North American Decoys at Auction August 21 & 22, 2020

Guyette & Deeter, Inc. North American Decoys At Auction August 21 & 22, 2020

Featuring the collection of Dr. Lloyd T. Griffith

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Guyette & Deeter, Inc.

North American Decoys At Auction Friday, August 21, 2020 Auction 11:00 AM

Saturday, August 22, 2020 Auction 11:00 AM

Due to restrictions imposed by the COVID-19 situation, we respectfully request that anyone wishing to preview items first call the office in St. Michaels for an appointment. Additionally, during the months of July and August Gary, Jon, and Zac will be traveling to several destinations around the country showing items that will be auctioned. If you would like to preview any item, simply phone the office and we will be happy to arrange a private showing in your area. Regardless of the appraised value of any specific item, we will do everything possible to accommodate your request.

The auction will be streamed live, and there will be multiple active phone lines to ensure an effective bidding process. Anyone bidding through internet bidding platforms will have their online bidding fees waived.

Thank you for your interest and participation.

For questions during the auction call 410-745-0485

Catalog $45. Out of Country $54 Absentee, Phone & Online Bidding accepted call 410-745-0485 for arrangements For free decoy appraisal contact: Gary Guyette | gary@guyetteanddeeter.com | 410-745-0485 Jon Deeter | jdeeter@guyetteanddeeter.com | 440-610-1768

Important Notices: ■■ GUARANTEE - We have made a concerted effort to accurately catalog and describe the property to be sold. The decoys and paintings have guaranteed condition reports. 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. Absentee bids will not be executed on items that are found to be other than described in the catalog. Since opinions can differ, particularly in the matter of condition, the auctioneer will be sole judge in the matter of refunds. If we fail to identify a flaw that has an impact on the value, you can return the decoy.

■■ DURATION OF GUARANTEE - Request for a refund for items purchased IN PERSON at the auction must be made within 3 days of the sale. If you bid absentee, by phone, or on the internet, it is your responsibility to examine the lot immediately upon receipt and notify us of any issues. The guarantee will end 5 days from the date of delivery. Therefore, all guarantees on items purchased will become null and void 10 calendar days from the date of shipment. IT IS VERY IMPORTANT TO NOTE THAT IF YOU PAY LATE, YOU WILL NOT BE ELIGIBLE FOR THE GUARANTEE. Payment must be postmarked no later than 30 days after the auction.

■■ Under no circumstances will we be responsible for damage to frames or glass, or damage caused by them. Paintings determined to be of high value or large size may be subject to special packaging at the buyers expense. Under no circumstances will we be responsible for damage to fragile decoratives. These items are marked in the catalog with an *.

■■ Stands are not included with the decoys or weathervanes unless specified in catalog.

■■ All duck calls have condition reports, but are sold “As Is”.

■■ Trade Up Program - A limited number of decoys purchased may be paid for by consigning decoys. If you would like to consign decoys to our next auction, please contact; Gary Guyette 410-745- 0485 gary@guyetteanddeeter.com or Jon Deeter 440-543-1416 jdeeter@guyetteanddeeter. com.

■■ Free appraisals are available with no obligation to consign, and all correspondences are strictly confidential.

■■ Pick up hours are 1pm – 5pm beginning August 26, or by appointment. Please call ahead so we can have your items ready.

■■ Auctioneer James D. Julia, Fairfield, Maine.

UPCOMING GUYETTE & DEETER, INC. AUCTIONS November 2020

Talbot County Community Center Easton, Maryland

To consign, Contact:

Gary Guyette | gary@guyetteanddeeter.com | 410-745-0485 Jon Deeter | jdeeter@guyetteanddeeter.com | 440-610-1768

We are fortunate to have Robert J. Koenke on staff as our Sporting & Wildlife Art expert. Feel free to contact him for an appraisal or consignment to one of our auctions: 410-758-1644, rjkoenke@verizon.net

Guyette & Deeter, Inc.

Dale & Gary Guyette PO Box 1170 St. Michaels, MD 21663 Tel: 410-745-0485 gary@guyetteanddeeter.com

Jon & Leigh Ann Deeter 7980 Darbys Run Chagrin Falls, OH 44023 Cell: 440-610-1768 jdeeter@guyetteanddeeter.com

Zac Cote

Weekly Auction Manager Freeport, Maine Tel: 207-321-8091 zcote@guyetteanddeeter.com

Mike Stevenson

Graphic Designer & Photography St. Michaels, Maryland Tel: 410-745-0485 michael@guyetteanddeeter.com

Ed Kenney

Merchandise Manager & Shipping St. Michaels, Maryland Tel: 410-745-0485 shipping@guyetteanddeeter.com

Denise Jarrell

Bookkeeper St. Michaels, Maryland Tel: 410-745-0485 billing@guyetteanddeeter.com

PO Box 1170 St. Michaels, MD 21663 410-745-0485 www.guyetteanddeeter.com

Featuring decoys from the collections of Martin Bentley

Robert E. Dunford

Henry Bishop

Dr. Lloyd T. Griffith

Arnold and Lillian Colodny

David and Lynn Meyer

Dr. John Dinan

Phil Mott

Janice Drevitson

Clune Walsh, Jr.

The Dr. Lloyd T. Griffith Collection Left to right: Joe French, Jim McCleery, Lloyd Griffith, and Bud Ward at the April 1993 Guyette & Schmidt auction.

Lloyd Griffith with his friend, George Ross Starr

G

RIFFITH

Griffith collection stamp.

In the 1970s, Richard Bourne would say from his auction podium how the doctor who owned half of Virginia just bought another decoy. Lloyd Griffith had a lot of farmland, but it was more like a couple thousand acres. Lloyd was always a presence, bidding against Jim McCleery, Donal O’Brien, and the Wicks, among other top collectors of the day, at the Mackey auctions and throughout the following decades. Our auction company did a lot of business with Lloyd over the years - both buying and selling - and he and I became good friends. Though Lloyd was a serious buyer for over 50 years, his activity spiked in 2000 at the McCleery auction and continued through 2007. He was one of the major forces driving the decoy auction market.

Over the years, I made many trips to Lloyd’s home at Albany Farm on the Northern Neck of Virginia, mostly to deliver or pick up decoys. Lloyd loved his farm. His house was on a small island where Nomini Creek joins the Potomac River and connected to the mainland and the rest of the farm by a sand spit. He would give visitors a tour of his property but we spent most of our time at the house, which is where all of the decoys were located. The farm was fairly isolated, and the closest town was tiny Mount Holly, where “Dr. Lloyd” was a major fixture, having operated the Griffith Clinic for 52 years, as had his father before him. The nearest hospital was a long way from town.

On one of my trips to Albany Farm, about 15 years ago, Lloyd asked if I ever had “crab on crab.” Insisting I had to try this local delicacy, we drove to The Driftwood at Cole’s Point on a Friday evening for dinner, ordering the specialty and a bottle of Chardonnay.

The place was packed with locals who throughout our dinner approached the table to pay their respects to “Dr. Lloyd.” Some would just quietly say hello, shake his hand and wish him well. Others would introduce themselves and remind him that “you saved my brother’s life back in 1990” or “thanks to you my mother didn’t lose her leg.” He introduced me to everyone as “Gary Guyette, my friend from Maine.”

Most of the decoy collecting community will remember Lloyd bidding at countless auctions over the years. I’ll remember “Dr. Lloyd” beaming as he spoke with his people at The Driftwood.

Gary Guyette

Remembering Dr. Lloyd Griffith

by Ron Gard The antique decoy world recently lost one of its most ardent and knowledgeable collectors. I first met Dr. Lloyd Griffith at the Craigville Motel on Cape Cod during the early 80s. Once you met Lloyd, you did not forget him.

He was charismatic and colorful in personality, speech, and dress. When he walked in a room, the excitement grew; he lit up the room. He was smiling and happy to see everyone. He had a nickname for many of us.

Sometimes he would drop by Bud Ward’s room where we were usually gathered late into the night, but didn’t stay long. Always on the move, he would greet everyone, get us all laughing with one of his stories, and then be off again.

When he walked into the auction, everyone wondered what Lloyd was up to, what was he after? His usual warm smiling face was now serious. Was it one of the ones on the catalog cover, or was it one he had discovered at the auction “Preview” that we had not noticed? Usually, we did not find out until he was bidding, and sometimes, not even then since he might have someone else bidding for him, or he might be using secret signals.

Sometimes he would bid on the phone from outside the room, but no matter “how,” invariably he won whatever prize he was after.

Dr. McCleery and Dr. Griffith were good friends, and sometimes when I was visiting with him before an auction, Lloyd would call, and they would discuss the auction catalog and the merits of certain decoy, but I don’t believe either one divulged to the other which decoys they would be bidding on.

One of my fondest memories is the time Jim’s (McCleery) brother drove him to an auction in Maine in his big handicap-equipped van. I met them there and was to ride with them after that auction down to the auctions on Cape Cod. Jim invited Lloyd to ride with us, and then the trip was filled with a lot of stories and much laughter. I will not try to retell them here as I could not do justice to Lloyd’s stories.

We stopped by Dr. Starr’s house in Duxbury for several hours. I was a fairly new collector at that time, but with these three, I felt I was in the presence of royalty.

Another memorable event was getting Lloyd to write a story on shorebirds. When Bob Shaw and I were putting together our book, The McCleery Auction, we asked everyone who had spoken at the “Seminar” during the Guyette and Schmidt/Sotheby’s auction in New York to write an article on the subject about which they had talked. Lloyd had made a very good speech on shorebirds. Everyone but Lloyd sent their article promptly, but we had to hold up printing, more than once, waiting for his article. However, it was worth the wait. Unknown to us, writing was one of Lloyd’s many talents. His article may just have been the best and most interesting article on shorebirds ever written.

