A few examples of appraisal values for
BOBWHITE QUAIL

• JAMES JOSEPH AHEARN (CT, 1904-1963)
  JAMES JOSEPH AHEARN (CT, 1904-1963) BIRD CARVING Pair of Bobwhite Quail with Birch Log, mounted as a table lamp, in carved and painted wood, unsigned, pair of carved game birds with glass eyes, mounted on an oval wooden base with table lamp fixture, double sockets with chain pull, 22" high overall (birds are 6" high), 13" x 9". Toe loss to one bird.
• JAMES JOSEPH AHEARN (CT, 1904-1963)
  JAMES JOSEPH AHEARN (CT, 1904-1963) BIRD CARVING Pair of Bobwhite Quail on Log, mounted as a table lamp, in carved and painted wood, unsigned, depicting two game birds with glass eyes, mounted on an oval wooden base with table lamp fixture, double sockets with chain pull, 22" high overall (birds are 5" and 5 1/2" high), 13" x 9".
• HOWARD L. HILL (1822-1888)Quail
  HOWARD L. HILL (1822-1888)Quail 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. 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. This accurate depiction of a bobwhite quail represents one of the finest works by this mid-19th century artist to ever come to market. Provenance: Private Collection, Minnesota
• THE WARD BOBWHITE QUAILLemuel T.
  THE WARD BOBWHITE QUAILLemuel T. Ward (1896-1984) Crisfield, MD, 1966 8 1/2 in. tall, 8 in. wide This carving of a preening bobwhite quail is unique and may be the only standing quail done by the Wards. It is part of his premier decorative "Sunbathing" series of titled birds which includes some of his finest. The Ward Museum of Wildfowl Art in Salisbury, Maryland, held the only other known quail by Lem. However, that quail is an accessory to one of the greatest and most innovative early American bird of prey carvings ever executed, as it is held limp in the talons of a peregrine falcon (lot 64). The rarity of refined early bobwhite carvings by any maker cannot be overstated. Indeed, among the leading decoy makers only Elmer Crowell's few quail notably preceded this work. They are among the Cape Codder's most sought-after carvings, yet none of Crowell's are known to be in a preening position. The carving is mounted on a fourteen-inch-long driftwood base. The side of the base is signed and titled "Sunbathing L.T. WARD 1966." Excellent original paint with light wear. Provenance: Dr. Morton D. Kramer Collection, acquired from the maker Private Collection Literature: Glenn Lawson and Ida Ward Linton, "The Story of Lem Ward," Exton, PA 1984, p. 44, exact carving illustrated.
• THE WARD PEREGRINE FALCONLemuel
  THE WARD PEREGRINE FALCONLemuel T. Ward (1896-1984) Crisfield, MD, 1969 24 1/2 in. tall "Occasionally, a work of art appears that is a great leap beyond anything that has come before it. To American Wildfowl Art, Lem Ward's Peregrine Falcon was such a leap. This is the first known wildfowl sculpture of this quality depicting such interaction between a bird and its surroundings... Lem worked on this bird for several years." -Glenn Lawson and Ida Ward This singular sculpture by Lem depicts a peregrine with a captured bobwhite quail hen in its talons. The combination of Lem's detailed refinement and the depiction of a dramatic interaction place this as a landmark work in the cannon of American bird carving. Dr. Kramer was aware of the importance of this work and had Norris Pratt build a custom crate. This allowed it to remain in excellent condition through multiple public exhibitions. The base is signed, titled, and dated. The falcon is believed to be the only one known to be carved by Lem. The only other Ward quail known is a preening cock which can be found as lot 67 in this sale. Original paint with light wear and some craquelure on right shoulder. Provenance: Dr. Morton D. Kramer Collection, acquired from the artist Literature: Glenn Lawson and Ida Ward Linton, "The Story of Lem Ward," Exton, PA 1984, pp. 56-57, exact carving illustrated and discussed. Exhibited: Salisbury, Maryland, The Ward Museum, 2020-2023.
