- FOUR FREE BLOWN AQUAMARINE GLASS TABLEWARESFour
FOUR FREE BLOWN AQUAMARINE GLASS TABLEWARESFour free blown aquamarine glass tablewares, ca. 1840 , to include a dish attributed to Cleveland Glass Works, 2 1/2" h., 8 5/8" dia., a Redford New York bowl with folded rim, 2 5/8" h., 7 1/4" dia., a New York straight sided bowl, attributed to Cleveland Glass Works, 2 7/8" h., 4 1/4" dia., and a free blown pitcher, attributed to Redwood/Redford, New York, 6 1/8" h.
Competitive in-house shipping is available for this lot.
Condition:
Good condition. No apparent damages or repairs.
- JULES TAVERNIER, "THE LOOKOUT", 1880,
JULES TAVERNIER, "THE LOOKOUT", 1880, OIL/CANVASJules Tavernier (1844-1889), The Lookout, oil/canvas, signed and dated 1880 lower right. 36 1/4" x 46 1/2" on original redwood stretchers; Frame: 40 3/4" x 51". Very good condition, laid downed and re
- REDWOOD FOREST INTERIOR, INDIST. SIGNED
REDWOOD FOREST INTERIOR, INDIST. SIGNED "IM LANE", O/BRedwood forest interior, indistinctly signed "IM Lane" (?) lower left, oil on board, 16" x 12", frame size: 20 1/2" x 16 1/2", in very good condition.
- CALIFORNIA SCHOOL, 19TH C., SIGNED,
CALIFORNIA SCHOOL, 19TH C., SIGNED, MARIN CO.California School, 19th c., Marin County Landscape, oil on canvas, indistinctly signed lower right. 20" x 30"; Frame (appears to be redwood): 26 1/2" x 36 1/2". Good condition.
- CALIFORNIA SCHOOL, "MENDOCINO REDWOODS",
CALIFORNIA SCHOOL, "MENDOCINO REDWOODS", OIL ON CANVASCalifornia School, "Mendocino Redwoods", oil on canvas, Indistinctly signed lower right "Geo DeP...", 28" x 24"; Frame: 32 1/2" x 26 1/2". Some paint loss at bottom and 4 minor patches as shown.
- PAINTING, CHARLES HENRY HARMON Charles
PAINTING, CHARLES HENRY HARMON Charles Henry Harmon (American, 1859-1936), Redwoods, oil on board, signed lower left, board: 9.25"h x 4.75"w, overall (with frame): 12.5"h x 8"w
- PAINTING, LUTHER EVANS DEJOINER Luther
PAINTING, LUTHER EVANS DEJOINER Luther Evans DeJoiner (American, 1886-1954), Redwood Grove, 1948, oil on canvas, signed and dated lower left, canvas: 30"h x 24"w, overall (with frame): 36"h x 30"w
- PAINTING, CHARLES THELLER WILSON Charles
PAINTING, CHARLES THELLER WILSON Charles Theller Wilson (American, 1855-1920), Redwoods, 1897, oil on board, signed and dated lower right, board: 13.75"h x 10.75"w, overall (with frame): 18.25"h x 15"w
- PAINTING, CHARLES THELLER WILSON Charles
PAINTING, CHARLES THELLER WILSON Charles Theller Wilson (American, 1855-1920), Redwoods (Humboldt County), oil on board, signed and dated indistinctly lower left, indistinctly titled lower center, board: 13.5"h x 10"w, overall (with frame): 19"h x 15.25"w
- PAINTING, MARTELLA CONE LANE Martella
PAINTING, MARTELLA CONE LANE Martella Cone Lane (American, 1875-1962), Redwood Grove, oil on canvas, signed lower left, canvas: 15.5"h x 11.5"w, overall (with frame): 19.25"h x 15.25"w
- VINTAGE REDWOOD SLICE AND RESIN COFFEE
VINTAGE REDWOOD SLICE AND RESIN COFFEE TABLE Circa 1960, rectangular top with wood edge, black resin inset with wood slices, live-edge feet.
