HENRY T. HARVEY (British, 20th Century) “THE DUCK POND”. Signed and titled on the stretcher by Harvey “The Duck Pond No. 6944”. Beautiful impressionistic image of a cottage and peasant woman in the background. Much green foliage all around with a pond in the foreground where three ducks are swimming. Signed lower left. Housed in an ornate gesso gold frame. SIGHT SIZE: 15” x 19-1/4”. CONDITION: Very good to excellent. 9-98025 (800-1,200)
E.E. MORSE (American, 1837-1921). FAMILY OF DUCKS IN POND, signed lower right. Oil on canvas - 21 1/2 in. x 27 in.
MASSACHUSETTS SIGNED PICTORIAL NEEDLEWORKby Hannah Ewell at age 16 (in the Seventeenth year of her age), possibly Hannah Ewell of Marshfield, Massachusetts, 1769-1849, two upper registers in deep blue background over a bucolic scene, the center depicting a piping shepherd and shepherdess set in a grassy hillock, with house on the right, strolling couple under a parasol with young girl on the left, cow, flock of sheep, pond with wading ducks, flowering tree and a butterfly, done in split stitch, chain stitch, eyelet, and outline, crinkled silk, silk floss, and wool highlights, New England laid (self-couching), selvage edge at right, other edges tuned under twice, and hemmed, on linen, 12-1/2 x 18 in.; wood frame, 14-1/2 x 20 in.
Note: In the 18th century the mercantile wealth of Boston, Massachusetts, was mirrored in its gentry?s pursuit of refined culture. The behavior and accomplishments of a family?s daughter was held in the same regard as fashionable clothing and refined furnishings. Education for girls, which had been informal in the last century, expanded to include boarding and day schools: before 1725 only four such schools advertised in Boston newspapers; after that more than 25 schoolmistresses promoted themselves. What had begun as an activity for the daughters of the elite became fashionable for the daughters of yeomen and tradesmen as well as the merchant ranks. Here girls learned not only how to read, write, and cypher, but also how to execute increasingly elaborate and expensive embroideries.
Pictorial embroideries created in the Boston area from about 1750 to the early 1790s represent the epitome of a schoolgirl?s needlework skills. Worked in crewel wool on a linen canvas and later in silk thread on canvas, they depict?following the English fashion?bucolic scenes of shepherds and shepherdesses, strolling couples, and birds and beasts. The designs were drawn by professionals; teachers likely guided their pupils in the selection of colors and a limited stitch palette.
Hannah Ewell was 16 (?in the Seventeenth year of her age") when she completed a silk-on-linen scene depicting a fashionable couple strolling with their young girl, both females with parasols. The central figures are a piping shepherd and fashionably dressed shepherdess. Completing the scene are a country house, Devon cow, flock of sheep, pond with wading ducks, flowering tree, and a butterfly. Although Hannah did not date her accomplishment, the attire and hairstyle of the shepherdess suggest a date of 1785-95: the striped robe has tight-fitting sleeves; at the neck is a fichu that is puffed up over the bust (called the pouter pigeon effect); the hair is highly frizzed with long curls on either side of the neck; and perched on the hair is a hat with tight crown and large brim.
Although the identity of Hannah Ewell cannot be confirmed, she may be the Hannah Ewell who was born to Gershom and Susanna Ewell in Marshfield, Massachusetts, on April 13, 1769. Gershom was a yeoman farmer who, at his death in 1835, had an estate worth over $4,000. Hannah married Nathan Williamson in November 1790 and died in 1849.
Done in counted split stitch, chain, eyelet, and outline using crinkled silk and silk floss. Wool was used to fashion the ladies? hair.
Brunk Auctions would like to thank textile historian Kathy Staples for her assistance in cataloging this needlework.
Provenance: Private Collection, Arkansas
Condition:
fabric edges retain evenly spaced holes used originally to mount fabric for stitching, small pea-sized hole at bottom left corner, some wear to silk at left margin that does not detract from the overall appearance, good color, minor fading to rusty-pink and pink areas (likely due to fugitive dyes rather than sun); frame with wear
Charles Meurer (German/American, 1865-1955), "Ducks on Pond, Coral Gables, Florida", 1941, oil on canvas, signed and dated lower right, titled on stretcher, 18 in. x 26 in., unframed.
