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Guyette, Schmidt & Deeter North American Decoys At Auction February 15, 2013

Charleston, South Carolina


The Allure of the Decoy

An Exhibit of decoys from the Collection of Elaine & Alan Haid Aiken-Rhett House 48 Elizabeth Street Charleston, SC 29401

February 15-17, 2013 10am - 5pm 80 page catalog | $15


Guyette, Schmidt & Deeter

Important Notices:

North American Decoys At Auction

The Charleston Marriot 170 Lockwood Boulevard | Charleston, South Carolina 29403

Friday, February 15, 2013 Preview 12:00 pm - 2:00 pm Auction 2:00 pm - 5:00 pm

For questions during the auction call 410-745-0485

For questions or for free appraisals contact Gary Guyette : decoys@guyetteandschmidt.com | 410-745-0485 Jon Deeter : jdeeter@guyetteandschmidt.com | 440-543-1416 Or contact our office at PO Box 1170 | St. Michaels, Maryland 21663 | 410-745-0485

Absentee, Phone & Online Bidding accepted call 410.745.0485 for arrangements

■■ Use the code “SWE” at the Charleston Marriot (843-723-3000) for their $159 rate. Use the code code “SWE” or ‘Decoy Auction” for the $95 rate at the Comfort Inn (843) 577-2224, 1/2 mile away; free trolley pick up every 30 minutes to the Marriot and downtown Charleston. ■■ Purchases will not be available for pick up at auction site until the sale has ended. ■■ Unofficial prices realized information will be available 5 business days after the auction. Official prices realized list will be available online approximately 2 weeks after the auction. ■■ For delicate carvings we will need a written statement from the purchaser assuming responsibility for pursuing any claims in the event of any damage incurred during shipping, these items are marked *. Under no circumstances will we be responsible for damage to glass, frames, or fragile decoratives, regardless of the cause. ■■ Bid calling by Larry Carter. ■■ Stands are not included with the decoys or weathervanes unless specified in catalog. ■■ Trade Up Program - A limited numer of decoy purchases may be paid for by consigning decoys to the next Guyette, Schmidt & Deeter auction. Ask Gary or Jon for Details.

GUYETTE, SCHMIDT & DEETER UPCOMING DECOY AUCTIONS March 16, 2013 Holiday Inn Westlake, Ohio

In Conjunction with the Great Lakes Decoy Association Show

April 25 & 26, 2013

Pheasant Run Resort St. Charles, Illinois

In Conjunction with the Midwestern Decoy Collector’s Association Show


Featuring Decoys from the Collections of: Peter Bartlett Carolyn Rowland Chincoteague Refuge Museum

Jim Ward Robert Billingsley John Hunsaker

Peter Bartlett Peter Bartlett began collecting decoys in the late 1970’s and early 1980’s. What started as a hobby quickly became a true passion. Owning a summer home on Barnegat Bay in Bay Head, New Jersey, Pete initially focused his collecting on Barnegat Bay decoys and local carvers. He took great pride in learning about, not only the birds and their carvers, but also of the history, ecology and changing habitats of the birds and decoys he collected. He thoroughly enjoyed traveling to various shows, meeting other collectors, carvers and historians and as a result he developed many strong and lasting friendships. As his interest and knowledge grew his collection expanded to include decoys from other areas of the country as well as shore birds and miniatures. Pete took great joy in sharing his ever expanding knowledge with anyone willing to listen, most especially his three children and six grandchildren. All those who knew Pete will sorely miss his enthusiasm, passion and knowledge of all things decoy.

Peter Bartlett

Carolyn Rowland Carolyn Rowland (1916-2012) and her husband George lived in Boston, Massachusetts and had a summer home in Osterville on Cape Cod. Over a 35 year period they put together one of the finest collections of Elmer Crowell decorative shorebirds in the country. The collection includes several pieces that were gifts from Elmer Crowell to his benefactor, Dr. Charles Hardy. The majority of the Rowland collection will be sold at the summer 2013 Guyette, Schmidt & Deeter auction in Portsmouth, New Hampshire, but several select pieces are being offered in this sale. These include six miniatures and five full size carvings, two of which have the early oval brand, and a curlew that was featured on the cover of the July 1982 Richard Bourne auction catalog. The Rowland’s purchased numerous decorative carvings and Massachusetts shorebirds at the Richard Bourne auctions in Hyannis in the 1970’s. During the 1980’s and 1990’s they purchased from Guyette & Schmidt, Inc. auctions.

Carolyn Rowland


Even More Ways to Bid

Online Bidding Through Artfact Bidding through Artfact.com features real time competitive bidding straight from the auction.

To bid using Artfact: • Go to the Guyette, Schmidt & Deeter website and click on the Artfact link below upcoming auctions. • Once on Artfact’s website click on the Create Account button on the top right navigation bar. It’s free and only Create Account Login takes a few minutes. • Create your own username and password, along with your email address so Artfact can send you important information. • Input your information. On the following page Artfact will ask you for your interests. • Now that you are a member of Artfact, not only can you browse and bid on our auctions, but you have access to all of Artfact’s other auctions.

*Winning bids will be subject to a 3% Artfact fee

Table of Contents Friday, February 15, 2013 2:00 pm - 5:00 pm

Virginia

1-13

Maryland 14-33 Factory

34-45

North Carolina

46-55

Elmer Crowell

56-66

Miniatures 67-71 Decorative

72-78

Midwest and Ontario

79-88

Contemporary

89-111

New England New Jersey and New York

112-117A 118-133

Miscellaneous 134-148 Virginia

149-160

Shorebirds 161-167B Virginia

168-188


Delbert “Cigar” Daisey Chincoteague, Virginia

2

1

3

6 1.

4

7 Pair of gunning mergansers, Cigar Daisey, Chincoteague, Virginia, circa 1960’s.  Both are branded “Cigar”. Both have carved crests and glass eyes.  Original paint with minor to moderate wear; a few small dents and shot marks.

Provenance: Chincoteague Refuge Museum. (950 - 1,250) 2.

Three yellowlegs, Cigar Daisey, Chincoteague, Virginia.  All are branded “Cigar”. Two are in the rare “Minnow in throat” pose. All have relief wing carving.  Original and very good.

Provenance: Chincoteague Refuge Museum. (800 - 1,200)

3.

Pair of ruddy ducks, Cigar Daisey, Chincoteague, Virginia.  Branded “Cigar”.  Original and good.

Provenance: Chincoteague Refuge Museum. (650 - 950) 4.

Very rare hollow carved gadwall hen, Cigar Daisey, Chincoteague, Virginia.  Branded and signed. Relief wing tip carving.  Very good and original.

Provenance: Chincoteague Refuge Museum. (650 - 950)

4

5

8 5.

Pair of brant with cork bodies, Cigar Daisey, Chincoteague, Virginia.  Branded signed and dated 1972. Keels have been removed.  Very good and original.

Provenance: Chincoteague Refuge Museum. (800 - 1,200) 6.

Two whimbrels with turned heads, Cigar Daisey, Chincoteague, Virginia.  Both have carved crossed wing tips and carved secondaries. Unsigned.  Very good and original.

Provenance: Chincoteague Refuge Museum. (800 - 1,200) 7.

Coot, Cigar Daisey, Chincoteague, Virginia.  Branded and signed.  Very good and original.

Provenance: Chincoteague Refuge Museum.

8.

Very rare magnum mallard drake, Cigar Daisey, Chincoteague, Virginia.  Branded “Cigar”. Hollow carved with relief wing tip carving.  Small cracks in tail, otherwise very good and original.

Provenance: Chincoteague Refuge Museum.

(350 - 450)

(500 - 800)


10

9

11

12

13 9.

Large plover carved in the Virginia tradition, Mark McNair, Craddockville, Virginia.  Relief wing carving and slightly turned head.  Original paint that has been aged; small “in the making” crack in back and underside.

Provenance: Billingsley collection.

10.

Oversize hollow merganser carved in the Maine tradition, Mark McNair, Craddockville, Virginia.  Inlet head. Signed and dated 1996.  Original and good.

(950 - 1,250)

Provenance: Billingsley collection.

11.

Running yellowlegs carved in the Massachusetts tradition, Mark McNair Craddockville, Virginia.  Hollow

carved with ivory escutchen at stick hole.  Very good and original. (1,000 - 1,400) 12. Hollow carved eskimo curlew, Mark McNair, Craddockville, Virginia.  Carved in the Massachusetts tradition with ivory escutcheon at stick hole.   (1,000 - 1,400) 13.

Set of four root head egrets in various poses, Grayson Chesser Jenkins Bridge, Virginia.  On driftwood base. Large “C” carved in the underside of each.  Original and good.

