A CIRCA 1951 WHIZZER SPORTSMAN MODELA CIRCA 1951 WHIZZER SPORTSMAN MODEL MOTOR BIKEThe nice, clean example in green with cream pin stripes has the 300 motor upgraded with German-made roller crankshaft, crash bars, battery box, luggage carrier and automatic clutch.Very good condition as shown in the images. The motor turns freely.
AFTER N. PICCIOLE (ITALIAN, 19TH/20THAFTER N. PICCIOLE (ITALIAN, 19TH/20TH CENTURY), SPORTSMAN Gilt bronze, titled at base and numbered 218 to verso, unsigned.
HARRINGTON AND RICHARDSON "SPORTSMAN"HARRINGTON AND RICHARDSON "SPORTSMAN" REVOLVERHARRINGTON AND RICHARDSON "SPORTSMAN" DOUBLE ACTION REVOLVER, 22 lr caliber, 6" oval shape barrel, blued finish, oversized checkered walnut grips, nine shot fluted cylinder, top break action with double post latch,, adjustable front and rear sight, serial #36602. Lot requires FFL or background check.
1946 FORD SPORTSMAN ROAD SIGNATURE MODEL1946 FORD SPORTSMAN ROAD SIGNATURE MODEL CAR Hand assembled, die cast metal scale model of a 1946 Ford Sportsman car. This model / toy features leather seats, wood veneer side panels, cloth convertible top, and movable parts, also includes a certificate of authenticity and a 24K gold plated collectible coin and plastic display box.
JOHN E. FERNELEY, JR. (1815-1862): AJOHN E. FERNELEY, JR. (1815-1862): A SPORTSMAN WITH HIS SPANIELS IN A LANDSCAPEOil on canvas, unsigned, lined.
30 x 24 in., 35 x 29 1/2 in. (frame).
Condition
Lined. Craquelure. Old stretcher dents slightly visible. Some surface soiling. Otherwise in good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
WILLIAM HARNDEN FOSTER (AMERICAN, 1886-1941).WILLIAM HARNDEN FOSTER (AMERICAN, 1886-1941). Autumn Hunting Scene. Oil on canvas. 1924. Signed and dated lower right. This painting was the cover of the "National Sportsman" magazine, Oct. 1924. The magazine accompanies this lot. Gallery label verso, BL Makepeace, Boston. From an Ossining, NY estate. Dimensions: 26" h x 20" w. Condition: Overall good. Small repair center. Light surface soil/grime consistent with age. Small mark by center. Slight stretcher marks at edges.
(13) Pcs Hazel Atlas mid-century glassware,(13) Pcs Hazel Atlas mid-century glassware, Sportsman Series, cobalt blue with white dogs on leash (Scottie, Shih Tzu, Boxer, Afghan), c/o (2) 5-5/8" dia x 4-1/4" h ice buckets, (11) 4-7/8" tumblers
A GROUP OF FIVE FIGURES AFTER KAZIMIRA GROUP OF FIVE FIGURES AFTER KAZIMIR MALEVICH (UKRANIAN, 1879-1935) A group of five figures after Kazimir Malevich (Ukranian, 1879-1935), comprising a Sportsman papier mache example inscribed 'Guggenheim Museum (c) 1996, SRSF', 19.5"h' and (4) painted wood examples, unmarked, 6.75"h
LOT OF BOOKSCurrents and Eddies by WilliamLOT OF BOOKSCurrents and Eddies by William Schaldach, 1944. Currents and Eddies by William Schaldach, 1944. Schaldach Etchings: The Sporting Art of William J. Schaldach, Selections by DeCourcy Taylor, edition 343/1000. Coverts & Casts by William J. Schaldach, 1945. The Wind on Your Cheek by William J. Schaldach. William J. Schaldach: Artist, Author, Sportsman by John T. Ordeman, edition 343/1150. William J. Schaldach: Artist, Author, Sportsman by John T. Ordeman, edition 88/1150. Uplaid Gunning by William J. Schaldach. Converts and Casts by W.J. Schaldach, limited edition 26/160. Converts and Casts by W.J. Schaldach, second printing. To Keep A Tryst With The Dawn: An Appreciation of Roland Clark by John T. Ordeman, edition 1075/1000. A. Lassell Ripley Paintings, text by Edward Weeks. Artists of the North American Wilderness: George & Belmore Browne by John T. Ordeman and Michael M. Schreiber. Bishop's Wildfowl by Earl Prestrud and Russ Williams. The Art of Ogden M. Pleissner by Peter Bergh. The Paintings of Eldridge Hardie–Art of a Life in Sport by Nick Lyons and George Reiger. Wild Harvest: The Animal Art of Bob Kuhn by Tom Davis. The A.B. Frost Book by Henry M. Reed. Frank W. Benson– Etchings, Drypoints and Lithographs by John T. Ordeman. As found.