CHINESE SWATOW LOW BOWL Blue and White Porcelain Footed Bowl, possibly Ming Dynasty, with radiating floral panels, centered with ducks in pond design, 2 1/2" high, 10 3/4" diam. Seven rim chips.
Hans Kleiber (German-American, 1887-1967), two limited edition duck-themed etchings: "Pintails Feeding", depicting five ducks in marsh, two upended with submerged heads, minor mat burn, ss: 8 3/4" h. x 6 3/4" w.; and "Evening", depicting small flock of ducks preparing to land on pond surface, ss: 8 1/8" h. x 10 3/4" w., both titled and signed in pencil, both with Associated American Artists labels verso, both matted and framed behind glass, neither examined out of frames.
DUCKS ON A POND, THREE-DIMENSIONAL MIXED MEDIA, FRAME: 26 X 32 IN. (66.04 X 81.28 CM.)Ducks on a Pond, Three-Dimensional Mixed Media,, Dimensions: Frame: 26 x 32 in. (66.04 x 81.28 cm.)
HENRY PEMBER SMITH (AMERICAN, 1854 - 1907), "VIEW OF MILL POND, LYME, CT", OIL ON CANVAS, DEPICTS A VIEW OVER WATER IN SUMMER WITH THREE DUCKS AT CENTER, WHITE COLONIAL HOUSE AND PART OF A RED BARN IS VIEWED THROUGH T...Henry Pember Smith (American, 1854 - 1907), "View of Mill Pond, Lyme, CT", oil on canvas, depicts a view over water in summer with three ducks at center, white colonial house and part of a red barn is viewed through treeline at center, blue cloudless sky, signed "Henry P. Smith" in upper case block letters in lower left corner, in old carved frame, possibly original, wear consistent with age including craquelure throughout but especially evident in sky, rubbing where canvas meets frame, light toning, etc., ss: 19 1/2" h. x 27 1/2" w.; frame size: 27 1/4" h. x 35 1/4" w. x 1 3/4" d.
SET OF 22 MINIATURE SHOREBIRDS A. Elmer Crowell (1862-1952)
East Harwich, MA, c. 1930
largest is 4 3/4 in. long
Crowell created three different sets of miniature birds, twenty-five ducks, twenty-five songbirds, and twenty-five shorebirds, which he sold to not only his decoy buyers and seasonal tourists, but also schools and museums around the nation for species identification purposes. Author and collector Joseph Ellis, who tallied the maker’s miniature species in "Birds in Wood and Paint," writes, "The result—50 ducks, geese, and upland game birds (including females), 42 shorebirds and wading birds, and 91 songbirds, for a grand total of 183—is staggering."
The vast majority of the original Crowell sets to come to market are his waterfowl species, making this a rare opportunity to acquire a nearly complete shorebird flock with remarkable consistency from bird to bird. Absent from the set are the obtainable jacksnipe (#20), lesser yellowlegs (#24), and spotted sandpiper (#25). Indeed, the number of complete sets of shorebird miniatures that have come to auction can be counted on one hand.
Each miniature bears the "A. E. Crowell MAKER East Harwich MASS" rectangular stamp on the bottom of the base, along with a penciled number in reference to Crowell's published shorebirds set list. The group includes the following with Crowell’s alternate names in parentheses: greater yellowlegs, ruddy turnstone, golden plover, upland sandpiper (upland plover), piping plover, black-breasted plover, killdeer plover, dowitcher, purple sandpiper, dunlin (redback sandpiper), white-rumped sandpiper, pectoral sandpiper, least sandpiper (least peep), marbled godwit, Hudsonian godwit, whimbrel (jack curlew), sanderling, willet, redknot (redbreast), black-neck stilt, semipalmated plover, and semipalmated sandpiper.
This set was originally acquired directly from Crowell by Alice "Dotty" Herrick Mumford of Pegan Hill in Dover, Massachusetts, and Great Pond, located in Eastham, Massachusetts. The Mumford family farmed Pegan Hill for many generations before conserving the land, now called the Mumford Wildlife Forest, as open space.
The carvings come with their original custom-built wood and glass case with a mirrored back. In addition to the structural protection, the case appears to have prevented any fading or discoloration. Given their condition, provenance, and the rarity of shorebird sets, these birds present the infrequent opportunity for acquisitors to obtain an excellent and cohesive set.
Outstanding original paint with minimal wear.