• WALTER MATIA (B. 1953)Covey Rise,
  WALTER MATIA (B. 1953)Covey Rise, Bobwhite Quail, 2007 signed, dated, and numbered "Matia 07 25/48" on base bronze, 20 by 31 1/2 by 10 in. edition 25 of 48 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. 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." Provenance: Private Collection, Wisconsin
• THE DU MONT EARLY HANGING GREATER
  THE DU MONT EARLY HANGING GREATER YELLOWLEGSA. Elmer Crowell (1862-1952) East Harwich, MA, c. 1915 16 3/4 in. long “Seldom does one find special orders made by Crowell and when you do they tend to be the best. These were usually done for gunning friends. The [du Mont] hanging greater yellowlegs is a prime example of what lengths Crowell would go to for special customers. It is a life size bird with two applied wings and wonderful dry brushed paint and tack eyes. It was made to hang by the legs to simulate a recent bag from a hunt. It is a particularly early carving with tack eyes and the best ‘folky’ look one could ask for in a Crowell." — Brian Cullity, author and curator of “The Songless Aviary, The World of A.E. Crowell and Son” discussing this exact carving “When I was shooting for market on shore birds, the yellowlegs (lesser and greater) were the most plentiful. I made many good bags, with a few Jack Curlews and other shore birds.” — A. Elmer Crowell, “Cape Cod Memories” in "Duck Shooting Along the Atlantic Tidewater" Much of Elmer Crowell’s portfolio references his origins as a young market hunter, but few works do so as directly as this early and elaborate hanging game carving. Incredibly, the young hunter built his first gunning stand in 1876 in order to harvest birds for sale, shipping his quarry by rail to Boston’s famous Faneuil Hall marketplace. This rare, if not unique, carving from the esteemed du Mont Collection is among the most nuanced carvings that Crowell ever attempted, with applied raised wings, a curved tail, and detailed wooden legs. Each wing received significant carving detail, with scalloped edges, delineated feather groups, and incised secondary feathers. As seen with his more common flying birds and wing-up preeners, the painter showcases his knowledge and ability on every inch of the expanded surfaces. The feather blending throughout is especially fine with the head and interiors of the wings exhibiting notable care. This carving hails from the distinguished collection of John Sanderson du Mont, a third generation friend and patron of Crowell's. Du Mont's great aunt and uncle were Roland C. (1859–1906) and Addie D. Nickerson (1859–1955) and John's father was Horatio S. du Mont (1886–1970). In a 1987 article introduced by Alan Haid, the younger du Mont recalled, “My father, either at my request or when doing errands, would drop me at Crowell's where I would sit quietly and watch him carve and paint. He never objected.” He also recounts, "Recognizing Crowell's ability, my father assembled a collection of 21 shorebird and duck heads, some miniatures, and a series of life-size bird carvings. Mother's diary indicates that most of these were collected by 1917." This carving dates to that early period and may have come down to John from his father and shorebird hunting companion. Regarding related works, there are few known to have survived in any condition. One later lesser yellowlegs is in the collection of the Shelburne Museum, and another is in private hands. One hanging bobwhite quail is in the Paul Tudor Jones II Collection and is illustrated in "Elmer Crowell: Father of American Bird Carving." Excellent overall condition, original paint with light wear including craquelure to breast. Restoration to 2 1/2 inches of primary feathers of left wing tip, to right corner of tail, and toes of left leg. Right leg is reset. Provenance: John S. du Mont Collection 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. 42, hanging quail carving and related Harry V. Long journal entry illustrated. A. E. Crowell and Eugene V. Connett, ed., "Duck Shooting Along the Atlantic Tidewater," “Cape Cod Memories,” New York, NY, 1947, pp. 56-57, early market hunting discussed by Crowell. Northeast Auctions, "The John S. du Mont Collection," Portsmouth, NH, August 19, 2007, p. 13, Brian Cullity quote and lot 709, exact carving illustrated.
• ATHOS MENABONI(American/Georgia,
  ATHOS MENABONI(American/Georgia, 1895-1990) Northern Bobwhite, signed lower right "Athos Menaboni", inscribed verso "Bobwhite Quail", gouache on paper, 24 x 18-7/8 in.; modern frame, 31-3/4 x 25-3/4 Condition: very clean, small areas with light smudges, hinged into mat but tape has released on one side; frame with light wear, separating at corners
• PAINTING OF A SETTER AND TWO
  PAINTING OF A SETTER AND TWO BOBWHITE QUAIL MID-20TH CENTURY OIL ON BOARD, 19” X 15.25”. FRAMED 25” X 21.5”.PAINTING OF A SETTER AND TWO BOBWHITE QUAIL, Mid-20th Century, Signed lower right "H. Michaels". Dimensions: Oil on board, 19" x 15.25". Framed 25" x 21.5".