- Werner Drewes (American, 1899-1985)
Werner Drewes (American, 1899-1985) "Cathedral of the Redwoods", color woodcut, pencil signed "Drewes '57", 31-1/4" x 16" image, 36" x 20-3/4" sheet, matted 38" 22", good condition, tape residue on edges
- NEW YORK STATE OLIVE YELLOW LILY PAD
NEW YORK STATE OLIVE YELLOW LILY PAD SUGAR BOWLExceptionally rare New York State olive yellow lily pad sugar bowl and cover, ca. 1840 , possibly Redwood Glassworks or Lockport Glassworks, 7 3/8" h. A near identical sugar bowl is illustrated in McKearin, American Glass , plate 66, no. 2. Accompanied by a letter/receipt from George McKearin of McKearin's Antiques, dated Sept. 23, 1946, referencing the sugar bowl as one of only two known, stating "It is one of the rarest sugar bowls known".
Competitive in-house shipping is available for this lot.
Condition:
1/4'' hairline to rim.
- GUNNAR WIDFORSS, WATERCOLORGunnar Widforss
GUNNAR WIDFORSS, WATERCOLORGunnar Widforss (American 1879-1934) , watercolor titled Redwoods, Humboldt County, California near Scotia , ca. 1925, signed lower right, 30" x 24". Provenance: Theophil Fritzen, San Francisco, friend of the artist, then by descent in the family. Exhibited San Francisco Museum of Art, 1939. Literature: Alan Petersen, Gunnar Widforss Catalogue Raisonné , no. 581.
Condition:
Good condition. No apparent damages or repairs.
- 19TH CENTURY SEASCAPE / MARITIME LITHOGRAPH
19TH CENTURY SEASCAPE / MARITIME LITHOGRAPH The Sumter running the Blockade of St. Pierre, Martinique, by the enemy's ship, Iroquois," on the 23rd Nov. 1861." Colored lithograph set in a gold painted frame. A. Hoen & Co. Balto. Allen C. Redwood, Del. Image 8" H x 10.5" W, frame 9" H x 11.5" W.
- (3) COLLECTABLE VINTAGE BOOKS ON FISH
(3) COLLECTABLE VINTAGE BOOKS ON FISH TACKLE LURES(lot of 3) Vintage collectable books on fishing, including: (1) "Fishing Lure Collectibles, An Identification and Value guide to the Most Collectable Antique Fishing Lures", Dudley Murphy, and Rick Edmisten, published by Collector Book, Paducah, Kentucky, color illustrations, with owners notes included, approx 11.5"h, 9"w, 1.5"d; (1) "Collecting Fish Tackle, A Beginners Guide", Tom Quinn, printed by Redwood Books Ltd. London, approx 8.5"h, 5.5"w; (1) "Eighty Years on Bass" Dave Hawk, Library of Congress Catalog Number: 58-9488, overall wear and spotting with age, use, approx 20.25"h, 5.5"w; 4.25lbs total
- MIDCENTURY REDWOOD FREE FORM COFFEE
MIDCENTURY REDWOOD FREE FORM COFFEE TABLE. Raised on metal feet. From a Mamaroneck, NY estate. Dimensions: 17" h x 51" w x 26" d. Condition: As in images.
- JOAN SAVO (CA, 1918-1992) Man in Coat,
JOAN SAVO (CA, 1918-1992) Man in Coat, Seated on Bed, oil on hardboard, signed upper left and dated '63, housed in a redwood slat frame, OS: 49" x 53", SS: 47 1/2" x 51 1/2", minor frame loss.