Provenance: Alice "Dotty" Herrick Mumford Collection, Pegan Hill, Dover, Massachusetts, and Great Pond, Eastham, Massachusetts, acquired from the artist
Private Collection, by descent in the family
Literature: Stephen B. O'Brien Jr. and Chelsie W. Olney, "Elmer Crowell: Father of American Bird Carving," Hingham, MA, 2019, pp. 239-241, shorebird set list, and miniature song bird and waterfowl carving sets illustrated.
Brian Cullity, "The Songless Aviary," Hyannis, MA, 1992, pp. 90-99, similar birds illustrated.
JAPANESE PAINTING OF LADIES VIEWING A POND OF DUCKS Early 20th century, hanging scroll format, ink and colors on silk, three ladies dressed in beautifully patterned kimono viewing over a bamboo fence a peaceful scene of ducks on a pond, green tree branches frame the scene above, signed together with red artist seal to lower right corner of painting, set in a traditional Japanese hanging scroll brocade mount, ivory roller (one missing).
Rookwood Turkish Teapot American, painted decoration with ducks on pond, gilt highlights, base with anchor mark and "Rookwood 1882", initials for Albert Valentien (1862-1925, working at Rookwood 1881-1905), 11-3/8 in.,
GEORGE CHEREPOV (CONNECTICUT/VERMONT/RUSSIAN FEDERATION, 1909-1987), TWO WORKS: A SEASCAPE AND A VIEW OF A DUCK POND., LARGEST AN OIL ON CANVAS BOARD, 16" X 20". FRAMED 19" X 24".GEORGE CHEREPOV, Connecticut/Vermont/Russian Federation, 1909-1987, Two works: a seascape and a view of a duck pond. Both signed lower right "G. Cherepov". Dimensions: Largest an oil on canvas board, 16" x 20". Framed 19" x 24".
Large silk and gold thread embroidered wall hanging having landscape scene with ducks in a pond and bamboo trees, Meiji Period, having a Brandt Orient: Large silk and gold thread embroidered wall hanging having landscape scene with ducks in a pond and bamboo trees, Meiji Period, having a Brandt Oriental Art Receipt dated March 27, 1999. Condition All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
Landscape with pond and figures walking, two ducks in pond, oil on canvas, 24" x 36", SLL "C. Ricciardi '62". Artist: American, 1892-1973. S
CHINESE LANDSCAPE WITH DUCKS AND WATER REEDS, CUT CURRENCY AND CHINESE DUCKS BY POND, WATERCOLOR, LARGER FRAME: 36 X 18 INChinese Landscape with Ducks and Water Reeds, Cut Currency and Chinese Ducks by Pond, Watercolor, Larger Frame: 36 x 18 in
CYNTHIA FISHER COLOR PRINT in limited edition (American, 20th century). Mated pair fish eating ducks on pond, no. 80/1000, signed l.l. Well matted in wood frame.
DEWITT CLINTON BOUTELLE (American, 1817-1884) VALLEY FARM. Oil on canvas bright late summer scene shows a farmer in his pasture with cows grazing next to pond with ducks. Colorful trees surround the pond and pasture. Farm buildings are seen at the end of the meadow. Several rooftops are seen over the tree level. All under an expansive sunlit sky. Signed lower right “Boutelle 1859”. Housed in an antique birdseye maple veneered ogee frame. SIZE: 20-1/4” x 30”. CONDITION: Small patch on reverse, craquelure, minor touch up. 9-70875 (6500-8500)
WINCHESTER MODEL 12 PIGEON GRADE SKEET SHOTGUNpump action, serial number 828593, circa 1829, 12 gauge, 2-3/4 in. chambers, LOP 14 in., 24-3/4 in. barrel with solid rib, left side inscribed "WINCHESTER Trade Mark, Made In U.S.A.", "WINCHESTER PROOF STEEL" and "WS-1" adjacent to hallmark, silver and red fore sight bead, factory blued receiver with engraving of four ducks around pond on one side with two in flight, pointer and setter engraving on the other side of receiver, both with foliate scroll surround, likely engraved by Winchester engraver George Uhlrich who worked from 1919-1949, engraved "Pigeon" form under tube above serial numbers and the word "SKEET", wrap around point pattern hand checkering to highly figured smaller style walnut forend, highly figured walnut stock with pointed checkering to pistol grip, two black diamond inlays to wrist of stock, orange rubber Winchester butt pad, weight 7 lb. 8 oz., overall length 45 in.