With Lloyd’s passing, the decoy community has lost one of its “Greats.” We will miss this talented and charming character who inspired us all to “collect the best” and live life to its fullest.

We e k ly O nline Au c t ions End ing E ve r y T hu r sd ay N ig ht

Guyette & Deeter

G u a r a nt eed co n d i t i o n re p o r t s , m ul t i p l e p hot os , q u i ck s h i p p i n g , g reat d eal s o n q ual i t y i t e m s

Online Auctions

Robert Elliston - Sold! $3,249

Sandy Marrow Sold! $1610 Mason Factory - Sold! $2650

For questions, contact: 207-321-8091

zcote@guyetteanddeeter.com

PO Box 159, Freeport, Maine 04032 www.decoysforsale.com

Ken Haggard creel - Sold! $1035 Recent Sales

Online Bidding Available for All Guyette & Deeter, Inc. Auctions Online bidding features real time competitive bidding straight from the auction.

To bid live the day of the sale: • Go to the Guyette & Deeter website and click on the link for our online sale • Visit Invaluable.com and find our sale. or

• Visit Bidsquare.com and find our sale.

Special Announcement Normally Invaluable and Bidsquare charge an online fee of 5% or 3%. For this auction, Guyette & Deeter will cover all online bidding fees.

Session One Friday, August 21, 2020 11:00 am Lots 1 - 267

Session Two Saturday, August 22, 2020 11:00 am Lots 268 - 553

1-4 Bert Graves 5 - 11 Contemporary 12 - 21 Illinois River 21a - 45 Miniatures 46 - 52 Virginia 53 - 57 Stevens Brothers New York & Canada 58 - 67 68 - 75 Maryland 76 - 94 Louisiana 95 - 111b New England Shorebirds Fish Decoys 112 - 133 Items of Interest 134 - 138 New England 139 - 150 Mason Decoy Factory 151 - 165 Louisiana 166 - 185 Elmer Crowell 186 - 193a William Bowman 194 - 196 Contemporary 197 - 218 Items of Interest 219 - 222 Delaware River & New Jersey 223 - 240 Fish Decoys 241 - 252 Factory Decoys 253 - 267

Decoratives 268 Ontario 286 Shorebirds 295 Midwest 305 Sporting Art 323 Maine 338 New Jersey Shorebirds 353 Pacific Coast 360 Mason Shorebirds 363 New England 374 John James Audubon 390 Ward Brothers 396 Maryland 403 Massachusetts 418 Shorebirds 423 Virginia 442 Items of Interest 447 Etchings 450 Delbert “Cigar� Daisey 467 Miniatures 474 Ontario 485 Shorebirds 495 Sporting Art 505 Duck Calls 520

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285 294 304 322b 337 352 359 362a 373 389 395 402 417 422a 441 446 449 466 473 484 494 504 519 553

Please read conditions of sale in the back of catalog

SESSION ONE Friday, August 21 - 11:00 am

Bert Graves 1880 - 1956 | Peoria, Illinois

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The son of Henry O and Elizabeth J Graves, the young Bert grew up on the family farm in Marshall County. The family was a large one and included Bert as well as his two brothers and two sisters. In 1900, both father and son, Bert, listed their occupations as “teamster”. From that point onward, Bert listed his occupation as either “fisherman”, “carpenter”, or “house carpenter”. From 1940 through at least 1942, he stated that he was employed as a “building custodian” or on the “City Hall maintenance crew”.

He also is reported to have served on the local police department. Ironically, he never mentioned his decoy or boat building business, which he operated out of a workshop at his home at 706 McReynolds St. He did not list this sideline in city directories, yet he advertised it fairly widely with his business cards.

It is somewhat unclear when Graves began making decoys but upon the death of carver Robert Elliston in 1915, Bert purchased the business and remaining stock from Elliston’s wife, Catherine. The operation achieved some degree of success for, by the 1930’s, in addition to his brother Orville, his wife Effie and their sister Nellie (Millie), about three or four additional carvers produced decoys in the shop under Bert’s supervision. Graves apparently never painted any of his decoys himself but relied on the talents of Effie, Nellie (Millie) and Catherine Elliston to complete this phase of production.

“Bert” Graves (L) and his brotherin -law after a day’s hunt

As noted by Donna Tonnelli, “only a few of the men who remember Graves tell stories of his decoy making. Most (tell) tales of his cock fighting and marksmanship as a trap shooter and pistol shot”.

Graves made a number of notable rigs for wealthy sportsmen in the Peoria area and his work is known as far away as Stuttgart, Arkansas and Manitoba, Canada. One of his better-known rigs was branded “CJC”. It has been stated that this was for “Chet” Cashwell of Peoria. This may be a misspelling for no one by that name appears in the Peoria census records. However, a Charles Justin Caswell (1899 – 1979) lived at 1550 Ellis St. in Peoria and ultimately would be heavily involved with the notable LoHeide – Caswell typesetting and printing office located in that city. It was he who was fortunate enough to own some of Grave’s absolute best black ducks.

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At one time, most of the land surrounding Spring Lake belonged to the Pekin and Spring Lake Hunting and Fishing Club. The club’s main clubhouse and hotel hosted such notables as Presidents Benjamin Harris and Grover Cleveland and it is refuted to be one of Chicago gangster Al Capone’s favorite places to visit.

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Outstanding preening mallard hen, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Hollow carved with original Graves weight. Branded “JLS” on underside. Superb original paint by Catherine Elliston. Head is turned and reaching backwards over approximately 2/3 of the back, exposing a brilliant almost sunburst paint color that extends from the lower area of the neck to the bottom of the breast. 14” long. Original paint; structurally excellent; near mint.

Provenance: Randy Root purchased this decoy from Virgil Lashbrook of Pekin, Illinois in the mid 1970s. “JLS” remains an unidentified member of the Pekin and Spring Lake Hunting and Fishing Club.

(20,000 - 30,000)

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Exceptional pintail drake, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Comb painting on most of body.

Hollow. Retains original Graves weight.

Intricate feather painting on top of back.17” long. Excellent original paint; very light wear; small area of filler to an imperfection in wood is missing near weight, underneath tail.

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(8,000 - 10,000)

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3 Very strong mallard drake, Bert Graves, Peoria,

Illinois. Hollow with original Graves weight on underside.

Unusual turned head, white sided model with paint by Catherine Elliston. Strong combings to white areas on sides of back. 17” long. Excellent original paint; rubbed area that exposes some grey primer on lower side of body.

(2,500 - 3,500)

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Extremely rare black duck, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Hollow. Branded twice “CJC” on underside. From the Caswell rig. 16” long. Strong original paint by Millie Graves; a few shot scars; light wear at edges; professional restoration to a chip in the tail.

(5,000 - 8,000)

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Contemporary Carvings 5

Hollow carved swimming brant, Mark McNair, Craddockville, Virginia. Carved in the style of Nathan Cobb, Jr. with carved eyes and raised wing tips. ‘McNair’ carved into the underside.

Measures 19” long. Made to appear older with aged paint and a split in the back; very good and original.

Provenance: Dr. John Dinan collection.

(1,200 - 1,800)

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Preening pintail drake, William Gibian, Onancock, Virginia. Hollow carved in preening pose with raised wing tips and fine comb feather paint detail. ‘Gibian 1985’ carved into the underside. Measures 21” long. Very good and original.

(1,200 - 1,800)

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Excellent pair of hollow carved black ducks, Anthony Murray, Pungo, Virginia. Hollow carved decoys influenced by the work of Charles E. ‘Shang’ Wheeler. One with slightly turned and swimming head and the other in preening pose. Shaped lead weights meant to counter the weight of the turned heads. ‘AGM’ carved into the undersides.

Measure 19 1/2” and 15 1/2” long. Near mint.

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Provenance: D & J Jenny collection and so stamped.

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(1,600 - 2,000)

Preening merganser hen, Mark McNair, Craddockville, Virginia. Hollow carved with relief wing carving and long inlet neck seat. ‘McNair carved into the underside. Measures 15 1/2” long. A few very minor paint rubs, otherwise excellent and original.

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(1,200 - 1,800)

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Decorative preening lesser yellowlegs, Steve Weaver, Cape Cod, Massachusetts. Influenced by Elmer Crowell with wing up and head turned preening feathers. Standing on carved clam shell base with feather. Identified, signed, and dated 2014 on the underside. Measures 7” long and stands 9 3/4” tall. Excellent and original.

(2,200 - 2,500)

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Standing wood duck, Frank Finney, Cape Charles, Virginia. Relief wing and tail feather carving. ‘F’ carved into underside of base. Measures 13” long and stands 9 3/4” tall. Excellent and original.

(2,000 - 3,000)

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Rare pair of hollow carved blue wing teal, William Gibian, Onancock, Virginia. Slightly turned heads and raised wing tips. ‘Gibian’ carved into the underside. 11” long. Minor sap bleed and paint shrinkage, otherwise excellent and original.

(2,000 - 2,500)

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Charles Walker 1876 - 1954 | Princeton, Illinois

Charles Walker was born in the Princeton, Illinois and never really left the area, choosing to stay where waterfowl shooting was at its best. Walker hunted locally including at the Princeton Club, a club exclusive for Princeton area hunters only.