- PAINTING, GEORGE DEMONT OTIS George
PAINTING, GEORGE DEMONT OTIS George Demont Otis (American, 1879-1962), "Marin Redwoods," oil on canvas, signed lower right, titled and estate-stamped verso, canvas: 28"h x 36"w, overall (with frame): 33"h x 41"w
- 2X FREEFORM RAW EDGE WOOD SLABS. California
2X FREEFORM RAW EDGE WOOD SLABS. California Redwood. Great shape, thick and nice patina. From an Ossining, NY collection. Dimensions: 47" h x 46" w x 3.5" d & 53" h x 39" w x 2.5" d. Condition: As in images. In storage for years.
- TWO MANNY STERLING AND ENAMELED SEED
TWO MANNY STERLING AND ENAMELED SEED JARS AND A SHUKATA SILVER MOUNTED LACE AHATE AND JASPER KACHINA DOLL PENDANT, 1980-1990S. DIAMETER OF LARGER SEED JAR: 2-3/4 IN; LENGTH OF PENDANT: 3 IN.; GROSS WEIGHT: 6.8 OZ.Two Manny Sterling and Enameled Seed Jars and a Shukata Silver Mounted Lace Ahate and Jasper Kachina Doll Pendant, 1980-1990s., The first two stamped Manny within an arrow and Sterling; and the second, on a redwood stand signed Shukata/6/98. Dimensions: Diameter of larger seed jar: 2-3/4 in; Length of pendant: 3 in.; Gross weight: 6.8 oz.
- EARLY PREENING GREEN-WINGED TEALChase
EARLY PREENING GREEN-WINGED TEALChase Littlejohn (1853-1943)
Redwood City, CA, c. 1885
10 in. long
“A more interesting fellow than Chase Littlejohn has probably never existed.” This is the opening line to the carving legend’s chapter in “Wildfowl Decoys of California.” This early teal and its rigmates remain the only known Littlejohn decoys to have come to light. He is recognized as one of California's earliest makers.
Over 110 years ago, Littlejohn, a California native, was fascinating his contemporaries with his hunting and natural history adventures. "The San Francisco Sunday Call" ran a page 2 profile feature in 1909 titled “A Hunter of Rare and Unusual Game: Chase Littlejohn Has bagged Sea Otters in Japan, Big Game in Alaska & Strange Birds Everywhere.” Today, among decoy collectors, he is most remembered for his early and important green-winged teal rig.
The maker's avocations as a naturalist and a taxidermist clearly gave him the anatomical knowledge necessary to accurately carve this preening green-winged teal. The bird is in a deep preening pose with a refined bill resting back on the right wing. The carving is finished with detailed feathering, including combed vermiculation on the sides. The carving's rectangular weight is attached using about forty brass tacks. The underside of the hollow body also bears a tidy leather anchor line tie.
Original paint with light wear.
Provenance: William C. McMaster M.D. Collection
Literature: Joe Engers, “Early California green-winged teal turn up at West Coast collectibles show,” Decoy Magazine, March/April 1997, p. 14, exact decoy illustrated.
Michael R. Miller, "Wildfowl Decoys of California,” Spokane, WA, 2015, p. 358, rigmates illustrated.
H. A. Crafts, "A Hunter of Rare and Unusual Game," The San Francisco Sunday Call, June 27, 1909, p. 2, rigmates illustrated.
- MALLARD DRAKETule Lake Decoy Co.
Sacramento,
MALLARD DRAKETule Lake Decoy Co.
Sacramento, CA, c. 1925
15 in. long
Operated by Hugh Woodward (1889-1948), Tule Lake was the most renowned decoy factory on the Pacific Coast. Woodward put his previous building skills to use as he fabricated decoys out of redwood in three grades: solid, semi-hollow, and hollow. This mallard drake bears the company’s "Tule Lake Semi-Hollow" ink stamp on the underside.
Original paint with gunning wear and touch-up to neck.
Provenance: Richard and Dorothy Wheeler Collection
Literature: Michael R. Miller and Frederick W. Hanson, "Wildfowl Decoys of the Pacific Coast,” Portland, OR, 1989, p. 355, related carvings illustrated.