AIDEN LASSELL RIPLEY (1896-1969)LeapingAIDEN LASSELL RIPLEY (1896-1969)Leaping Trout
signed "A. L. Ripley" lower right
pencil, 12 1/2 by 9 in.
This drawing appeared in a magazine called "The Sportsman" in April 1936, illustrating an article by William Bayard Sturgis on fishing. The article was an excerpt from "New Lines for Flyfishers," published by the Derrydale Press in 1936.
Provenance: Literature: William Bayard Sturgis, "Hook Tests and Silkworm Gut," The Sportsman, April 1936, p. 31, illustrated.
AIDEN LASSELL RIPLEY (1896-1969)StagAIDEN LASSELL RIPLEY (1896-1969)Stag and Doe
drawing, 7 3/4 by 11 in.
This is an original drawing for an article a magazine called "The Sportsman."
AIDEN LASSELL RIPLEY (1896-1969)GoldenAIDEN LASSELL RIPLEY (1896-1969)Golden Plover, 1930
pencil, 9 by 14 in.
This drawing appeared in a magazine called "The Sportsman" in November 1930, illustrating an article by John C. Phillips on birds in flight.
Provenance: Literature: John C. Phillips, "The Flight Speed of Birds," The Sportsman, November 1930, p. 59, illustrated.
PHILLIP BROWN PARSONS (1895-1977)HunterPHILLIP BROWN PARSONS (1895-1977)Hunter and Gordon Setter
signed "P B Parsons" lower left
watercolor, 15 by 21 1/2 in.
titled on Doll & Richards, Inc., Boston label on back
Phillip Parsons was a popular sporting artist and illustrator from the Boston area. Born in 1896, he studied at the Boston School of Painting and went on to create cover artwork for magazines such as “National Sportsman,” calendars for Remington Arms, and work for L.L. Bean, Colt Firearms, and Parker Brothers. In addition to his own sporting pursuits, Parsons taught art and was a member of the Guild of Boston Artists, the Boston Watercolor Society, and the Concord Art Association for many years.
Provenance: Private Collection, Massachusetts
WILLIAM J. SCHALDACH (1896-1982)A ChanceWILLIAM J. SCHALDACH (1896-1982)A Chance for a Double, 1941
signed "Wm. J. Schaldach" lower right
watercolor, 18 by 13 3/4 in.
signed, titled, and inscribed "Painted for Kenneth Roberts, distinguished author and keen sportsman. With the kindest regards of William J. Schaldach. October 18th, 1941" on back
Provenance: Private Collection, Connecticut
BOB KUHN (1920-2007)The Cougar, 1977
signedBOB KUHN (1920-2007)The Cougar, 1977
signed "Kuhn" lower left
acrylic on illustrator's board, 17 by 25 1/2 in.
This painting graced the cover of Fred King's "Sportsman's Edge" Catalog in 1978.
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. 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. A rare opportunity to own one of Kuhn's big cat paintings.
MILTON C. WEILER (1910-1974)First RunMILTON C. WEILER (1910-1974)First Run Salmon on the St. Anne
signed "M.C. Weiler" lower right
watercolor, 19 1/2 by 27 1/2 in.
titled on back
As a conservationist and an outdoorsman, Milton C. Weiler lived the life he painted, and his watercolors have authenticity as a result.
