865-1963) Whitby, Ontario, Canada, c. 1940 14 1/2 in. long

Original paint with even wear and the hen has craquelure. Literature: Bernie Gates, Ontario Decoys II, Kingston, ON, 1986, p. 92, exact hen illustrated. $800 - $1,200

436 Mallard Pair

William “Billy” Ellis (1865-1963) Whitby, Ontario, Canada, c. 1930 17 in. long

A dynamic pair with a high-head drake and tucked-head hen. Original paint with even gunning wear, tight crack to knot in hen’s back. $800 - $1,200

437 Pintail Pair

William “Billy” Ellis (1865-1963) Whitby, Ontario, Canada, c. 1930 19 in. long

The drake has stamped numbers and “MCC” for the Leddingham Collection. Original paint with gunning wear, chips to hen’s tail. $800 - $1,200

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ROBERT "BOB" WHITE B. 1939 | TULLYTOWN, PA

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438 Exemplary Standing Green-Winged Teal Robert “Bob” White (b. 1939) Tullytown, PA, c. 1980 11 in. long

A rare, if not unique, working stick-up decoy from White’s personal rig. The underside retains a brass rig identification tag, the maker’s signature, and a painted bobwhite quail remark. Original paint with light gunning wear. Provenance: Bob White Rig Private Collection $6,000 - $8,000

Bob White with a blue-winged teal and prize, 1967. Decoys Collector's Guide, 1968.

Special quail "signature" by the artist on the bottom of lot 438.

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ROBERT "BOB" WHITE B. 1939 | TULLYTOWN, PA

439 Goldeneye Pair

Robert “Bob” White (b. 1939) Tullytown, PA, 1997 16 in. long

This decoy duo retains his triangular bobwhite-quail lead weight and is signed and dated on the bottoms. Original paint with light wear. Provenance: Estate of Edwin Schultz $1,200 - $1,500

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440 Black Duck Pair with Hybrid Robert “Bob” White (b. 1939) Tullytown, PA 16 in. long

440

A rare tucked-head mallard-black duck hybrid hen and a rigmate turned-head black duck drake. Each with the triangular quail weights. Original paint with light wear. Provenance: Estate of Edwin Schultz $1,200 - $1,500

441 Rare Shoveler Pair

Robert “Bob” White (b. 1939) Tullytown, PA, 1999 15 in. long

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Both retain his triangular bobwhite-quail lead weight and are signed and dated on the bottom. Original paint with even gunning wear. Provenance: Estate of Edwin Schultz $1,200 - $1,800

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KEITH MUELLER

B. 1956 | KILLINGWORTH, CT

442 “The Golden Years” Golden Plover Keith Mueller (b. 1956) Killingworth, CT 19 in. tall, 22 3/4 in. wide, 4 in. deep

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Five hanging carved golden plover affixed to a sign and titled "The Golden Years." Three are decoys bearing the maker’s oval “Keith Muller” signature. Two plover are elaborate decoratives, showing the carver’s range. Signed by the maker on the back. Original paint with light wear. Provenance: Estate of Edwin Schultz $4,000 - $6,000

443 Preening Curlew Keith Mueller (b. 1956) Killingworth, CT 11 1/2 in. long

443

A Crowell-style curlew with the maker’s signature on the underside. Original paint with light wear. $800 - $1,200

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444 Rare Puffin Decoy Keith Mueller (b. 1956) Killingworth, CT 12 in. long

A rare working puffin decoy, this carving was used for research off Provincetown, Massachusetts. Carving is signed “Keith Mueller” on the underside. Original paint with light wear. $1,500 - $2,500

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445 Hooded Merganser Pair

447 White-Winged Scoter

The hen’s underside bears the Levinson Collection ink stamp and the maker’s cold stamp signature. The drake’s underside bears the maker’s inked and cold stamp signature. Original paint with light wear.

A classic Stratford school decoy with a thin paddle tail and the maker’s brand on the underside. Original paint with light wear.

James “Corb” Reed (1897-1987) Chincoteague, VA, c. 1975 drake is 16 in. long

Roswell E. Bliss (1887-1967) Stratford, CT 16 1/4 in. long

$200 - $400

Provenance: Estate of Edwin Schultz $2,000 - $2,500

446 Canvasback Pair

James “Corb” Reed (1897-1987) Chincoteague, VA, c. 1975 15 in. long

Each pair is signed on the underside with the cold stamp. Original paint with light wear and a few pine sap spots on right wing.

448 Labrador Duck Pair George Strunk (b. 1958) Glendora, NJ 18 1/4 in. long

Both are signed “G. Strunk” and have his name-stamped lead weight on the bottom. Original paint with light wear. $800 - $1,200

Provenance: Estate of Edwin Schultz $800 - $1,200

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449 Bird Tree with Seven Songbirds Lloyd Cargile (b. 1938) Baltimore, MD 19 in. tall.

A turned base with a finished branch hosting seven animated life-size songbirds, including a goldfinch, wren, and yellowthroat. The birds can be rearranged on the perches. Signed with an incised “C” on the side of the base. Original paint with light wear. $2,500 - $4,500

450 Screech Owl with Mouse

450

Floyd Scholz (b. 1958) Hancock, VT, 1984 14 in. tall

Floyd Scholz is a raptor specialist and a five-time U.S. National Champion, having also won the 2005 World Master’s Best in Show. This highly refined decorative is signed, dated, and numbered on the underside of the base. Original paint with minimal wear. Provenance: The Laumeister Collection, The Bennington Center for the Arts, Bennington, Vermont Private Collection $3,000 - $5,000

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451 “Sing a Happy Tune” Ma Hai Feng (b. 1945) Hong Kong, 1985 7 1/2 by 8 1/4 by 8 1/2 in.

This life-size decorative robin carving, entitled Sing a Happy Tune, includes documentation of its exhibition at the National Museum of Natural History at the Smithsonian Institution in Washington, DC, from November 1 to December 30, 1985. The underside bears the maker’s signature and date. Original paint with light wear. Exhibited: Washington D. C., Bird Carvings by Ma Hai Feng, National Museum of Natural History, the Smithsonian Institution, November 1–December 30, 1985. $1,000 - $2,000

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BRETT JAMES SMITH

B. 1958

452 Brett James Smith (b. 1958)

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An English setter and a pointer flush a pair of woodcock. Provenance: Curt Mettam Collection $1,500 - $2,500

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Two hunters raise their guns at a pair of flushed woodcock while their setters stand by. Provenance: Curt Mettam Collection $1,500 - $2,500

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454 Brett James Smith (b. 1958) Last Catch of the Day signed “Brett J. Smith” lower right watercolor, 21 1/2 by 29 in.

A full-sheet watercolor, this salmon fishing scene is reminiscent of Ogden Pleissner’s finest works. $4,000 - $6,000

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ELDRIDGE HARDIE 1940-2021

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455 Eldridge Hardie (1940-2021)

Marsh Dog, 1997 signed “Eldridge Hardie” lower left oil on canvas, 12 by 16 in. titled, inscribed, signed, and dated on back

This work depicts a confident, proud black Lab retrieving a mallard. Eldridge Hardie grew up in Texas between a ranch in Hill Country and El Paso. After his uncle, a commercial illustrator, inspired him to take up painting, Hardie attended art school at Washington University in St. Louis. In 1966 he settled in Denver and enjoyed a long and successful career as a sporting and wildlife artist. “In a sense, a sporting artist must be three painters in one, rendering convincing landscapes, dogs and wildlife

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that are both accurate in detail and lively, and believable human figures,” Mike Grudowski writes in a 2015 Garden & Gun article, “It’s little surprise that Hardie’s immersion in the sporting life that he paints--his intuitive feel for his subjects--strikes a chord.” Hardie’s paintings can be found in the National Museum of Wildlife Art in Jackson, Wyoming, the Fresh Water Fishing Hall of Fame in Hayward, Wisconsin, the National Bird Dog Museum in Grand Junction, Tennessee, and the El Paso Museum of Art, to name several important collections and institutions that support and exhibit the artist’s work. Hardie was Artist of the Year for the Atlantic Salmon Federation and Trout Unlimited, and Featured Artist at the Plantation Wildlife Arts Festival and the Southeastern Wildlife Exposition, among other honors. $3,000 - $5,000

456 Eldridge Hardie (1940-2021) Setters and Grouse signed “Eldridge Hardie” lower right watercolor, 10 by 14 in. signed and titled on back

In this watercolor, two English setters work through an autumn thicket along a stream as a flushed grouse captures their attention. $2,000 - $3,000

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ROBERT K. ABBETT 1926-2015

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457 Robert K. Abbett (1926-2015) Drumming Grouse signed “Abbett” lower left oil on board, 17 1/2 by 23 1/2 in.

Robert Abbett, born in Indiana in 1926, is best known for his depictions of sporting dogs, fly fishing, and Western life. He began his career as an advertising illustrator, attending night and weekend classes at both the Chicago Academy of Fine Art and the American Academy of Art, where he found himself drawn to editorial and advertising art. In 1953 he moved from Chicago to Connecticut to be closer to the editorial markets. There he illustrated for Argosy, The Woman’s Home Companion, Sports Afield, Reader’s Digest,

and True magazines. He also worked with several West Coast motion picture studios and drew covers for many of the leading paperback publishers. In his sporting art, using his impressionistic style, Abbett often suggests time and space without giving all of the details. The intention is to draw viewers in and give them the opportunity to complete the picture with their own experiences. Literature: Edward Gray and Robert Abbett, Wings from Cover, Minocqua, WI, 1996, p. 41, exact painting illustrated $6,000 - $9,000

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LUKE FRAZIER B. 1970

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458 Luke Frazier (b. 1970) Misty Hatch signed “l. frazier” lower left oil on board, 8 by 16 in.

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. The sinuous curve of the line in the air draws the viewer’s eye through this atmospheric depiction of fly fishing in the mist.

Luke Frazier with a freshly caught rainbow trout on the Naknek River in Alaska.

$1,500 - $2,500

459 Luke Frazier (b. 1970)

Working the Scrape signed “l. frazier” lower right oil on board, 24 by 30 in.

Ringed by the autumn light and framed by trees, a ten point buck reaches up to investigate a licking branch as he gets the lay of the land in the scrape, a communication hub for cervidae. $10,000 - $20,000

Luke Frazier with a trophy mule deer. 288

LUKE FRAZIER B. 1970

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"When I’m in pursuit of whitetail, I love to take a deep dive into the woods and do some preliminary scouting. Old bucks are creatures of habit, and will work their territory methodically for sign of doe and leave scent to warn off suitor bucks. Bucks routinely do this by making scrapes ~ pawing and working the dirt, raking trees with their antlers and leaving scent. Rarely will you catch a mature buck off guard, but having fore knowledge of his patterns can tilt the odds in your favor." — Luke Frazier

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460 Fletcher Charles Ransom (1870-1943)

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The Prize in Sight - Quail, 1926 signed “Fletcher Ransom” lower left oil on canvas, 26 by 20 in.

Fletcher Ransom was born and raised near Kalamazoo, Michigan. He studied art at the School of the Art Institute of Chicago and the New York Academy of Art before embarking on a successful career as an illustrator, living in Greenwich Village and then Joliet, Illinois. He worked for magazines such as McClure’s and Collier’s during the Spanish-American War, as well as painting works for Brown & Bigelow. He died in Plainwell, Michigan, where he shared a farm with his sister. This fine sporting scene was painted for the 1926 Gerlach-Barklow calendar. For almost seventy years, Gerlach-Barklow published art calendars and other advertising material in Joliet, Illinois, which businesses across the country gave to clients. $4,500 - $6,500

461 Gerard R. Hardenbergh (1855-1915) Bobwhite Quail, 1882 signed and dated “G.R. Hardenbergh 1882” lower left watercolor, 16 by 14 in.

An early depiction of a covey of quail, this is one of the artist's best watercolors depicting these birds. $3,000 - $5,000

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461

HENRY DUTTON MORSE

1826-1888

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462 Henry Dutton Morse (1826-1888)

After The Hunt, 1860 signed and dated “H.D. Morse 1860” lower right oil on canvas, 44 by 36 in.

Morse was a Massachusetts artist and businessman. Born in Boston and trained as an engraver and jeweler, his primary career was as a diamond cutter. Also an accomplished sporting artist and taxidermist, Morse exhibited with the Boston Art Club and the National Academy of Design in New York.

This oil creates a vignette after a successful hunt, with horse and spaniel resting together, looking out at the viewer, near the hunter’s quarry: a pair of ducks. Morse has deftly rendered the various contrasting textures of the horse’s mane, the grass, the wicker basket, and the duck feathers. The interplay of the hunter’s companions makes this a notable early American sporting painting. $8,000 - $12,000

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ALEXANDER POPE JR. 1849-1924

463 464

463 Hanging Bobwhite Quail

This quail is a companion piece to the following lot featuring a hanging woodcock. Original paint with even wear, wear to feather edges, right wing is reset in two places. Replaced bill.

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 painter and sculptor Walter Rimmer, he was, for the most part, self-taught.

Provenance: Private Southern Collection

Alexander Pope Jr. (1849-1924) Boston, MA, c. 1880 bird is 11 1/2 in. long backboard is signed with inscribed “A. Pope Jr.”

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.

$3,000 - $5,000

464 Hanging Woodcock

Alexander Pope Jr. (1849-1924) Boston, MA, c. 1880 bird is 12 in. long

This timberdoodle is a companion piece to the preceding lot featuring a hanging bobwhite quail. Original paint with light wear, loss to left leg, chips to bill insertion, and darkening to feather tip chips. Provenance: Private Southern Collection $3,000 - $5,000

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WILLIAM AIKEN WALKER

1838-1921

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465 William Aiken Walker (1838-1921) The Cotton Field signed “WA Walker” lower left oil on board, 7 1/2 by 12 in.