- PINTAIL PAIRWright Decoy Company
Berkeley,
PINTAIL PAIRWright Decoy Company
Berkeley, CA, c. 1935
15 in. long
Linley A. Wright (1889-1946) was a machinist who ran a decoy manufacturing company from his home. The decoys were made using five pieces of redwood and were finished with energetic scratch feather painting. This published pair bears the Wright Company stamp on the undersides.
Original paint with even gunning wear.
Provenance: Richard and Dorothy Wheeler Collection
Literature: Michael R. Miller and Frederick W. Hanson, "Wildfowl Decoys of the Pacific Coast,” Portland, OR, 1989, p. 262, closely related carvings illustrated.
Michael R. Miller, "Wildfowl Decoys of California,” Spokane, WA, 2015, p. 330, exact pair illustrated.
- PINTAIL HENHorace "Hi" Crandall (1892-1969)
Westwood,
PINTAIL HENHorace "Hi" Crandall (1892-1969)
Westwood, CA, c. 1935
15 in. long
Crandall was an outdoorsman, a taxidermist, and a talented watercolor painter at a young age. After moving California in 1917, Crandall was an engineer on a ferry which shuttled trains across Carquinez Straits before the bridge was built. He built his first decoys using the redwood railroad ties that washed ashore near his home.
Original paint with light wear.
Provenance: Les Vache Collection, acquired from the Crandall family
Richard and Dorothy Wheeler Collection, acquired from the above
Literature: Michael R. Miller and Frederick W. Hanson, "Wildfowl Decoys of the Pacific Coast,” Portland, OR, 1989, p. 362, related carvings illustrated.
Michael R. Miller, "Wildfowl Decoys of California,” Spokane, WA, 2015, p. 585, related drake illustrated.
- THE CRANDALL SLEEPY-EYED MALLARDHorace
THE CRANDALL SLEEPY-EYED MALLARDHorace "Hi" Crandall (1892-1969)
Westwood, CA, c. 1935
15 in. long
One of California's best decoy carvers, Crandall is also considered by some to be its best painter. Born in Rhode Island, the maker originally learned about duck hunting on the Atlantic Coast from his father, who was a market hunter. Crandall was an outdoorsman, a taxidermist, and a talented painter all at a young age.
After moving to California in 1917 in his mid-20s, he found himself in a position to hunt and fish from his own property. Additionally, he had easy access to excellent wood for decoy making. He built his first decoys using the redwood railroad ties that washed ashore near his home.
This rare, and perhaps unique, decoy was made early in Crandall's long carving career and slightly before he was selected to exhibit his carvings on Treasure Island at the World’s Fair in 1938.
The head is in a tucked, resting position and the eyes are carefully painted as thin "sleepy-eyed" ovals. The refined Crandall decoy features are highly articulated from head to tail. The pinched breast draws up to a sharp ridge behind the head before the body flares out to broad hips. The back is adorned with sharp raised wing tips and soft feather detail. The upswept tail is formed with a Crisfield-like chine which continues along the front edge of the underside as well. Exceptional in its totality, this fine Crandall carving distinguishes itself from other examples by the maker with its unique form, early carving style, royal provenance, and fine gunning patina.
Original paint with light gunning wear. Head is slightly loose.
Provenance: Jim Keegan Collection
Richard and Dorothy Wheeler Collection, acquired from the above
Literature: Michael R. Miller and Frederick W. Hanson, "Wildfowl Decoys of the Pacific Coast,” Portland, OR, 1989, p. 364, exact decoy illustrated.
Michael R. Miller, "Wildfowl Decoys of California,” Spokane, WA, 2015, p. 580, exact carving illustrated.
Robert Shaw, “Bird Decoys of North America,” New York, NY, 2010, p. 266, related "McCleery" teal illustrated.