While Walker was not a full-time professional carver, as were Robert Elliston and Charles Perdew, and he produced significantly fewer birds, he is still considered one of the best of the Illinois River region by today’s collectors. He produced between two to three hundred decoys later in his life from about 1925 to 1950, many of which were made and sold to members of the Princeton Game and Fish Club.

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This exact pair of mallards were owned by Watson F. Lawton of Princeton, Illinois. When the consignor purchased them from Mr. Lawton, they were accompanied with a hand written letter that reads: “In the summer of 1939 I purchased a share at the Princeton Game and Fish Club. For the first few years I hunted with an old boat and a collection of old beat up decoys. In the early forties, I got ahold of Charles Walker and ordered a dozen of his Walker Decoys. He had them ready for me for the duck season. I sorted out some of my beat up decoys and replaced them with my dozen new Walkers. About a year later, I was so impressed with the new Walkers that I

Charles Walker far left after a day of Tuttle trapping with unity friends.

Photo credit Donna Tonelli.

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asked Charley to carve me an additional dozen. I added these to my collection along with a few pintail decoys.

I used this collection until about 1964. Then I retired all my wooden decoys and replaced the whole set with a bunch of plastic decoys and used them until I sold my gun club share in 1989. When the Walkers were retired in the 60’s, I gave some to my friends, I sold a few, lost a few during use and the two you purchased were the pick of those retired in the 60’s. They have been displayed on a

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shelf in my house since retirement.

The Walkers did a great job, really better than the plastic ones that replaced them. They hunted in about every hole in the club, from flat holes adjacent to goose pond and all the deep timber holes. They stood the stress of setting out and loading back in the boat after each hunt.

Only once do I remember replacing a banged up head.

Sincerely, Watson Lawton�

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Rare mallard hen, Charles Walker, Princeton, Illinois. Retains Walker weight with red number 34 painted on underside representing the rig of Watson Lawton. Head is slightly turned with round bottom and smooth body. Appealing extenuated feather painting at back of side pocket. 17” long. Original paint with very slight wear; shot mark on one speculum; crack in neck; a few shot scars; light wear.

Provenance: This hen, along with drake mallard, were purchased as a pair directly from the Watson Lawton family.

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(17,500 - 22,500)

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Mallard drake, Charles Walker, Princeton, Illinois, 2nd quarter 20th century. Hollow carved.

Retains original Walker weight. Red number 34 painted on underside to indicate decoy is from the rig of Watson Lawton. Round bottom with smooth body and outstanding detailed comb painting on back.

Head is slightly turned. 17” long. Original paint with light wear; a few small nicks and scratches; wear at edges.

Provenance: This drake and the hen in this sale were purchased directly form the Watson Lawton family.

(12,000 - 15,000)

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Hollow carved Canada goose, Perry Wilcoxen, Liverpool, Illinois. 20” long, with 6.5” long neck. Loop feather paint on back. Original paint; minor discoloration and wear; structurally good.

(2,000 - 3,000)

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Preening mallard drake, Robert Elliston, Bureau, Illinois. Hollow carved. Measures 14 1/2” long. Appealing in use repaint by Edna Perdew, with minor flaking and wear; tight cracks in underside; minor roughness on one side of bill and a small chip in one side at neck seat.

(2,000 - 3,000)

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Mallard hen, Robert Elliston, Bureau, Illinois, circa 1900. Retains Elliston weight. Painted on underside “E.H. Kellogg Sheboygan.” 16” long. Original paint by Catherine Elliston; rub on back to exposed wood; rough area around one side of bill; several shot scars; moderate wear.

Provenance: Purchased from Russ Goldberger and Alan Haid. (1,500 - 2,500)

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Mallard drake, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Hollow with original Graves weight on underside. Stamped ”Milotman” on underside. 16” long. Strong original paint

by Millie Graves; several shot scars; small rough area at tail; light wear; tight crack in one side of body.

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(1,200 - 1,700)

Hiram Hotze 1886 - 1977 | Peoria, Illinois

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Canvasback drake, Hiram “Hy” Hotze, Peoria, Illinois, 2nd quarter 20th century. Hollow carved with heavy combing to white areas on back. Exceptional high head style, a rarity for Hotze. Hotze weight on underside. McCleery stamp. 15” long. Strong original paint; very light gunning wear; visible painted brand that has partially worn away on underside near weight; minor paint loss at rub areas of tail, top of head, and bill.

Provenance: Formerly in the Dr. James McCleery collection.

Lot 84 in the McCleery collection sale, January 2000, Guyette & Schmidt/Sothebys.

(8,000 - 10,000)

Lot 84 of the Dr. Jim McCleery sale.

Exact decoy

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Oversize mallard drake, Bert Graves, Peoria, Illinois, 1st quarter 20th century. White sided model. 22.75” long. Original paint with good feather detail and minor wear; protected by an old coat of varnish; filler has popped out of numerous nail holes that join the body halves.

Provenance: Meyer collection.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid. (5,000 - 8,000)

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20a

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Desirable high head style pintail drake, George “Skippy” Barto, Putnam, Illinois. Center cut hollow.

Mallard hen, Charles Walker, Princeton, Illinois. Hollow carved. 17” long. Flat bottom style

With higher than normal alert head. Strong comb paint-

with stenciled 6 on underside for the Stanley Brown rig.

ing on body. 15” long. Discoloration where weight has

Weight missing Original paint with minor wear; dowel

been removed; original paint that has darkened slightly;

on top of head has risen slightly; a few tiny dents.

one small shot scar; slight edge wear at tail.

20a

Literature: A similar exampled can be found in the

Provenance: Formerly in the Perkins collection.

(3,500 - 4,500)

“Decoys and Decoy Carvers of Illinois,” Paul Parmalee and Forest Loomis. An exact rigmate see the museum exhibition “American Decoy, The Invention curated by Peoria Riverfront Museum, page 27.

(1,500 - 2,500)

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Rare early and slightly oversize pair of mallards, Charles Perdew, Henry, Illinois, circa 1928-1930. Weight pre-dates

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Perdew weight with name cast into it. Fine paint detail by Edna Perdew. 16.5” long. Original paint; minor wear, mostly on drake; structurally very good.

Provenance: Brewer Family rig.

Literature: “Charles Perdew,” Ann Tandy Lacey. (17,500 - 22,500)

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Miniatures by Elmer Crowell 1862 - 1952 | East Harwich, Massachusetts

21a

By 1910, Elmer Crowell had been making miniatures for almost 20 years. More importantly, he had recently changed his style from small decoy like carvings to full body standing birds with wire legs on carved wooden bases - a style that was used for the next several decades.

“As I recall, the collection was purchased in the 1930’s The original receipt and business card are included. The original buyer was a very close friend of my Grandmothers.

We called her Aunt. She gave the collection to my Mom in the 1960’s before passing away. It was then passed on to me in 1997 when my Mom was moved into a nursing home. For almost the entire time the collection was stored in an antique glass case hanging on the wall.”

- Consignor of lot 21a

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Crowell Miniatures can be divided into three primary groups; songbirds, shorebirds and ducks. He made other birds including owls and upland game, but it was the primary three that Crowell promoted the most. A full set consisted of 25 ducks, 25 shorebirds and 25 songbirds. It was not just collectors that acquired the sets. Many went to institutions and schools for the teaching of ornithology. According to Brian Cullity, a set of 25 ducks cost $100 in 1930 and set of songbirds cost $75. The birds could also be purchased separately. Prices for ducks and shorebirds ranged from $2 each in 1927 to $6 each in 1933. They were $7.50 by the mid 1940s and $15 by 1959.

Today, collectors enjoy the pursuit of gathering exact sets of 25 as well as chasing the rare pieces that were likely special order items.

On a rare occasion, such as this, collectors are given an opportunity to purchase a complete set of the 25, just as they were acquired from Crowell. This set is accompanied by the rare paperwork listing each caving and a business card.

21a

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21a

Important, and one of the very few known to exist, full sets of Elmer Crowell miniature ducks, circa 1930. Accompanied by Crowell’s business card and list of 25 carvings in this full and rare set. The condition of the paint and the surface of this full set is as pristine as could exist. Nearly as strong as they may have looked the day the left Crowell’s shop. Crowell’s rectangular stamp is in the underside of each base. The entire set is in nearly uncirculated condition, as if they were kept in a cabinet and not exposed to sun and oxidization; each is in excellent mint paint; structurally they are all perfect, with the exception of a hairline crack in the bill of the drake red breasted merganser, a tiny chip missing form drake canvasback, and small areas of darkening to the breasts of the American drake merganser, goldeneye drake, and canvasback drake.

(30,000 - 50,000)

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Early miniature Wilson’s snipe, Elmer Crowell, East Harwich, Massachusetts. Rare dropped wing model

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side of base. Measures 2 3/4” long. Excellent and original.

with carved wood base. Identified in pencil on the underside of base. Measures 2 3/4” long. Excellent and original.

Provenance: From a private Maine collection.

(1,200 - 1,800)

Provenance: From a private Maine collection.

(3,000 - 5,000) 26

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Miniature ruddy duck, Elmer Crowell, East Harwich, Massachusetts. Identified on jelly jar label on the under-

Early miniature yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Rare dropped wing model with carved wood base. Identified in pencil on the underside of base. Measures just under 3” long. Tiny chip in one

Miniature pintail hen, Elmer Crowell, East Harwich, Massachusetts. Identified on jelly jar label on the underside of base. Measures 3 1/2” long. Excellent and original.

Provenance: From a private Maine collection.