This oil depicts a Southern cotton field ready for harvest. An old couple stands in the foreground with overflowing baskets of cotton by their sides, and one balancing on the woman’s head. An original price of $10 is written on the back, along with a faint inscription. $6,000 - $9,000

466 William Aiken Walker (1838-1921) Cabin signed “W.A. Walker” lower left oil on board, 6 by 12 1/4 in. titled and inscribed “$5.00” on back

Born in Charleston, South Carolina, in 1838, William Aiken Walker began his artistic career in the years leading up to the Civil War. As young man, he traveled 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 the 1880s. $6,000 - $9,000 293

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467 James Brade Sword (1839-1915)

Two Paintings, 1878 Hanging Quail and Woodcock each signed and dated “J. B. Sword 78” lower right oil on canvas, each 18 by 14 in.

James Sword studied at the Pennsylvania Academy of Art, was a member of the Philadelphia Society of Artists, and founded the Art Club of Philadelphia during his successful career as an oil painter. Provenance: Edward P. Roberts Collection Private Collection Private Collection, Connecticut $4,000 - $6,000

468 Arthur Loring Brackett (1855-1934)

Hanging Woodcock, 1878 signed and dated “A.L. Brackett 1878” lower right oil on board, 14 1/2 by 11 in.

Arthur Brackett was a Boston-based painter and the son of recognized fish artist, Walter M. Brackett. Like his father, Brackett is best known for his depictions of wildlife. He was a member of the Boston Art Club, where he exhibited his works. $1,500 - $2,500

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469 Harry Roseland (c. 1867-1950)

Card Reading, 1901 signed and dated “Harry Roseland 1901” upper left oil on canvas, 18 by 22 in.

Harry Roseland was a Brooklyn-based artist who specialized in popular genre scenes. He studied with Thomas Eakins and James Barnard Whittaker, and developed his own successful style depicting realistic interior scenes with people playing checkers, reading palms and tea leaves, and, like this painting, telling a fortune from cards.

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He was a member of the Salmagundi Club and the Brooklyn Society of Artists, among others, and exhibited at the National Academy of Design and the Brooklyn Art Club during his lifetime. He medaled at the Boston Art Club and the American Art Society in Philadelphia, and today his paintings are in the collections of the Brooklyn Museum, the Charleston Art Museum, Charleston, South Carolina, the Huntington Library in California, and the Heckscher Museum on Long Island, New York. $5,000 - $8,000

470 William Ruthven Wheeler (1832-1893) Two Waterfall Scenes each signed and dated “WR Wheeler 1866” lower right Waterfall with Fisherman oil on board, 17 1/4 by 11 1/2 in. Waterfall oil on canvas, 18 by 12 in.

Wheeler was born in Michigan and studied art in Detroit as a young man. In 1862 he settled in Connecticut, where he maintained a studio for the next thirty years. The first exhibition of the Hartford Art Association included his painting of Mount Washington in New Hampshire. During his career, Wheeler also exhibited at the Boston Athenaeum and the Detroit Art Association. $4,000 - $6,000 295

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471 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 for his vivid genre 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 Southern Art Union. 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. $6,000 - $9,000

472 Howard L. Hill (1822-1888)

472

Setter and Quail signed “H. Hill” lower right oil on canvas, 18 by 24 in.

Howard Hill was Norman Rockwell’s grandfather, who immigrated to the United States in the 1860s. From New York, he created sporting and genre scenes, exhibiting at the National Academy of Design in 1865 and 1866. Rockwell kept a small painting of quail and chicks by Hill in his studio, now the Norman Rockwell Museum in Stockbridge, Massachusetts. $4,500 - $6,500

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473 European School (19th Century) Perched Pheasant Pair, c. 1860 oil on canvas, 28 by 36 in

Perched upon cliff-side branches, a cock pheasant pursues his female counterpart far above the ground below. Each bird is wonderfully detailed and expressive. $2,000 - $4,000

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474 Sidney Lawrence Brackett (1852-1910)

474

The Two Pound Trout signed “S. Brackett” lower left oil on canvas, 18 by 22 in. Vose Galleries, Boston label on back illegibly inscribed on upper right of stretcher

Sidney Lawrence Brackett was born in Boston, where he was a student of John B. Johnson and Frederic Porter Vinton. He was a member of the Boston Art Cub, where he often exhibited his work. Brackett is famous for his use of detail and realism in his animal paintings, and this classic fishing work is among his finest sporting scenes. $6,000 - $9,000

475 Harry A. Driscole (1861-1923)

475

Leaping Brook Trout signed “H.A. Driscole” lower right oil on board, 14 by 10 in.

Harry A. Driscole was a renowned “piscatorial” artist who lived in Peekskill, New York. A 1910 biography on the artist in Field and Stream notes, “He paints nothing else but fish and loves to pose them in the act of being captured in their native haunts.” In this painting, a brook trout gracefully leaps after a yellow nymph fly as it floats just beyond the fish’s reach. $800 - $1,200

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476 R.T. Shepherd (20th Century)

Leaping Smallmouth Bass, 1914 signed and dated “R.T. Shepherd 7-14” lower right oil on board, 14 by 11 1/4 in.

This painting captures the moment a smallmouth bass leaps from the water after being hooked. The back of the board displays a painted landscape study. $800 - $1,200

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477

This exact reel can be seen on a rod behind Zane Grey as he rifles through a tackle box.

477 Zane Grey’s 7 inch Hardy Bros. “Alma” Reel

This exact reel can be seen to the left of Zane Grey in this photo of his tackle collection.

Hardy Brothers Ltd. Alnwick, England, 1926 or 1927 7 in. diameter

Zane Grey (1872-1939) is recognized today both for his iconic portrayals of the American West and for his adventurous big-game fishing exploits. One of the most popular American authors of the early 20th century, Grey wrote more than 100 books, with over 250 million copies sold and more than 100 film and television adaptations. Grey was also the most accomplished fisherman of his time, driving innovations in equipment and drawing new attention to the sport. He broke world records for bluefin tuna, yellowfin tuna, Pacific sailfish, yellowtail, broadbill swordfish, mahi mahi, Pacific blue marlin, black marlin, and tiger sharks, and was the first person to catch a fish—a blue marlin—over 1,000 pounds on rod and reel, a feat once thought impossible. Offered here is an exceedingly rare 7-inch Hardy “Alma” big game reel, specially ordered and owned by Zane Grey. This is the largest and scarcest of the “Alma” reels, with only five of these special-order 7-inch reels being made. Between its rarity, condition, and provenance, this is one of the most important big game reels ever to be offered for sale. The “Alma” is named for New Zealand sportfishing legend C. Alma Baker, who designed and had Hardy Bros. produce a series of two-speed big game reels in six sizes from 1925 until 1937. A December 1924 letter from Alma Baker to Zane Grey references this reel, with Baker writing, “I have given Hardy the order you gave me for one of my big reels, and a heavy rod . . . I hope they will reach you in time for the next season.” It was likely the first Hardy reel built for Grey, preceding the renowned Hardy "Zane Grey" line of

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big game reels. This exact reel can be seen in a photo of Grey going through a tackle box, and is identified in a photo of Grey’s tackle collection by the black wrapping on the inner spool. It was one of only five big game reels featured in the IGFA’s “Zane Grey - The Fisherman” exhibit. This impressive reel is made of monel, a strong alloy often used in marine and aerospace engineering, and has brass hardware. An adjustable star drag is connected to the reel’s handle, and a lever on the rim of the front plate allows the user to seamlessly switch between two gear ratios as needed while fighting a fish. With a flip of the lever, the reel can change from a 1:1 gear ratio to free spool, then to a 2 1/2:1 gear ratio. On the back plate are two levers for clickers that can be toggled on and off. One plaque reads “The ‘Alma’ Reel / Made by Hardy Bros LTD. / Alnwick, England” and the other lists the British, New Zealand, Australian, Canadian, and American patent numbers. Appears to be in original working condition with moderate fishing wear. In-use repairs to two of the bridges. Provenance: Private Collection, California Private Collection, Florida Literature: John Drewett, Hardy Brothers: The Masters, the Men and Their Reels, London, England, 1998, pp. 469 and 579, Alma reels discussed and manufacturing numbers listed. Exhibited: Diana Beach, Florida, Zane Grey - The Fisherman, International Game Fish Association, IGFA Fishing Hall of Fame and Museum, November 2000-February 2001. $20,000 - $30,000

478

478 Ernest Hemingway’s Pilar Marlin Flag

Provenance: Ernest Hemingway’s Marlin Flag for the Pilar Captain Bob Smith Collection, Bimini, Bahamas Private Collection, Florida, acquired from the above in 1989

Ernest Hemingway (1899-1961) is one of the preeminent authors of the last century, receiving a Pulitzer Prize for Fiction in 1953 for The Old Man and the Sea and a Nobel Prize in Literature in 1954. Hemingway’s influence in the sport fishing world cannot be overstated and extends far beyond his writings. A passionate and experienced fisherman, Hemingway was one of the most outspoken promoters of fishing ethics and sportsmanship of his time. As a founding member of the International Game Fish Association, he served as the organization’s first vice president starting in 1939, maintaining this position until his death in 1961. In the Atlantic, he spent many years fighting big-game fish in Florida waters and the Gulf Stream on his 38-foot boat, the Pilar. He set a world record in 1938 for catching seven marlin in a single day, won numerous tournaments in the Caribbean, and founded the Ernest Hemingway International Billfishing Tournament in Cuba.

$5,000 - $8,000

c. 1935 21 1/2 by 14 1/2 in.

This hand-sewn marlin flag, now being offered publicly for the first time, once flew atop Hemingway’s infamous boat, the Pilar, as he roamed the seas in search of game fish. It can be seen waving from the Pilar’s flagpole in an iconic image that shows Hemingway with a large marlin. This piece is one of the most important of Hemingway’s surviving personal effects to be offered for sale. Likely a catch flag, it was flown high atop the Pilar to indicate when the boat had landed a marlin. An enduring symbol for Hemingway, his pursuits, his most famous book, and his beloved boat, this flag epitomizes the rugged spirit, adventure, and deep respect for the sea that defined his life. This flag was almost lost to history, but was collected and preserved by Captain Bob Smith, who was a chair boy aboard the Pilar as a young man, a legendary Bimini guide, and a friend of Hemingway’s. As found.

In Havana Harbor, Hemingway poses with a freshly caught marlin alongside Antonio Gattorno and his wife Lillian, lot 478 seen flying atop the Pilar.

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JIM SCHMIEDLIN

1945-2015 | BRADFORD WOODS, PA

479 The “Missing” Schmiedlin Canada Goose

Jim Schmiedlin (1945-2015) Bradford Woods, PA, 1996 26 in. long

A Pittsburgh native, Jim Schmiedlin proudly served in the U.S. Navy from 1965 to 1971. He began carving in his spare time while working at Pittsburgh Brewing (Iron City Beer). Today, Schmiedlin’s work ranks among the most soughtafter of any decoy maker of the past seventy-five years. Schmiedlin geese are exceptionally rare; only four are known to have been carved. As with the celebrated Harry V. Long Canada goose trio by Elmer Crowell nearly a century earlier, Schmiedlin’s geese represent the pinnacle of his artistry and are nearly impossible for collectors to obtain. In fact, this particular high-head decoy was considered “missing” within collecting circles. Of the four geese he made, one remained with the family in Pennsylvania and the other two have each set record prices for contemporary decoys when they surfaced at auction. This example displays a bold and elegant design, featuring a high, turned head and a fully hollowed body. The paint is executed with Schmiedlin’s finest blended feathering, and the layered wings and carved tail reflect the influence of Elmer Crowell, who famously used incising, overlapping wing tips, and subtle blending. Also notable is the expertly rendered bill carving. Geese often inspire a carver’s best work, and Schmiedlin did not miss the opportunity; this is among the finest decoys he created for his personal hunting rig. In addition to the maker’s “REWARD FOR RETURN” and “JAS” brands, the underside’s keel is removed, and it carries numerous handwritten notes documenting its gunning and

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collecting history, including a reference to the Thompson Bay photograph. There is a long painted inscription from Jim to Betty Williford. Outstanding original paint with light gunning wear. Provenance: Jim Schmiedlin Rig Betty Williford Collection Matt Geis Collection Literature: Copley Fine Art Auctions, The Winter Sale 2021, February 2021, lot 488, rigmate illustrated. David W. Hodgman, “Jim Schmiedlin: Making the best darn gunning decoys in the land,” Decoy Magazine, May/June 1999, pp. 32-35, information on the carver. $50,000 - $70,000

THE “MISSING” SCHMIEDLIN CANADA GOOSE

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The Robert Metcalf Collection By Chelsie Olney Robert “Bob” Metcalf was born and has lived most of his life in Mount Vernon, Illinois. Bob’s love for duck hunting began as a young boy, going out with his father and neighbor on nearby Miller Lake. Metcalf relishes his memories of building blinds, setting out decoys, calling in waterfowl, shooting, and preparing his quarry. Smoked mallard being a particular favorite. Copley owner Stephen O’Brien Jr recounts, “Running into Bob Metcalf at decoys shows over the last thirty years has been a joy. In addition to being one of the nicest people I’ve met, Bob had a good eye. He was methodical, he didn't buy a ton of birds, but what he gravitated towards was usually

Robert Metcalf after a successful hunt.

top-notch.” Metcalf's passion for hunting was the catalyst for his

He was especially drawn to the carvings by the Ward

interest in collecting duck decoys and calls. Bob describes

brothers and Illinois River makers, such as Charlie Perdew.

shooting over wooden decoys, explaining, “From that point

One highlight was visiting Charlie and Edna’s home to see

on, I was hooked.” Metcalf enjoyed collecting a variety of

firsthand where the legendary decoys were carved and

species, but was particularly smitten with greenheads.

painted. Concerning Perdew decoys, Metcalf recalls, “They were so well-made that no one wanted to put them in water, so they went on the mantel instead.” Metcalf was also drawn to several other esteemed Illinois Rivers makers, such as Bert Graves (1880-1956), Oscar Alford (1883-1962), Charles Walker (1873-1954), and Henry Ruggles (1830-1897). Bob also holds the decoys of Louisiana, such as those by Clovis Vizier Sr. (1875-1975) and Mitchel LaFrance (18821979), in high regard. Metcalf appreciates the fact that Louisiana hunters and collectors fought to retain their makers’ decoys in their state. In addition to his admiration for works by early carvers, Metcalf has also been a loyal patron of his favorite contemporary artists, including Jim Schmiedlin (1945-2015), Leo H. McIntosh (1953-2007), Mark McNair (b. 1950), and Marty Hanson (b. 1965). In addition to decoys, Metcalf has collected duck calls over the decades, and is especially drawn to Arkansas calls and particularly those made by James T. Beckhart (1864-1922). Like many hunters, the sport which brought Metcalf so much pleasure in the field, inspired the Sporting art he acquired for the shelves and walls. Copley is honored to share Bob Metcalf ‘s collection with the decoy collecting community.