Provenance: Private Virginia Collection
Condition:
bright barrel with some frosting towards end, clean receiver, action and trigger seem to function well, some minor surface wear and scratches to exterior barrel, slide abrasions to tube, very minor surface wear with handling scratches to forend and stock, 1 inch scratch to left side of receiver, some handling marks to top of receiver, miniscule abrasions to right side of receiver near back
Henry Pember Smith (1854-1907), oil on canvas, Country Pond with Ducks, signed lower right: Henry P. Smith, 22" x 28": Henry Pember Smith (1854-1907), oil on canvas, Country Pond with Ducks, signed lower right: Henry P. Smith, 22" x 28" Condition Condition: All lots are sold "as is" The condition of lots can vary widely and are unlikely to be in a perfect condition.
THREE CHINESE KRAAK BLUE AND WHITE PORCELAIN JARLETS, Wanli period. Fish and deer decoration; together with box and cover, late Ming Dynasty; duck in pond decoration; jarlet with floral decoration - 2 1/2 in. high; 4 in. diam.; 2 in. high; 3 1/4 in. high.
PROVENANCE: Acquired in Jakarta in 1978
Frank Weston Benson - Ducks on pond: . Lot 39. Frank Weston Benson . American (1862-1951). Ducks on pond . ink wash, graphite. signed lower right. sight: 19 1/4 x 26 1/4 inches. frame: 28 x 34 3/4 inches. . Provenance:. from the estate of Ines Bausili. . Condition High-resolution photographs and condition reports are available by contacting the gallery. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Vintage American Wood Duck Decoy w/ Glass Eyes: North America, United States, ca. early to mid-20th century CE. A wonderful example of Americana, a wooden duck decoy for hunting. This waterfowl is painted in a dark brown, nearly black hue with white stripes. The head is inlaid with orange and black glass eyes that give a life-like quality to the visage. A metal hook on the underside could attach a cord and weight to anchor the duck in the water. This decoy would encourage unsuspecting fowl to join him on the pond, and once the real birds were settled, they were quite literally "sitting ducks" for the hunter. Size: 14" L x 4. 75" W x 6" H (35. 6 cm x 12. 1 cm x 15. 2 cm) . . Provenance: private Vero Beach, Florida, USA collection. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #164664 Condition Age and use nicks and chips to high pointed areas and body. Fading and darkening of pigments as expected with use. Nice patina.
Winchester Model 12 Pigeon Grade Skeet Shotgun: pump action, serial number 828593, circa 1829, 12 gauge, 2-3/4 in. chambers, LOP 14 in. , 24-3/4 in. barrel with solid rib, left side inscribed "WINCHESTER Trade Mark, Made In U. S. A. ", "WINCHESTER PROOF STEEL" and "WS-1" adjacent to hallmark, silver and red fore sight bead, factory blued receiver with engraving of four ducks around pond on one side with two in flight, pointer and setter engraving on the other side of receiver, both with foliate scroll surround, likely engraved by Winchester engraver George Uhlrich who worked from 1919-1949, engraved "Pigeon" form under tube above serial numbers and the word "SKEET", wrap around point pattern hand checkering to highly figured smaller style walnut forend, highly figured walnut stock with pointed checkering to pistol grip, two black diamond inlays to wrist of stock, orange rubber Winchester butt pad, weight 7 lb. 8 oz. , overall length 45 in. Provenance: Private Virginia Collection Condition bright barrel with some frosting towards end, clean receiver, action and trigger seem to function well, some minor surface wear and scratches to exterior barrel, slide abrasions to tube, very minor surface wear with handling scratches to forend and stock, 1 inch scratch to left side of receiver, some handling marks to top of receiver, miniscule abrasions to right side of receiver near back
+JEAN-FRANCOIS RAFFAELLI "LA NEIGE", 1906, (DELTEIL 68) ETCHING PRINTED IN COLORS ON WOVE PAPER, DEPICTS WINTER LANDSCAPE WITH POND AND TREES IN FOREGROUND, FIGURE WITH DOG AND DUCKS AT CENTER AND RIGHT, SNOW COVERED ...+Jean-Francois Raffaelli "La Neige", 1906, (Delteil 68) etching printed in colors on wove paper, depicts winter landscape with pond and trees in foreground, figure with dog and ducks at center and right, snow covered cottage and hills in background, pencil signed lower right, numbered 149 lower left, applied label verso with image information along with stamp "Ellen Traut Collection, 635 Farmington Ave, Hartford, CT", framed and matted behind glass, wear consistent with age including minor foxing and even light toning, ss: 19" h. x 23" w. [PROVENANCE: Consignor purchased from Andre Candillier, New York, N.Y. in 2002 for $3,150, copy of receipt available to successful bidder]
Hull Novelty (6) - Flying Duck Pond Planters
Lot of six (6) large #104 flying duck pond planters in various colors. All marked and without damage or repairs.