(1,200 - 1,800)

wing tip, otherwise excellent and original.

Provenance: From a private Maine collection.

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(3,000 - 5,000)

Miniature oldsquaw, Elmer Crowell, East Harwich, Massachusetts. Identified on jelly jar label on the underside of base. Measures 4” long. Tiny paint rub on the tip

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Miniature mallard, Elmer Crowell, East Harwich, Massachusetts. Crowell’s blue paper label on the underside of base. Measures just under 5” long. Near mint.

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Provenance: Janice Drevitson collection.

(1,200 - 1,800)

of bill, otherwise excellent and original.

Provenance: From a private Maine collection.

(1,200 - 1,800)

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Miniature Canada goose, Elmer Crowell, East Harwich, Massachusetts. 5 5/8” long. Original and

31

number ‘25’ in pencil on the underside of base. Measures

good.

Provenance: Colodny collection.

29

4” long. Original paint with very minor crazing; tiny paint

(1,200 - 1,500)

flake on top of head, otherwise excellent and original.

Miniature bluebill, Elmer Crowell, East Harwich, Massachusetts. Identified on jelly jar label on the under-

Provenance: Janice Drevitson collection.

side of base. Measures 3 1/4” long. Tiny paint flake on

32

Miniature red breasted merganser drake, Elmer Crowell, East Harwich, Massachusetts. 6”

one edge of tail, otherwise excellent and original.

33

Miniature canvasback hen, Elmer Crowell, East Harwich, Massachusetts. Identified on jelly jar label on the underside of base. Measures 4” long. Very good and

(1,000 - 1,400)

(1,200 - 1,400)

Miniature widgeon, Elmer Crowell, East Harwich, Massachusetts. Identified on jelly jar label on the underside of base. Measures 4” long. Excellent and original.

Provenance: From a private Maine collection.

(1,200 - 1,800)

original.

long. Original and good.

Provenance: From a private Maine collection.

(1,200 - 1,800)

30

Miniature oldsquaw drake, Elmer Crowell, East Harwich, Massachusetts. Rectangle stamp and the

Provenance: From a private Maine collection.

(1,000 - 1,400)

33

34

37

35

38

36

39

34

Crowell’s rectangular “Makers” mark on base. Slightly

Very rare half size mallard drake, Ned Burgess, Churches Island, Virginia, 1st quarter 20th century. Just under 9” long. Original paint with very slight wear;

larger than usual. 4.25” long. Excellent original paint and

several tiny dents.

Miniature wood duck drake on chip carved base, Elmer Crowell, East Harwich, Massachusetts. Retains

condition.

35

(1,400 - 1,800)

Miniature reaching mallard hen on carved rock base, Elmer Crowell, East Harwich, Massachusetts.

Strong Crowell rectangular “Makers” stamp on bottom.

37

(1,400 - 1,800) 38

4.75” long. Excellent original paint and condition.

Miniature bluewing teal on carved rock base, Elmer Crowell, East Harwich, Massachusetts. Strong Crowell

very good and original; several small dents.

39

rectangular “Makers” stamp on bottom. 4.25” long.

Excellent original paint and condition.

34

(1,400 - 1,800)

1/4 size mallard drake, Charles Armstrong, Pilot Town, Louisiana, circa 1940. 6.75” long. Relief wing carving. Small crack partway through neck, otherwise

(1,400 - 1,800) 36

Literature: “Gunnin’ Birds,” Kroghie Andresen.

(800 - 1,200)

Miniature greenwing teal drake probably from Louisiana. 4 5/8” long. Relief wing carving and shoe button eyes. Very good and original.

Provenance: Walsh collection.

(600 - 900)

40

43

41

44

42

45

40

Miniature canvasback and bluebill hens, Robert McGaw, Havre de Grace, Maryland. Mounted on wooden bases. Better than typical paint detail on backs.

Measure 5 3/4” and 6 1/4” long. Excellent and original.

crazing on head; very fine neck seem is visible; excellent and original.

(2,000 - 3,000)

Provenance: From a private Maine collection.

(1,000 - 1,400) 41

43

Larger than typical pair of miniature pintails, Robert McGaw, Havre de Grace, Maryland. Mounted on

Miniature bluebill drake, Joseph Lincoln, Accord, Massachusetts. 3 1/8” long. Near mint original paint; structurally very good.

Measure 6 3/4” and 7” long. Dry original paint has darkened somewhat with age; excellent and original.

paint detail. Near mint original paint with good patina and

44

fine detail; slight paint flaking at neck seam and on bill.

Provenance: From a private Maine collection.

(800 - 1,200)

(1,200 - 1,800) 42

(1,750 - 2,250)

Miniature merganser drake from Martha’s Vineyard, Massachusetts, circa 1900. 5.75” long. Fine feather

wooden bases. Scratch feather paint detail on hen.

Provenance: From a private Maine collection.

Miniature swimming Canada goose, George Boyd, Seabrook, New Hampshire. Excellent form. Measures

45

Miniature goldeneye drake, Joseph Lincoln, Accord, Massachusetts. Lincoln’s ink stamp on the underside.

Measures 3 1/2” long. Paint rub on top of head, otherwise

5 1/2” long. Original paint with excellent patina and minor

excellent and original.

Provenance: From a private Maine collection. (800 - 1,200)

35

Nathan Cobb, Jr. 1825 - 1905 | Cobb Island, Virginia

46

“I bought my first decoys from Bill Mackey when I was 15 years old. Since that time I have owned and seen most of the Cobb geese. In my opinion the Griffith Cobb goose is the finest there is.�

- Bill Purnell

36

This exact Nathan Cobb, Jr. goose on display at the IBM Gallery of Arts and Sciences exhibit in 1966 in New York City.

From Bourne auction catalog “Extremely rare swimming goose decoy. With carved wings, by Nathan Cobb, Cobb Island, Virginia, signed with carved “N” signature on bottom. Condition: excellent used condition with good original paint showing even wear and patina, structurally sound.”

“There is no decoy maker who understood the naturalistic form as well as Nathan F. Cobb, Jr. With great patience, he combed the beaches surrounding Cobb Island, Virginia for driftwood roots and knots; the suitable ones were from holly and locust trees. He carved heads and necks from these pieces for the natural effect and for the added plus of durability.”

- William J. Mackey, Jr.

37

Lloyd and I would often sit on his side porch at Albany Farm in Mount Holly looking over his two great Cobb geese. We always concluded that the one from the Adele Earnest collection had better form, but this one had better paint and was the most remarkable of the two. When it became time for Lloyd to sell a Cobb goose, we looked them over one last time, and I left with the Adele Earnest Cobb goose. We sold it the following year and established a world auction record price for a Nathan Cobb, Jr. decoy.

Now Lloyd’s favorite Cobb goose is being offered for sale.

- Gary Guyette

Important hollow carved swimming Canada goose, Nathan Cobb, Jr., Cobb Island, Virginia, 3rd quarter 19th century. Root head con-

46

struction, with large serifed “N” carved in underside. 29” long with shoe button eyes and raised “V” wingtip carving. Original paint; minor wear; several cracks in neck base; thin crack under the bill; small amount of dents from dog’s teeth at tip of bill.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Formerly in collection of William J. Mackey, Jr., Mackey collection stamp on underside.

Literature: “American Decoys,” Quinta Colio, p., 36 and 37, exact decoy pictured. “Southern Decoys,” Henry Fleckenstein, Jr.

38

(225,000 - 275,000)

39

One of the few photos of Nathan Cobb, Jr.

47

Hollow carved bluebill hen, Nathan Cobb, Jr, Cobb Island, Virginia, 3rd quarter 19th century. Inlet head with carved eyes. Raised “V” wingtip carving. Large serifed “N” carved in underside. Typical Cobb Island pad weight. 14” long Original paint with minor wear; a few tiny dents.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (20,000 - 30,000)

40

41

48

42

43

48

Rare hollow carved swimming brant, Nathan Cobb, Jr., Cobb Island, Virginia, 3rd quarter 19th century. A very round, full bodied decoy with root head construction and shoe button eyes. Raised “V” wingtip carving and large serifed “N” carved in underside. Original paint with minor to moderate wear; white area under the tail is a working second coat; short cracks in neck, face, and one short crack in front of the body; several tiny dents.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Purchased from Creighton Riepe, Charlotte Court House, Virginia.

Literature: Exact decoy pictured at the top of page 187 in “Southern Decoys”

by Henry A. Fleckenstein, Jr.

44

(100,000 - 150,000)

45

49

50

49

Pair of mergansers, Doug Jester, Chincoteague, Virginia. Drake is 16.5”

body with cedar head and neck. Appealing old

and wear; chip missing from the top tine on the

in use repaint; numerous small cracks in neck;

drake; tiny chip missing form one of the tines on

small dents in balsa.

decoy was made to keep a thin crack from opening more.

Provenance: Dr. Lloyd T. Griffith collection.

Griffith collection stamp on underside.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr.

46

Canada goose, Dave “Umbrella” Watson, Chincoteague, Virginia. 25.5” long. Balsa

long. Original paint with minor discoloration

the hen; small nail added to back of drake when

50

(2,000 - 3,000)

Provenance: Dr. Lloyd T. Griffith collection.

Griffith collection stamp on underside.

Literature: “Southern Decoy,” Henry Fleckenstein, Jr.