< Lot 481, Mallard duck call by Charles H. Perdew.

JAMES T. BECKHART 1864-1922 | BIG LAKE, AR

480 Outstanding Duck Call James T. Beckhart (1864-1922) Big Lake, AR, c. 1900 5 1/2 in. tall

A hand-carved, checkered-teardrop call with four raised checkered panels. It bears a stamped J. T. Beckhart signature atop the barrel. A Callmakers & Collectors Association of America “High Bid Honoree” ribbon from the 1989 annual call auction accompanies the lot. As found. Provenance: Robert Metcalf Collection $8,000 - $12,000

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481

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481 Mallard Duck Call

Charles H. Perdew (1874-1963) Henry, IL, 1940 6 1/4 in. tall

A finely detailed Perdew duck call with two relief-carved mallard drakes and one hen. The initials “W.S.L” are also relief-carved. The blowing end is capped with a green Bakelite mouthpiece. The piece is contained in what appears to be its original red box. As found. Provenance: Robert Metcalf Collection $2,500 - $3,500

among its call suppliers. The company was bought by its rival, Abercrombie & Fitch, in 1928. As found. Provenance: Robert Metcalf Collection

$1,500 - $2,500

485 Carved Duck Call 483 Carved Canada Goose Call

5 1/2 in. tall

Marty Hanson (b. 1965) Prior Lake, MN 6 in. tall

A checkered-teardrop incised call. As found.

A call with two flying Canada geese incised on the sides. Signed on the inside. As found.

$500 - $800

482 VL&A Duck Call

$1,000 - $1,500

The side of this hand-carved, checkered-teardrop call bears an incised “VL&A.” Formed in early 1891, Von Lengerke & Antoine was a prominent sporting goods store in Chicago that boasted Charles Perdew and J. T. Beckhart

484 Carved Duck Call

304

Provenance: Robert Metcalf Collection

$1,000 - $1,500

Provenance: Robert Metcalf Collection 6 1/2 in. long

a student of J. T. Beckhart, and took over his business in 1922. As found.

Claude C. Stone (1888-1973) Hornersville, MO, c. 1925 6 3/4 in. long

A call with four finely checkered raised panels and a carved bird-like “S.” Stone was

Provenance: Robert Metcalf Collection

486 Carved Duck Call 6 in. long

An unsigned call with raised checkered panels. As found. Provenance: Robert Metcalf Collection $500 - $800

487

488

487 Rare Oversize Mallard Hen

488 Mallard Pair

A grand hollow decoy that acted as a large canvas for Catherine Elliston’s excellent brushwork. Around one dozen of these oversize decoys are believed to have been made. Original paint with gunning wear, including some loss to tail edge, and some surface residue mostly around neck cracks and body seam.

A matched pair of “green heads” that retain their Perdew, Henry, Ill, weights on the bottom. Both are in Perdew paint with gunning wear. Hen has a second coat by Edna.

Bert Graves (1880-1956) Peoria, IL, c. 1930 22 in. long

Charles H. Perdew (1874-1963) Henry, IL, c. 1935 16 in. long

Provenance: Robert Metcalf Collection $5,000 - $8,000

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489

490

489 Mallard Drake

490 Rare Mallard

Prior to establishing himself as one of the Mississippi Flyway’s top decoy makers, Walker was a painter who was influenced by his talented father, a blacksmith and violin maker. This decoy shows very good head carving with a thin neck and the clean lines and exceptional combed and blended paint associated with this esteemed rig. Lawton’s “34” designation is painted on the underside Original paint with even gunning wear.

Along with Otto Garren (1890-1968), Oscar Alford had perhaps the most whimsical style of all the Illinois River decoy makers. With perfectly round heads, thin pointed bills, gently concave backs, intricate tail carving, and highly stylized paint patterns, Alford’s hollow decoys are capricious examples of American folk art. Oscar Alford, along with his sons, Howard and Glenn, produced a total of only three dozen decoys for personal use. Original paint with light gunning wear, appealing varnish craquelure, and a few drips on lower right side.

Provenance: Watson Lawton Rig, Princeton Game and Fish Club Robert Metcalf Collection

Provenance: Alford Family Rig Robert Metcalf Collection

Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 54-61, Walker club decoys illustrated and discussed.

Literature: Stephen B. O’Brien Jr. and Julie Carlson, Masterworks of the Illinois River, Boston, MA, 2005, pp. 70-75, rigmates illustrated.

Charles Walker (1873-1954) Princeton, IL, c. 1948 17 in. long

$5,000 - $8,000 306

Oscar Alford (1883-1962) Beardstown, IL, c. 1920 13 1/2 in. long

$3,000 - $5,000

491

491 Canvasback

Richard Wilcoxen (1855-1926) Liverpool, IL, c. 1890 15 in. long

A rare decoy by the older and more talented brother of the more prolific Perry Wilcoxen. Original paint with even gunning wear and gunning touch-up to black. Provenance: Joe French Collection Robert Metcalf Collection

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$400 - $600

492 Rare Mallard Drake P.O. Drury New Boston, IL, c. 1900 15 1/2 in. long

An early Mississippi River decoy from the turn-of-thecentury, ink stamped “Made by P.O. Drury, New Boston, Ill” on the underside. The hollow high head was made with influence from the Mason Decoy Factory. Original paint with light gunning wear.

493

Provenance: Robert Metcalf Collection Literature: Paul W. Parmalee and Forrest D. Loomis, Decoys and Decoy Carvers of Illinois, DeKalb, IL, 1969, pp. 134-135, Drury discussed. $800 - $1,200

493 Rare Ring-Necked Duck Henry Ruggles (1830-1897) Henry, IL, c. 1880 13 in. long

Finding any Ruggles decoys in good old paint has proven difficult for collectors, making this ringbill carving a very rare find. The underside has a “Y” brand, which is also seen on the Masterworks redhead by the maker. Old, possibly original paint, with even gunning wear to the wood.

494 Green-Winged Teal Pair Harold Haertel (1904-1995) Dundee, IL, c. 1965 10 in. long

Provenance: Robert Metcalf Collection

A cork-bodied pair with the maker’s “HH” signature under the hen’s bill tip. Original paint with light wear and a few white specks on drake’s back.

$1,000 - $1,500

Provenance: Robert Metcalf Collection $800 - $1,200

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495 Bluebill Hen

495

George Warin (1830-1905)(attr.) Toronto Islands, Ontario, Canada, c. 1880 14 in. long

A featherweight hollow decoy with a ridged tail and deep eye grooves. Original paint with even gunning wear and an age line below the neck seam. Provenance: Robert Metcalf Collection $2,000 - $4,000

496 Bluebill Pair

496

George Warin (1830-1905) Toronto Islands, Ontario, Canada, c. 1880 13 1/2 in. long

A storied pair with numerous Long Point brands, including “Mills,” “H.M.J.,” “WLM,” and “A.N. Rantoul.” Original and old gunning paint with moderate gunning wear. Touch-up to smoothed bill tip edges. Provenance: Robert Metcalf Collection $800 - $1,200

497

497 Rare Black Duck Paul Green Yardville, NJ, c. 1935 16 in. long

This vintage carving bears the Delaware River maker’s excellent feather paint and brass plaque. The underside has copper nails embossed “H.” Appears to be original paint with even gunning wear. Provenance: Robert Metcalf Collection Literature: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 190, pl. 449, related decoy illustrated. $600 - $900

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499

501

498 Green-Winged Teal

500 Mallard Pair

The rig of these teal was found by Jack White. Brian Cheramie describes a related “special green-winged teal” in his book. Original paint with gunning wear, darkening to loss at top of tail, and some neck cracks with section of neck replaced.

Drake inscribed in pen and has a numbered brass tag on the underside. Drake appears to be in original paint with light, even wear, a restored bill and front of face, and touch-up. Hen is restored.

Provenance: Robert Metcalf Collection

Literature: Brian Cheramie, Louisiana Lures and Legends, Golden Meadows, LA, 1997, p. 141, related decoy illustrated.

$1,500 - $2,500

$3,000 - $5,000

501 Mallard Hen

Oscar Murphy (1850-1919) New Orleans, Louisiana, c. 1900 12 in. long

499 Blue-Winged Teal

Mitchel LaFrance (1882-1979) Phoenix-Davant, LA, c. 1930 12 in. long

An unrigged teal with a slightly forward and turned head, bright wing patches, and crisp paint. Original paint with light wear, original fill behind left eye, and a one-third bill restoration. Provenance: Robert Metcalf Collection $600 - $900

Clovis Vizier Sr. (1875-1975) Galliano, LA 13 in. long

Mitchel LaFrance (1882-1979) Phoenix-Davant, LA 15 1/2 in. long

A classic LaFrance with strong and bright feathering, full cheeks, raised wing carving, and its original rigging. Original paint with mild gunning wear, including some shot scars and flaking mostly to right side and tail edge. Provenance: Robert Metcalf Collection Literature: B. Cheramie, Louisiana Lures and Legends, Golden Meadows, LA, 1997, p. 185, related mallards illustrated. $600 - $900

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JIM SCHMIEDLIN

1945-2015 | BRADFORD WOODS, PA

502

502 Gadwall Pair

Jim Schmiedlin (1945-2015) Bradford Woods, PA, c. 2001 17 in. long

A Pittsburgh native, Jim proudly served in the US Navy from 1965 to 1971. He began carving in his spare time while employed at Pittsburgh Brewing (Iron City Beer), where he worked for forty years. Today, Schmiedlin’s work is among the most sought after of any decoy maker who carved in the last half century. The drake’s underside bears the maker’s

“JAS” brand and “Return for Reward” details. The hen’s underside bears the maker’s “JAS” brand, “Return for Reward,” the date, and usage details. Original paint with light gunning wear. Imperceivable touch-up by maker to hen in 2010. Provenance: Robert Metcalf Collection $5,000 - $7,000

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503

503 Ring-Necked Drake

Jim Schmiedlin (1945-2015) Bradford Woods, PA, c. 2003 12 1/2 in. long

The underside bears the maker’s “JAS” brand and “Return for Reward” details. Original paint with light gunning wear. Provenance: Robert Metcalf Collection $3,000 - $5,000

504 Preening Ruddy Duck Jim Schmiedlin (1945-2015) Bradford Woods, PA 11 in. long

504

The underside bears the maker’s “JAS” brand and “Return for Reward” details. Original paint with light gunning wear. Provenance: Robert Metcalf Collection $4,000 - $5,000

505 Canvasback Pair

Jim Schmiedlin (1945-2015) Bradford Woods, PA, 1991 18 in. long

505

The undersides bear the maker’s “JAS” brand, date and inked signature. Original paint with light wear. Provenance: Robert Metcalf Collection $5,000 - $7,000

506 White-Winged Scoter Pair Jim Schmiedlin (1945-2015) Bradford Woods, PA, 1996 17 in. long

506

Each is branded “JAS,” pencil signed, and marked with the species name and date on the underside in fancy script. Original paint with light wear. Provenance: Robert Metcalf Collection $3,500 - $4,500

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507

507 Early Wood Duck

Mark McNair (b. 1950) Craddockville, VA, c. 1977 13 1/2 in. long

An early hollow drake with a slightly turned head and raised crest. The underside is incised “M McNAIR” with a 5-point star. Original paint and wear. Provenance: Robert Metcalf Collection $3,000 - $5,000

508 Wood Duck Pair

508

Marty Hanson (b. 1965) Prior Lake, MN hen is 17 1/2 in. long

The undersides of this hollow pair of decoys bear the maker’s stamped signature. Original paint with light wear. Provenance: Robert Metcalf Collection $1,000 - $2,000

509 Mallard Pair

Leo H. McIntosh (1953-2007) Woodville, NY 16 3/4 in. long

509

A hollow, turned-head pair with “L. H. McIntosh” incised in the bottom. Original paint with minimal wear. Provenance: Robert Metcalf Collection $1,500 - $2,500

510 Merganser Pair

510

Leo H. McIntosh (1953-2007) Woodville, NY, 1991 19 in. long

A pair of turned-head carvings with “Leo. H. McIntosh” signatures in the undersides. The drake is dated as well. Original paint with light wear. Provenance: Robert Metcalf Collection $1,000 - $2,000

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MIKE BORRETT

511 Rare Lake Trout Carving

B. 1960 | MADISON, WI

Mike Borrett (b. 1960) Madison, WI 18 in. long

Signed by the maker on the backside. Original paint with light wear. $800 - $1,200

511

512 Trophy Brown Trout Carving Mike Borrett (b. 1960) Madison, WI fish is 23 in. long

512

This large trout is signed by the artist on the back of the beveled oval base. Original paint with light wear. $700 - $900

513 Brook Trout Carving Mike Borrett (b. 1960) Madison, WI 21 1/2 in. long

513

This trout is signed by the maker on the backside. Original paint with light wear. $800 - $1,200

514 Trophy Brook Trout Carving Mike Borrett (b. 1960) Madison, WI, 2007 fish is 22 1/2 in. long

514

Signed and dated by the artist on the back of the beveled oval base. Original paint with light wear. $700 - $900

515 Smallmouth Bass Carving Mike Borrett (b. 1960) Madison, WI, 2010 23 in. long

515

Signed and dated by the maker on the backside. Original paint with light wear. $800 - $1,200

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MARTY COLLINS

B. 1960 | EAST WAREHAM, MA

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516 Red-Breasted Merganser Pair Marty Collins (b. 1960) East Wareham, MA 18 in. long

A merganser pair with horse-hair crests and elaborate tail and wing-tip carving. This duo represents two of the artist’s very finest executions. Signed with the maker’s brand on the underside. Original paint with light wear. Provenance: Mike Caton Collection $600 - $900

517 Oversize Mussel-Munching Eider Marty Collins (b. 1960) East Wareham, MA 22 in. long

Carving bears an inletted head and a horseshoe weight on the underside. Original paint with light wear. Provenance: Mike Caton Collection $600 - $900

518 Large Hanging Pike Marty Collins (b. 1960) East Wareham, MA 37 in. long

This Oscar-Peterson-style hanging trade sign bears the maker’s bronze plaque signature on the underside. Original paint with light wear and tight cracks through underside. Provenance: Mike Caton Collection $1,000 - $2,000

519 Goldeneye

Marty Collins (b. 1960) East Wareham, MA, 2020 15 1/4 in. long

Dated, branded, and signed “M. D. Collins” on the bottom. Original paint with light wear. Provenance: Mike Caton Collection $200 - $400

520 Green-Winged Teal Marty Collins (b. 1960) East Wareham, MA, 2011 14 in. long

A feather-light teal with the maker’s signature, date, and an artistic mountain scene etched in the paint on the underside. Original paint with light wear. Provenance: Mike Caton Collection $200 - $400

517

314

518

519

521

520

522

521 Merganser with Leather Crest

523 Resting Black Bear

Branded “M. D. Collins” on the underside. Original paint with light wear and tight crack through back.