"DUCK POND" BY MARY RUBY ORKIN. New York, 1894-1987. Oil on artist board, signed and dated 1971. Folky winter image titled "Central Park" on the front and #59 "Duck Pond 1971 CPS Snow". 16"h. 12"w., framed, 20.25"h. 16.25"w.
Lladro #5303G ''Playing with Ducks at Pond'' issue year 1985 retire year 1989 Vicente Martinez
Abbott Fuller Graves (American 1859-1936) ''The Duck Pond'' 718. Abbott Fuller Graves (American 1859-1936) ''The Duck Pond'' Signed lower left Abbott Graves ANA. O/C. Carved into Reverse of Frame at Bottom: Philip N. Yates Maker. Excellent original condition & frame. No inpaint or restoration. Minute hole near signature. Property from the Strong National Museum of Play sold to benefit the Collections Fund.30'' x 40''E
20 Books on Hunting: 20 Books on Hunting- 1. ) Leopold, Luna B. , ed. - ''Round River'' 2. ) Hunt, Lynn B. - ''The Ducks Came Back'' 3. ) Williams, C. S. - ''Honker'' 4. ) MacKenty, John G. - ''Duck Hunting'' 5. ) Errington, Paul L. - ''Of Men And Marshes'' 6. ) Hill, Gene- ''Mostly Tailfeathers'' 7. ) Walsh, Harry M. - ''The Outlaw Gunner'' 8. ) Koller, Lawrence R. - ''Shots, At Whitetails'' 9. ) Major Askins, Charles- ''Wing and Trap Shooting'' 10. ) Marshall, Edison- ''The Heart of The Hunter'' 11. ) Russell, Franklin- ''Watchers at the Pond'' 12. ) MacCaskill, Don and Bridget- ''Wild Endeavour'' 13. ) Anderson, L. A. - ''Hunting, Fishing, and Camping'' 14. ) Jones, Adrienne- ''Wild Voyageur: Story of a Canada Goose'' 15. ) Stuart, Frank S. - ''Wild Wings'' 16. ) Wright, Bruce S. - ''Black Duck Spring'' 17. ) Willock, Colin- ''Duck Shooting'' 18. ) Dickey, Charley- ''Movin' Along with Charley Dickey'' 19. ) Ripley, Dillon- ''Paddling of Ducks'' 20. ) Heintzelman, Donald S. - ''North American Ducks, Geese & Swans'' Overall good to fair condition.
DUTCH DELFT BLUE AND WHITE CHARGER AND A DELFT FOOTED BOWL Unmarked; the charger with duck in pond bordered by shrubs, the bowl with flowerheads and foliage. 9 and 13 1/2 in. diam. Estimate $ 250-350
CARTIER GOLD, DIAMOND, RUBY, EMERALD COMPACTCartier 18 kt. Yellow Gold, Diamond, Cabochon Ruby and Cabochon Emerald Compact, signed “Cartier” and inscribed “18K” and “550”, case with duck and pond scene set with 17 diamonds, total wt. approx. 1.25 cts.; 6 rubies, total wt. approx. 3.00 cts.; and 6 emeralds, total wt. approx. 5.00 cts.; mirrored interior with two compartments; h. 3/4 in., w. 3 in., d. 2 1/2 in.; 117.5 dwts. **Please note: Payment for all jewelry and coin purchases must be made by cash, check or wire transfer.**
Evalyn Gertrude James (IN 1898-1990) 9 x 12 oil on board signed lower left 1956 depicting dusk landscape with two ducks on pond and rowboat
Art Deco jade and diamond panel brooch in pt. Mine and transitional-cut diamonds, approx. .50 ct TW. Pierced and carved panel depicts duck on pond with lilies. Damage. 7/8" x 2".