(3,000 - 4,000)

51

Round bottom style brant, Walter Brady, Oyster, Virginia. 18.25” long. Raised V wing carving and applied hardwood bill that is splined through to the back of the head. Old in use repaint; head has been off and reattached; small cracks and dents.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (6,500 - 9,500)

47

Elkanah B. (“Elkenny”) Cobb 1852 - 1943 | Cobb Island and Oyster, Virginia Elkanah B Cobb. Jan. 1892

Elkanah, (named after his great grandfather), was the son of Nathan F Cobb Jr. and his wife Sally M (Sarah). Author Henry Fleckenstein had done a lengthy review of the Cobb family history in his “Southern Decoys of Virginia and the Carolinas”, and in that book states Elkanah helped run the large and very successful Cobb Island Hotel, plus additional family businesses with his father and other family members. The main hotel, like most of the Island, was completely devastated by the great storm of 1893.

After that tragic event, Nathan Jr. and Elkanah built a smaller ‘watch house’ type structure on pilings, which they named the Cobb Island Club House.

Over time, father and son established a business catering to previous patrons of the Cobb Island Hotel who wished to enjoy the shooting sports the Island had to offer.

After Nathan Jr’s death in 1905, operation of the Club House fell to his son. According to Fleckenstein, “in the late 1920’s, the clubhouse burned to the marsh and Elkanah dejectedly left his beloved Island and settled ‘across the creek’ in Oyster on the Cobb family farm where he had built a distinctive home on the edge of the creek”.

Cobb Clubhouse 1893 - 1929

Additional inquiry reveals a little more about Elkanah.

In 1860, when Elkanah was only eight, he was living with his parents and his father listed his occupation as “wrecker” (a legitimate and fairly common occupation along the stormy Atlantic coast at the time). By 1870, Nathan was still listing his occupation as “wrecker” while Elkanah was “at school”. In 1880, Nathan Jr. was listed as an “oysterman” and Elkanah was a “boarder” working as a “Hotel Keeper” in the hotel (presumably Cobb’s Island) which was then managed by a Thomas Spady. By 1900, Elkanah was employed as a “sailor” and from the period of 1910 through 1930, we find Elkanah living in Capeville and working as an “oysterman”, “oyster planter” or “working in the seafood industry”. This is somewhat consistent with Mr. Fleckenstein’s account because when the large Cobb Island Hotel was washed out to sea in 1893, perhaps Elkanah and his father ran the smaller Cobb Island Clubhouse on a more seasonal basis or, perhaps, Elkanah managed the Club basically in absentia or as an adjunct to his fishing interest.

Elkanah was apparently a life long bachelor. He is buried in the Cape Charles Cemetery in Cape Charles, Virginia.

Elkanah’s sailboat lying at Cape Charles, VA.

48

Elkanah’s house in Oyster was behind the house in the center of photo and up a hill

52

Hollow carved redhead drake, Elkanah Cobb, Cobb Island, Virginia, last quarter 19th century. Inlet head. Raised “V” wingtip carving and glass eyes. 13.5” long. Original paint with minor wear on much of the decoy; moderate wear on one side of breast; several short hairline cracks in body.

Provenance: Dr. Lloyd T. Griffith Collection. Griffith collection stamp on underside.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr.

(30,000 - 50,000)

49

Harvey Stevens Weedsport, New York

From the introduction of “The Stevens Brothers,” by Dr. Peter J. Muller & Peggy Lane Muller.

Some states have claimed at least one great 19th century maker of duck decoys. In Massachusetts, there was Elmer Crowell, and in New Jersey, Harry V. Shourds. Albert David Lange of Connecticut, Nathan Cobb, Jr. of Virginia, and Robert Elliston of Illinois were others. Until now, New York has not laid claim to such a great 19th century carver, but without question Stevens’ Brothers have earned that title.

The Stevens decoys were created over a century ago, all handmade throughout. In the past, Stevens decoys have often been placed or cataloged among the factory decoys, compared with those made by Peterson, Dodge, and Mason. Yet Stevens’ decoys were individually handmade, just as were those by the great 19th century carvers listed above. Perhaps Harvey’s unique method of making these decoys, and advertising in periodicals as a “manufacturer” of duck decoys, led to this misclassification.

The hunters who bought Stevens’ decoys no doubt felt their rigs had been individually made for them, and few other available decoys could compare. In reality, this is true because no two Stevens decoys are exactly alike, since they were handmade “throughout,” made in a “different style,” and finished with only the “best paint.” They were crafted from original patterns from skilled hands.

50

53

Rare widgeon drake, Harvey Stevens, Weedsport, New York, last quarter 19th century. Extra fine feather paint detail. Good comb paint detail. 14.5” long. Original paint with very minor wear; wear on center of underside; structurally very good.

Provenance: Henry Bishop collection.

Literature: “Stevens Brothers Decoys,” Peter and Peggy Muller. “The Essential Guide to Stevens Decoys,” Shane Newell.

(25,000 - 30,000)

51

54

Excellent bluebill drake, Harvey Stevens, Weedsport, New York, last quarter 19th century. Head spins freely. Stenciled “HA Stevens maker, Weedsport New York. Standard decoys.” And in pencil written Bluebill.” Excellent fine combing on back. 14” long. Strong original paint; small area of loss at dowel at top of head; a few other minor flakes.

Provenance: Part of five excellent condition Stevens decoys purchased

by Phil Mott in Traver City, Michigan.

Rigmates to the pair of Stevens mallards offered in May 2020 and the redhead in this sale.

54

52

(5,000 - 7,000)

55

Redhead drake, Harvey Stevens, Weedsport, New York, last quarter 19th century. 14.5” long. “HA Stevens Maker” stencil on underside, also “Standard Decoys” stencil. Original paint with good detail and slight wear; minor wear at defects in wood in underside.

Provenance: Part of five excellent condition Stevens decoys purchased by Phil Mott in Traver City, Michigan. Rigmates to the pair of Stevens mallards offered in May 2020 and the bluebill in this sale.

(6,500 - 9,500)

55

53

56

56

Canvasback drake, George Stevens, Weedsport, New York, last quarter 19th century. 17.5” long. Branded “GW Stevens Weedsport NY” in underside. Original paint with very minor wear; in the making filled crack in the back that has opened slightly; two small cracks near underside.

Provenance: Mott collection.

(5,000 - 8,000)

54

57

57

Rare bluewing teal drake, Harvey Stevens, Weedsport, New York, circa 1870. Head wiggles slightly at neck seat. 12” long. Original paint with wear; some paint crazing and flaking to expose bare wood on sides and edges; crack through one eye; a dent near neck seat; knot imperfections near breast where filler has fallen away.

(4,000 - 5,000)

55

New York and Canada 58

Early old squaw drake from Stoney Point, New York. 11.5” long. Tack eyes and round inlet neck seat. Original paint with minor discoloration and wear; several tiny dents.

Literature: Rigmate pictured on page 75 of “Decoys a North American Survey,” Gene and Linda Kangas.

(2,000 - 3,000)

58

59

60

61

59

62

63

Pair of canvasbacks from Long Island, New York, 1st quarter 20th. Both branded “CA Post.” 12.25”

62

Pair of mallards, George Robert, Mastic Beach, New York, circa 1925. 15” long. Cork bodies, wooden keel,

long. Original paint with minor discoloration and wear; a

and wooden head. Keel is branded “GCC.” Original paint

few small dents; weight is attached with square nails.

with minor wear; drake has a hairline crack through neck; hen has a fairly large crack running diagonally across

(800 - 1,200)

back, as well as minor roughness to tail.

60

Swimming immature goldeneye drake, Albert Terry, Long Island, New York, 3rd quarter 19th century. 16 5/8” long. “AT” carved in underside. Appealing old in use repaint; lightly hit by shot; small dent in top of head; small tail chip missing.

61

(900 - 1,200)

Bufflehead hen from New York, 1st quarter 20th century. Slightly raised neck seat and tack eyes. Measures 10 1/4” long. Mix of original paint and a thin wash of black paint that has flaked mostly away; moderate discoloration; chip in tail; some losses to defects in wood.

56

(400 - 600)

Provenance: Cowan collection.

63

Pair of mergansers, Otto Seidler, Lindenhurst, Long Island, circa 1930’s. Long bodies and drake with extend-

(650 - 950)

ed crest. Measure 17 1/2” long. Original paint with minor wear; a few small dents; tight crack through hen’s neck; spot of filler at a defect in one side of hen; each with a tiny chip in underside tip of bill.

(600 - 900)

64

Eider drake, John Zwicker, Grand Manaan Island, New Brunswick. 16.5” long. With carved eyes and detailed bill carving. Old in use repaint on the white areas; paint on black areas has been strengthened; tail

chip.

Literature: Decoys of Maritime Canada,” Dale and Gary Guyette.

(1,200 - 1,500) 64

65

Pair of goldeneye, Bill Cooper, Verdun, Quebec. Both have highly detailed feather carving and slightly turned heads. 13” long. Original paint; minor wear; each has slight wear to the wood at edge of tail.

Literature: “Traditions in Wood,” Patsy Fleming.

(1,400 - 1,800)

65 66

Rigmate pair of mergansers from Nova Scotia, 2nd quarter 20th century. Drake is 16.5” long. Relief wing carving and carved wooden crests. Original paint with minor to moderate wear; old in use repaint has been taken off of the white areas; end of hen’s bill is missing.

(800 - 1,200)

66 67

Widgeon drake, John Smith, Barrington Passage, Nova Scotia. 13” long. One of only two known by this maker. Part of a group of decoys carved for display at a hunting lodge near Yarmouth, Nova Scotia. Near mint original paint; structurally very good.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette.