Signed with the maker’s rectangular ink stamp on the bottom. Original paint with light wear.

Provenance: Mike Caton Collection

$200 - $400

Marty Collins (b. 1960) East Wareham, MA 14 in. long

Marty Collins (b. 1960) East Wareham, MA 11 in. long

522 Bufflehead Hen

Marty Collins (b. 1960) East Wareham, MA 9 1/4 in. long

A bufflehead with a tucked and turned head and elaborate wing-tip carving. Signed with the maker’s brand on the weight and the carving’s underside. Original paint with light wear.

523

Provenance: Mike Caton Collection $200 - $400

315

STAN SPARRE

1923-2011 | EAST FALMOUTH, MA

524 Life-Size Wood Duck Stan Sparre (1923-2011) East Falmouth, MA, 1976 13 1/2 in. tall

Signed and dated on the bottom of the base by the maker. Original paint with moderate wear, including loss to one wing-tip and to right edge of tail. $2,000 - $3,000

524

525 Piping Plover

Stan Sparre (1923-2011) East Falmouth, MA 6 1/2 in. tall

525

Signed on the bottom of the base by the maker. Original paint with light wear and some raised paint flakes on front of neck. $200 - $300

526 Rare Pintail

526

Stan Sparre (1923-2011) East Falmouth, MA 19 1/2 in. long

A very rare life-size mantel bird with carved feather and wing-tip details. Signed on the bottom of the base by the maker. Original paint with light wear and touch-up to a reset sprig. $1,000 - $2,000

316

527 Miniature Cardinal Pair Peter Peltz (1915-2001) Sandwich, MA 3 3/4 in. tall

527

Signed by the maker on the underside. Original paint with wear.

528

$100 - $300

528 Miniature Robin, Black Bird, and Flicker Peter Peltz (1915-2001) Sandwich, MA largest is 4 in. tall

A trio of a miniature robin, red-winged black bird, and a flicker which are all signed by the maker on the underside. Original paint with wear.

530

529

531

$100 - $300

529 Songbird Trio

Peter Peltz (1915-2001) Sandwich, MA largest is 3 3/4 in. tall

A miniature Baltimore oriole, bluebird, and goldfinch all signed by the maker on the underside. Original paint with wear.

532

533

534

535

$100 - $300

530 Miniature Pheasant Peter Peltz (1915-2001) Sandwich, MA 5 in. long

Signed by the maker on the underside. Original paint with wear. $100 - $300

531 Miniature Grouse Peter Peltz (1915-2001) Sandwich, MA 3 in. tall

Signed by the maker on the underside. Original paint with wear. $100 - $300

532 Miniature Roadrunner Peter Peltz (1915-2001) Sandwich, MA 7 in. long

Signed by the maker on the underside. Original paint with wear. $100 - $300

533 Miniature Bald Eagle Peter Peltz (1915-2001) Sandwich, MA 6 in. tall

537

536

Signed by the maker on the underside. Original paint with wear.

536 Miniature Tern and Herring Gull

$100 - $300

Peter Peltz (1915-2001) Sandwich, MA seagull is 2 3/4 in. tall

534 Miniature Pelican

The duo are both signed by the maker on the underside. Original paint with wear.

Peter Peltz (1915-2001) Sandwich, MA 5 in. tall

Signed by the maker on the underside. Original paint with wear. $100 - $300

535 Miniature Great Horned Owl Peter Peltz (1915-2001) Sandwich, MA 5 in. tall

Signed by the maker on the underside. Original paint with wear.

$100 - $300

537 Three Miniatures Peter Peltz (1915-2001) Sandwich, MA largest is 4 3/4 in. tall

A miniature scissor-tailed flycatcher, a cactus wren, and a ruby-throated hummingbird make up this trio of carvings signed by the maker on the underside. Original paint with wear and flycatcher has tail chip. $100 - $300

$100 - $300

317

538

539

540

541

538 Curlew

540 Yellowlegs

A curlew in a lifted-leg stance on a driftwood base, signed and dated on the underside by the maker. Original paint with light wear.

A majestic preening yellowlegs gripping a feather in its bill mounted on a driftwood base. The base is signed and dated by the artist. Original paint with light wear and loss to feather in bill.

Mark Holland Brewster, MA, 1977 14 in. tall

$1,000 - $2,000

Mark Holland Brewster, MA, 1974 21 in. long, 14 in. tall

$800 - $1,200

539 Life-Size Ruddy Turnstone James Lapham (1909-1987) Dennisport, MA 9 1/4 in. long

Lapham followed in the footsteps of A. Elmer Crowell (1862-1952). An inked inscription on the underside of the base lists the species and the maker’s signature. Original paint with light wear. $400 - $600

318

541 Woodcock

William Marston (20th century) 1960 bird is 9 1/2 in long

A well-executed life-size woodcock perched on a log. Original paint with light wear. $1,000 - $1,500

542

544

543

545

546

542 Rare Miniature Seagull

545 Miniature Flying Grouse

Signed with the maker’s label on the underside. Original paint with light wear.

A flying grouse with carved ruff and head feathers. Signed on the bottom of the base by the maker. Original paint with light wear and glue residue on tail and left wing.

Jess Blackstone (1909-1988) Melrose, MA, c. 1950 2 1/2 in. tall

Provenance: Estate of Marilyn M. Herlin $300 - $500

543 Miniature Chipping Sparrow Jess Blackstone (1909-1988) Melrose, MA, c. 1975 2 3/4 in. tall

Signed and numbered on the underside. Original paint with light wear and slightly blunted bill tip. Provenance: Estate of Marilyn M. Herlin

Stan Sparre (1923-2011) East Falmouth, MA 8 in. tall

$200 - $300

546 Flying Quail

Stan Sparre (1923-2011) East Falmouth, MA 12 in. tall, bird is 6 1/2 in. long

A bobwhite quail with outstretched wings and the maker’s signature on the underside of the base. Original paint with light wear. $600 - $900

$300 - $500

544 Miniature Turkey Stan Sparre (1923-2011) East Falmouth, MA 5 1/2 in. tall

Signed on the bottom of the base by the maker. Original paint with light wear. $200 - $300

319

The Jeff and Joyce Hay Collection By Chelsie Olney Jeffrey Dennis Hay (1967–2022) was born in Bellevue and grew up near the southern shores of Lake Erie. At Ohio State University, Hay held many student leadership positions before graduating with a bachelor’s degree. A natural facilitator with a strong work ethic and keen business acumen, Jeff received OSU’s prestigious “Young Professional Achievement Award” in 1999 for his work in the animal sciences field. After dating in college, Hay married Joyce Ellen Scott in 1991. As newlyweds living in Kansas, researching genealogy and delving into the history of artifacts became a cornerstone of their lives together and fueled their interest in collecting decoys along with other hunting and fishing antiques and artwork.

Jeff, Taylor, and Joyce Hay.

Over the decades, the couple developed an informed

couple conducted a seminar and displayed their

admiration and respect for Midwestern carvers and

decoy collection to lasting acclaim at the 50th-

Ohio waterfowling history and decoys in particular,

Annual North American Vintage Decoy and Sporting

as both Jeff and Joyce were natives of northern Ohio.

Collectibles Show in 2015. According to Joyce’s

Jeff once explained, “Like many new collectors, we

article in the Midwest Decoy Collectors Association

were encouraged to focus on the area we knew.” Little

newsletter, showcasing their collection provided

did the couple realize at that time that they would

an opportunity for the couple to develop a deeper

proceed to collect hundreds of decoys and become

understanding of the makers and Lake Erie’s historic

the leading figures of Ohio decoy collecting.

hunting clubs, including the Winous Point Shooting Club, the Ottawa Shooting Club, the DeMars Point

In 2009 the couple welcomed their daughter Taylor

Hunting and Fishing Club, and the Toussaint Shooting

Ellen into the world. According to Jeff’s obituary,

Club.

having and raising Taylor was “on a grander scale of joint projects.” Jeff, Joyce, and Taylor, as well as their English setter dogs, were beloved staples at Ohio decoy shows and meetings. Jeff often quibbed that his decoy acquisitions were intended to fund Taylor’s college education some day. True to his words, the proceeds from this sale will go towards precisely that. When the couple identified a pinnacle work, they went after it with determination and, as a result, the Hays collected some of the best carvings by Ohio makers as well as top Philadelphia makers whose carvings found their way to Ohio by rail. A testament to their expertise on Ohio carvings and folk art, the 320

The iconic Winous Point Shooting Club daguerreotype, 1861. In front of the clubhouse are posing members and neatly arranged hunting tools, including seven proudly displayed decoys.

fun-loving attitude, Jeff was roundly liked and respected at decoy events across the country, and is now sorely missed by the collecting community. Copley is honored to present this important collection of bird carvings and collectibles, curated by two of the region’s most knowledgeable historians and acquisitors.

Jeff and Taylor with their setter Zeke on a successful hunt.

Lot 549, black duck pair, Philadelphia, PA, c. 1860.

The decoy collecting community is fortunate that Jeff

Copley Fine Art Auctions would like to thank

and Joyce meticulously researched and cataloged so

Joyce Hay for graciously sharing her photographs for

much decoy history over the decades; their combined knowledge of Ohio, Philadelphia, and Midwestern decoys and heritage is vast and their willingness to share their findings is admirable. The documentation of their discoveries about the decoys, the makers, and the bygone shooting clubs has preserved a part of Ohio history that might otherwise have been lost.

this biography. SOURCES: Joyce Hay. “Ohio Seminar and Decoy Display.” Midwest Decoy Collectors Association Newsletter, Summer 2015. Joyce and Jeff Hay. Ohio Decoys. St. Charles, IL, April 2015. Joyce and Jeff Hay. “Ohio Decoys flock to Midwest Show.” Decoy Magazine, Jan/Feb 2015. The Obituary of Jeffrey Dennis Hay.

With his hearty handshake, friendly smile, and

Lot, 552 blue-winged teal, Philadelphia, PA, c. 1855.

Lot 553, black duck from the George A. Stanley Rig,

Ohio, c. 1850. 321

PHILADELPHIA PINTAIL HEN

547

547 Pintail Hen

Philadelphia, PA, c. 1880 15 in. long

A rare pintail hen from one of Philadelphia’s most distinct and refined rigs. This thinly hollowed decoy has a removable head that can be twisted off with a special key-hole bracket. The insides of the neck seam are marked with matching “VII” numerals. The body is finished with exceptional professional paint with some of the region’s best “V” feathering details. Original paint with light gunning wear and a tight neck crack. Provenance: Jeff and Joyce Hay Collection $2,500 - $4,500

322

548

549

548 Terrell Rig Teal Pair

549 Black Duck Pair

The undersides of both hollow carvings display “J. Terrell” brands. They both have highly distinct cheek carving and painted eyes. The turned-head posture is dramatic and rare. Appears to be original paint with even gunning wear. Small area of gunning touch-up to bottom of straight-head’s breast.

A pair of hollow and racy black ducks with shoulder carving and inletted heads. They relate closely to birds from the Winous Point Shooting Club in Port Clinton, Ohio, and they most likely originated there. Appealing old working paint with gunning wear, including chipping to tail edges and neck cracks.