A 19th Century Chinese Charger painted reserve of duck on pond surrounded by utensils and flowering shrubs in famille verte enamels and iron red, 15 1/2in, six character mark
MT. WASHINGTON ROYAL FLEMISH "DUCK" OIL LAMPMt. Washington Royal Flemish "Duck" Oil Lamp, having painted flying ducks on the base with a duck in a pond on the shade, electrified, height 16 inches. Provenance: From the Estate of Elwyn W. Lemon, Enfield, Connecticut.
Condition:
Very good condition, very minor wear to the top of base where brass part sits. Minor gilt loss to body and to top rim of shade. Shade has very minor scratching. All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
8336 - Chinese Snuff Bottle
Chinese snuff bottle, hand painted with mountain landscape on one side and two ducks in pond on other, signed, 2 3/4" h x 1 3/4" w. Provenance: From a California collection.
20th C. Painting of Ducks Swimming in Pond: 20th C. Painting of Ducks Swimming in Pond. Oil on Canvas Board. Sight Size: 17. 5 x 23. 5 in. Overall Size: 21 x 27 in.
Alfred William Parsons British (1847-1920)
DUCKS IN POND NEAR BLOOMING CHERRY TREES
watercolor, framed, signed: lower left, Alfred Parsons
H10 1/2" W14 1/4"
Provenance: Verso bearing old label: William Marchant & Co., Boussod Valadon & Co., and The Goupil Gallery, London (c. 1900)
Three Chinese Green-Glazed Pottery Models and A Chinese Pottery Rectangular Cosmetic Box
Han Dynasty (206 BC-220)
comprising of an architectural model of a duck pen and watch tower with several birds, ducks, turtles and fishes, a model of a duck pond in a darker green glaze, and a model of a rice huller and window on a rectangular base with three sides on a rising wall. The cosmetic box is completely covered by the decorated cover in orange-red and black pigments, the top is surmounted by four bosses between a lower rectangular band.
Height of largest 13 1/2 in., 34.3 cm.
DUCKS AND POND, WATERCOLOR AND GOUACHE, A PERSIAN ILLUMINATED MANUSCRIPT PAGE AND A PAINTED PLASTER PLAQUE OF A TRAVELING FAMILY, LARGEST: 16 X 21 IN. (40.64 X 53.34 CM.)Ducks and Pond, Watercolor and Gouache, a Persian Illuminated Manuscript Page and a Painted Plaster Plaque of a Traveling Family,, Dimensions: Largest: 16 x 21 in. (40.64 x 53.34 cm.)
Sun Chuanzhe (B. 1915) "Mandarin Duck": Sun Chuanzhe (Chinese, B. 1915) "Mandarin Duck" Stamped middle left and right. Original Watercolor painting. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . The brightly colored Mandarin Duck of East Asia is a species of unusual beauty -- and even more unusual behavior. Making its home in deciduous forests near ponds and waterways, this "perching" duck spends more time alone in the trees than among its flock. The male, prone to shyness, generally keeps his comments to himself except for an occasional nasal note. In his nuptial plumage, he is a boisterous sight to behold -- complete with iridescent speculum patterns, orange "whiskers, " and a pair of very large, orange "sail" feathers that sometimes stand erect along his back. The female, dressed in a sensible mottled gray-brown color, makes her nest in a towering, solitary tree-hole -- often as high as forty-five feet off the ground. There she deposits -- into a mixture of wood bits and white down -- nine to twelve glossy, buff-colored eggs. When the ducklings emerge from this airborne roost, they jump to the ground almost immediately and learn to fly in six weeks. Mandarins cling to their lofty perches with long, muscular claws. They are not an especially gregarious species, but -- among themselves they do engage in the curious and fastidious practice of "social preening. " Interestingly, Mandarins are frequently kept and raised in captivity, where they usually do well. In their native eastern Asian wilds, however, their population has lost numbers due to widespread destruction of the forests. . . Image Size: 13. 25 x 13. 25 in. . Overall Size: 15 x 15 in. . Unframed. . (B08650) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be out bid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. Available payment options on Bidsquare
Contemporary oil on canvas of roosters by ponds edge with ducks and ducklings, signed illegibly. 18" x 24". Provenance: Former home of Mel Gibson, Old: Contemporary oil on canvas of roosters by ponds edge with ducks and ducklings, signed illegibly. 18" x 24". Provenance: Former home of Mel Gibson, Old Mill Rd, Greenwich, CT Condition All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
Two Chinese interior painted glass snuff bottles 1) larger bottle - interior scene of scholars and warriors in battle; 2) smaller bottle - ducks on pond scenic decoration 3 in. H. of taller Estimate $ 70-125 Larger bottle: large and extensive cracks; small bottle: gilt loss appropriate wear.