Provenance: Chincoteague Refuge Museum. (2,000 - 2,500)

(1,000 - 1,400)

5


Ward Brothers

Crisfield, Maryland

14

15

14.

Classic 1936 model canvasback drake, Ward Brothers, Crisfield, Maryland.  Signed at a later date.  Original paint with minor wear on much of the decoy; crack partway through neck; small rough area on one edge of bill; chip missing from one edge of tail; old repair to several chips at neck base.

Provenance: Hunsaker collection.

Literature: “Ward Brothers Decoys - A Collector’s Guide”, Ron Gard and Brian McGrath, p.18. (5,000 - 8,000) 6

15.

Rigmate pair of canvasbacks, Ward Brothers, Crisfield, Maryland, circa 1940.  Both have slightly turned heads and are signed.  Paint has been restored by the Ward Brothers at a later date; a few small dents; small chip missing from one side of drake’s bill.

Provenance: Hunsaker collection.

(4,000 - 6,000)


16

17

16.

Shooting stool model Canada goose, Ward Brothers, Crisfield, Maryland.  Extra fine feather paint detail. Signed “To Knute Bartrug” and dated 1972 with a poem on the underside. Slightly turned head.  Very good and original. (4,000 - 5,000)

17.

Gull, Ward Brothers, Crisfield, Maryland.  Slightly turned head and good paint detail. Shooting stool model, circa 1960’s.  Very good and original.

Literature: “Ward Brothers Decoys”, Ron Gard and Brian McGrath. (2,500 - 3,500)

7


Maryland

18

21

24

18.

19

20

22

23

25

26

Two decoys, Madison Mitchell Havre de Grace, Maryland.  A widgeon and canvasback drake. Both have slightly turned heads.  Original paint with minor wear; very slight roughness to the end of the widgeon’s bill; weights are missing. (400 - 600)

19.

Canvasback drake, John “Daddy” Holly, Havre de Grace, Maryland, 3rd quarter 19th century.  From the Carroll’s Island Club. Club brand in underside.  Old in use repaint; neck crack repair; small cracks and dents. (400 - 600) 20. Canvasback drake, Scott Jackson, Charlestown, Maryland, circa 1900.    Old in use repaint; small crack through neck.

Provenance: Formerly in the collection of Somers G. Headly, Newark, Delaware. Stamped “S.G.H” in underside. (300 - 500)

21.

Canada goose, Madison Mitchell, Havre de Grace, Maryland.    Original paint with minor wear; small crack through neck; a few small dents. (300 - 400)

8

22.

Pair of bluewing teal, Paul Gibson, Havre de Grace, Maryland.    Very good and original. (300 - 400)

23.

Canvasback drake, Jim Currier, Havre de Grace, Maryland.    Worn old paint; small dents and shot marks.

Literature: “Decoys of the Mid Atlantic Region”, Henry Fleckenstein, Jr, p. 96. (300 - 400)

24. Canvasback drake, Will Heverin, Charlestown, Maryland, 1st quarter 20th century.  Branded “WITUWE”.  Old repaint; small dents. (250 - 350) 25. Balsa body canvasback drake, Ward Brothers, Crisfield, Maryland.    Old in use repaint; small dents. (400 - 600) 26.

Pintail drake from Crisfield, Maryland.  Slightly tuned head.  Original paint with minor discoloration and wear; hit by shot; cracks in neck. (650 - 950)


27

28

29

31

30

32

33

27. Bluebill drake, William Heverin, Chestertown, Maryland.    Original paint; very minor discoloration and wear; structurally good.

30.

Pintail hen, Ward Brothers, Crisfield, Maryland, circa 1930’s.    Mixture of worn original paint with some overpaint; repair to a small chip at top of bill; small cracks.

Literature: “Decoys of Mid Atlantic Region”, Henry Fleckenstein, Jr, p. 108. (900 - 1,200)

Provenance: Formerly in the collection of Harold Haertel and so stamped. Hunsaker collection. (800 - 1,200)

28.

Bluebill drake, Robert McGaw, Havre de Grace, Maryland.  Fine paint detail and original McGaw “dogbone” weight.  Never used; near mint original paint; very minor discoloration on the white areas; small cracks and dents in underside; filler missing on top of head. (950 - 1,250)

31.

29.

Pair of “high head” canvasbacks, Milton Watson, Chesapeake City, Maryland.    Original paint with minor discoloration and very slight wear; weights have been removed.

Literature: “Decoys of the Mid Atlantic Region”, Henry Fleckenstein, Jr, p. 105. (800 - 1,200)

Two canvasbacks, “Wash” Barnes, Carpenter’s Point, Maryland, last quarter 19th century.  Both are branded “J.H.” under tail.  Apealing old in use repaint; minor roughness to edges of tails and heads; hen has crack in neck. (550 - 850) 32.

Pair of redheads, Robert McGaw, Havre de Grace, Maryland, circa 1920’s.  Both retain McGaw dog bone weights.  Old in use repaint; small crack in drake’s neck; minor roughness to edges of drake’s bill; lightly hit by shot. (500 - 800) 33.

Pair of greenwing teal, Madison Mitchell, Havre de Grace, Maryland.  Both have slightly turned heads. Both are signed and dated 1966.  Very good and original. (450 - 650) 9


Factory

35

34

36

37

39

38

34.

35.

36.

10

Pair of mallards, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century.  Standard grade with tack eyes.  Original paint with minor wear; some of the neck filler is missing; small dents. (400 - 600) Pair of bluebills, Mason Decoy Factory, Detroit, Michigan, circa 1920.  Standard grade with painted eyes.  Original paint with minor discoloration and wear; crack in the underside of hen; some neck filler missing; lightly hit by shot. (500 - 700) Robin snipe in fall plumage, Mason Decoy Factory, Detroit, Michigan.  Tack eye model.  Original paint with moderate wear; separation at knot in back. (600 - 900)

37.

Robin snipe in spring plumage, Dodge Decoy factory, Detroit, Michigan, circa 1800’s.    Worn original paint; bill is an old replacement; small dents and shot marks.

Provenance: From the Accomack Hunting Club on the Eastern Shore of Virginia. Accomack club brand in underside. (600 - 900)

38.

Classic mallard hen, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade. Original paint with good detail and minor wear; small crack in tail; slight fading to paint on tail; a few tiny dents and shot marks. (1,500 - 2,500)

39.

Two decoys, Mason Decoy Factory, Detroit, Michigan.  A premier grade canvasback drake and a standard grade merganser drake.  Both have restored paint; neck filler is replaced on merganser; small dents. (400 - 600)


41

40

42

43

45

44

40.

Bluebill hen, Mason Decoy Factory, Detroit, Michigan, circa 1915.  Premier grade with wide bill carving. Retains original Mason Factory weight.  Original paint with good patina and minor wear; very lightly hit by shot.

Literature: “Mason Decoys - A Complete Pictorial Guide”, Russ Goldberger and Alan Haid, p.37. (1,500 - 2,000)

41.

Blackduck, Mason Decoy Factory, Detroit, Michigan, circa 1910.  Premier grade with rare early snakey head style.  Original paint with good detail and minor wear; a few small dents; small amount of old touch up on each side of head. (2,000 - 3,000)

42.

Willet, Mason Decoy Factory, Detroit, Michigan, circa 1910.  Glass eye model.  Original paint with good detail and minor wear; minor roughness to edges of tail; chip missing from one side of tail; lightly hit by shot; separation at knot in underside. (1,500 - 2,000)

43.

Three brant, Wildfowler Decoy Factory, Point Pleasant, New Jersey.  Point Pleasant stamp on underside.  Original paint with minor wear; one eye missing. (300 - 500)

44.

Pair of canvasbacks, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century.  Premier grade. Seneca lake model.  Paint that has been restored in the Mason style; a few small dents. (500 - 700)

45.

Rare pintail hen, Dodge Decoy Factory, Detroit, Michigan, circa 1880’s.    Original paint with moderate wear; minor roughness to one edge of tail; small cracks; some of the neck filler is missing.

Literature: “Detroit Decoy Dynasty”, Ron Sharp and Bill Dodge. (500 - 700)

11


North Carolina

47

46

48

50

49

51

52

46.

Two battery decoys from North Carolina.    Old in use repaint; chip missing from one bill; small cracks and dents.

Provenance: Chincoteague Refuge Museum.

47.

Two decoys, Ned Burgess, Churches Island, North Carolina.    Worn old paint; each has a crack through the neck; numerous cracks in bodies; rough area on underside of one.

48.

Provenance: Chincoteague Refuge Museum.