St. Clair Flats, c. 1870 11 1/2 in. long

Provenance: Jeff and Joyce Hay Collection $4,500 - $6,500

Philadelphia, PA, c. 1860 18 1/2 in. long

Provenance: William K. du Pont Collection Jeff and Joyce Hay Collection Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, 2015, front cover and pp. 5 and 30, related Winous Point Shooting Club black duck illustrated twice. $4,000 - $6,000

323

550

552

551

553

550 Bluebill Drake Ohio, c. 1860 14 in. long

This decoy is related to carvings bearing the “GAS” brand of founding Winous Point member George Abraham Stanley (1818-1883). Original feathering on back, the black and head are in repaint. Light wear including some darkening to patch on right side. Provenance: Jeff and Joyce Hay Collection $800 - $1,200

551 Hollow Bluebill Ohio, c. 1860 13 in. long

Selected for the Ohio exhibition and catalog, this decoy is related to carvings bearing the “GAS” rig marking of founding Winous Point member George Abraham Stanley (1818-1883). Inked letters on underside may be “GAS.” Original paint with gunning wear, including some paint loss to head and above tail. Provenance: Jeff and Joyce Hay Collection Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, pp. 11-12, exact decoy illustrated. $600 - $900

552 Blue-Winged Teal Philadelphia, PA, c. 1855 11 in. long

This exceptional low-bodied teal from the Winous Point Shooting Club has become one of Ohio’s iconic decoys. It was photographed and described in Decoy Magazine 324

as being of the Philadelphia School. The underside bears the “BB” stamp for the Bernard “Barney” Blee Rig and a painted “R.H.N.” rig marking. This decoy was selected by Jeff and Joyce Hay for the special Ohio Decoys exhibition in 2015, and the 2006 Ohio calendar. Original paint with even gunning wear. Faint hairline crack in back of neck. Provenance: Bernard “Barney” Blee Rig, Winous Point Shooting Club Kangas Collection Jeff and Joyce Hay Collection Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, p. 18, exact teal illustrated. Jeff and Joyce Hay, Ohio Decoys flock to the Midwest Show, Decoy Magazine, January/February 2015, p. 31, related example illustrated. Linda and Gene Kangas, Collector's Guide to Decoys, Radnor, PA, 1992, pp. 52-53, exact decoy illustrated. $5,000 - $8,000

553 Black Duck Ohio, c. 1860 15 1/2 in. long

The form of this carving is similar to the Winous Point, Ohio, decoys that bear the “GAS” George A. Stanley Rig marking. Bears the “SGH” stamp on the underside designating the Somers G. Headley Collection. Additionally, the hollow carving has been struck three times with a “CC” brand, which could be for Winous Point’s Bolton family members, including Charles, Chester, or Castle. Old Philadelphia-school repaint with moderate gunning wear. Old nails to cracks in neck and lower right side. Provenance: Somers Headley Collection Jeff and Joyce Hay Collection $600 - $900

554

556

555

557

554 Gardiner High-Head Canvasback Edmund G. Gardiner (1844-1923) Norwalk, OH, c. 1860 16 1/2 in. long

In Ohio Decoys, Jeff and Joyce Hay refer to this exact carving and the unique rigging system it features: “The only early member of Winous Point who made his own decoys was apparently Edmund G. Gardiner (1844-1923) of Norwalk, Ohio. He was the son of founding member John Gardiner. His grandson, Charles B. Gardiner, gave Vic Bracher a tour of the family’s historic home and workshop where he explained that his grandfather made his own decoys... Most [including this lot] feature a very unique anchor line that is ‘pulled through a hole in the body behind the head to withdraw the weight into a recess drilled into the breasts; then the line is held in a “V” groove in the tail after it has been wrapped around the neck and/or body.’ The underside is branded “E G Gardiner.” Original paint with even gunning wear.

Provenance: Jeff and Joyce Hay Collection $600 - $900

556 Black Duck Ohio, c. 1860 16 1/2 in. long

This fine decoy hails from not only the Winous Point Shooting Club, but also the esteemed George A. Stanley rig. The underside bears a “GAS” stamp under the tail, breast, and bill tip. This decoy was selected by Jeff and Joyce Hay for the special Ohio Decoys exhibition in 2015. Original paint with light gunning wear, including a few dings and a chip to left side of tail edge. Provenance: George A. Stanley Rig, Winous Point Shooting Club Jeff and Joyce Hay Collection Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, p. 8, exact decoy illustrated.

Provenance: Gardiner Rig, Winous Point Shooting Club Jeff and Joyce Hay Collection

$1,000 - $2,000

Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, p. 9, exact decoy illustrated and described.

557 Turned-Head Bufflehead Pair

$1,500 - $2,500

555 Mallard Drake Ohio, c. 1880 15 in. long

This decoy is on the front cover and the June page of the 2006 Ohio decoy calendar. It relates to early Detroit factory birds and a decoy with the Winous Point “Babcock” brand. The underside has a brand that appears to begin with “D.” Original paint with gunning wear. Old glue and nails to cracked neck.

Finch Rig Port Huron, MI 9 1/2 in. long

Both drakes bear a “W. H. Finch” brand on the underside. One head is in a preening pose and the other is loose and aligns sharply to the right. Appears to be original paint with moderate gunning wear, including some rubs. One with loose head and crack in back. Provenance: Jeff and Joyce Hay Collection $800 - $1,200 325

558

560

559

561

558 Blue-Winged Teal

560 High-Head Black Duck

This decoy was selected by Jeff and Joyce Hay for the special Ohio Decoys exhibition in 2015. The underside of the hollow body has a brand ending in “T.” Original paint with even gunning wear and a tightly reset neck seam.

This high-head carving is branded “VIVIAN” on the underside. Original paint with gunning wear, including roughness to tail and a ding on rear left side. Tight line in underside of bill.

Provenance: Jeff and Joyce Hay Collection

Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, p. 12, exact decoy illustrated in Winous Point section.

$600 - $900

$1,000 - $2,000

561 Rare Mallard Pair

Ohio, c. 1880 12 in. long

559 Redhead Pair

Frank James Noe (1881-1960) Columbus, OH, c. 1920 15 in. long

Noe was one of Ohio’s most innovative decoy and call makers. In 1914 he was mentioned in a Sunday Columbus Dispatch article in regards to his unique side occupation as a “designer of flies and deceiver of fish.” The hen is hollow. Appears to be mostly original paint with gunning wear. Both have neck cracks, and gunning repaint to bills. Provenance: Jeff and Joyce Hay Collection Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, p. 22, exact pair illustrated. $1,000 - $2,000

326

Vivian Rig Ontario, Canada, c. 1900 16 1/2 in. long, 8 in. tall

Captain Adam Hartung (1860-1909) Sandusky, OH, c. 1890 16 in. long

A rare and well-carved early pair of Ohio decoys with hollow bodies. Not only a carver, but also a fire captain, Hartung is believed to have used the time between alarms to make decoys. Hen appears to have original paint with appealing craquelure. Drake may be in an old second coat of paint and has wear to tail edge and cracked neck. Hen’s bill has tight crack. Provenance: Hartung Family Rig and Collection Jeff and Joyce Hay Collection Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, p. 20, Hartung oversize mallards discussed. $1,000 - $2,000

562

564

566

563

565

567

562 Mallard Drake

564 Mallard Pair

The underside of this hollow decoy’s bill is stamped “GAS.” George Abraham Stanley (1818-1883) was a founding member of Winous Point. Original paint with even wear, exposing some wood, and a neck crack.

A grand pair of mallards by this Englishborn carver. These were selected for the Ohio exhibition and catalog. Original paint with even gunning wear, each has tight neck cracks, hen’s neck has a thin ring of glue.

Provenance: Jeff and Joyce Hay Collection

$800 - $1,200

Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, p. 23, exact pair illustrated.

Ohio, c. 1860 16 in. long

563 Hump-Back Redhead Pair

Reginald Vicary (1903-1983) Rossford, OH, c. 1940 17 1/2 in. long

John “Jack” Rider (1881-1967) Port Clinton, OH, c. 1940 15 in. long

$800 - $1,200

A bold pair with incised, crossed wing tips and the maker’s painted signature on the undersides. Original paint with moderate gunning wear, some fill to hen’s back cracks.

Ohio, c. 1860 13 1/4 in. long

Provenance: Jeff and Joyce Hay Collection $1,000 - $2,000

565 Hollow Bluebill Horn Rig

This decoy is related to carvings bearing the “GAS” brand of founding Winous Point member George Abraham Stanley (1818-1883). This hollow decoy has a “John A. Horn” brand. Old paint with heavy gunning wear and some touch-up. Provenance: Jeff and Joyce Hay Collection $200 - $400

566 Bluebill Ohio, c. 1880 11 1/2 in. long

The underside has a strip weight and an incised “H.” Original paint with moderate gunning wear, original knot indentation on head, touch-up to edge of tail, and neck crack. Provenance: Jeff and Joyce Hay Collection $300 - $500

567 Porter Rig Mallard Philadelphia, PA, c. 1870 18 in. long

A grand hollow carving in the Philadelphia School style with a “J. H. Porter” brand on the underside. There is an inlaid head, pinched breast, and paint like that on the Blair decoys. Original paint with moderate gunning wear and head is a replacement. Provenance: Porter Rig, Winous Point Shooting Club Jeff and Joyce Hay Collection Literature: Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, p. 9, exact decoy illustrated and discussed. $800 - $1,200

327

568

570

569

571

568 Rare Pinch-Breast Mallard Hen

570 Rare Bufflehead

This hollow decoy features highly pronounced pinchbreast carving and a drawn-back head. The underside is cold-stamped “SGH” three times for the Somers Headley Collection. Original paint with even gunning wear, including rub to right speculum and ding to right crown edge.

The underside appears to have a painted “AA” and a branded “OJ.” Mostly original paint with gunning wear, old working paint to bill, and scattered spot touch-up to wear.

Philadelphia, c. 1870 15 in. long

Provenance: Somers Headley Collection Jack Conover Collection Jeff and Joyce Hay Collection Literature: Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, p. 211, exact decoy illustrated (incorrect caption). $3,000 - $5,000

569 Darlington Rig Mallard Pair Ohio, c. 1860 15 in. long

Both bear painted “WD” rig markings on the underside for Winous Point founding member William M. Darlington. These decoys show a strong connection to Blair and the Philadelphia School. Original and overpaint with heavy gunning wear, both have partial bill replacements. Drake has original seam on lower left side. Provenance: W.M. Darlington Rig Jeff and Joyce Hay Collection Literature: Linda and Gene Kangas, “WMD: The missing link,” Decoy Magazine, July/August 2012, front cover and pp. 24-31, related decoys illustrated and discussed. $1,500 - $2,500

328

John Way (attr.) Prince Edward County, Ontario, c. 1920 10 in. long

Provenance: Jeff and Joyce Hay Collection $1,500 - $2,500

571 Harris Rig Redhead

J. N. Dodge Factory (1883-1893) Detroit, MI, c. 1880 14 1/2 in. long

A rare early Dodge decoy with a high wing chine tapered to its flat bottom. The underside is branded for Winous Point Shooting Club member and industrial titan W. H. Harris. This carving was featured on the cover of the 2007 ODCCA vintage decoy contest and is one of only five decoys pictured in the Ohio section of The Great Book of Wildfowl Decoys. Original paint with gunning wear, chip to bill tip, and crack at base of neck. Provenance: Harris Rig, Winous Point Shooting Club Jeff and Joyce Hay Collection Literature: Joe Engers, ed., The Great Book of Wildfowl Decoys, San Diego, CA, 1990, p. 201, exact decoy illustrated. Jeff and Joyce Hay, Ohio Decoys, St. Charles, IL, April 2015, p. 10, exact decoy illustrated (image reversed). $600 - $900

572

574

573

575

572 Early Green-Winged Teal Pair J. N. Dodge Factory (1883-1893) Detroit, MI, c. 1885 12 in. long

574 Bufflehead

A rare and early well-matched pair of sharp-chined decoys with upswept tails. The hen has a “Worthington” brand. Original paint with moderate gunning wear, including some tail chips and tight age lines. Drake had some varnish removed from lower sides.

Old, possibly original, paint with moderate gunning wear.

Provenance: Jeff and Joyce Hay Collection

575 Bufflehead

Ontario, Canada, c. 1900 13 in. long

Provenance: Jeff and Joyce Hay Collection $600 - $900

$2,000 - $3,000

Ontario, Canada, c. 1920 12 in. long

573 Redhead

Original paint with even gunning wear, bill is repaired and repainted.

Ontario, Canada, c. 1900 13 3/4 in. long

A flats drake with a suite of wing paint techniques. Original paint with gunning wear, including old tail chip, working wash to the black, and restoration to bill and to a shot scar on right side.

Provenance: Jeff and Joyce Hay Collection $300 - $500

Provenance: Jeff and Joyce Hay Collection $600 - $900

329

576 Sucker Decoy

Oscar W. Peterson (1887-1951) Cadillac, MI, c. 1925 5 in. long

Original paint with fishing wear. Provenance: Jeff and Joyce Hay Collection $1,000 - $2,000

576

577 Black and Gold Fish Decoy

577

7 1/2 in. long

An old fish decoy with metallic gold detail and a carved mouth. Original paint with fishing wear. Provenance: Jeff and Joyce Hay Collection $100 - $300

578 Four Fish Decoys largest is 9 1/2 in. long

578

Four vintage ice fishing decoys: a black-and-white decoy with a triple tail, a silver decoy with double pectorals, a green-and-yellow decoy with tobacco-tin fins, and a highbacked green-and-silver decoy. As found with fishing wear. Provenance: Jeff and Joyce Hay Collection $100 - $300

579 “Shark” Fish Decoy 5 1/2 in. long

579

This old, striped, green-and-yellow decoy has blue-bead eyes and head and mouth carving that looks like a shark. It may have been carved as a little sturgeon. Appears to be original paint with fishing wear. Provenance: Jeff and Joyce Hay Collection $100 - $300

580 Two Fish Decoys 580

largest is 6 1/2 in. long

Two vintage ice fishing decoys. Appear to be in original paint with even fishing wear. Larger fish has touch-up to two tail cracks. Provenance: Jeff and Joyce Hay Collection $200 - $400

581 Two Red Fish Decoys largest is 4 in. long

Original paint with light fishing wear.

581

Provenance: Jeff and Joyce Hay Collection $100 - $300

330

JOHN R. WELLS

1861-1953 | TORONTO, ONTARIO, CANADA

582

582 Canvasback Pair

John R. Wells (1861-1953) Toronto, Ontario, Canada, c. 1900 17 1/2 in. long

A rare rigmate pair showing his large body style with lively feather paint. Original paint with light gunning wear. Hen’s neck seam showing. Black gunning wash removed from sides and back of drake.