(350 - 550) 67

57

Charles Nelson Barnard 1876 - 1958 | Havre de Grace, Maryland Charles Nelson Barnard (R)

Charles Nelson Barnard was born to Captain Charles Thomas Barnard and his wife Eleanor, in the year 1876 in Havre de Grace, Maryland. Captain Thomas was a dedicated waterman who made his living fishing and working the waters of the Chesapeake Bay and surrounding tributaries on his scow named the Ella Barnard. Anxious for his son to carry on the family tradition, he removed young Charles during his fifth grade schooling to help aboard the ship. It seems Charles was not entirely in agreement with this career choice, and it was reported he vowed that by his twenty-first birthday he would leave his father’s ship. Indeed, shortly after he reached that milestone he moved to Baltimore City and became employed by the American Can factory. Soon after he began work, he moved from the city to the quieter country life in the small town of Singerly, near Elkton. There he remained until 1915, when he moved back to his hometown of Havre de Grace, and acquired work with the Baltimore and Ohio Railroad. That same year of his return, he purchased a property which would be his home until his death in 1958, and where he and wife Eva raised their family of three daughters and two sons.

He remained with the railroad for most of his life, but to supplement his income he hunted for the market, guided, carved and sold decoys. We do know he was not the only family member interested in decoys.

In fact his older brother Thomas P. Barnard lived not far from Charles and also carved, although it appears he produced far fewer pieces. Additionally, Charles’s oldest son Frederick T. Barnard worked with his father when he was a young man and carved several hundred decoys of his own throughout his lifetime. No records exist that identify the exact year Charles Barnard first set his hand to carve decoys.

However, it has been suggested it was during his time in Elkton, prior to his return to Havre de Grace in 1915.

There are no records to provide a good count of his works, but general consensus is that he produced

58

B&O RR bridge, Havre de Grace, MD c1908

B&O station, Havre de Grace, MD

no more than a few thousand pieces that included canvasbacks, redheads, bluebills, black ducks, and ruddy duck decoys. While all are unquestionably beautiful, perhaps most noteworthy of his works are the magnificent high neck canvasbacks, some reaching a stately six inches in height.

This quote by C. John Sullivan in the Spring 2001 issue of the Canvasback, says it best. . . .

“Decoys from the Upper Chesapeake Bay have been described over the years in many terms: graceful, sleek sturdy, practical, and even stately. Some collectors and enthusiasts from other regions of the country become confused when studying Upper Chesapeake Bay decoys. A few have gone so far as to say that they all look pretty much the same.

They frequently ask how you can tell one carver from another. There is always one exception to this, and that is Charles Nelson Barnard”. Barnard’s work is highly sought after by collectors. His decoys have been displayed at the Ward Museum of Wildfowl Art, the Chesapeake Bay Maritime Museum, and The Havre de Grace Decoy Museum. Examples of his work have now been sold by all of the decoy auction houses as well as Sotheby’s in New York City. If Upper Bay decoys are stately, Barnard’s birds are dignified.

If the Susquehanna Flats produced decoys that are sturdy, Barnard produced work that was forthright. If one studies closely the very few photos that exist of Charles Nelson Barnard, the same dignity and pride show in the man that appear in his carvings.”

68

Rigmate pair of canvasbacks, Charles Barnard, Havre de Grace, Maryland, last quarter 19th century. 15” long. Rare high neck model. Head and neck extend just under 6” up off the neck seat. Original paint with minor wear; lightly hit by shot; drake has a crack through the neck and a thin wash of white overpaint on the white area.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Formerly in the collection of Dr. James McCleery. Guyette & Schmidt/Sotheby’s January 2000 auction.

Literature: “Waterfowling on the Chesapeake, 1819-1936,” C. John Sullivan.

(30,000 - 40,000)

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James T. Holly 1855 - 1935 | Havre de Grace, Maryland

69

Black duck, James T. Holly, Havre de Grace, Maryland, last quarter 19th century. 18.5” long. Original paint with scratch feather paint detail; moderate flaking and wear; a few tiny dents.

Literature: “Waterfowling on the Chesapeake, 1819-1936,” C. John Sullivan.

60

(5,000 - 7,000)

70

70

Rare wooden wing duck from the Graff Sinclair rig, Kenneth Square, Pennsylvania, circa 1920. 14.5” long. Original paint with

71

minor discoloration and wear; structurally good.

paint with minor flaking and wear; tiny chip near two nail holes on the underside near the

Provenance: Dr. Lloyd T. Griffith collection.

tail.

Griffith collection stamp on underside. At one time owned by Norris Pratt.

(3,000 - 5,000)

Rare wooden wing duck, Madison Mitchell, Havre de Grace, Maryland, circa 1930s. Signed. 13.5” long. Original

Provenance: Dr. Lloyd T. Griffith collection.

Griffith collection stamp on underside.

(3,000 - 4,000)

71

61

72

73

72

Rigmate pair of canvasbacks, Sam Barnes, Havre de Grace, Maryland, circa 1900. Good feather paint detail. 15.25” long. Original paint with

Rare Canada goose, James Holly, Havre de Grace, Maryland, last quarter 19th century. 21.5” long. Original paint with significant wear;

minor wear; drake has a long thin chip missing from

numerous cracks; areas on both sides where the

underside of bill with touchup on it; hen has several

wood is worn; two tail chips.

small cracks and has been lightly hit by shot.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

62

(2,000 - 3,000)

73

(2,500 - 3,500)

74

Pintail drake, Leonard Pryor, Chesapeake City, Maryland. Name and state are stamped in underside. 17 7/8” long. Detailed wing and speculum painting. Near mint original paint; slight discoloration on underside from a knot; spots of stain dripped on back a long time ago; small dent in center of back.

(4,000 - 6,000)

74

75

Large blackduck, attributed to a member of the Holly family, Havre de Grace, Maryland, last quarter 19th century. 19.5” long. Tack eyes and slightly uplifted head. Appealing old in use repaint on most of the decoy; head appears to be original; minor flaking on head; structurally good.

(2,500 - 3,500)

75

74

75

63

Louisiana Mitchell LaFrance 1882 - 1979 | New Orleans, Louisiana

76

76

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76

Extremely rare preening pintail hen, Mitchell LaFrance, New Orleans, Louisiana. 12” from breast to tail. Relief wing carving and fine paint detail. Original paint with minor wear; several tiny dents;

Mitchell LaFrance.

Photo credit: “Louisiana Lures and Legends,” Brian Cheramie

crack through neck was glued a long time ago with shallow clamp marks visible.

Provenance: From the hunting rig of Henry Patrick Burke, New Orleans, Louisiana. Mr. Burke worked as a stevedore, running a crane unloading ships at the New Orleans waterfront. He hunted on the Lafitte Bay Marsh.

Consigned by a member the family.

(8,000 - 12,000)

65

77

Very rare pintail drake in unusual beginning to preen pose, Mitchell LaFrance, New Orleans, Louisiana, 1st quarter 20th century. 12” from breast to tip of tail. Relief wing carving. Original paint that has darkened with age; minor wear; significant tail chip missing; crack in neck that was reglued a long time ago; small chip missing from one edge of underside of bill; crack through bill was professionally reset and touched up by Russ Allen.

Provenance: From the hunting rig of Henry Patrick Burke, New Orleans, Louisiana. Mr. Burke worked as a stevedore, running a crane unloading ships at the New Orleans waterfront. He hunted on the Lafitte Bay Marsh. Consigned by a member the family.

Literature: “Louisiana Lures and Legends,” Brian Cheramie.

66

(3,000 - 5,000)

78

Two bluewing teal drakes, Reme Roussell, Raceland, Louisiana. Both have raised wingtips. 9.75” long. Original paint with minor to moderate flaking and wear; a few small dents.

(2,000 - 2,500)

78

79

High necked pintail drake, similar to the work of Jack Couret, New Orleans, Louisiana. 16” long with turned head and relief wing carving. stamped “Stewart” three times on underside.

Jacksonville exhibit 1983 sticker on underside. Original paint with moderate wear; touchup on both speculums; thin dent in one side of tail.

(2,000 -

3,000)

80

79

Very early pair of mallards, Mike Frady, New Orleans, Louisiana. Both in swimming pose and have slightly relief carved wingtips. 15.5” long. Original paint; minor to moderate wear; small dents in balsa; hen has a neck crack repair; drake has had a chip break out of one side of the bill that has been glued back on.

(2,000 - 2,500)

81

80

Swimming pintail drake, Charles Armstrong, Pilot Town, Louisiana. 17.25” long. Original paint with minor to moderate shrinkage and wear; touchup on part of neck and part of bill; small rough spot at neck base; several tiny dents.

Literature: “Louisiana Lures and Legends,” Brian Cheramie.

81

(2,000 - 3,000)

67

82

Pair of pintails, Sidney Duplessis, Davant, Louisiana. His flat bottom style. Drake is 18.75” long. Both have relief wing carving. Both have very slightly turned heads. Original paint with minor wear on drake, minor to moderate wear on hen; drake has small crack at neck base; hen has crack in underside.

(2,000 - 3,000)

82 83

Early style mallard hen, Mitchell LaFrance, New Orleans, Louisiana. 15.75” long. Relief wing carving. Original paint with minor to moderate wear; crack through neck; very lightly hit by shot; cracks through neck that appear to have a field repair with touchup in one of the nail holes; two small areas where paint has come off of filler that was added when the decoy was made to defects in wood.

83

Literature: “Louisiana Lures and Legends,” Brian Cheramie.

(1,500 - 2,000)

84

Mallard hen by William (“Bill”) Howard, New Orleans, Louisiana.