(650 - 950)

(550 - 850)

Swimming brant from North Carolina, 1st quarter 20th century.    Original paint with minor to moderate wear; cracks through neck; end of bill is missing. (400 - 600)

12

49.

Two decoys from the Outer Banks, North Carolina.  A bluebill drake and a redhead drake.  Both appear to have replaced heads; old in use repaint; numerous cracks. (400 - 600) 50. Canvas over wire frame blackduck from North Carolina.    Original paint with minor wear; bill has been spliced in, but appears to be original. (200 - 300) 51. Two redheads from the Outer Banks, North Carolina.  One appears to have been made by James Best, Kitty Hawk, North Carolina and was reheaded a long time ago.  Old in use repaint; numerous cracks and dents. (400 - 600) 52.

Redhead drake, Dewey Salter, Broad Creek, North Carolina, circa 1960.    Original paint with minor wear; small cracks in underside. (300 - 400)


Lee Dudley

1860 - 1942 Knott’s Island, North Carolina

53

53.

Widgeon hen, Lee Dudley, Knott’s Island, North Carolina, last quarter 19th century.   Branded “L.D.” in the underside.  Old in use repaint; cracks in neck and body; old bill repair.

Provenance: Chincoteague Refuge Museum.

Literature: “Gunnin Birds”, Kroghie Andreson, p. 82. (3,500 - 4,500) 54.

Rare mallard drake, Ned Burgess, Churches Island, North Carolina, 1st quarter 20th century.    Original paint with minor wear; filler and two finish nails added to crack in neck; cracks in underside.

Literature: “Gunnin’ Birds”, Kroghie Andresen, p. 165 (800 - 1,200)

54

53 Detail 55.

Pair of widgeon, Ned Burgess, Churches Island, North Carolina.    Old repaint; cracks through necks.

Provenance: Chincoteague Refuge Museum.

(800 - 1,200)

55 13


Elmer Crowell

1862 - 1952 East Harwich, Massachusetts

Elmer Crowell at his workshop, circa 1930’s

From “The Songless Aviary” by Brian Cullity “Cape Cod was one of the more important regions in the northeast for market gunning. There were at least forty-four ponds on the Cape with professional gunning stand located on them from 1865 until 1929. Many of the locations had more than one stand. The toll of wildfowl taken on these locations was staggering. Elmer Crowell reported that he thought more than 1.000 ducks had been shot on the Upper Mill Pond in Brewster in 1927 alone. More often, the bag for the season was between one to three hundred fowl per stand. This was Crowell’s early environment; one to which he would develop an early and life-long affinity.” “It is tempting to speculate that these wealthy friends assured Crowell’s success by giving him considerable business orders. Dozens of carvings, owned by Phillips, Cunningham and Hardy, are known to collectors today. Crowell in turn, created the most spectacular group of painted carvings the hunting world had ever seen. His working decoys from this period (1900 - 1915) also show a degree of love, labor and art that is unparralleled in the decoy world. Wallace Furman, a Crowell friend and antique dealer, once expounded on the Crowell look. He is reported to have reflected on the fact that a Yellowlegs shorebird was so stupid that it would ‘come to a sock on the stick.’ Crowell had no reason, whatsoever, to create the sculptural masterpieces he did other than for the love of the art.”

14


56

56 Detail

56 Detail

56.

Very rare and important full size walking greater yellowlegs, Elmer Crowell, East Harwich, Massachsuetts, 1st quarter 20th century. Crowell’s oval brand is in the underside. In very unusual forward pose with a stance between walking and running. Extremely fine feather paint detail and patina. 13” from tip of bill to tip of tail.  Near mint original paint; several tiny cracks in jesso thighs.

Provenance: Carolyn Rowland collection. Rowland collection stamp in underside.

Literature: “Songless Aviary”, Brian Cullity.

(30,000 - 40,000)

15


58

57

59

61

62

57. Rare miniature dowitcher, Elmer Crowell, East Harwich, Massachusetts.  Crowell’s rectangular stamp is in the underside with the number 8. Fine paint detail and patina.  Excellent and original.

Provenance: Carolyn Rowland collection. (1,500 - 2,500)

58. Miniature snipe, Elmer Crowell, East Harwich, Massachusetts.  Crowell’s rectangular stamp is in the underside.  Original paint with good patina; minor wear on base; structurally very good.

Provenance: Carolyn Rowland collection. (1,500 - 2,000)

59.

Miniature robin snipe in spring plumage, Elmer Crowell, East Harwich, Massachusetts.  Crowell’s rectangular stamp is in the underside. Good paint detail.  Excellent and original.

Provenance: Carolyn Rowland collection. (1,500 - 2,000)

60. Miniature widgeon drake, Elmer Crowell, East Harwich, Massachusetts.  Crowell’s round ink stamp is 16

60A

60

63 on the underside.  Excellent and original with good patina.

Provenance: Carolyn Rowland collection. (1,000 - 1,400)

60A. Miniature chickadee, Elmer Crowell, East Harwich, Massachusetts.  Crowell’s rectangular stamp is in the underside.  Very good and original. (600 - 900) 61.

Miniature bluewing teal drake, Elmer Crowell, East Harwich, Massachusetts.  Crowell’s rectangular stamp is in the underside.  Several small dents in bottom edge of base, otherwise very good and original. (1,000 - 1,400)

62.

Miniature bluebill drake, Elmer Crowell, East Harwich, Massachusetts.  Crowell’s rectangular stamp is in the underside.  Very good and original.

Provenance: Carolyn Rowland collection.

63.

Miniature pintail hen, Elmer Crowell, East Harwich, Massachusetts.  Crowell’s paper label is on the underside.  Very good and original with good patina.

Provenance: Carolyn Rowland collection. (1,000 - 1,400)

(750 - 950)


63A

63A Detail

63A Detail

63A. Exceptional preening whimbrel, Elmer Crowell, East Harwich, Massachusetts.  Unusual pose with bill parallel to the body and off to one side. Crowell’s rectangular stamp is in the underside. Fine feather paint detail and excellent patina. The striking pose, paint quality and provenance all contribute to making this whimbrel a truely remarkable example of Crowell’s artistry.  Original paint with very minor shrinkage; small crack through one jesso thigh.

Provenance: Carolyn Rowland collection. Rowland collection stamp in underside.

Literature: Richard Bourne Decoy Auction catalog, July 1982, FRONT COVER, exact carving pictured. (30,000 - 40,000)

17


63B

63B Detail

63B Detail

63B. Very rare and early “drop wing” style greater yellowlegs, Elmer Crowell, East Harwich, Massachusetts, circa 1910.  Crowell’s oval brand is in the underside. One of Crowell’s earlier decoratives with paint pattern reminiscent of decoys from the Parker Whittamore hunting rig, Essex, Massachusetts. Carved clam shell base. Crowell decoratives of this early vintage very seldomly come up for auction.  Near mint original paint with good patina; several tiny cracks in jesso. 18

Provenance: Carolyn Rowland collection. Rowland collection stamp in underside. (30,000 - 40,000)


64

64 Detail

64 Detail 64.

Full size “killdeer” plover, Elmer Crowell, East Harwich, Massachusetts.  Crowell’s rectangular stamp is in the base. Signed “Killdeer Plover”. Slightly turned head. Fine and precise feather paint detail with incredible color.  Tiny dent in one side of tail, otherwise excellent and original.

Provenance: Carolyn Rowland collection. Rowland collection stamp in underside. (12,500 - 15,500)

19


65

66

65 Detail

65.

Full size lesser yellowlegs mantle carving, Elmer Crowell, East Harwich, Massachusetts.  On carved wooden clam shell base with Crowell’s rectangular stamp in underside. Fine feather paint detail. Very good and original.  

Provenance: Carolyn Rowland collection. Rowland collection stamp in underside. (12,000 - 15,000)

20

66 Detail

66.

Full size decorative sandpiper, Elmer Crowell, East Harwich, Massachusetts.  Signed and dated 1940. Fine feather paint detail.  Very good and original.

Provenance: Carolyn Rowland collection. Rowland collection stamp in underside. (5,000 - 8,000)


Miniatures

68

67

69

70

71

67.

Pair of 1/4 size mergansers carved in the style of Ira Hudson, Reggie Birch, Accomack, Virginia.  Signed. Both have good paint detail and fluted tails.  Very good and original. (400 - 600)

68. Pair of miniature redheads on their original wooden bases, Robert McGaw, Havre de Grace, Maryland.  Good paint detail.  Minor shrinkage to the varnish on the bases, otherwise original and good. (450 - 650)

69.

Four miniatures on wooden bases.    Minor paint shrinkage, otherwise very good and original. (350 - 550)

70.