Provenance: Dick Walters Collection Literature: Bernard W. Crandall, Decoying: St. Clair to the St. Lawrence, Erin, ON, 1988, p. 134, rigmate hen illustrated. $8,000 - $12,000

331

583

585

584

586

583 Early Black Duck Philadelphia, PA, c. 1870 14 1/2 in. long

An early Philadelphia decoy with a hollow body, pinched breast, and drawn-back head. Branded “E. Smith” on the underside alongside the chamfered weight. Henry Fleckenstein was taken by this rare form, illustrating rigmates multiple time in at least two books. Old paint with even gunning wear, tight age lines in breast, and rub to left brow. Literature: Henry A. Fleckenstein Jr., Decoy of the Mid-Atlantic Region, Exton, PA, 1979, p. 62, rigmate illustrated. Henry A. Fleckenstein Jr., New Jersey Decoys, Exton, PA, 1983, pp. 191 and 202, rigmates illustrated. David A. Schorsch, American Decoys: A Folk Art Tradition, New York, NY, 1996, p. 61, Hillman Collection rigmate illustrated. $3,000 - $5,000

584 O’Brien Cameron Teal

Judge Glenn J. Cameron (1882-1958) Chillicothe, IL, c. 1910 11 1/2 in. long

The underside of this hollow decoy bears the maker’s “G.J.C” brand and the O’Brien Collection ink stamp. In original paint with even gunning wear and working touch-up to rubs on head. Provenance: Donal C. O’Brien Jr. Collection Private Collection Literature: Jackson Parker, “O’Brien Classic Decoys on Display at Museum of American Folk Art,” North American Decoys, Spanish Fork, UT, Spring/Summer 1982, p. 38, exact decoy illustrated. Jeff Waingrow, “The American Decoy: Folk Sculpture from the

332

Collection of Mr. and Mrs. Donal C. O’Brien Jr.,” The Clarion: America’s Folk Art Magazine, Fall 1981, p. 32, exact decoy illustrated. Exhibited: New York, New York, The Art of the American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O’Brien Jr., Museum of American Folk Art, September 3—November 8, 1981. $4,000 - $6,000

585 Hollow Redhead

Dan Bartlett (1839-1936) Prince Edward County, Ontario, c. 1900 14 in. long

A very hollow humpback decoy with a thin upswept tail. Original paint with even gunning wear and original grain split by left wing. Provenance: Henry Bishop Collection $600 - $900

586 Black Duck

Joe Morgan (1924-2010) Holland, PA, c. 1950 15 3/4 in. long

A hollow decoy with raised primaries and a lead weight stamped “R. Carman, Tullytown, PA.” Morgan’s carving lines are amongst the finest from the region. Typically found second coat of Morgan paint with even gunning wear, including to tail edges. Provenance: William J. Butler Jr. Collection Private Collection, Maryland $2,000 - $4,000

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589

587

587 after Jules Moigniez (French, 1834-1894) Eagle signed “J. Moigniez” on base bronze, 27 by 17 1/2 by 10 1/2 in.

$800 - $1,200

A bronze eagle lifting off the ground with a songbird clutched in its right talon. $400 - $800

588 Antoine-Louis Barye (French, 1795-1875) Running Elephant signed “Barye” on right side of base bronze, 3 by 4 by 1 3/4 in. Foundry mark “F. Barbedienne” on left side of base Stamped “43” in underside of base

590

Barye is best known for his animal bronzes, and is recognized as one of the West’s most famous animal sculptors.

591

589 Ronald W. Lowery (20th Century)

Wood Ducks, 1993 signed, dated, and numbered “93, R. Lowery 14/25” on base bronze, 9 in. tall, 13 in. wide edition 14 of 25

A colorful patinated bronze depicting two wood ducks with crossed wing tips perched on a branch. $300 - $500

590 Scherenschnitte Paper Cutting Pattern with Eagles paper, 7 by 7 in.

“Scherenschnitte” is the German term for a folk art medium in which paper is cut to create intricate patterns and traditional imagery or scenes. Eagles appear to be taking flight in the corners. $500 - $800

591 Scherenschnitte Paper Cutting of Basket Patterned Basket with Birds paper, 8 3/4 by 6 3/4 in. $500 - $800

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592 Roy Martell Mason (1886-1972) Mallards in a Marsh signed “Roy M. Mason” lower left watercolor, 21 1/2 by 29 1/2 in.

592

Mason 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. 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. $3,000 - $5,000

593 S. Scott Zuckerman (b. 1951)

593

Perfect Retrieve signed “S. Scott Zuckerman” lower left watercolor, 14 1/2 by 21 1/2 in.

A fox walks through a snowy field with a freshly retrieved crow in its mouth in this fine watercolor. $1,000 - $2,000

594 John Whorf (1903-1959) North Star at Dock signed “John Whorf” lower right watercolor, 14 by 21 in.

Whorf studied with famed American painter John Singer Sargent (1903-1959) in Boston. He married Vivienne Wing in 1925 and fathered four children. He and his family lived in Brookline and spent summers in Provincetown until 1937 when they relocated permanently to the lower Cape. In 1938, Harvard College conferred on Whorf an Honorary Master of Fine Arts degree. His work is in major collections including the Metropolitan Museum and the Museum of Modern Art in New York City. In this work, the rigging of the sailboat creates dynamic angles throughout the painting, with an interplay of blues, greens, and browns. Whorf’s confident, painterly brushstrokes add a liveliness to this working dock scene. $1,500 - $2,500

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594

MARK A. SUSINNO B. 1957

595 Mark A. Susinno (b. 1957)

595

Susinno 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. $3,000 - $5,000

596 Mark A. Susinno (b. 1957)

In the Zone, Brown Trout, 2022 signed and dated “Mark Susinno 2022” lower left oil on canvas on board, 18 by 24 in. signed, dated, and titled on back

596

Provenance: Private Collection, Montana $3,500 - $4,500

597

597 Mark A. Susinno (b. 1957)

A salmon leaps out of the water with a streamer fly in its mouth and beads of water dancing in the air. $3,000 - $5,000

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598

600

599

598 Hermann Simon (1846-1897)

English Setter, 1896 signed and dated “Hermann Simon, NY 1896” lower right watercolor, 17 1/2 by 13 in.

Originally born in Germany, Simon’s family moved to Philadelphia during the revolution of 1848. There he studied art at the Pennsylvania Academy at the same time as Thomas Eakins. As a commercial artist, Simon specialized in sporting and animal art and was particularly praised for his dog portraits. During his life, Simon’s work was exhibited at the Philadelphia Academy of Fine Arts, Philadelphia Society of Artists, Boston Art Club, National Academy of Design, and the Art Institute of Chicago. Provenance: Private Collection, Montana $1,500 - $2,500

599 Hans Albert Hochbaum (1911-1988)

Sharp-tailed Grouse Portrait, 1970 signed “H. Albert Hochbaum” lower right watercolor, 8 3/4 by 10 1/2 in. dated and inscribed “Adult (Male) Bagged by Dr. Spencer Borden M.D., Little Waterhen Camp, Manitoba, September 23, 1970” lower right

An excellent field portrait of a recently bagged grouse, created by the noted artist, ornithologist, and conservationist Hochbaum, who studied art and zoology at Cornell.

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601

Among his accomplishments, he directed the Delta Waterfowl Research Station in Manitoba from 1938 until his retirement in 1970. Provenance: The artist Private Collection Private Collection, Massachusetts, by descent $300 - $500

600 Brett James Smith (b. 1958) Fishing From A Canoe signed “Brett J Smith ©” lower right watercolor, 21 3/4 by 29 1/4 in.

Two fishermen canoe a river as one hooks up with a splashing salmon or trout. $1,500 - $2,500

601 William J. Schaldach (1896-1982) Grouse and Grapes signed “Wm. J. Schaldach” lower right watercolor, 16 by 21 1/4 in.

This snowy winter scene displays three perched grouse in birch trees. $1,000 - $1,500

BORIS RIAB

1898-1975

602

604

603

605

602 Boris Riab (1898-1975)

604 Boris Riab (1898-1975)

Boris Riab was born in Moscow and trained as a young man at various art schools in the city, including the Moscow Academy of Fine Arts. He learned to hunt and fish on his family’s estates, but in 1917 he and his family fled Russia, settling in France in 1927 after a decade traveling the world as an artist. Riab worked in America between 1947 and 1950, including for the American Club of the Brittany Spaniel, and was prominent in conservation in France for the remainder of his extensive career as a leading modern animalier artist.

$1,000 - $2,000

Mallards and Dog signed “B Riab” lower left watercolor, 18 1/2 by 13 in.

Mallards signed “B Riab” lower right watercolor, 18 3/4 by 13 1/4 in.

605 Boris Riab (1898-1975) Woodcock Pair signed “B Riab” lower right watercolor, 18 1/2 by 13 in.

A pair of woodcock walking along the forest floor, digging for worms. $1,000 - $2,000

$1,000 - $2,000

603 Boris Riab (1898-1975) Spaniel with Woodcock signed “B Riab” lower left watercolor, 18 3/4 by 13 1/4 in.

A wonderful portrait of a doe-eyed spaniel in the field proudly posing with a detailed woodcock. $1,000 - $2,000 337

DAVID A. HAGERBAUMER 1921-2014

606 David A. Hagerbaumer (1921-2014)

606

Wild Turkey signed “David Hagerbaumer” lower left watercolor, 20 by 22 in.

Provenance: Private Collection, California $1,500 - $2,500

607 David A. Hagerbaumer (1921-2014) Ducks Taking Off From A Marsh, 1960 signed and dated “David Hagerbaumer 1960” lower left watercolor, 21 1/2 by 29 1/4 in.

This large Hagerbaumer depicts a mallard drake and his three female companions as they launch from the water. Provenance: Private Collection, Indiana $1,000 - $2,000

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607

608

608 David A. Hagerbaumer (1921-2014)

609 Rex Brasher (1869-1960)

This outstanding full-sheet watercolor captures three pheasants with striking colors cutting through a gray sky as they flush from cover.

Two life-size woodcock fly over a stream as the crescent moon reflects on the water below.

Flushed Pheasants, 1961 signed and dated “David Hagerbaumer, 1961” lower left watercolor, 22 by 30 in.

$4,500 - $6,500

Woodcock Alighting signed “Rex Brasher” lower left watercolor on Whatman’s board, 21 1/2 by 30 in.

Provenance: Dr. Emil J. Dul Collection Private Collection, Maryland, by descent from the above $400 - $600

609

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610 Paco Young (1958-2005)

Into the Light, 1999 signed “Paco Young” lower right oil on canvas, 18 by 24 in. titled, signed, dated, and inscribed “Ruffed Grouse Hunting, National Ruffed Grouse & Woodcock Hunt, Grand Rapids, Mn., 1999” on back

610

A setter and hunter search for upland birds in a forest that glows with the yellow and orange hues of fall. $2,000 - $4,000

611 Peter Hanks (b. 1951)

611

Out of the Field - Bobwhite, 1978 signed and dated “Peter Hanks ‘78” lower left watercolor, 7 by 6 3/4 in. titled on back

A flushed quail pair soars across a field towards the timber line in this watercolor. $200 - $400

612 Peter Hanks (b. 1951)

Flying Grouse, 1979 signed and dated “Peter Hanks ‘79” lower left watercolor, 14 1/4 by 21 1/2 in.

Born and raised on the eastern shore of Maryland, Hanks studied illustration at the Rhode Island School of Design. This grouse painting exhibits Hanks’ fine attention to detail. $600 - $900

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612

613 David A. Hagerbaumer (1921-2014)

613

Napa Country - Valley Quail, 1985 signed “David Hagerbaumer” lower left watercolor, 13 3/4 by 18 1/2 in. signed, dated, and titled on back

Five California quail fly by the viewer in this Napa Valley painting. Provenance: Private Collection, California $1,000 - $2,000

614 William J. Schaldach (1896-1982) Autumn Evening Mallards signed “Wm J. Schaldach” lower right watercolor, 14 by 18 in.

614

This fine watercolor depicts two mallards with their wings locked as they cruise over a marsh. $800 - $1,200

615

615 Tom Hennessey (1937-2018) December Dawn signed “Tom Hennessey” lower right watercolor, 19 by 28 in.

In this early morning watercolor, a hunter and his black Lab pole out to their blind while ducks fill the sky in the distance. Tom Hennessey was a sporting artist from Maine and a long-time outdoors writer for the Bangor Daily News. He penned three books: Feathers ‘n Fins, Handy to Home, and Leave Some for Seed, and exhibited and sold his paintings through Crossroads of Sport in New York for many years. $1,000 - $2,000

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616

616 Roland Clark (1874-1957) Flying Woodcock Pair signed “Roland Clark” lower left oil on celluloid, 3 by 4 in.

Provenance: Private Collection, Florida $800 - $1,200

617 Roland Clark (1874-1957) Flying Pintails signed “Roland Clark” lower right oil on celluloid, 4 by 3 in.

617

Provenance: Private Collection, Florida $800 - $1,200

618 Milton C. Weiler (1910-1974)

618

Blue-Winged Teal Pair signed “M.C. Weiler” lower right watercolor, 9 by 10 in. $800 - $1,200

619

619 Milton C. Weiler (1910-1974)

Fishing the Pool signed “M. C. Weiler” lower right watercolor, 7 1/2 by 9 1/2 in. inscribed “Ted, Thanks to the greatest buddy, ever! Milt” lower right

A canoe drifts the river in this bright, colorful salmon fishing scene. $500 - $800

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620 Rex Brasher (1869-1960)

620

Swans signed “Rex Brasher” lower left watercolor, 22 1/2 by 34 in.

This large watercolor shows a flock of thirteen swans flying over a green marsh, with the central bird turning to look at the viewer. Provenance: Dr. Emil J. Dul Collection Private Collection, Maryland, by descent from the above $400 - $600

621 William Hermann Schmedtgen (1862-1936) Early Morning - Mallards signed “W. Schmedtgen” lower right oil on canvas, 18 1/4 by 22 in.