- FLYING BRANTGeorge William McLellan
FLYING BRANTGeorge William McLellan (1897-1987)
Eureka, CA, c. 1941
24 in. long, 41 in. wingspan
One of only nine flying decoys originally created for this legendary rig. Few would argue that Bill McLellan’s famous rig of brant are the finest flyer decoys ever created. This rig was meticulously constructed in 1941 with the assistance of his wife, Olga (1902-1980). McLellan only used the carefully protected patterns about a dozen times over the next twenty years. Since then these peerless birds have been highly celebrated and prized by collectors, authors, and curators from coast to coast.
In 1989 Richard Wheeler wrote a feature article for "Decoy Magazine" entitled “Bill McLellan’s wonderful flying brant,” discussing not only the rig, but his and Dorothy’s experiences with McLellan a half a century ago and how they obtained this intricately swirl-painted decoy number “8.” When the Wheelers arrived, the carver still had eight of the original nine, though one had “ruined body paint” from a friend’s attempt to mold it, bringing the rig to only seven fine examples in original paint. While Wheeler was not able to acquire this flyer on that occasion, he was highly motivated and soon made arrangements to obtain "number 8.”
The same year Wheeler published his story, West Coast decoy authorities, Michael Miller and Frederick Hanson illustrated this exact decoy, describing these famous flyers as “masterpieces of precision” in their book “Wildfowl Decoys of the Pacific Coast: Carving Traditions of British Columbia, Washington, Oregon and California.” McLellan, even during his lifetime, recognized the important value of these decoys “for he made a special box for them that contained separate compartments for wings, pins, dowel, bodies, etc.” The authors continue, “The redwood bodies, measuring about 24 inches in length, were fashioned from old telephone poles found in the alley behind his home. Bill created nicely detailed patterns to trace the top and side views on the redwood blocks before he started carving. Unlike the floaters, Bill did not equip these flyers with bills made of hardwood doweling. The wings were constructed in much the same manner as those on good model airplanes. McLellan used fine spruce for the frames, after first designing and preparing explicit patterns. When the frames were completed, stiff butcher paper was laid on followed by muslin. The fabric was then coated with airplane dope. The wing patterns were taken from the tracing of an actual brant wing – ‘a big fella’ according to McLellan. Each of the nine flying brant was numbered on the body and matching wings. The latter fit into the bodies with intricate, brass wing-locking mechanisms that allow quick removal or attachment. The wing-lock is hinged to allow the wings, rigged with heavy rubber bands, to waver in the wind. A copper pin secures the wings to the hinges. The flyers were deployed by means of telescoping 2-piece galvanized steel poles. Each of the nine poles, with each decoy at a different height, was attached to a floating wooden frame that was pulled over the sand into the water as the tide rose and fell.”
McLellan did not stop with the form and construction, as the paint is perhaps the finest seen on any Pacific brant. Both the top and bottom sides of the stretched canvas wings are finished with excellent feathering. This decoy is particularly notable within the rig for its strong swirl paint towards the tail.
The Wheelers also acquired McLellan’s incredible patterns which further confirm that this is perhaps the most intricately made rig of decoys ever constructed. The bird’s refinement and function would have made an unrivaled sight on the choppy waters of Humboldt Bay. Indeed, McLellan recounted that on multiple occasions this vexed other hunters. Today, thanks to the Wheelers and other specialists, we have a robust understanding of this extraordinary rig.
“Supplementing the many floating brant decoys, McLellan made nine extraordinary flying brant decoys that are brilliant innovative achievements in artistry, workmanship, and construction.” — Michael Miller, “Wildfowl Decoys of California,” 2015
“The McLellan flying brant fit the criterion of masterful decoys.” — Gerald M. Rosenthal, “The Great Book of Waterfowl Decoys,” 1990
Original paint with light gunning wear. Working touch-up to two small tears on top of right wing and one across the underside of the wing.
Provenance: George W. McLellan Rig
Richard and Dorothy Wheeler Collection, acquired from the maker, circa 1973
Literature: Richard Wheeler, “Bill McLellan's Wonderful Flying Brant” Decoy Magazine, Lewes, DE, March/April 1989, pp. 36-41, rigmates illustrated.