1/4 size Canada goose, Ward Brothers, Crisfield, Maryland.  Signed and dated 1961.  Original paint with good detail and minor shrinkage; a few tiny dents. (700 - 900) 71.

Five 1/4 size carvings, Miles Hancock, Chincoteague, Virginia.  Some are signed. Pair of mergansers, pair of mallards and preening Canada goose.  Original and good. (250 - 350) 21


Decoratives

73

72

74

76

75

72. Hollow carved pintail hen, John McLoughlin, Bordentown, New Jersey.  Signed and dated 1983. Carved crossed wing tips and fluted tail. Slightly turned head.  Very good and original. (950 - 1,250) 73. Preening pintail drake, Frank Finney, Virginia Beach, Virginia.  Signed. Relief wing carving with good detail.  Very good and original. 74.

Provenance: Chincoteague Refuge Museum. (650 - 950)

*Harlequin duck drake, Carl Danos.  Signed and dated 1987. Slightly turned head. Relief wing carving with extended wing tips and fluted tail.  Very good and original. (350 - 450) 22

75.

Preening yellowlegs with lifted wing, William Gibian, Onancock, Virginia.  Signed. Good paint detail.  Very good and original. (1,000 - 1,400)

76.

Large great horned owl, Frank Finney, Virginia Beach, Virginia.  On fence post base. Signed. Relief wing carving and feather carving detail.  Very good and original.

Provenance: Chincoteague Refuge Museum. (1,000 - 1,400)


76A

76B

76A. Pair of bluebills, Ward Brothers, Crisfield, Maryland. Signed and dated 1970. Shooting stool models with slightly turned heads and relief wing tip carving. Keels have been removed, otherwise very good and original. (3,000 - 4,000)

76B. 3/4 size decorative mallard drake, Ward Brothers, Crisfield, Maryland, circa 1948. Balsa body with slightly turned cedar head and extended wing tips made from peach basket staves. Carved in their 1936 style. Original paint with good detail and minor wear; a few small dents; small crack in underside; slight separation at seams in balsa. (2,000 - 3,000)

23


76C

76E

76G

76D

76F

76H

76C. Two decorative shorebirds, Charles “Pete” Wilbur, Island Heights, New Jersey, 3rd quarter 20th century.  A plover and a yellowlegs. Branded “C.W.”.  Very good and original; plover has three tiny holes at one side of tail. (250 - 350)

76F. Hollow carved brant, Corbin Reed, Chincoteague, Virginia. Signed and dated 1983 and stamped “J.C. Reed”. Slightly turned head, relief wing carving and fluted tail.Original paint with minor discoloration; structurally very good. (450 - 650)

76D. Hollow carved merganser hen carved in the style of the Ward Brothers, Crisfield, Maryland. Signed “Lem and Steve, 1968”.  Original paint with very slight wear; bill has been broken off and reattached. (350 - 450)

76G. Well sculpted orchard oriole, Gus Wilson, South Portland, Maine, circa 1930.  Carved, dropped wing tips and fluted tail. Tack eyes. On original base attached with wire legs.  Original paint with minor shrinkage; small amount of jesso missing at one thigh; bill has been broken off and re set. (650 - 950)

76E. Hollow carved Canada goose, William Cranmer, Beach Haven, New Jersey.  Slightly turned head, highly detailed feather and wing tip carving, and fluted tail.  Near mint original paint; two coats of paint on the white areas. (450 - 650) 24

76H. Pair of flying red breasted mergansers, Judson Budd, Chincoteague, Virginia. Signed and dated 1960. Very good and original. (400 - 600)


78

77

78 Detail

77.

Rare life size standing Canada goose, Robert Kerr, Smith Falls, Ontario.  Kerr’s brand is in the underside of the burl base. The carving is also signed and dated 1968. Carved crossed wing tips and good feather paint detail.  Very good and original.

Provenance: Chincoteague Refuge Museum. (1,000 - 1,500)

78.

*Exceptional full size standing widgeon drake, Oliver Lawson Crisfield, Maryland.  Signed and dated 1965. Fine carving detail with raised wings and fluted tail.  A few tiny rubs, otherwise very good and original.

Provenance: Chincoteague Refuge Museum. (3,000 - 4,000)

25


Midwest and Ontario

80

79

82

81

83 79.

80.

84 Rigmate pair of mallards, Charles Perdew, Henry, Illinois.  Retain Perdew weights.  Two coats of paint by Perdew with moderate wear; crack in one side of hen; some scorching, mostly on lower half. (800 - 1,200) Two decoys, Ben Schmidt, Detroit, Michigan.  A bluebill drake and a canvasback drake.  Original paint with minor wear; crack in lower side of canvasback and back of bluebill; a few tiny dents. (650 - 950)

81. Canvasback drake, Ken Anger, Dunnville, Ontario.  Incised wing tip carving.  Original paint with good patina and very slight wear; structurally very good. (800 - 1,200) 82.

26

Pair of bluewing teal, Robert Kerr, Smith Falls, Ontario.  Signed, stamped and dated 1968. Good feather

84A carving detail and very slightly turned heads.  Very good and original.

Provenance: Chincoteague refuge museum. (800 - 1,200)

83. Pair of mallards, Arthur Pelligren, Houma, Louisiana.  Both are stamped “A.P.”  Very good and original. (350 - 450) 84. Preening mallard hen, Robert Elliston, Bureau, Illinois.  Branded “N.A.P”. Retains Elliston weight.  Paint has been restored in the Elliston style; small crack in bill. (600 - 800) 84A. Pintail drake, Mitchell LaFrance, St. Sophie, Louisiana. Cypress root construction with relief wing carving. Original paint with minor to moderate wear; chip missing from end of tail; small dents. (650 - 950)


85

85. Classic mallard hen, Robert Elliston, Bureau, Illinois, circa 1880’s.  Retains Elliston weight. Fine paint detail.  Original paint with minor wear; a few small dents.

Literature: “Decoys of the Mississippi Flyway”, Alan Haid, p. 156. (3,000 - 4,000) 86.

Hollow carved redhead drake, Tom Chambers, Toronto, Ontario 1st quarter 20th century.  Branded “J.T. McMillan” in underside for James T. McMillan, St. Clair Flats shooting company member, 1913-1946.  Original paint with good patina and minor wear; a few small dents.

Literature: “Ontario Decoys”, Bernie Gates, p. 15. (1,500 - 2,000)

87.

Pair of redheads, Ben Schmidt, Detroit, Michigan.  Extra wide body styles.  Very lightly hit by shot, otherwise very good and original. (1,200 - 1,600)

86

87

88. Rigmate pair of mallards, Ken Anger, Dunnville, Ontario.    Original paint with minor wear; a few small dents. (1,500 - 2,000)

88 27


Contemporary Carvings 89.

Two hollow carved swans.    Original paint that has been aged; structurally good.

Provenance: Chincoteague Refuge Museum. (650 - 950)

89A. Curlew carved in the Cobb Island style, Mark McNair, Craddockville, Virginia. Slightly turned head. Original paint with minor to moderate wear; hit by shot on one side; a few small cracks. (1,250 - 1,750)

89

89A

90.

Pair of hollow carved brant carved in the Eastern Shore tradition, Grayson Chesser, Jenkins Bridge, Virginia.  Both have a large “C” carved in the underside.  Original paint that has been aged; minor roughness to wing tips.

Provenance: Chincoteague Refuge Museum. (800 - 1,200)

90

90A

90A. Two shorebirds, William Gibian, Onancock, Virginia. A large whimbrel and a godwit. Both have relief wing carving. Whimbrel has slightly turned head and crossed wing tips. Very good and original. Provenance: Chincoteague Refuge Museum. (650 - 950) 91.

Large root head swan in preening pose, Grayson Chesser, Jenkins Bridge, Virginia.  Large “C” carved in underside.  Original paint that has been aged; numerous cracks.

Provenance: Chincoteague Refuge Museum. (800 - 1,200) 92.

91

Hollow carved Canada goose, Robert Moreland.  Signed and dated 1993. Relief wing tip carving.  Original paint with minor discoloration on white areas; structurally very good.

Provenance: Chincoteague Refuge Museum. (800 - 1,200) 92A. Two bufflehead hens, Cigar Daisey, Chincoteague, Virginia. Two different types of gunning models. One has been lightly hit by shot and has minor discoloration; the other is very good and original.

92

28

92A

Provenance: Chincoteague Refuge Museum. (600 - 900)


93.

Three shorebirds, William Gibian, Onancock, Virginia.  Signed. Two plovers and a lapwing. All have good paint detail.  Near mint original paint; structurally very good. (1,000 - 1,400)

93 94.

Set of four yellowlegs, William Gibian, Onancock, Virginia.  Relief wing carving. Signed.  Original and good.