621

William Hermann Schmedtgen was an American illustrator and painter known as a pioneer in the Chicago newspaper industry. He later became the head of the art department at the Chicago Record from 1886 to 1901. He participated in the Spanish-American War as a field artist and was stationed with U.S. troops in Cuba. $2,000 - $4,000

622

622 Peter Markham Scott (British, 1909-1989) Pink Feet on the Fens, 1948 signed and dated “Peter Scott 1948” lower left oil on canvas, 20 by 30 in.

Sir Peter Scott was described by David Attenborough as the “patron saint” of conservation in the UK. He founded the Wildfowl and Wetlands Trust, co-founded the World Wildlife Fund, and designed its iconic panda logo. As the son of Antarctic explorer Robert Falcon Scott, Sir Peter continued in his father’s footsteps by conducting an expedition to Iceland in search of the breeding ground of the pink-footed goose. In this oil painting, Sir Peter Scott depicts a flock of pink-footed geese descending on the wetlands. $5,000 - $7,000

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623 John James Audubon (1785-1851)

Yellow Shank (No. 58, Plate 288), 1836 hand-colored engraving, 14 1/2 by 20 1/2 in. sheet size, 16 3/4 by 22 1/2 in. “Yellow Shank Totanus Flavipes, Vieill / Male Summer Plumage / View in South Carolina” lower center “Drawn from Nature by J. J. Audubon, F,R,S. F,L,S.” lower left “Engraved, Printed, & Coloured, by R. Havell, 1836.” lower right

623

A beautifully designed plate by Audubon of a yellowlegs. Provenance: Henry Bishop Collection $4,500 - $6,500

624 John James Audubon (1785-1851)

Red-Headed Woodpecker (No. 6, Plate 27), c. 1827-1838 hand-colored engraving, 25 1/2 by 21 1/2 in. sheet size, 39 1/4 by 26 in. No. 6 “Red headed Woodpecker, / Picus Erythrocephalus. Linn. / Male, 1. Female, 2. Young, 3.” lower center “Drawn from Nature & Published by John J. Audubon F,R,S. F,L,S.” lower left “Engraved, Printed & Coloured, by R. Havell.” lower right

624

The proceeds from the sale of this piece will go directly to Manomet Conservation Sciences, a nonprofit organization whose mission is to use science and collaboration to improve the health of flyways, coastal ecosystems, and working lands and seas. $2,000 - $4,000

625

625 Currier and Ives (1857-1907)

American Game Fish, c. 1866 lithograph, 19 3/4 by 27 3/4 in. printed “F. F. Palmer, Del.” lower left and “Currier & Ives, Lith. N.Y.” lower right Provenance: From a Southern Plantation $600 - $900

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626 Currier and Ives (1857-1907)

626

Camping Out, c. 1956 lithograph, 19 by 27 1/2 in. printed “L. Maurer, Del.” lower left and “Lith by Currier & Ives” lower right

This scene shows a merry band of hunters resting at camp after a successful day. These gentlemen and their dogs have harvested a deer, brook trout, woodcock, grouse, and even a wood duck. Provenance: From a Southern Plantation $600 - $900

627 after Arthur Fitzwilliam Tait (1819-1905)

Camping Out in the Woods, c. 1863 lithograph, 18 3/4 by 27 1/2 in. Currier and Ives (1857-1907) printed “Painted by A.F. Tait” lower left and “Lith by Currier & Ives” lower right

627

A group of hunters cooks a meal over their campfire, either preparing for or returning from a day in the woods and on the water. Provenance: From a Southern Plantation $600 - $900

628

628 after Arthur Fitzwilliam Tait (1819-1905)

American Field Sports - Retrieving, c. 1857 lithograph, 18 3/4 by 26 3/4 in. Currier and Ives (1857-1907) printed “Painted by A.F. Tait, on stone by Ch. Parsons” lower left and “Lith by Currier & Ives” lower right

Two setters retrieve two downed woodcock. Provenance: From a Southern Plantation $600 - $900

629 after Arthur Fitzwilliam Tait (1819-1905)

American Field Sports - A Chance for Both Barrels, c. 1857 lithograph, 18 3/4 by 26 3/4 in. Currier and Ives (1857-1907) printed “Painted by A.F. Tait, on stone by” lower left and “Lith by Currier & Ives” lower right

629

A hunter aims his double barrel at two flushed woodcock as his two dogs eagerly watch. Provenance: From a Southern Plantation $600 - $900

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630 Jeremy Doss (b. 1976)

630

Good Day’s Work, 2010 signed and dated “J. Doss 2010” lower right oil on canvas, 20 by 40 in. Provenance: Curt Mettam Collection $1,500 - $2,500

631 John Loren Head (1913-1997)

New Powder, 1988 signed “John Loren Head” lower right oil on canvas, 11 by 16 in. inscribed “To Russell 6/29/88, John” lower right

631

Two skiers race down the mountain on a dreamy powder day. $500 - $800

632 James W. Harris (b. 1946)

632

Cruising the Reef signed “J.W. Harris” lower right oil on canvas on board, 28 by 36 in. signed and titled on back

This underwater scene shows a tropical reef teeming with life, including tarpon, pompano, a grouper, and a big ray. $2,000 - $4,000

633 Steve T. Goione (20th-21st Centuries) Two Paintings each signed “Steve Goione” lower right

Leaping Marlin ink and watercolor on board, 16 by 13 1/2 in. Saltwater Fly Fishing ink and watercolor on board, 14 by 11 1/2 in.

Two paintings of saltwater game fish as they leap out of the water, including a marlin, and the other of a tarpon, a bluefish, and a striped bass. $400 - $600 346

633.1

633.2

634

635

637

636

634 Ogden M. Pleissner (1905-1983) The Lye Brook Pool, 1971 signed “Ogden M. Pleissner” lower right color print, 21 by 28 3/4 in. Published by the American Museum of Fly Fishing in an edition of 400

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

638.1

636 Edmund Henry Osthaus (1858-1928) Hunting Dogs, c. 1894 signed “Edm. H. Osthaus” lower right lithograph, 22 1/2 by 31 3/4 in.

An early lithograph of three pointing dogs published by R. Dudensing and Son of New York. $1,000 - $2,000

$400 - $600

635 Fred S. Cozzens (1846-1928)

637 William Harold Zimmerman (19372011)

Leaping Tarpon, c. 1889 signed “Fred S. Cozzens” in plate lower left lithograph, 12 by 18 in. printed “Copyright 1889 by Bradlee Whidden.”

Three Swans signed “WHZ” lower right acrylic, 15 by 4 3/4 in. Columbus Gallery of Fine Arts label on back

A lithograph of early tarpon fishermen fighting a trophy fish.

As an artist, Zimmerman was a peer of Roger Tory Peterson and John Ruthven, with whom he published Top Flight: Speed Index to Waterfowl Identification in 1965. During his early career, he also exhibited with Abercrombie & Fitch in Chicago and New York. His major work was Waterfowl

$600 - $900

638.2

of North America, published in 1974, depicting all forty-two species of American waterfowl to much acclaim. Today his paintings are in the collection of the Indiana State Museum in Indianapolis and the Zimmerman wing of the Brown County Art Gallery in Nashville, Indiana. Provenance: William Zimmerman Collection, by descent in the family $400 - $600

638 William Harold Zimmerman (1937-2011)

Two Paintings of Woodpeckers each signed “Wm Zimmerman” lower right acrylic on paper, each 17 3/4 by 13 3/4 in.

Depicting downy woodpeckers and red-bellied woodpeckers. Provenance: William Zimmerman Collection, by descent in the family $400 - $600

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INDEX Abbett, Robert K.: 457 Abbrescia, Joseph: 199 Abercrombie & Fitch: 258 Adamson, Harry Curieux: 55 Alford, Oscar: 490 Anderson, Roy: 228 Audubon, John James: 623, 624 Bacon, Pierre: 434 Barker, Al: 308 Barnard, Charles Nelson: 396 Bartlett, Dan: 585 Bartlett, Peter: 585 Barye, Antoine-Louis: 588 Beard, James Henry: 471 Beckhart, James T.: 480 Beecham, Greg: 198 Benson, Frank W.: 39, 40, 270-295, 297, 299 Birch, Charles: 421 Birdsall, Captain Jesse: 124 Bishop, Richard E.: 225 Blackstone, Jess: 542, 543 Blair Sr., John: 390, 395 Bliss, Roswell E.: 447 Bogdan, Stan: 80 Borrett, Mike: 84-89, 334, 511-515 Boyd, George: 156, 157, 252 Brackett, Arthur Loring: 468 Brackett, Sidney Lawrence: 474 Brasher, Rex: 609, 620 Bricher, Alfred Thompson: 95 Bruce, William: 211 Bunn, Charles Sumner: 158, 375 Cahoon, Martha: 76, 77 Cahoon, Ralph: 75 Cameron, Judge Glenn J.: 584 Cargile, Lloyd: 449 Cary, William de la Montagne: 192 Chambers, George W.: 94 Cheeseman, Verne: 181, 182 Chesser, Grayson: 142-144 Christie, Robert: 235 Clark, Roland: 285-294, 616, 617 Clem, Robert Verity: 90, 91 Cochran, David Henry: 388 Coleman, Michael: 239 Collins, Marty: 516-523 Corbin, Peter: 51-53 Corwin, Wilbur R.: 385 Couse, Eanger Irving: 191

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Cozzens, Fred S.: 635 Crowell, A. Elmer: 1-38, 62-64, 154, 155, 337-367 Currier and Ives: 625, 626 Daisey, Delbert “Cigar”: 432, 433 Daly, Thomas Aquinas: 236 DeMott, John: 200 Dilley, John: 376 Dodge Factory, J. N.: 254, 571, 572 Doss, Jeremy: 630 Driscole, Harry A.: 475 Drury, P.O.: 492 Dye, Captain Ben (attr.): 397 Ellis, William “Billy”: 435-437 Elliston, Robert: 183 Elwell, Robert Farrington: 188 English, John: 118, 389, 391-394 Feng, Ma Hai: 451 Finney, Frank: 82, 83, 96-106 Fitzpatrick, Tom: 122 Fizer, Art: 243 Folger Family: 149, 375 Fox, A. G. Rig: 150 Frazier, Luke: 458, 459 Frost, Arthur Burdett: 204 Fuller, Arthur Davenport: 223 Gardiner Rig: 554 Gardiner, Edmund G.: 554 Gelston, Thomas: 160, 373, 382 Gibian, William: 107-110, 320-333 Glidden, Robert: 256 Goebel, Wilhelm J.: 411, 412 Goione, Steve T.: 633 Goodwin, Philip R.: 196 Goodwin, Richard LaBarre: 208, 209 Graves, Bert: 177, 178, 487 Green, Paul: 497 Grimm, Brian: 240, 241 Haertel, Harold: 494 Hagerbaumer, David A.: 219, 220, 606-608, 613 Hanks, Peter: 611, 612 Hanson, Marty: 483, 508 Hardenbergh, Gerard R.: 461

Hardie, Eldridge: 455, 456 Hardy Brothers Ltd.: 477 Harris, James W.: 632 Hartung, Captain Adam: 561 Hauser, John: 237 Head, John Loren: 631 Heisler, Jess: 117 Hennessey, Tom: 615 Heverin, William: 424, 425 Heverin, William (attr.): 247 Hill, Howard L.: 210, 472 Hochbaum, Hans Albert: 599 Hoffman, Frank B.: 190 Holland, Mark: 538, 540 Horn, John: 167 Horner, Nathan Rowley: 115, 116 Hudson, Ira D.: 73, 414, 416, 418, 419 Hunt, Lynn Bogue: 193, 205, 206, 409, 410 Jester, Doug: 420 Kirmse, Marguerite: 267-269 Koerner, William H.D.: 186 Kuhn, Bob: 213 Kuhnert, Friedrich Wilhelm: 242 LaFrance, Mitchel: 499, 501 Lapham, James: 539 Lawson, Oliver “Tuts”: 427, 430, 431 LeBlanc, Lee: 187 Leeds, Daniel Lake: 162, 163 Lincoln, Joseph W.: 65, 152, 153 Lowery, Ronald W.: 589 Maass, David A.: 47-50, 217, 218 Marris, Bonnie: 238 Marston, William: 541 Mason Decoy Factory: 169-176 Mason, Roy Martell: 592 Matia, Walter: 56, 413 Matthews, William J. Rig: 251 McCaleb, Ellen: 81 McIntosh, Leo H.: 509, 510 McIntyre, Cameron: 145-147 McNair, Colin: 78, 317 McNair, Ian: 318, 319 McNair, Mark: 125-141, 309-316, 507 Melbye, Arnold T.: 71, 72 Moigniez, Jules (after): 587 Morgan, Joe: 586 Morse, Henry Dutton: 462 Mueller, Keith: 442-444 Murphy, Oscar: 498 Muss-Arnolt, Gustav: 227 Noe, Frank James: 559 Old Town Canoe Company: 74 Osthaus, Edmund Henry: 216, 401, 636 Peeters, Hans: 111 Peltz, Peter: 527-537 Perdew, Charles H.: 179, 481, 488 Peterson, Oscar W.: 576 Phillips, Ike: 422 Pleissner, Ogden M.: 207, 402-408, 634 Pope Jr., Alexander: 463, 464 Ransom, Fletcher Charles: 230, 460 Rathmell, Louis C.: 60, 259 Reece, Maynard: 214 Reed, James “Corb”: 445, 446 Remington, Frederic: 194 Reneson, Chet: 303-307 Riab, Boris: 602-605 Rider, John “Jack”: 563 Ripley, Aiden Lassell: 212, 226, 262-266, 398, 399 Roseland, Harry: 469