WILLIAM T. ALDRICH (MASSACHUSETTS, 1880-), DUCKS IN A BUCOLIC POND., OIL ON CANVAS, 24" X 30. FRAMED 28" X 34".WILLIAM T. ALDRICH, Massachusetts, 1880-, Ducks in a bucolic pond. Signed in pencil on upper stretcher bar "W.T. Aldrich". Dimensions: Oil on canvas, 24" x 30. Framed 28" x 34".
Curlew A. Elmer Crowell (1862-1952), East Harwich, MAc. 1930A life-size shorebird mantle carving with a slightly turned head. This decorative exhibits Crowell's mastery of the carved wooden bird and his finest blended painted surface representing the plumage. Mounted on a carved clam-shell base with the maker's rectangular stamp on the bottom. The underside also displays the inscription "A. H. Dempsey to J. Ashley Dempsey," and "CR" for Carolyn Rowland.Anthony Elmer Crowell was born in 1862 in the town of East Harwich, Massachusetts, the son of a Cape Cod mariner and cranberry grower. According to Crowell in his memoires, Anthony S. Crowell, Elmer’s father, though not a hunter, gave his son his first shotgun at the age of twelve. Of the relevance of receiving the new shotgun Crowell wrote, “Then, I was some boy!” The legend of A.E. Crowell and his famous carvings has many of the common threads of the typical artist’s tale. It is the story of a boy of modest means, born at the right time, and befriended by encouraging patrons. 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.Young Elmer wasted no time immersing himself into the life of a market hunter. His father owned a small piece of property on nearby Pleasant Lake in East Harwich. By 1876, at the age of fourteen, Elmer had set up his own gunning stand along the lake’s southern shore. Crowell describes the site as having, “a fine sand beach which was ideal for my ducks. I had only six live decoys the first season. I made nine block decoys and put them off about thirty yards in the lake.” Crowell’s description reveals two important aspects regarding his career. The first being his preferred use of live birds as decoys, and the second is the documentation that he began to carve decoys by the age of fourteen.It is often the confidence and enthusiasm of youth that brings forth great experimental breakthroughs. Crowell’s immersion into waterfowl hunting was no different. At a time when market hunters could earn a respectable living if they were able to secure enough game, necessity became the mother of invention. Crowell’s flair for handling live decoys was most certainly born of this mindset. Crowell recounted in his memoir that by 1878, less than two years after starting to hunt, he had increased his flock to, “forty live decoys and tried a new way of handling my ducks. I sank a pole with a ring in the top and ran a line through it back to the blind, which made an endless line. I tied four live ducks to it and pulled them off the pond about thirty five yards. It was about two weeks before they were broken in so I could pull them out without their making a flutter. After that they were all right.”In the third quarter of the 19th century, Cape Cod was a major stop-over for migratory birds and sparsely populated by people. However, with increased access by train and the advent of the automobile, Cape Cod was quickly becoming a destination for sportsmen in pursuit of outdoor recreation. The concept of the American shooting sportsman was beginning to take root. The gunning stands and camps that had once been primarily operated by local market gunners were becoming increasingly sought after by sportsmen from Boston.These newer club owners would often invite their influential and wealthy friends down as guests and they needed managers to run the camps. It was Charles Ashley Hardy of Chatham and Wayland, Massachusetts, along with his partners, G. Herbert Windeler and Loring Underwood, who first approached the enthusiastic young bird handler. It is no small coincidence that they established their camp “The Three Bears Club” on Pleasant Lake, one half mile from Crowell’s gunning stand.The tremendous advantages that Crowell’s inventions and practices provided to the “Three Bears” cannot be overstated. Crowell’s trapdoor invention most closely resembled an automatic garage door. A domesticated flock of honking Canada geese would fly out, circle the pond, and draw the wild geese straight back to the beach like magnets. Crowell stated, “It was a success and we had good shooting for a number of years. At that time we began to bait the small ponds with corn, and two years later we baited in front of our blinds at the lake. It stopped the black ducks from going south, so the ponds were full of ducks; the shooting was great.” Crowell’s own words speak volumes and provide insight into the looming decimation of the migratory bird populations which began to occur at