Provenance: Museum.

Chincoteague Refuge (1,000 - 1,400)

94

94A. Pair of hollow carved mallards, Jim Brochman, Pungo, Virginia. Signed. Carved in the style of John Blair, Sr. Very good and original. Provenance: Museum.

Chincoteague Refuge (600 - 900)

94A

95.

Pair of hollow carved mallards, William Gibian, Onancock, Virginia.  Both are signed. Both have slightly turned heads, raised wing tip carving and fluted tails.  Very good and original. (2,000 - 3,000)

95 29


96

97

98

99

100

101

102

103

104

96. Pair of phalaropes and two shorebirds, Robert Personius.  Shorebirds are a feeding yellowlegs and a dowitcher carved in the style of John Dilley. Signed and dated 1990. Relief wing carving and slightly turned heads.  Very good and original.

Provenance: Hunsaker collection.

97.

Pair of hooded mergansers, Ira Skees.  Signed. Carved in the tradition of the Virginia Shore.  Original paint that has been aged; structurally good. (350 - 550)

(600 - 1,000)

98.

Two decoys, Ira Skees.  Oversize hollow pintail drake carved in the Delaware River style with raised “V” wing tip carving. Good paint detail. And a hollow carved blackduck carved in the style of the Caines Brothers. Signed.  Pintail is very good and original; blackduck has original paint that has been aged and small dents. (600 - 1,000) 99.

Hollow carved swan made in the style of Charles Birch, Willis Wharf, Virginia, Reggie Birch, Accomack, Virginia. Signed.  Original paint that has been weathered and aged; crack in back. (400 - 600)

100. Hollow carved redhead hen, Davison Hawthorne, Greenville, Delaware.  Signed and dated 2009. Fine wing tip carving detail and fluted tail.  Very good and original. (400 - 600) 101. Pair of hooded mergansers, Hurley Conklin, Manahawkin, New Jersey.  Both have “H. Conklin” brands in underside.  Original and very good. (400 - 600) 102. Greenwing teal drake carved in the style of the Ward Brothers, Crisfield, Maryland, 1936 model, Lou Reineri, Chincoteague Virginia.    Original paint that has been aged; small crack in underside. (400 - 600) 103.

Two decoys.  Merganser drake, Lou Reineri, Chincoteague, Virginia with relief wing carving. And a swimming mallard drake, Lou Schifferl with good carving detail and signed.  Very good and original.

Provenance: Hunsaker collection.

104. Reproduction of a Nathan Cobb blackduck.  Hollow carved with raised “V” wing carving and serifed “N” carved in underside. Inlet head.  Original paint that has been aged; numerous small dents.

30

(600 - 800)

Provenance: Chincoteague Refuge Museum.

(300 - 500)


106

105

108

107

109

110

111

105. Pair of swans carved in the style of the Mason Decoy Factory.  Modeled from a Mason swan found at one of the gunning clubs in Back Bay, Virginia.  Original paint that has been aged; structurally good.

Provenance: Chincoteague Refuge Museum.

(650 - 950)

106. Stick up snow goose in feeding pose, Robert Moreland.  Signed and dated 1994. Good form.  Original paint that has been aged; structurally good. Provenance: Chincoteague Refuge Museum. (800 - 1,200) 107. Pair of ruddy ducks, George Strunk.  Signed and dated 2008. Hollow carved with slightly turned head, fluted tail and relief wing tip craving.  Very good and original. (950 - 1,250) 108. Rare pair of widgeon, George Strunk.  Signed and dated 2007. Hollow carved with slightly turned heads, crossed

wing tips, and fluted tail.  Very good and original. (800 - 1,200) 109. Pair of pintails, Lou Reineri, Chincoteague, Virginia.  Signed and dated 1980. Both are carved in style of the Ward pinch breasted model decoys.  Original paint that has been aged; lightly hit by shot. (800 - 1,200) 110. Gunning model redhead drake, Bob White, Tullytown, Pennsylvania, circa 1970’s.  “White” stamp in underside. Relief wing carving with wing tip carving detail and fluted tail.   A few small paint rubs, otherwise very good and original.

Provenance: Chincoteague Refuge Museum.

111.

Reproduction of a Lloyd Sterling pintail drake, Frank Finney, Virginia Beach, Virginia.    Original paint that has been aged; structurally good.

Provenance: Chincoteague Refuge Museum.

(650 - 950)

(600 - 900) 31


New England

112

114

113

115

116

112. Blackduck, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century.  Crowell’s oval brand is in the underside. Slightly turned head.  Original paint with minor wear; numerous small dents and shot marks.

Literature: “New England Decoys”, John and Shirley Delph, p. 106. (2,000 - 3,000)

113.

Hollow carved pintail hen, “Shang” Wheeler, Stratford, Connecticut, circa 1930’s    Worn original paint; bill repair.

Provenance: From a hunting rig found on the Cooper River in South Carolina. (900 - 1,200)

114.

Widgeon drake, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century.  Branded “F.B. Rice” in underside. Rice was a wealthy Massachusetts sportsman who

32

gunned on the Sudbury River.  Old in use repaint; thin crack through neck; age split in underside.

Literature: “New England Decoys”, John and Shirley Delph, p. 130. (600 - 900)

115.

Rare pre brand canvasback drake, Elmer Crowell, East Harwich, Massachusetts, circa 1900.  Carved crossed wing tips, fluted tail and carved secondary’s. Slightly turned head. Part of a group of Crowell pintails, widgeon, and canvasbacks used in one of the North Carolina hunting clubs.  Old in use repaint; small dents; bill was broken off and reattached a long time ago; four small nails in underside; clamp mark on sides of head.

Provenance: Carolyn Rowland collection.

(700 - 1,000)

116. Sleeping Bluebill hen, Keith Mueller, Killingsworth, Connecticut.  Bill is buried in feathers.  Original paint with minor wear; a few tiny dents. (350 - 550)


117

117.

Very rare bluewing teal hen, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century.  Crowell’s oval brand is in the underside. Head is turned approximately 45 degrees.  Original paint with minor wear, mostly on sides; crack through neck base; small dents.

Provenance: From a hunting rig used on the Edisto, Combahee and Ashepoo Rivers in the South Carolina Lowcountry. Purchased directly from Crowell in 1925, there were originally six birds, four of which still exist. Crowell teal “hunting” decoys are extremely rare, less than a dozen examples are known in collections. (6,000 - 8,000)

117 Detail

117A. Rare solid body scoter, Joseph Lincoln, Accord, Massachusetts, circa 1900.  Original paint with moderate wear; several cracks and shot marks. Literature: “Joseph Lincoln”, Cap Vinal, p. 47. (1,250 - 1,750)

117A 33


New Jersey and New York

118

121

124

119

120

122

123

125

126

118. Blackduck, Harry V. Shourds, Tuckerton, New Jersey    Old in use repaint; a few small dents. (250 - 350) 119.

Pair of bluebills, Ken Harris, Woodville, New York.  Both have Harris brand in underside. Both have slightly turned heads and good feather paint detail.  Original paint with minor wear; structurally good. (500 - 700)

120. Hollow carved blackduck, John McLoughlin, Bordentown, New Jersey.  Slight turned head. Carved crossed wing tips.  Very good and original (800 - 1,200) 121. Hollow carved Canada goose, Harry V. Shourds, Tuckerton, New Jersey.  Inset rectangular weight.  Old in use repaint; old neck crack repair; crack in back.

123. Wood duck hen and drake, John McLoughlin, Bordentown, New Jersey.  Both have relief wing tip carving and fluted tails. Drake won Honorable Mention, Class One, Marsh Duck at the 1965 National Decoy Contest in Davenport, Iowa.  Original and good. (950 - 1,250) 124. Pair of mallards, Ken Harris, Woodville, New York.   Both have Harris stamp on underside. Both have slightly turned heads and good paint detail.  Very good and original. (500 - 700) 125. Hollow carved brant attributed to Chris Sprague, Beach Haven, New Jersey.  Hollow carved with inset rectangular weight.  Old in use repaint with traces of original showing; small dents.

Literature: “New Jersey Decoys”, Henry Fleckenstein, Jr, p. 119. (500 - 700)

Literature: “New Jersey Decoys” James Doherty, p. 92. (300 - 500)

122. Two decoys, Harry V. Shourds, Tuckerton, New Jersey, 1st quarter 20th century.    Old in use repaint; structurally good.