• LIFE-SIZE BOBWHITE QUAIL CARVING
  LIFE-SIZE BOBWHITE QUAIL CARVING 20TH CENTURY HEIGHT 9”.LIFE-SIZE BOBWHITE QUAIL CARVING, 20th Century, Maker unknown. Glass eyes and carved wings. Mounted on a driftwood base. Dimensions: Height 9".
• RUSS P. BURR BOBWHITE QUAIL
  RUSS P. BURR BOBWHITE QUAIL HINGHAM, MASSACHUSETTS, 20TH CENTURY HEIGHT 5”.RUSS P. BURR BOBWHITE QUAIL, Hingham, Massachusetts, 20th Century, Carved wings. Mounted on a driftwood base. Stamped "Russ P. Burr Hingham, Mass" on underside. Dimensions: Height 5".
• ALEXANDER POPE JR.
  ALEXANDER POPE JR. (MASSACHUSETTS, 1849-1924), FAMILY OF BOBWHITE QUAIL., CHROMOLITHOGRAPH, 13.5" X 19.75" SIGHT. FRAMED 25.5" X 31.5".ALEXANDER POPE JR. 1849-1924 Family of bobwhite quail. Chromolithograph, 13.5" x 19.75" sight. Framed 25.5" x 31.5". Dimensions: Chromolithograph, 13.5" x 19.75" sight. Framed 25.5" x 31.5".
• TWO TABLE LAMPS WITH PAINTED
  TWO TABLE LAMPS WITH PAINTED TURKEY-TAIL FUNGI Later 20th century, one with hand-painted scene of pheasants, signed Howard Reidf, dated 1972; the other with similar bobwhite quails; each with shade.
• (8) Boehm bone china porcelain
  (8) Boehm bone china porcelain plates, The Boehm Studios Gamebirds of North American Plate Collection, in original boxes, 10-5/8" dia, c/o Wild Turkey, Bobwhite Quail, Ring-Necked Pheasant, American Woodcock, Willow Partridge, Prairie Grouse, Ruffed Grouse, California Quail
• MINIATURE BOBWHITE QUAIL
  MINIATURE BOBWHITE QUAIL CARVINGBy A.E. Crowell of East Harwich Massachusetts. Tiny rubs to tip of bill and breast. Mounted to a chip-carved rockery base. Rectangular stamp on bottom of base.
• Boehm Limited Edition Bobwhite
  Boehm Limited Edition Bobwhite Quail Group American, 20th century, a family of finely and realistically shaded porcelain quail amid reeds, star flowers and berries, marked "Boehm Limited Edition" within shield surmounted by black horse's head, handwritten "115", 10-1/4 in., with wooden base 3-1/2 x 21-1/2 x 14 in., and Plexiglas top 13 x 20-1/4 x 12-3/4 in.,
• George Louis Viavant
  George Louis Viavant (American/New Orleans 1872-1925) "Bobwhite Quail" 1921 watercolor signed dated and inscribed "N.O." lower left 24 in. x 16 in. matted and framed.
• Herbert L. Stoddard, first edition,
  Herbert L. Stoddard, first edition, Bobwhite Quail , Scribners and Sons, New York, 1931, 224/250, signed by author, with signed Frank Benson etching frontispiece, white vellum and brown cloth binding with gilt title and top edge, four color plates by E.R. Kalmbach, 11 x 8 x 2 in. Tight binding, pest damage to vellum binding at bottom of spine (1 x 1/4 in.), slight fading to top of front board (6-1/2 x 1/2 in.), fore and bottom edge of pages uncut, light staining to vellum.
• Two Boehm porcelain bird figurines:
  Two Boehm porcelain bird figurines: bobwhite quails, both marked "Boehm Limited Edition…407…" within shield surmounted by black horse head mark, on conforming porcelain stands, 7-1/2 in. male, 6-1/2 in. female. Female with professionally repaired leg,
• Two Miniature Decoys, Wendell
  Two Miniature Decoys, Wendell Gilley American, 20th century, finely carved and painted mallard hen mounted to a burlwood base, marked on base "Wendell Gilley, Southwest Harbor, Maine" (died about 1980), marked on side by hand "Gilley '66", 6-1/2 in.; finely carved and painted bobwhite quail, marked on side "Gilley", 7-1/2 in. including base,
• John A. Ruthman Lithograph
  John A. Ruthman Lithograph ''Bobwhite Quail'' #281 of 990 pencil signed image area 15'' x 21''.