Rosseau, Percival: 54, 201, 202 Ruehle, Jon: 400 Ruggles, Henry: 493 Rungius, Carl: 195 Safford, Charles A.: 61 Sammis, Captain Charles: 386 Sarnoff, Arthur: 231 Schaldach, William J.: 41-43, 296, 601, 614 Schatz, Manfred: 221, 222 Schmedtgen, William Hermann: 621 Schmiedlin, Jim: 479, 502-506 Schoenheider Sr., Charles S.: 185 Scholz, Floyd: 450 Scott, John Walter: 298, 300 Scott, Peter Markham: 622 Seaman, Otis (attr.): 372 Sharp, Joseph Henry: 92 Shepherd, R.T.: 476 Sheppard, Warren W.: 93 Shourds, Harry V.: 164-166 Simon, Hermann: 598 Smith, Brett James: 44-46, 452-454, 600 Southard, William H.: 159 Sparre, Stan: 524-526, 544-546 Sprague, Chris: 123 Sterling, Lloyd Aaron: 426 Stevens Factory: 250 Stick, Frank: 197 Stidham, Mike: 301, 302 Stone, Claude C.: 484 Stroncek, Lee: 233 Strunk, George: 448 Susinno, Mark A.: 595-597 Sword, James Brade: 467 Tait, Arthur Fitzwilliam: 203 Tait, Arthur Fitzwilliam (after): 627-629 Tracy, John Martin: 215, 224 Truex, Levi Rhodes: 119, 120, 371 Verity Family: 384 Verity, Joshua (attr.): 387 Verity, Obediah: 161, 377-381, 383 Vicary, Reginald: 564 Vizier Sr., Clovis: 500 Walker, Charles: 180, 184, 489 Walker, William Aiken: 465, 466 Ward Brothers: 417, 423, 428, 429 Ward, David B.: 248, 249 Warin, George: 496 Warin, George (attr.): 495 Watson, Dave “Umbrella”: 415 Watson, Robert: 229 Way, John (attr.): 570 Weaver, Steve: 66-70 Webster, Mr. : 148 Weiler, Milton C.: 57, 261, 618, 619 Wells, John R.: 582 Wheaton, Amos: 121 Wheeler, Charles “Shang”: 58, 59 Wheeler, William Ruthven: 470 White, Robert “Bob”: 438-441 White, Winsor: 368 Whorf, John: 594 Wilcoxen, Richard: 491 Wilson, Augustus “Gus” Aaron: 112, 369, 370 Wozny, Eddie: 335, 336 Young, Paco: 232, 234, 610 Ziegler, Eustace Paul: 189 Zimmerman, William Harold: 637, 638 Zuckerman, S. Scott: 593

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TERMS AND CONDITIONS OF SALE 1 Your bidding on items indicates your acceptance of the following Terms and Conditions of Sale by Copley Fine Art Auctions, LLC. These terms are subject to amendment before or during the sale. Copley Fine Art Auctions, LLC operates as an agent of the seller only, and is not responsible in any way in the event the seller or buyer fails to fulfill their respective agreements. In all instances the auctioneer’s interpretation of these conditions is final and binding on all bidders. 2 All bids are per lot as numbered in the catalog unless otherwise announced by the auctioneer. The sales price shall consist of the final bid price plus the buyer’s premium, plus any applicable sales tax. A buyer’s premium of 20% (23%-25% for online bidding) of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the buyer as part of the purchase price. 3 The auctioneer reserves the right to reject any bid that, in his opinion, is not commensurate with the value of the lot. 4 The auctioneer has the sole right to re-offer a lot and/or settle disputed bids. The record of sale kept by the auction house will be taken as final in the event of dispute. Additionally, items may be withdrawn at any time prior to the offering of each lot. 5 Except with respect to the guarantee for decoys as set forth below in paragraph 6, all goods are sold “as is” and all sales are final with no exchanges or refunds. Copley Fine Art Auctions, LLC and its consignors make no representations or warranties as to merchantability, fitness for a particular purpose, the correctness of the catalog or other description of physical condition, quality, size, medium, importance, rarity, provenance or historical relevance of any property, and no statement made at the sale, or in the bill of sale, or invoice, or elsewhere shall be deemed such a warranty or representation or an assumption of liability. The purchaser assumes complete responsibility for items at the fall of the hammer. 6 The Copley decoy team is committed to accurately cataloging all decoys. To this end, all decoy lots in this catalog carry guaranteed condition reports. Copley encourages all potential bidders to contact our decoy specialists at least seven days before the auction with any questions or concerns regarding condition. In many cases, Copley will be able to provide X-ray and UV analysis on select lots. Please note that the auctioneer reserves the right to amend these written reports verbally from the podium at the time of sale. Please note that absentee bids may not be executed on decoys that are affected by any amended condition reports. Since opinions can differ in the matter of condition and age, Copley Fine Art Auctions, LLC will be the sole judge in the matter of refunds. If we fail to identify a flaw that significantly impacts the decoy’s value, the purchaser may return the decoy. Duration of Guarantee: Any request for refund of any decoy lot in the auction must be within 48 hours of receipt of the decoy. It is the purchaser’s responsibility to examine the decoy and identify in writing any flaw or flaws that significantly impact the value of the lot. In order to be eligible for the guarantee, Copley Fine Art Auctions, LLC must receive payment for the decoy within 7 days of the conclusion of the auction. Receipt of the decoy by the purchaser must take place no more than 21 days after the fall of the gavel. Please note that it is the purchaser’s responsibility to arrange pick-up or shipping of the lot. The guarantee in all cases will end 21 days after the fall of the gavel. 7 Successful bidders are to pay for their purchases during or immediately after the sale or upon receipt of an invoice, unless other arrangements have been authorized in writing by the auction house. Payment may be made by cash or good check payable to Copley Fine Art Auctions, LLC. The auction house reserves the right to hold property until checks clear. A monthly service charge of 1.5% will be added to unpaid balances beginning 30 days after the sale date. A $50.00 fee will be added for returned checks. If a check fails to clear after the second deposit, the purchaser will be held responsible for any and all fees incurred until we have collected good funds. 8 If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Copley Fine Art Auctions, LLC may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale, and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has failed to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale.

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9 Condition reports are not included in this catalog. It is the responsibility of prospective bidders to examine lots and decide their level of interest. Neither the auctioneer, Copley Fine Art Auctions, LLC, nor the consignor is responsible for the accuracy of any printed or verbal descriptions. Copley Fine Art Auctions, LLC strongly encourages clients to personally examine lots prior to the auction so as to best determine condition of lots. Due to the high volume of condition requests, Copley Fine Art Auctions, LLC reserves the right to reject requests at its sole discretion. All weights and measurements are approximate. 10 Some of the lots in this sale carry reserves or minimum selling prices. This is a confidential figure set by the consignor and the auction house below which a lot will not be sold. The reserve will not exceed the low estimate, and the auction house will execute the reserve bids by bidding for the consignor. Estimates are subject to change at any time prior to the offering of each lot. 11 Absentee and telephone bids will be executed when possible as a convenience to customers; the auction house will not be held responsible for any errors or failures to accurately execute bids. All absentee and telephone bids must be received at least 24 hours before the start of the sale. 12 Buyers wishing to pick up items after the auction at our office may do so only by appointment. We kindly ask that all items be removed from our warehouse within 30 days of auction end to avoid a $5 daily storage fee. 13 Shipping is the responsibility of the buyer. Upon request, we will provide a list of shippers who deliver within the United States and overseas. Once your payment has cleared, items may be released for shipment. Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyers should allow up to four weeks for shipment. 14 Copley Fine Art Auctions, LLC may, at its discretion and at the buyer’s request, package and ship sold items as directed by the purchaser. In such instances 1) the buyer shall prepay all related expenses, and 2) the buyer agrees that all packaging, handling, and shipment is at the sole risk of the purchaser, and Copley Fine Art Auctions, LLC shall have no liability for any loss or damage to such items. Buyer should allow up to four to five weeks for shipment. 15 Some property sold at auction can be subject to laws governing export from the United States, such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute delay or cancellation in payment for the total purchase price of these lots. 16 Bidding increments will normally follow the pattern below, but may vary at the sole discretion of the auctioneer: Estimate To 950 1,000 – 2,400 2,500 – 4,750 5,000 – 9,500 10,000 – 24,000 25,000 – 47,500 50,000 – 95,000 Over 100,000

Increment 50 100 250 500 1,000 2,500 5,000 at auctioneer’s discretion

17 Copley Fine Art Auctions, LLC is the owner of the images of each lot offered for sale, and may use such images at any time at its sole discretion for advertising, publicity, and for archival purposes. 18 If you are bidding as an agent for another individual or company, and you execute a bid on behalf of someone else under your bidder number, then you are responsible for the settlement of that account. 19 In no event will the liability of Copley Fine Art Auctions, LLC to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item. 20 Any legal disputes arising from this auction shall be settled in the court system of the Commonwealth of Massachusetts.

Name:

Telephone (#1):

Company Name:

Telephone (#2):

Agent acting on behalf of:

Telephone (#3):

Invoice Address:

Email:

Signature:

(PO Box not sufficient)

(required)

City: State: Zip:

Bids will not be accepted without a completed form, including your signature. Your signature denotes that you have read and agree to be bound by the Terms and Conditions of Sale issued by Copley Fine Art Auctions, LLC for The Winter Sale 2026.

To be sure that bids will be accepted and delivery of lots not delayed, bidders who do not have an account with Copley Fine Art Auctions, LLC are requested to supply a bank reference prior to bidding.

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

I authorize you to contact the references below to provide you with any information in their possession including any business or credit experience with me, and I further agree to accept the cost of any charges such references may incur providing such information.

FINANCIAL REFERENCES

AUCTION REFERENCES

Name of Bank(s):

1. Name of Company:

Address of Bank(s):

Contact Name:

Account Number(s):

Telephone Number:

Name of Account Officer(s):

2. Name of Company:

Bank Telephone:

Contact Name:

Bank Fax:

Telephone Number:

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please check one of the following:

ABSENTEE

TELEPHONE

1 All bids must be received at least 24 hours before the start of the sale. We cannot guarantee that bids placed after this time will be accepted. A Copley representative will send you an email to confirm receipt. If you have not received confirmation within 24 hours, please call 617.536.0030. Bids will not be accepted without your signature on this form. 2 This service is offered as a convenience at no charge; however, Copley Fine Art Auctions, LLC will not be held responsible for error or failure to execute bids. Copley staff will try to purchase these lots for the lowest possible price taking into account the reserve and other bids. 3 All bids are subject to the Terms and Conditions of Sale listed in this auction catalog. Further, it is the responsibility of the bidder to check with Copley staff whether a sale room notice relates to any lot which they have listed.

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a Absentee bids: Absentee bids are executed alternately in competition with phone and internet bidders. It is possible, due to the variations in bidding patterns, that a lot may be won by the audience for the same amount authorized by the absentee bidder. A (+) sign to the right of the bid amount will authorize the absentee bidder to bid one additional bid increment. In the event of identical bids, the first bid received will take precedence. b Telephone bids: If bidding by telephone, the bidder accepts the inherent risks associated with bidding over the telephone. 4 Payment: If successful, you will be contacted. Payment is due immediately upon notification unless arrangements have been made with Copley prior to bidding. A buyer’s premium of 20% of the final bid price up to and including $1,000,000, plus 15% of the final bid price over $1,000,000, will be applied to each lot sold, to be paid by the Buyer to Copley Fine Art Auctions, LLC as part of the purchase price.

LOT #

CATALOG DESCRIPTION

Print Name:

Signature:

(required)

BID PRICE US$

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. If you need help filling out this form, we are happy to assist. he UPS Store #4423 T Wakefield, MA 781.224.2500 or store4423@theupsstore.com

Scott Cousins Art Handling Hand-delivery service 978.491.9353 or scottcousins22@aol.com

The UPS Store #2631 Kingston, MA 781.585.0602 or upskingston2631@gmail.com

U.S. Art - Specializing in high-value art, large works, and specialty items 781.986.6500 or 1.800.872.7826

Boston Pack and Ship 781.849.8696 or 1.800.400.7204 info@bostonpackandship.com

Peter Coccoluto Hand-delivery service 508.560.8631 or manateeriverauctions@gmail.com

Print Name:

Shipper:

Shipping Address:

Sale Date: Lot #s:

Phone:

Signature:

Email: 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).

Received by shipper: Print Name: Signature:

Date: 355

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TOGETHER, WE TAKE FLIGHT. THANK YOU FOR A SUCCESSFUL 54TH ANNUAL WATERFOWL FESTIVAL! Thank you to Copley for being a corporate partner this year!

Join us next year at

Waterfowl 55 November 13–15, 2026 ,

SHARE YOUR FESTIVAL EXPERIENCE.

Take the 2025 Feedback Survey and enter to win an 5 5 $e ! " a ! % V I P Pa c k a g e ! th

Their Future is in Your Hands United by salmon and guided by science, our vision is to have abundant, self sustaining, resilient wild Atlantic salmon populations throughout their range.

Join the Atlantic Salmon Federation and together we can shape a bright future for us all!

For more information, visit us online at www.asf.ca/membership or contact Cindy at cbartlett@asf.ca 1-800-565-5666 358

FOLLOW ASF ON SOCIAL MEDIA

Great images, conservation updates, and all the latest Atlantic salmon news @ASFSalmon

To receive a complimentary issue of our award winning Atlantic Salmon Journal email Cindy at cbartlett@asf.ca

- FEATURING -

Decoys from the Peterson Collection NOW ON VIEW THROUGH FALL 2026 AT DUCKS UNLIMITED WATER FOWLING HERITAGE CENTER, MEMPHIS, TENNESSEE

TRAVELING TO PEORIA RIVERFRONT MUSEUM, ILLINOIS AND SHELBURNE MUSEUM, VERMONT

IN PARTNERSHIP WITH

Copley Fine Art Auctions

Scan to order the book from Ducks Unlimited 359

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The Winter Sale 2026 | Copley Fine Art Auctions