126. Merganser hen and drake, Harry M. Shourds, Tuckerton, New Jersey, circa 1920.    Drake has old in use repaint; structurally good; hen has worn original paint on much of the decoy; old in use repaint on white areas; professional bill repair; crack through neck. (800 - 1,200)

Literature: “New Jersey Decoys” James Doherty, p. 64. (600 - 900)

34


127. Very rare bluebill drake, Levi Rhodes Truex, Absecon, New Jersey, 1st quarter 20th century.  Good feather paint detail on back.  Original paint with good patina and very minor wear; slight separation at body seam.

Provenance: Bartlett collection.

Literature: “Classic New Jersey Decoys”, James Doherty, p. 154. (1,750 - 2,250)

127

128. Early hollow bluebill hen, Joe King, Manahawkin, New Jersey, last quarter 19th century. Dry original paint shows average to moderate wear and some flaking; some touchup around the body seam; very good structurally.

Provenance: Bartlett collection.

Literature: “Classic New Jersey Decoys”, James Doherty, p. 150.; “New Jersey Decoys”, Henry Fleckenstein, p. 73. (2,000 - 3,000)

128

129. Hollow bluebill drake, Mark Kears, Linwood, New Jersey, 2nd quarter 20th century.  Excellent original paint shows minor wear with some flaking around the body seam; thin crack at the base of the neck on one side. Provenance: Bartlett collection. (1,200 - 1,600)

129

130. Superb and rare hollow brant, Mark Kears, Linwood, New Jersey, 1st to 2nd quarters 20th century.  Outstanding dry original scratch paint shows minor wear, and a wonderful patina; excellent structural condition. Provenance: Bartlett collection. (3,500 - 4,500)

130 35


131

132

133

131. Superb hollow Canada goose, Levi Rhodes Truex, Atlantic City, New Jersey, 1st quarter 20th century. From the gunning rig of Earl Leeds, Pleasantville, New Jersey stamped with his name and address.  Outstanding dry original conditon.

132. Hollow bluebill drake, H.M. Shourds, Ocean City, New Jersey, 1st quarter 20th century. Dry original paint shows minor wear; thin crack in the neck; a couple of areas at the body seam where the filler is flaking out; overall good structurally.

Provenance: Bartlett collection.

Literature: “Classic New Jersey Decoys”, James Doherty, p. 84. (3,000 - 5,000)

Provenance: Bartlett collection.

Literature: “Classic New Jersey Decoys”, James Doherty, p. 154; “North American Decoys At Aucton”, Guyette & Schmidt, Inc. July, 1995, lot 100, exact decoy. (7,000 - 9,000)

133. Hollow bluebill hen, H.V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Branded, “H.W. GODFREY” twice on the bottom. Also bears the Mackey stamp.  Original paint shows moderate wear and some flaking to the bare wood; some of the filler has popped out of the body seam; overall sound structurally.

36

Provenance: Ex collection of William Mackey. Bartlett collection. (3,000 - 4,000)


Miscellaneous Items

134

136

135

137

138

134. Tug boat model, William G. Thomas-Moore, circa 1960’s.  Well known Charleston model shipwright and historian. Model is approximately 8” long and has particularly fine detail. In wooden and glass case.  very good and original. (400 - 600) 135. *Hand carved model of skipjack.  Approximately 32” long. Good detail.  Original and good. (250 - 350)

137. Five reproduction ruddy duck decoys.  Carved in the Back Bay, Virginia style.   Original paint that has been aged; structurally good. (500 - 700) 138.

Nine decoys, Harry Shourds III.  Most are signed.  Minor paint shrinkage and a couple of small scuffs on a few of them, otherwise very good and original. (600 - 900)

136. Hand made model of a New Jersey gunning boat.  With decoys, oars and guns. Approximately 29” long.  Original and good. (150 - 250)

37


139

140

140

139

142

142

141

141

143

139. Two limited edition prints.  “Snows and Blues on the Coast” 274/850 by Gary Moss. Signed. “Backbay Farm” 102/150, Ken Smallwood. Both are professionaly matted and framed. Image size approximately 24” x 19”.   Very good and original. (350 - 450) 140. Two items.  A print of flying canvasbacks signed Keith Whittelock and a watercolor by Jody Packard. Signed. Both are professionaly matted and framed.  Very good and original. (300 - 400) 141. Two limited edition federal duck stamp prints and stamps.  1975 limited edition 1926/3930, James P. Fisher, Signed. 1976 limited edition 901/1000, Anderson McGee, signed. Both are professionaly matted and framed.  A few small dents in the frames, otherwise very good and original. (650 - 950) 38

144

145

142.

Two federal duck stamp prints with stamps.  1974 wood ducks, David Maass; signed. 1973 limited edition artist proof 13/50, Lee LeBlanc; signed and remarked. Both are professionaly matted and framed.  A few small scrapes on the frames, otherwise very good and original. (600 - 900) 143. Framed print of hunting dogs, Edmond Osthaus.  Professionaly framed. Image size approximately 23” x 29”.  Minor discoloration near edges. (125 - 175) 144. Limited edition print of herons, Art Lemay. Print 726/1500. Signed. Professionaly matted and framed. Image size 22” x 30”. Very good and original. (350 - 450) 145. Limited edition print of Cobb Island decoys, Thelma Peterson.  Signed. 296/450. Professionaly matted and framed. 19” x 25”.  Very good and original. (200 - 300)


146 146. Three etchings.  One by Richard Bishop and another by Frank Benson. Professionaly matted and framed.  Good. (200 - 300)

147. Oil on board entitled “Jumping Tarpon”, Ron Jenkins, Carlisle, Pennyslvania.  Signed and dated 2003. Professionaly matted and framed. Image size approximately 24” x 27”.  Very good and original. (1,000 - 1,400)

148. Oil on board, “Polling the Flats”, Ron Jenkins, Carlisle, Pennsylvania.  Jenkins was the winner of the 1964 federal duck stamp competition. Professionaly framed. Image size approximately 20” x 30”. Signed and dated 1995.  Very good and original. (1,000 - 1,400)

147

148

39


Virginia

149

152

155

150

151

153

154

156

157

149. Pair of buffleheads, Miles Hancock, Chincoteague, Virginia.  Signed by the maker.  Original paint with minor discoloration and wear; small crack at drake’s neck base; age split in underside of drake. (400 - 600)

154. Pair of swimming mergansers, Cigar Daisey, Chincoteague, Virginia.  Branded and signed. Both have slightly turned heads.  Hen has hairline surface crack in breast; drake has minor paint shrinkage on breast; otherwise very good and original.

150.

Coot, Miles Hancock, Chincoteague, Virginia.    Original paint with minor wear; structurally good.

Literature: “Southern Decoys”, Henry Fleckenstein, 155. Two gunning decoys, Cigar Daisey, Chincoteague, Virginia, circa 1960’s.  Both have slightly turned heads Jr, p.107. (350 - 450)

151. Bluebill drake, Miles Hancock, Chincoteague, Virginia.  Branded “E.P.K.”.   Original paint with very slight wear; structurally good. (350 - 450) 152. Blackduck, Ira Hudson, Chincoteague, Virginia.    Old in use repaint; rough area on edges of tail an underside; lightly hit by shot. (300 - 500) 153. Merganser drake, Miles Hancock, Chincoteague, Virginia.  Signed.  Original paint with minor wear; a few small shot scars. 40

Provenance: Billingsley collection.

(250 - 350)

Provenance: Chincoteague Refuge Museum.

(650 - 950)

and are branded “Cigar”.  Original paint with minor to moderate wear; lightly hit by shot.

Provenance: Chincoteague Refuge Museum.

(650 - 950)

156. Two decoys Doug Jester, Chincoteague, Virginia, 1st quarter 20th century.    Old in use repaint; cracks and filled rough areas in bodies. (400 - 600) 157. Canada goose, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century.    Worn old paint; numerous cracks and dents. Literature: “Southern Decoys”, Henry Fleckenstein, Jr, p. 32. (400 - 600)


158 159

160

158. Hollow carved oversize Canada goose, circa 1800’s found in Eastville, Virginia.  Raised neck seat and ice dip behind head.  Weathered and worn; crack through neck; small cracks in body; minor roughness to end of bill. (1,500 - 2,500) 159. Hollow carved oversize Canada goose, circa 1800’s found in Eastville, Virginia.    Worn old paint; numerous cracks and dents. (1,500 - 2,000)

160. Rare pintail drake, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century.  Round body style with banjo tail. Slightly turned head and good scratch paint detail.  Original paint with minor wear; cracks in underside; chip missing from end of tail; small dents; most of bill is a professional replacement. (2,000 - 3,000)

41


Shorebirds

162

161

164

163

165 166 167 161. Yellowlegs, John Fosdick, Massapequa, Long Island, New York, circa 1910. In feeding pose. Branded “J.S. Fosdick”. Original paint with minor discoloration and wear; bill is an old replacement.