According to John T. Ordeman and Bud Weiler, “Milt Weiler was a watercolorist who could recreate in his paintings the look and feel of a winter waterfowl marsh, autumn upland bird cover, a spring trout stream and a summer salmon river in the manner of the tradition established by the artist whose works had inspired him, Winslow Homer. Weiler was also a carver of decoys, ducks of such sculptural beauty that they won him top awards in the most prestigious working decoy and decorative bird carving competitions...Weiler created covers and illustrations for many sporting magazines, and he earned accolades as an illustrator of volumes by many of the foremost authors of sporting books—Eugene Connett...among them.”
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."
Provenance: Private Collection, Massachusetts
Literature: John T. Ordeman & M. C. "Bud" Weiler Jr., "The Art of Milton C. Weiler: A Sportsman's World," Sugar Hill, NH, 2001.
BRETT JAMES SMITH (B. 1958)Island Pool,BRETT JAMES SMITH (B. 1958)Island Pool, 1997
signed and dated "Brett J Smith (c) '97" lower right
oil on board, 20 by 30 in.
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. Sportsmen nationwide collect Smith’s work because it is not only visually exciting, but also authentic and brings to bear his intimate knowledge of his sporting experience. His work has 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.
One fly fisherman casts from an island in a river while his companion waits, ready with a net, in an evocative mountain setting.
Provenance: Private Collection, Texas
CHURCHILL ETTINGER (1903-1984)On theCHURCHILL ETTINGER (1903-1984)On the Scent, or Pair of Aces
signed "Churchill Ettinger" lower right
oil on board, 20 by 24 in.
Churchill Ettinger was born in New Jersey in 1903. After studying at Columbia University, the National Academy of Design, and the Arts Students League, he embarked on a career as a commercial artist. A dedicated sportsman, his artwork graced the covers of sporting magazines and books published by the Derrydale Press, such as "The Happy End." Ettinger moved to Vermont in the 1950s and focused on his sporting art. His works are in the permanent collections of the Boston Public Library, Dartmouth College, and the Nelson-Atkins Museum in Kansas City, among other institutions.
This bright work, depicting a pointer and setter mid-hunt, is one of Ettinger's strongest dog works.
Provenance: Private Collection, Florida
Private Collection, Tennessee
ARTHUR FITZWILLIAM TAIT (1819-1905)QuailARTHUR FITZWILLIAM TAIT (1819-1905)Quail and Chicks, 1867
signed and dated "AF Tait N A 1867" lower right
oil on board, 10 by 14 in.
signed and dated on back
Kennedy & Co., New York and Winsor & Newton labels on back
This painting is number 67.5 in Henry Marsh's Tait checklist. This little gem recalls Tait's famous "The Cares of a Family," with a pair of attentive quail and six baby chicks framed by delicate grasses and flowers.
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 (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others.
In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait.
In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake 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 was 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, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first 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, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others.
Provenance: Charles Porter Schutt Collection, acquired from The Old Print Shop, New York
Sarah S. Harrison Collection, by descent
Renee du Pont Harrison Collection, by descent
Literature: Henry M. Reed, "The A. B. Frost Book," Charleston, SC, 1993, p. 87, illustrated.
Henry M. Reed, "The A. B. Frost Book," Rutland, VT, 1967, illustrated.
Henry W. Lanier, "A. B. Frost The American Sportsman's Artist," New York, 1933, illustrated.
ARTHUR BURDETT FROST (1851-1928)AutumnARTHUR BURDETT FROST (1851-1928)Autumn Woodcock Shooting, 1895
signed "A.B. Frost" lower right
watercolor and gouache, 13 1/2 by 21 1/2 in.
titled on The Old Print Shop, New York label on back
Charles Porter Schutt, known to friends and family as Porter, was an avid sportsman with a keen appreciation for sporting art. Born in 1911 in Wilmington, Delaware, in 1935, he married Phyllis Moxham du Pont, daughter of Eugene E. du Pont. Under her father’s champion tutelage, she became an accomplished shot at an early age. Together, Porter and Phyllis shared a profound love of the outdoors, respect for nature, and enjoyment of the sport of shooting. They spent countless days hunting quail, woodcock, dove, duck, and wild turkey at her parents’ two expansive sporting properties, Kinloch Plantation, on the Santee River outside Charleston, South Carolina, and Napley Green, on the Chester River near Rock Hall, Maryland. In addition to attending and hosting organized shooting parties on the East Coast, the couple regularly traveled to Scotland and Spain to enjoy “walked up” days flushing out partridge, pheasant, and woodcock with other experienced guns.