the turn of the century. The refined use of live decoys coupled with baiting waterfowl halted the wild birds from their natural migration patterns. Hunters were quickly becoming so adept at attracting their quarry that wild ducks and geese stood virtually no chance.Federal regulations shortly thereafter banned the use of live decoys and forced Crowell into the world famous carver so revered today. Unable to use live domesticated birds to lure in the flocks, Crowell did the next best thing, creating exceptional sculptures of likeness in wood.The quality of the carvings that Crowell created for his earliest patrons, including this whimbrel for the Hardy family, was often exceptional. Through experimentation he developed and mastered his “wet-on-wet” dry brush feathering technique. While the darker brown feather paint was still wet Crowell applied the lighter feather delineations. Once the two different colored paints became tacky, he took a clean dry brush and gently feathered the two colors together, producing a nicely blended affect. One has the sense that Crowell was either looking right at a real curlew as he painted this carving or he had handled so many that their shapes and feather patterns were etched in his memory.The special relationships forged through hunting, beginning with Charles Hardy, Dr. Phillips, Harry V. Long and others, opened the world to Crowell’s workshop, and the customers came knocking. Crowell specifically credits Mrs. Alexis Felix DuPont for introducing his work to many of the affluent summer residents of Chatham and other important patrons including Joseph B. Chace, Stuart Crocker, Dr. Mac Cunningham, Henry Ford, Arthur Gould, John D. Rockefeller Jr., and Abby Aldrich Rockefeller.Provenance: Alison Hardy Dempsey CollectionJane Ashley Dempsey CollectionCarolyn Rowland CollectionPrivate CollectionLiterature: Copley Fine Art Auctions, LLC, "The Harry V. Long Collection of A. Elmer Crowell Decoys", The Sporting Sale, Boston, MA, 2009.Brian Cullity, "The Songless Aviary," Sandwich, MA, 1992, p. 26, similar example illustrated.
CHINESE, 20TH CENTURY, DUCK IN POND, WATERCOLOR ON SILKChinese, 20th Century, Duck in Pond, Watercolor on Silk
CHINESE BLUE AND WHITE VASE WITH LOTUS POND Chinese blue and white vase with lotus pond, of paneled pear form, having plantain, leiwen and lappet bands at the neck above a body decorated with reserves depicting lotus ponds and ducks, apparently unmarked. Approx: h. 10".
CHINESE SCHOOL, STREET SCENE, PRINT ON SILK AND DUCKS IN POND, COLOR PRINT, LARGER FRAME SIZE: 24 X 34 INChinese School, Street Scene, Print on Silk and Ducks in Pond, Color Print, Larger frame size: 24 x 34 in,
Hull Novelty (3) - Small Flying Duck Pond Planters
Lot of three (3) small #79 flying dock pond planters. All marked and without damage or repairs.
Ivan Kozlov (B. 1937) "Ruddy Duck": Ivan Kozlov (Russian, B. 1937) "Ruddy Duck" Signed and dated ('90) lower right. Original Watercolor painting on Paper. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . This painting is the original which was published on the First Day Cover for the USSR 1991 20k Oxyura leucocephala Duck conservation stamp issued July 1, 1991. The small, stocky Ruddy Duck is one of the most common of the diving ducks and is best described in human-like terms. Lovely, frolicsome and somewhat impish, a flock of Ruddy Ducks brings to mind a school ground full of young children. The Ruddy Duck is certainly not as agile as a child, however. When a Ruddy is disturbed, it takes to wing with great difficulty, splashing across the water's surface as it flaps its wings. Finally, with enough momentum gained, the Ruddy Duck takes to the air. Perhaps because of its clumsiness when taking off, it most often is seen paddling about the water and diving for food. The Ruddy Duck is found throughout much of the world and although it is a diving duck, it prefers small waters. Other diving ducks can be found on large reservoirs and lakes, but not the Ruddy. The little, chunky duck nests near small ponds and lakes. During the off-season, some of the birds can be found on larger bodies of water. In the breeding grounds on the prairies of the United States and the steppes of the Soviet Union, the hen Ruddy will lay as many as ten eggs on a tightly-woven platform of grass and twigs near the water. The eggs themselves are unusual, for they are much larger than eggs of other species. For three weeks, the eggs are carefully incubated and when hatched, the hen teaches her young to swim and dive. And when they are able, they will launch into the skies in their distinctive style. . . Image Size: 14 x 11. 75 in. . Overall Size: 18. 75 x 14. 75 in. . Unframed. . (B12916) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.