Provenance: Made for his personal use from his gunning sloop, “The Osprey”. (750 - 1,250)

162. Flat sided yellowlegs from Hatteras, North Carolina, circa 1920.   Very good old paint; minor wear; structurally good.

Provenance: Collected in 1961 on Hatteras Island, North Carolina. (200 - 300)

163. Robin snipe in spring plumage, Harry V. Shourds, Tuckerton, New Jersey, 1st quarter 20th century. Worn original paint; lightly hit by shot; bill is an old replacement.   (650 - 950) 42

164. Robin snipe from Kitty Hawk, North Carolina, circa 1900.  Flat sided. Branded “J.H.D.” for James Dunham, Boulder, Colorado.  Excellent original paint; lightly hit by shot; chip missing from end of bill; crack in underside. (400 - 600) 165. Classic yellowlegs, Harry V. Shourds, Tuckerton, New Jersey, circa 1900.  Good feather paint detail.  Original paint with moderate shrinkage and minor wear; structurally good.

Literature: “New Jersey Decoys”, Henry Fleckenstein, Jr, p. 140. (2,500 - 3,500)

166. Black bellied plover by a member of the Verity Family Seaford, Long Island, New York, last quarter 19th century.  Relief wing carving with extended wing tips.  Original paint with good detail and minor wear on


George Boyd

1873 - 1941 Seabrook, New Hampshire

167A 167B

most of the decoys; old repaint on black areas and the white on the underside; lightly hit by shot.

Provenance: Formerly in the collection of Joe French, Marathon, Florida. Small “J.F.” stamped in underside. (2,500 - 3,500) 167. Running sandpiper, Obediah Verity, Seaford, New York, 3rd quarter 19th century.  Relief wing carving with extended wing tips.  Worn old paint most of which is original; shoe button eyes were added at a later date; small dents and shot marks. (650 - 950) 167A. Outstanding black bellied plover, George Boyd, Seabrook, New Hampshire, 1st quarter 20th century. Exceptional paint detail. Superb dry original paint and in excellent structural condiiton.

Provenance: Bartlett Collection.

Literature: “Finely Carved and Nicely Painted”, Jim Cullen, p. 22. (6,000 - 9,000)

167A Detail 167B. Dowitcher in fall plumage, John Dilley, Quogue, Long Island, New York. “Dilley” and “Dowitcher” written in pencil on the underside below the stick hole, believed to have been done by the maker. Intricate feather paint detail. Original paint showing some wear and flaking with some light inpainting to one side of the stick hole running part way up the breast; the original bill has a second coat of paint; one or two small chips in the bill, otherwise the structural condition is good. Provenance: Bartlett Collection.

Literature: “North American Decoys At Auction”, Guyette & Schmidt, Inc., July, 1999, lot 58, exact decoy. (3,000 - 5,000) 43


Virginia

169

168

171

170

173

172 168. Pair of mergansers, Cigar Daisey, Chincoteague, Virginia.  Both are branded “Cigar”.  Very good and original.

Provenance: Chincoteague Refuge Museum.

(650 - 950)

169. Blackduck from Cobb Island, Virginia, last quarter 19th century.  Hollow carved with raised ‘V” wing carving. Raised neck seat and tack eyes.  Old in use repaint; reglued cracks in neck; lightly hit by shot; crack in underside.

Provenance: Form a hunting rig in Eastville, Virginia. (950 - 1,250)

170. Three decoys, Ira Hudson, Chincoteague, Virginia.    Restored paint; small cracks and dents. (800 - 1,200) 44

171. Two blackducks found in Eastville, Virginia.  Both have raised neck seats and slightly turned heads.  Old in use repaint; small cracks. (800 - 1,200) 172. Two blackducks, Doug Jester, Chincoteague, Virginia, 1st quarter 20th century.    Old in use repaint by Jester; minor wear; minor roughness to edges of tails.

Provenance: Chincoteague Refuge Museum. (650 - 950)

173. Three swimming coots attributed to Albert Twiford, Back Bay, Virginia.    Old repaint; numerous cracks and shot marks.

Provenance: Chincoteague Refuge Museum. (800 - 1,200)


175

174

176

179

177

178

180

181

174. Brant, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century.    Original paint with moderate wear; age split in back; several reglued cracks in neck.

Provenance: Formerly in the collection of Hal Evans, Watertown, New York. Four small “E”s stamped in underside. (650 - 950)

175. Hollow carved brant, Charles Birch, Willis Wharf, Virginia, 2nd quarter 20th century.    Worn old paint; crack through neck and in underside; small dents. (650 - 950) 176.

Hollow carved blackduck, Charles Birch, Willis Wharf, Virginia.    Old in use repaint; small cracks; tack eyes are missing; small finished nails were added to repair the neck a long time ago.

Provenance: Virginia.

From a hunting rig found in Eastville, (500 - 800)

177. Old reproduction of a Cobb Island brant.  Raised “V” wing tip carving.  Worn old paint; cracks and splits. (500 - 700) 178. Rare widgeon drake, Miles Hancock, Chincoteague, Virginia.    Original paint with minor wear, mostly on breast; a few small dents. (500 - 700) 179.

Two decoys, Ira Hudson, Chincoteague, Virginia.    Paint and bills have been restored by George Strunk; numerous cracks. (600 - 900)

180. Merganser hen and drake, Miles Hancock, Chincoteague, Virginia.    Original paint with very minor discoloration and wear; structurally very good. (500 - 700) 181. Two canvas over wooden framed coots from North Carolina, 1st quarter 20th.    Old in use repaint; small amount of roughness on one head.

Provenance: Chincoteague Refuge Museum.

(400 - 600) 45


Virginia

182

185

183

184

186

187

188 182. Redhead hen, Madison Mitchell, Havre de Grace, Maryland, 3rd quarter 20th century.  Signed and dated 1957, the decoy appears to be from the 1970’s.  Original paint with minor wear; a few small dents; weight has been removed. (200 - 300) 183. Coot, Madison Mitchell, Havre de Grace, Maryland.  Slightly turned head. Unsigned. Original and good. (300 - 500) 184. Rare ringneck hen, Charlie Joiner, Chestertown, Maryland. Signed and dated 1997 by the maker.  Excellent original paint with a few minor rubs on the body. (450 - 650) 185. Canvasback drake form the Susquehanna River, 1st quarter 20th century.  Old in use repaint; crack through neck. (200 - 300) 186.

Two cork body blackducks, Cigar Daisey, Chincoteague, Virginia.  Branded and signed. Very good and original.

Provenance: Chincoteague Refuge Museum. (450 - 650)

187. Goldeneye drake, John Holloway, New Jersey.  Branded “J.R.H”. Hollow carved with glass eyes.  Original paint 46

with minor discoloration and shrinkage mostly on breast area; a few dark scuffs on the underside. (250 - 350) 188. Blackduck, Hurley Conklin, Manahawkin, New Jersey.   Slightly turned head. Branded and signed. Very good and original. (200 - 300) 189. Lot of approximately 45 Guyette, Schmidt & Deeter auction catalogs. 1987-2011, including a hard cover McCleary auction catalog. Good. (250 - 350) 190. Lot of approximately 70 decoy books. Including “American Decoys”, William Mackey Jr, “The Art of the Decoy”, Adele Earnest and other hard to find decoy literature. Good. (250 - 350) 191. Lot of approximately 200 issues of decoy magazines. “Decoy Magazine” and “Hunting and Fishing Collectibles” magazines. Original and good. (250 - 350)

End of Sale


OFFICE:

ABSENTEE AND PHONE BID FORM

PO Box 1170 St. Michaels, MD 21663 410-745-0485 Fax 410-745-0487 decoys@guyetteandschmidt.com

OFFICE USE ONLY TIME DATE OF BID AUCTION DATE MANAGER ABSENTEE OR PHONE BID

NAME ADDRESS CITY

STATE

ZIP

TELEPHONE DEPOSIT $

(Check Amount or Visa or MasterCard # & Exp.)

I desire to bid on the following items in the sale. The bids are to executed by Guyette & Schmidt, Inc., up to but not exceeding the amount(s) specified on the below bids. All bids will be executed and accepted subject to the Terms of Sale and Absentee Bids Procedure outlined in the catalog. (Please be sure that you understand our procedures before using this Absentee and Phone Bid Form.) Office will not be open until Wednesday after the auction. Signature A PREMIUM OF 15% WILL BE APPLIED TO ALL ITEMS SOLD, TO BE PAID BY THE BUYER OFFICE USE

IN CATALOG # ORDER

DESCRIPTION

A SECOND PAGE IS PROVIDED ON BACK SHOULD YOU REQUIRE ADDITIONAL SPACE TOTAL BIDS $

x 20%

EQUALS DEPOSIT ENCLOSED $

BID AMOUNT


CONDITIONS OF SALE ‑- PLEASE READ 1.