In the late 1960s, the Schutts purchased a large tract of land in Alabama where they envisioned a shooting plantation of their own. “Gallio,” the result, is a pristine forested property, shaped over forty years into a shooting paradise, and designed to provide and protect a perfect natural habitat for game birds.
Though the walls at Gallio and at Dogwood, in Wilmington, were covered with Audubons and Frosts, “Autumn Woodcock” had a place of pride in Porter’s library above his desk as his favorite and most prized work of art. It was the perfect painting to appreciate while sitting, nursing a scotch, and planning the next shooting party or yearly trip to Scotland. To Porter and Phyllis, Frost’s incredible eye for detail and ability to capture the spirit of the moment trumped all others. Porter Schutt died in 1999, and “Autumn Woodcock” descended in the family until being offered today.
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.
This work, “Autumn Woodcock,” is the original watercolor reproduced by Charles Scribner’s Sons in Frost’s "Shooting Pictures," a portfolio of twelve chromolithograph prints. It is considered one of the artist's most iconic and recognized works.
Of the thousands of works that Frost is known to have produced, "Autumn Woodcock," with its excellent composition and superb condition, ranks right at the top. The work reveals Frost as one of the greatest illustrators of his generation. The hunter is perfectly positioned as the setters come across the woodcock by a brook, a Frost masterwork in every sense.
As Henry M. Reed notes, “Every scene portrayed is one that each of us who has hunted with dog and gun has experienced - the setter staunchly on point, the gun ready, thumb on the safety, and heart pounding as we await the explosive fluttering of wings as the bird flushes...all of these are situations which the artist handles with such realism and familiarity that the viewer is placed squarely in the center of the adventure...The pointing dogs are magnificent - sneaky, noses moist and low, and their weightless balance, with forefoot raised, is perfection. The landscape backgrounds for the shooting pictures signify autumn, with grey morning mist behind the birches, the fallen leaves wet with morning dew...”
Provenance: Charles Porter Schutt Collection, acquired from The Old Print Shop, New York
Sarah S. Harrison Collection, by descent
Renee du Pont Harrison Collection, by descent
Literature: Henry M. Reed, "The A. B. Frost Book," Charleston, SC, 1993, p. 87, illustrated.
Henry M. Reed, "The A. B. Frost Book," Rutland, VT, 1967, illustrated.
Henry W. Lanier, "A. B. Frost The American Sportsman's Artist," New York, 1933, illustrated.
RUDDY TURNSTONENew Jersey, c. 1890
8RUDDY TURNSTONENew Jersey, c. 1890
8 1/2 in. long
A rare decoy species with two stick-up holes from the historic George Bird Evans Collection, which included prime New Jersey shorebird examples. Evans (1906–1998) was a writer, artist, dog breeder, and sportsman. Stamped and written collector inventory numbers are on the underside.
Original paint with light gunning wear and a possible bill replacement.
Provenance: George Bird Evans Collection
Private Collection
Literature: Kenneth L. Gosner, "Working Decoys of the Jersey Coast and Delaware Valley," Cranbury, NJ, 1985, p. 96, related decoy illustrated.
LABRADOR RETRIEVER DUCK CALLFrank S.LABRADOR RETRIEVER DUCK CALLFrank S. Finney (b. 1947)
Capeville, VA, c. 2000
4 1/4 in. tall
An original tag included with the call reads "Duck Call by FINNEY Functional Art for the Discerning Sportsman." The resin-cast call is marked with the artist's stylized "F" signature.
Original paint with light wear.
BRETT JAMES SMITH (B. 1958)FlatheadBRETT JAMES SMITH (B. 1958)Flathead Camp
signed "Brett J. Smith ©" lower right
oil on canvas, 24 by 40 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. Sportsmen nationwide collect Smith’s work because it is not only visually exciting, but also authentic and brings to bear his intimate knowledge of his sporting experience. His work has 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.
Provenance: Private Collection, Rhode Island
ARTHUR BURDETT FROST (1851-1928)"WithARTHUR BURDETT FROST (1851-1928)"With One Final Puff He Rolled Into the Trench," 1917
estate stamp "A B Frost" lower right
ink wash, 17 1/2 by 12 1/2 in.