Deeply carved shoulders and wing tips with slightly upswept tail. 16” long. Original paint with scattered small rubs and wear; two small spots may have been darkened on left side of neck; small area of minor roughage on back is original to the carving; very lightly hit by shot on right side; front portion of bill has

84

been replaced with paint restoration to whole bill.

85

(1,200 - 1,500)

Mallard hen, Sidney Duplessis, Davant, Louisiana. 15.25” long. Original paint with minor wear; tail chip that was touched up a long time ago; repair to a small chip at one side of the neck base with touchup in that area; several small cracks and dents.

(1,500 - 2,000)

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Rare pair of working mallards, Mike Frady, New Orleans, Louisiana. 15” long.

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Both have relief wingtip carving. Original paint; minor wear; crack through hen’s neck with a small amount of touchup on it.

Literature: “Louisiana Lures and Legends, Brian Cheramie.

(3,000 - 5,000)

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Mallard drake, Mitchell LaFrance, New Orleans, Louisiana. 15.5” long. Very slightly turned head and relief wing carving. Good scratch paint detail. Original paint with minor to moderate wear; small chip missing from tip of tail; a few tiny dents.

(2,500 - 3,500)

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Earlier style pair of mallards, Arthur Pelligren, Houma, Louisiana. 14.75” long. Original paint; moderate wear; a few small dents.

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Pair of early style pintails, Eddie Granier, Vacherie, Louisiana. Drake is 18” long. Original paint; moderate wear; small surface crack in drake’s back; slight roughness

(1,200 - 1,500)

to one edge of hen’s bill; two small cracks in hen’s lower 89

Pair of mallards, Ernest Vidacovich, Havendale, Louisiana. Signed. Drake is 16” long and has slightly

breast.

(1,200 - 1,500)

wingtips. Original paint with very minor wear; structurally

Pair of mallards, Clovis Vizier, Galliano, Louisiana. Slightly turned heads and raised wing tips.

good.

Measure 12 1/4” and 13 1/4” long. Original paint with

turned head and tail sprig. Both have raised extended

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(1,200 - 1,500)

moderate flaking and wear; slight separation at the back 90

Pintail drake, J.C Roussell, Sr., Chalmett, Louisiana. 15.75” long. Long neck style with carved wingtips. Original paint; minor wear; structurally good.

Provenance: Formerly in the collection of David Hall, Hall collection stamp in underside.

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(1,250 - 1,750)

of drake’s neck seat.

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(1,500 - 2,500)

Pair of ringbills, Willie Carmadell, Des Allemandes, Louisiana. 12.75” long. Relief wing carving and glass eyes. Original paint with minor wear; structurally very good.

(1,200 - 1,500)

Charles Armstrong 1887 - 1954 | Pilot Town, Louisiana

Charles Armstrong

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Very rare canvasback drake, Charles Armstrong, Pilot Town, Louisiana, circa 1920s. Branded “MB” in underside. 16” long. Old in use repaint on white area; the rest is original; minor wear; most of the bill is a professional replacement; several small dents and shot marks.

Literature: “Louisiana Lures and Legends,” Brian Cheramie.

(3,000 - 5,000)

Photo credit: “Louisiana Lures and Legends,” Brian Cheramie

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New England Shorebirds

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Oversize black bellied plover, Cape Cod, Massachusetts, last quarter 19th century. 12.5” long x 3.25” wide. Carved eyes. Very intricate feather paint pattern. Original paint with good patina and a few small rubs; structurally very good.

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(25,000 - 30,000)

In 1934 Joel Barber released the first reference book dedicated to the collecting of waterfowl decoys as art. Almost 40 years after the release of this book, the Richard A. Bourne Company of Hyannis, Massachusetts held some of the first public auctions of decoys with the William J. Mackey, Jr sales. Now almost 47 years since the first Mackey sale and 86 years since the release of ‘Wild Fowl Decoys’, an exciting decoy ‘find’.

Rarely do the works of never before seen carvers come to market but this oversize, running plover with split tail carving, carved eyes, and very intricate feather detail is by a hand not seen before. This and a mate that it was found with

were obviously rarely used as the dry, original paint shows only minor rubs and a warm patina.

The directional application of the feather detail gives an illusion of depth and gives structure to the wing and breast.

Though we can’t connect a name like Crowell or Lincoln to this shorebird, it was no doubt made by a skilled artisan and should be considered an important piece of American folk art.

73

96

Lincoln type greater yellowlegs, probably from the Hingham area, south shore of Massachusetts. Three piece body with stick hole that is reinforced with unique wooden ring.

Intricate almost modernish style paint pattern over carved raised wings with split dropped tail. Tack eyes. 13.5” long. Original paint with a few small areas of flaking; glue around area of lower bill to used as reinforcement.

74

(6,000 - 8,000)

97

Golden plover from the Morton rig, Nantucket, Massachusetts. Relief wing carving and carved eyes. 10” long. Branded “WS Morton” in underside. Original paint with minor wear; small amount of touchup on bill; originally had two small stick holes, one has been filled and one has been made a little larger.

Provenance: Dr. Lloyd T. Griffith collection.

Griffith collection stamp on underside.

(5,000 - 8,000)

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Slot Neck Plover Circa 1890 | Green rig Joel Barber and his example of a slot neck shorebird. Photo courtesy of Kory Rogers and Shelburne Museum, VT.

Examples of the few known shorebirds by this Maker include Yellowlegs, Black-bellied Plovers, Willets and Dowitchers. Two things become immediately apparent when examining these finely crafted decoys; 1) They are extremely unusual in the construction of the removable head and bill; and 2) A much higher level of woodworking skill was required for their construction.

Each joint was individually crafted by hand and therefore ever so slightly different. As a result heads and bills were coupled with their corresponding bodies and identified with numbers on each member of the union. Regardless of the additional time and skill needed to craft these shorebirds, the advantages are obvious. Traditionally transported in a somewhat cavalier manner, they were often tossed into a basket or sack, slung on thongs and cords suspended on a belt, or thrown over shoulders.

Any of these methods used for transport to and from their hunting destinations subjected them to substantial damage, including breakage of fragile bills and necks.

The Maker of this rig has never been identified, but clearly he or she had advanced knowledge of cabinetry or furniture construction. Interestingly, early collector Adele Earnest acquired geese decoys with almost identical construction. She claims to have located them along the Susquehanna River in Pennsylvania, and for this reason, some have speculated that the shorebirds may have originated there as well. The flaws in this logic are; 1) Few, if any other shorebird decoys, have been collected from Pennsylvania due to the fact that shorebirds do not frequent this region; 2) Most of the shorebirds from this rig seem to have been collected from New England, including five found in a camp in South Harpswell, Maine; and 3) The geese and shorebirds differ in that the numbers on the body parts of the geese are elaborately painted, while the numbers on the shorebirds are cut in or stamped. At this point the shorebirds have, almost universally, been attributed to an anonymous Maker from Massachusetts.

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The existence of these decoys has been known for many years. They were represented in many early pioneer collections, including those of Joel Barber (1856 – 1952), Walter Bush (1887 – 1953), Richard Moeller (c1956) and the Greene collection (dates unknown). More recently, they have appeared as noteworthy additions to private collections of individuals such as Dr. Lloyd Griffith, Stewart Gregory, Joe French, Dr. James McCleery, Bud Ward and Donald O’Brien. Members of this rig have been pictured in no less than ten different reference books, magazine and newspaper articles, plus art portfolios.

Examples from this rig have been prominently displayed at prestigious museums across America, such as The Peabody Essex Museum in Salem, MA, The Shelburne Museum in Shelburne, VT, The Houston Museum of Natural Science in Houston, TX, the Wilton Heritage Museum in Danbury, CT and the Massachusetts Audubon Museum of American Bird Art in Canton, MA.

Dovetail joints and wooden pegs in country furniture.

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Hollow carved black bellied plover from Massachusetts, last quarter 19th century. Removable head that is dovetailed into the body. Shoe button eyes. 11.25” long. From the Green rig, Staten Island, New York. Original paint with fine feather detail and almost no wear; structurally excellent.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Formerly in the collection of Joe French, Marathon, Florida. Numeral 73 with an “F” are stamped under the tail and a tiny “JF” is stamped in front of the stick hole.

(40,000 - 60,000)

When discussing a Plover from this rig in ‘Massachusetts Masterpieces – The Decoy as Art’, Gigi Hopkins cites a few of the noteworthy construction details and artistic merits seen to varying degrees in every rig mate of the assemblage. She notes: • The hollow construction with a snug horizontal seam • The back edge of the bird’s lower half forming the end of its stylized lower coverts • The meticulously – crafted dovetail joint allowing the head to be slipped on and off • The body contours which carry discreet feathery drawknife cuts which are contrasted by a smoothly sanded head and neck

• The upper and lower tail surfaces are flat stylized planes • The birds round beak is carved from a square peg fitted into a chiseled square hole with chamfered corners • The glass eyes are fitted into crisply gouged eye-coves • The fine brushwork which defines the birds body plumage.

She concludes with the observation: “This was a cabinetmaker enjoying his art”.

Although the creator remains anonymous, members of this small individually crafted rig deserve their rightful place among the very finest examples of North American shorebirds.

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100

Ruddy turnstone from Toronto Harbor, last quarter 19th century. 8.5” long. Two wire legs with carved wooden thighs. Original paint with moderate wear; two small spots of touchup on lower breast; hit by shot; roughness to end of bill and carved wooden thighs; wooden base is a replacement.