GUARANTEE ‑ We have made a consistent effort in correctly cataloging and describing the property to be sold. All items in this auction are being sold “AS IS”. Should the need arise, the auctioneer reserves the right to make verbal corrections and provide additional information from the block, at the time of the sale. 2. PROTESTED BIDS‑ In case of a disputed bid, the auctioneer is the sole determinant as to whom the successful bidder is, and at his discretion, may reoffer and resell the article in dispute. If a dispute arises after the sale, the auctioneer is sales records shall be conclusive as to whom the purchaser was, and the purchase price. 3. BIDDING- Bidding usually starts below the low estimate and advances in increments of approximately 10% of the opening bid subject to the auctioneer’s discretion. The auctioneer reserves the right, at his sole discretion, to refuse any bids that he deems unreasonable. The minimum bid increment guideline is as follows: $500 to $1000 - $25 $10,000 to $20,000 - $500 $100,000 and above - $2000 $1000 to $10,000 - $100 $20,000 to $100,000 - $1000 4. ABSENTEE BIDS‑ Phone or mail bids, at the discretion of the Auctioneer, will be accepted with a 20% deposit. In such case the bookkeeper will execute such bids competitively. Absentee bids are executed by the bookkeeper on behalf of the bidder in accordance with the bid increment policy shown above. Please review the rules governing both absentee and phone bids in the back of the catalog. 5. TERMS‑ All items are to be paid for in U.S. funds at the day of the auction. No items will be released until they are paid for. Those who have not established an account with us and wish to pay by check, must do so prior to the beginning of the auction, by presenting a current letter of reference from their bank, or by providing references, that are suitable to the Auctioneer. The Auctioneer reserves the right to hold merchandise purchased by personal check, until the check has cleared the bank. Phone and absentee bidders ‑ You will be notified one week after the auction of your bids/results. PAYMENT IS DUE UPON RECEIPT. A late charge will be accessed on all balances not paid, at the rate of 12% A.P.R. commencing 30 days after the auction. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. Guyette & Schmidt will not carry insurance on items that are not paid for within 35 days of the auction. Also, the auctioneer may retain and/or recover the deposit specified as liquidated damages. In addition, the property can be resold at public or private sale without further notice. Any deficiency resulting from such resale shall be paid to the auctioneer by the defaulting buyer, together with all charges, fees, and expenses incurred by such resale, or the enforcement of the obligation hereunder. Buyer agrees to pay all charges and expenses incurred by reason of any breach of the Terms and Conditions of sale, including without limitation, reasonable attorney fees. 6. PAYMENT FOR PURCHASES MAY BE MADE WITH VISA , MASTERCARD, CASH OR CHECK. 7. BUYERS PREMIUM- The buyer’s premium, assessed on each selling lot, is 15% of the hammer price up to and including $100,000, plus 10% on any amount in excess of $100,000. For payments made using Visa or MasterCard, the buyer’s premium is 18% up to and including $100,000, plus 13% on any amount in excess of $100,000. 8. TAX ‑ THERE IS A 8.5% SALES TAX IN SOUTH CAROLINA. Tax is waived if buyer presents a valid resale certificate from any state or has purchases shipped out of SOUTH CAROLINA. 9. ACCEPTANCE OF CONDITIONS ‑ Bidding on any articles in this catalog indicates your acceptance of all the above items. 10. BIDDING AGENT RESPONSIBILITY ‑ If you are registering for someone or if you execute a bid for someone else under your number, you are responsible for the settlement of that account. You are also responsible for examining the decoy(s) for your client regarding the guarantee. 11. WITHDRAWAL ‑ We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. 12. TITLE ‑ Title passes upon the fall of the auctioneer’s hammer. It will then be the responsibility of the buyer to make full payment prior to removing the goods from the premises. Removal is at both the buyer’s risk and expense, and must be made at the conclusion of the sale, unless other arrangements are made with the Guyette & Schmidt staff. Any lots we might make arrangements for moving or storing are solely at the risk of the owner, and any damage or loss occurring after the fall of the hammer becomes that of the buyer. 13. LEGAL DISPUTE ‑ Any legal disputes arising from this auction shall be settled in the court system of the State of Maine. UNIFORM COMMERCIAL CODE - The Maine Uniform Commercial Code, Title II, Section 2328 applies to this auction. THE OFFICE WILL NOT BE OPEN UNTIL WEDNESDAY AFTER THE AUCTION.


ABSENTEE AND PHONE BIDS 1. Absentee bids are a service provided to our customers free of charge. Every effort is made to execute all absentee bids, however, in the event of an error of omission, or failure to properly execute absentee bids, the Auctioneer shall not be held liable. 2. All absentee bids must be accompanied by a 20% deposit, which will be refunded immediately after the auction if your bid is unsuccessful. If your bid is successful, the deposit will be applied to the purchase price and the balance due upon presentation of your bill. All absentee bidders are notified by mail, whether succesful or unsuccesful. 3. Visa and Mastercard numbers can be given in place of a check deposit, if your bid is submitted by phone. Your card number will not be used to make payments for purchases, it is only used as collateral. Your card number will only be used to make payment for purchases if you default on payment. 4. To execute an absentee bid, fill out the enclosed form, listing catalog number, description and your top bid price (not including the 15% buyer’s premium). Send this together with your deposit as soon as possible. If your bids are sent seven days or less prior to the auction, you should call our office three days prior to the auction, to confirm that we have received your bids. If they have not been received at that point in time, we will take your bid over the phone. We cannot guarantee that bids received after the auction has started will be executed. 5. If two or more bids are received on the same item from different people, the bidding will open at the next logical raise above the second highest bid. If two absentee bids are received with the exact same amount, the first one received will take precedence. 6. All bids must be in even dollar amounts. Bids in fractions of dollars will be considered the next lower even dollar amount. 7. Bid increments: The bid increment policy, which also applies to both absentee and phone bidders is listed under “CONDITIONS OF SALE” (item #4), in the front of the catalog. 8. Open bids, bids with no set top amount, or orders to just simply buy the lot, cannot be accepted. You must have a definite top limit before we can execute your bid. Alternatives to this are as follows: a. To bid over the telephone. This can be done by simply sending a 20% deposit for what you wish to bid on the object. This will bind whatever bid amount you wish to bid over the telephone. (NOTE: There are only 7 phone lines into the auction room and phone bids will be handled on a first come, first serve basis.) b. Some bidders concerned that a lot might just go for one bid above their top limit, leave a top bid plus one bid. This works as follows: the top bid submitted might be $1000, but not wishing to lose the lot for simply $25 more, the party might bid $1000 + 1 bid if they definitely don’t want to go over a certain price, they would indicate $1000 +1 ($1,025) (NOTE: One possible problem that occasionally arises with absentee bids is when someone in the audience bids exactly the amount, which you specify is your limit. In such a case, we would not go one extra bid unless your bid sheet indicates plus one bid.). 9. If you are a successful bidder, a bill will be sent one week after the auction. Purchasers should indicate their desired method of shipment, if such is necessary. There is a charge for shipping, labor, materials, and insurance. Shipping is done on a first come, first serve basis, and can take up to 4 weeks. Please note that a certified check, Visa, Mastercard, or any other form of guaranteed funds will expedite shipping. 10. According to UPS regulations, we must now crate all paintings. In addition, for expensive oil paintings and delicate carvings, we need a written statement from the purchaser, assuming the responsibility of pursuing any claims, in the event of damage incurred during shipping. Valuable lots need to be sent 2 day air UPS due to values. Under no circumstances will we be liable for damage to glass or frames, or fragile decoratives, regardless of cause. 11. TERMS — Phone and absentee bidders — You will be notified one week after the auction of your results. Payment is due upon receipt. Interest will be charged on all balances not paid within 30 days after the bill is sent at the rate of 12% APR. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. If an account is 75 days overdue, the items may be returned to the consignor and overdue buyer will pay the buyers premium and commission from the sale, if they wish to participate in future Guyette and Schmidt, Inc auctions. 12. Bidding on any article(s) indicates your acceptance of these terms above. 13. If you would like any additional information on any of the lots, please contact: Gary Guyette at (410) 745-0485 or Jon Deeter at (440) 610-1768. nd

If you have any questions concerning absentee bids, please call us.


North American Decoys at Auction - February 15, 2013  

Guyette, Schmidt & Deeter's first annual February Decoy Auction. Held in Charleston, South Carolina in conjunction with the Southeastern Wil...

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