Arthur 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 completed hundreds of watercolors and oils of the New Jersey seaside. Frost is best known for his hunting and shooting prints which capture the drama of sport in realistic, detailed settings. Frost lived at his estate, Moneysunk, in Convent Station, New Jersey.
A.B. Frost created this drawing as an illustration for the story "Wamble: His Day Out," which appeared in "Collier's Weekly" in 1917.
Provenance: The Estate of the Artist
Sotheby Parke Bernet, New York, Sale 3834, item 405, January 29, 1976
The Estate of Ann Dickinson Dale
Literature: Samuel Hopkins Adams, "Wamble: His Day Out," Collier's Weekly, January 13, 1917, pp. 16-18, illustrated.
EXCEPTIONAL SWIMMING MERGANSERNorthEXCEPTIONAL SWIMMING MERGANSERNorth Shore, MA, c. 1890
17 1/2 in. long
This hollow swimming merganser is among the finest decoys discovered in decades. As this Massachusetts masterpiece makes its public debut, no other decoys from this rig are known to have surfaced in any auction to date. Like the goose, the red-breasted merganser has been a muse for many of the great known and unknown Atlantic carvers. A thorough review of the finest mergansers confirms that this carving stands on its own as one of the greatest extant, and it is certainly second to none among all hollow examples of this species.
The sleek body stretches forward to a raised neck seat topped by a highly refined reaching head, turned slightly to the left. The delicate bill is trimmed with incised mandible carving. Topping the head is a ridged crest running from the crown to the nape with a rasp finish capturing the texture of the wet shaggy feathers after a dive. The lightweight body features refined raised wing tip carving and a thin tail. A round beveled weight and thin bottom board complete the underside of the decoy and it appears to have had a wooden keel at one time. The surface is finished with softly blended paint and sharp wing patches. Given its fragile features, the decoy has survived in remarkably good condition. It is being offered here in its discovered state with no touch-up or repairs.
Bob Shaw demonstrates in the opening salvo to his Massachusetts chapter, one cannot discuss the unrivaled region’s great decoys without embracing the unknowns. As he makes clear, masterworks such as this easily rise above the trivia of attributions. That said, naturally this swimmer’s origin is being explored. Only two other decoys from this rig are known and all are in the same plumage. The other two are in upright positions, but no raised wing carving. One is in a prestigious private collection where it shares space with exceptional works from the North Shore, Massachusetts, rigs of Capt. Samuel A. Fabens, Fred M. Nichols, and Capt. Charles Osgood. The features of this lot place it firmly in region, and some believe it is in fact a Nichols decoy as the style relates closely to works identified from his rig. While more sleek and detailed than an Osgood or even a Fabens merganser, the form and construction appear to have a common origin with the latter. Gigi Hopkins reveals that Fabens and Nichols were both guests at the prestigious Ives Camp in Rowley, Massachusetts, which was co-founded in 1853 by none other than Capt. Charles C. Osgood (1820-1886).
“The Massachusetts region, which includes coastal New Hampshire, Cape Cod, the islands of
Nantucket and Martha's Vineyard, and the state of Rhode Island, arguably produced more
first-quality decoys than any other area of the country and was home to a number of the decoy's greatest artists, including such masters as Elmer Crowell, Joe Lincoln, Lothrop Holmes, and George Boyd.
“Massachusetts also produced several of the greatest as yet unidentified carvers. Many of the region's most accomplished and inventive nineteenth-century shorebird carvers have never been identified, while a uniquely constructed group of geese and red-breasted mergansers is attributed by oral tradition to a Salem sea captain named Charles C. Osgood, although whether he actually made them or not may never be known. One unidentified master carved a rig of astonishing animated shorebirds for Dr. John C. Phillips, a wealthy sportsman and amateur ornithologist who was also one of Elmer Crowell's most important patrons, while another made equally remarkable geese and shorebirds with tightly fitting, removable dovetailed heads.” — Bob Shaw, “Bird Decoys of North America”
Excellent original paint with light gunning wear, some chipping to tail edge, and head is slightly loose.