Michael R. Miller and Frederick W. Hanson, "Wildfowl Decoys of the Pacific Coast: Carving Traditions of British Columbia, Washington, Oregon and California," Davis, CA, 1989, pp. 129-133, exact decoy illustrated multiple times.
Joe Engers, ed., "The Great Book of Wildfowl Decoys," San Diego, CA, 1990, pp. 269-270, rigmate illustrated.
Michael R. Miller, "Wildfowl Decoys of California,” Spokane, WA, 2015, back cover and pp. 58-65, rigmates illustrated.
Loy S. Harrell Jr., "Decoys: North America's One Hundred Greatest," Iola, WI, 2000, pp. 148-9, rigmate illustrated.
Linda and Gene Kangas, "Decoys," Paducah, KY, 1992, p. 125, pl. 191, related example illustrated.
Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, p. 270, rigmate illustrated.
Gene and Linda Kangas, "Decoys: A North American Survey," Spanish Fork, UT, 1983, p. 275, top bird, rigmate illustrated.
- California redwood live edge bench made
California redwood live edge bench made from old growth logs cut in the early 1900s. From a Manchester VT residence. 15"H x 73.5"L x 28"D Condition: scuffing to top CT Transfer Fee $20
- A uniquely carved redwood tri-footed
A uniquely carved redwood tri-footed vase, signed Randy Fields, 7”H x 5.5” dia.. An illegibly signed turned Box Elder wood bowl 7.5”H x 8” dia., on an iron stand. Condition: very good CT Transfer Fee $10
- CHARLES HENRY HARMON (AMERICAN, 1859
CHARLES HENRY HARMON (AMERICAN, 1859 -1936) 14" x 10" "California Redwoods". Oil on board, signed in the lower right corner, in a wooden frame, overall 17" x 13". Trotter Galleries (19th and Early 20th Century Art Specializing in California Paintings), Pacific Grove, CA label verso.
- WATERCOLOR, ALICE V MEYERS Alice V Meyers
WATERCOLOR, ALICE V MEYERS Alice V Meyers (American, 1874-?), "California Redwoods in the Santa Cruz Mountains," watercolor on paper, signed lower right, titled verso, sight: 4"h x 6"w, overall (with frame): 9.25"h x 11.25
- American School (20th Century) \"The
American School (20th Century) \"The A. J. Thayer Offloading in the Puget Sound\", oil on canvas, 24\" x 32\". Presented in a carved and stained frame with linen liner. This painting is based on a photograph in the archives of Humbolt State University in Arcata, California. The Thayer was made in Humbolt Bay during the heyday of the redwood logging industry.
- PAINTING, TILDEN DAKEN Tilden Daken
PAINTING, TILDEN DAKEN Tilden Daken (American 1876-1935), Through the Redwoods, oil on board, signed lower right, board: 10" h x 8" w, overall (with frame): 11"h x 9"w.
- CLASSICAL STYLE FLUTED REDWOOD PEDESTAL,
CLASSICAL STYLE FLUTED REDWOOD PEDESTAL, 20TH CENTURY, 41 Classical style fluted redwood pedestal, 20th century, 41.5"h x 20.5"w x 15"d
- SCULPTURE, MELVIN ALBERT SCHULER Melvin
SCULPTURE, MELVIN ALBERT SCHULER Melvin Albert Schuler (American, 1924-2012), Untitled, copper over redwood sculpture, signed lower right, overall: 19"h x 17"w x 10"d. Provenance: Purchased from Robert Slawinski.
- (SET OF 4) EVELYN ACKERMAN REDWOOD CARVED
(SET OF 4) EVELYN ACKERMAN REDWOOD CARVED PANELS (Set of 4) Evelyn Ackerman redwood carved panels, Panelcarve, circa 1970, marked 'Copyright Panelcarve' to reverse, 9"h x 9"w.