Provenance: Private Collection, Massachusetts
Literature: Gwladys Hopkins, “Massachusetts Masterpieces: The Decoy As Art,” Lincoln, MA, 2016, pp. 76-77, Osgood, Fabens and Nichols discussed and Osgood merganser illustrated.
Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, pp. 150-151, lost Fabens merganser illustrated and Massachusetts discussed.
RICHARD E. BISHOP (1887-1975)PrairieRICHARD E. BISHOP (1887-1975)Prairie Wings, 1945
signed and dated "Richard E Bishop '45 ©" lower left
oil on canvas, 30 by 25 in.
signed, titled, and dated on back
An edition of "Prairie Wings" by Edgar M. Queeny, published by Ducks Unlimited in 1946 accompanies the lot.
In 1946, Edgar Queeny published "Prairie Wings" through Ducks Unlimited. It is now one of the most important books on waterfowl ever written. He studied the landing patterns of birds over Wingmead, his 14,000 acre property in Arkansas, which had three named green tree reservoirs: Wingmead, Paddlefoot, and Greenwood. Queeny was an active patron of Bishop's and partnered with the artist for the many illustrations throughout the book, including the color frontispiece.
Queeny wrote, “Dick’s paintings and etchings of wildfowl are outstanding because he is not only a superb artist but a topnotch engineer! As a result of his engineering training and his understanding of aerodynamics, mechanics of flight and the anatomy of birds came as second nature to him…the results are portraits of birds as they really fly!”
Bishop’s original drawings and Queeny’s photographs from "Prairie Wings" were donated by Thomas K. Figge to the John L. Wehle Gallery of Sporting Art at the Genesee Country Village & Museum in 1986, where they remain in the permanent collection.
This famous frontispiece for "Prairie Wings" comes from the collection of Joseph N. Pew Jr., the Sun Oil heir, philanthropist, and avid sportsman. He hunted and fished in Nova Scotia, started the Pew Charitable Trusts, and likely encountered Edgar M. Queeny in New York’s Links Club, where both were members.
Provenance: Joseph N. Pew Jr. Collection
Alberta Hensel Pew Baker Collection, Chester, Nova Scotia
Private Collection
Literature: Edgar M. Queeny, "Prairie Wings: Pen and Camera Flight Studies," New York, NY, 1946, frontispiece, XIII, p. 225.
CANVAS CACKLING GOOSEBurley Earl RussellCANVAS CACKLING GOOSEBurley Earl Russell (1891-1984)
Stockton, CA, c. 1935
22 in. long
Russell was one of the first to create the canvas-kapok decoys and was also the most accomplished. A talented carpenter and well-known sportsman, the maker was reported to have actively hunted well into his eighth decade of life.
This rare little cackling goose has raised wing tips and a flat bottom insert with a hole for use as a stickup or sitting field decoy.
Original and early working paint with gunning wear and a tear in the tail.
Provenance: Richard and Dorothy Wheeler Collection
Literature: Michael R. Miller and Frederick W. Hanson, "Wildfowl Decoys of the Pacific Coast,” Portland, OR, 1989, p. 309, related decoys illustrated.
Michael R. Miller, "Wildfowl Decoys of California,” Spokane, WA, 2015, p. 479, related decoys illustrated.
IMPORTANT BIDDLE-RIG GREEN-WINGED TEALIMPORTANT BIDDLE-RIG GREEN-WINGED TEAL DRAKEJess Heisler (1891-1943)
Burlington, NJ, c. 1920
12 1/4 in. long
This early Biddle rig decoy is exceedingly rare and possibly unique with no Heisler teal in original condition apparent at auction for at least twenty-five years. Only a single blue-winged hen with a repaired bill surfaced in 2010. In 2001 "Decoy Magazine" hinted at their possible existence, writing that Heisler's teal pattern remained in the family "so possibly he produced those as well."
This bird hails from the esteemed rig of Charles Biddle, a wealthy sportsman from Andelusia, Pennsylvania, who hunted with his cousin, Mercer. In a cover article on Heisler, "Decoy Magazine" reports that the Biddles "both owned Heisler scull boats and decoys, often employing his services." The Biddles were known to hunt over some the finest decoys on the river, including choice examples by John Blair Sr. (1843-1929). The article also states that "Reportedly the Biddles, who owned or rented a railroad car, would hire a train to pull it to a spur in Maryland where they would use it for a duck camp." The cousins were also members of the Philadelphia Gun Club on the Chesapeake Bay, which hosted the likes of Annie Oakley, Earnest Hemingway, and Gen. John Pershing.
The hollow body shows Heisler's best early carving with dramatically lifted wing tips and a flaring tail, each finished with incised feathering. The underside has a partial brand reading "Biddl."
Original paint with even gunning wear and slight crack below left neck seam.
Provenance: Charles Biddle Rig
The Estate of Ann Dickinson Dale
Literature: H. Harrison Huster and Doug Knight, "Floating Sculptures: The Decoys of the Delaware River," Spanish Fork, UT, 1982, no Heisler teal listed or illustrated.
Allen Linkchorst, "Jess Heisler: Builder of Quality Boats and Decoys," Decoy Magazine, Lewes, DE, March/April 2001, front cover and pp. 8-11, Heisler and Biddle discussed, teal pattern listed.
FRANK VINING SMITH (1879-1967)StartledFRANK VINING SMITH (1879-1967)Startled Ducks
signed "Frank Vining Smith" lower right
oil on board, 17 1/2 by 24 in.
titled on back
Born and raised in South Abington, Massachusetts, Frank Vining Smith grew up sailing and loved other New England outdoor pursuits as well. After graduating from high school, Smith attended the Boston School of the Museum of Fine Arts, where he studied under such notable artists as American Impressionist Frank W. Benson (1862-1951), Phillip L. Hale (1865-1931), and Edmund C. Tarbell (1862-1938). After graduating he worked as an illustrator for several newspapers in New York City and Boston, in addition to painting covers for national publications, such as "National Sportsman." After working as a staff artist for the "Boston Herald" for nearly fifteen years, Smith quit his post to focus on his painting career. He was ultimately rewarded with several one-man shows across the United States and a painting career spanning four decades.
Provenance: Private Collection, New Hampshire
Private Collection, Virginia
DAVID A. MAASS (B. 1929)Alighting Woodcock
signedDAVID A. MAASS (B. 1929)Alighting Woodcock
signed "Maass" lower right
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 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: Private Collection, Wisconsin
A GROUP OF FIVE DERBY PORCELAIN FIGURESA GROUP OF FIVE DERBY PORCELAIN FIGURES (5) Circa 1770-1790 Comprising; a figure of the infant Hercules wearing the pelt of the Nemean lion; a sportsman with gun and dog; a shepherd with dog; a putto with flowers and a bird; a figure of Mars dressed as a Roman centurion
FIVE DERBY PORCELAIN FIGURES (5) CircaFIVE DERBY PORCELAIN FIGURES (5) Circa 1760-65 Comprising; a figure of a Dresden shepherdess, a garland shepherd, a garland shepherdess, a sportsman with dog, a gallant attired as a shepherd, 17cm to 23cm high
A BOW FIGURE OF A SPORTSMAN Circa 1760A BOW FIGURE OF A SPORTSMAN Circa 1760 Modelled standing with a dog at his feet, holding dead game in his right hand and the barrel of a rifle in his left, red anchor and dagger mark, 18cm high
Rolex. Oyster The Sportsman's WatchRolex. Oyster The Sportsman's Watch advertising sign. c. 1940, reverse-painted glass, painted wood, enameled aluminum. 8¼ h × 10¼ w × 6 d in. result: $4,000. estimate: $500–700.
DOULTON LAMBETH STONEWARE SPIRITS FLASK,DOULTON LAMBETH STONEWARE SPIRITS FLASK, JOHN BURNSGlazed flask of the British politician (1858-1943), temperance activist, and sportsman.
Condition:
Good
20PC HAZEL ATLAS COBALT BLUE SAILBOAT20PC HAZEL ATLAS COBALT BLUE SAILBOAT COCKTAIL GROUPING...Sailboats from the Sportsman series, collection of mid-century cobalt glass including: 3 cocktail shakers, 1 ice bucket, 6 small 4"H glasses, and 10 taller 5"H glasses. The largest of the collection with measurements 10.75"H x 4" dia.
Issued: c. 1930
Manufacturer: Hazel Atlas
Country of Origin: USA
Condition:
Age related wear. Shaker tops have cracks.