(2,500 - 3,000)

100

101

Yellowlegs, George Boyd, Seabrook, New Hampshire. Tack eyes with dropped, split tail. 11.5” long. Strong original paint; small area of in painting at tail, and also two small areas one at underside of bill and very top of bill where bill meets the face; otherwise very light wear.

(3,500 - 4,500)

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102

Yellowlegs, George Boyd, Seabrook, New Hampshire, circa 1900. Original paint; minor discoloration and wear; moderately hit by shot on one side; small amount of sap bleed at a knot; tip of bill is missing.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

102

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Literature: “Nicely Carved and Finely Painted,” Jim Cullen.

(1,500 - 2,500)

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104

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Greater yellowlegs from Massachusetts, last quarter 19th century. 10.5” long. Original paint with minor

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discoloration and wear; several shot scars on one side;

some early in use repaint with minor wear; small chip at

old touchup on bill.

stick hole and on one wing tip.

(950 - 1,250)

Golden plover from Nantucket, last quarter 19th century. 9” long. Original paint with minor to moder-

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ment.

(1,000 - 1,500)

Golden plover from Massachusetts. 10.25” long.

Tack eyes. Carrying hole drilled through tail. Original

ate wear; bill appears to be an old working replace-

paint with minor wear; structurally good.

(2,500 - 3,500)

(800 - 1,200) 108

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Black bellied plover from Massachusetts, circa 1900. Measures 10 1/2” long. Mostly original paint with

Early golden plover, David Goodspeed, Duxbury, Massachusetts. Dramatic transitional phase plum-

Early plover from Cape Cod, Massachusetts, last quarter 19th century. Split tail carving. One tack eye and one hand cut glass eye. Measures 10”

age. 9.5” long. Original paint; moderate wear; bill is a

long. Original paint with minor discoloration and wear;

replacement.

small dents and shot marks; small chip and minor rough-

(1,800 - 2,200)

ness at tail tip.

(1,200 - 1,800)

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Elmer Crowell 1862 - 1952 | East Harwich, Massachusetts DOWITCHER Macrorhampus griseus and M. himantopus Common or local names: grassbird, brown-back, red-breasted snipe, robin snipe, driver

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While once very abundant, the numbers of these popular birds was to decrease with time. Logically, the demand for decoys for them would suffer the same fate and, thus, are fairly rare. Quotes from writers of the period paint a somewhat complete picture of the dowitcher – its migration -its popularity with the hunters – its reputation as table fare, and its ultimate demise in the northeast.

The name “derives from the German Deutschers - - dowitcher being simply a corruption of Deutscher in the mouths of longshoremen”.

“These birds are but little known in New England save on the seashore, where during the migrations they are for a few days abundant, then they are gone and nothing more is seen of them until the next flight arrives.”

“A sandbar will often be so crowded with these sociable little waders that the sportsmen picks off a dozen or more with a single shot; and so innocent are they that even such a lesson does not prevent them from returning to the identical spot after a short flight. It is a small wonder that they are a favorite with shooters.”

“Few birds surpass the (dowitcher) in sapid quality of flesh, and many rank high in the estimation of sportsmen and epicure.”

Unfortunately, the birds, once abundant and popular, could not withstand the heavy gunning pressure and the population numbers would rapidly decline until all the shorebird species were offered some degree of

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protection by Federal law(s). The State ornithologist for Massachusetts documented this decline in his 1912 report to the Legislature. **“They often settle near each other (and) great numbers are shot down.”. (Peabody 1839) **“About the middle of July they return in great numbers to our coast.” (DeKay 1844) **“Congregate in immense flocks in salt marshes.”

(Lewis 1850) **“Not uncommon during migration.” (Maynard 1870) **“The birds will come back at call and alight among the decoys, until the last survivor is shot.” (Samuels 1897) **“Flocks along the Atlantic coast are few and far between.” (Sanford, Bishop and Van Dyke 1903) **“Rare spring and uncommon fall migrant.” (G.M. Allen 1910) He concludes this section of his report by citing the records of but one shooting location on the outer beaches of Cape Cod – not far from the home of A.E. Crowell.

“At the Chatham Beach Hotel, between 1897 to 1904, the shooting record shows that there were but three days (all years inclusive ) when the number of dowitchers shot by all hands neared a score. The most shot were in 1901 when on August 9th, 26 were taken with thirteen men shooting”.

“Something must be done to protect the species or it will join the Dodo and the Great Auk and will be known only by specimens in museums.”

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Rare dowitcher, Elmer Crowell, East Harwich, Massachusetts, last quarter 19th century. Fine form with lifted head and shoe button eyes. 12.5” long. Excellent original paint with good detail and patina; tiny rub on tail; hairline surface crack at one side of neck base.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “New England Decoys,” John and Shirley Delph.

(35,000 - 45,000)

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Golden plover in fall plumage, Elmer Crowell, East Harwich, Massachusetts. Tack eyes. 9.5” long. Near mint original paint with good patina; tiny chip missing from one side of tail, otherwise structurally good.

Literature: “New England Decoys,” John and Shirley Delph.

(12,000 - 15,000)

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111

Sandpiper, Elmer Crowell, East Harwich, Massachusetts. Tack eyes. 9” long. Good feather paint detail. Original paint with very minor wear; small amount of inpainting to flaked areas where the bill meets the face; one small shot scar on underside.

Provenance: Meyer collection.

(14,000 - 18,000)

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111a

Rig of 6 sanderling with baleen bills from Eastern Cape Cod, circa 1900. All in running pose, 2 with slightly uplooking head. Measure from 6 1/2” to 6 7/8” long. Original paint with minor to moderate gunning wear; scattered shot marks; one bill is a later replacement; some later feather detail on sides of bodies and heads has mostly flaked to the original.

(3,000 - 5,000)

111b

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111b

Outstanding black bellied plover, Elmer Crowell, East Harwich, Massachusetts. Highly desirable, plump, gunning model exhibiting Crowell’s best paint.

Finely carved original bill. 10.75” long. Lightly rusted tack eyes; original paint with only a few extremely tiny nicks.

Provenance: Ex Muller collection with his stamp to rear of stick hole.

(15,000 - 18,000)

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Fish Oscar Peterson 1894 - 1951 | Cadillac, Michigan The “Twist Tail Pike” In the fall of 1989 the current owner was driving through Lapeer, MI where he stopped at a garage sale. This pike was included in the sale and had a price of $40. A short negotiation ended in a no sale, as the owners were not willing to take the $35 offered. The prospective buyer returned to his car and drove away. Several minutes and several miles down the road, he turned around and sped back to the sale. The negotiations picked up again at $37 but the owners didn’t budge. Finally $40 was offered and it sealed the deal.

Since that time, this incredible work of art has rested on a book case in the bedroom of the owners.

This is the first offering at public auction for one of Petersons best works, the Twist Tail Pike.

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Outstanding full size carved in the round northern pike trade sign, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. 36” long, body is 6.5” tall x 4” wide. Girth of

literal anatomy underneath the mouth. Superb

17”. A fresh to the market find. With highly unusu-

small paint flakes at tail and flaking where metal

al twisted tail. Partially emulating the flip tail ver-

fins are attached to body and some lead filler

sion of Peterson’s famous plaques. A fanned out

has deteriorated; tight crack visible on one side

three piece tail transitions from convex to con-

of body; something may have spilled near one

cave in a swimming or s shape motion. Metal

of the eyes, and deteriorated an area of paint.

fins are scooped to create a more realistic view.

original paint that has mellowed from a coat of Peterson’s varnish; a few small areas of flaking; two hanger holes exposed at top of back; a few

(40,000 - 60,000)

Glass eyes with carved nostrils, gills, and the

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Born November 14th, 1887 in Grayling Michigan, Oscar Peterson soon relocated to Cadillac Michigan, where he lived his entire life until his death in 1951. It is said that he was a kind, shy person that often gave away his carvings to friends. He prided himself in the fact that he never used special tools, only a drawshave, ordinary chisels, pocketknife and sand paper. The scope of his carving is amazing. Over the years Peterson produced items including, fish decoys, trade signs, pincushions, vases, fishing lures and decorative plaques. Peterson’s love of nature and specifically the bounty found in Northern Michigan is commonly represented in nearly all of his artwork. Without a doubt, today, Oscar Peterson is celebrated as one of America’s greatest folk artist.

Many accredited museums across the country own Peterson examples including; American Folk Art Museum New York, New York , Abby Aldrich Rockefeller Folk Art Museum - Colonial Williamsburg, Virginia, Brooklyn Museum - Brooklyn, New York, Cleveland Art Museum - Cleveland, Ohio, Milwaukee Art Museum - Milwaukee, Wisconsin, Philadelphia Museum of Fine Arts - Philadelphia, Pennsylvania, Shelburne Folk Art Museum Shelburne, Vermont and The Smithsonian - Washington D.C.

Lot 112 Despite nearly 70 year of exposure and popularity among the art world, combined with some of the country’s greatest antique pickers canvassing the landscape near Peterson’s hometown in search of his trophies, this trade sign has remained nearly unknown to collectors. Today we are very proud to offer for sale for the first time, one of the greatest trade sign carvings, collectors of Petersons work have ever seen.

112 “S” shaped tail and twisted fin

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112a

Well carved sunfish plaque, Oscar Peterson, Cadillac, Michigan. Plaque measures 7.5” x 11.25”. Fish has carved eye and fine detail. Plaque has Peterson typical metal reinforcement strips on back. Original paint with minor shrinkage to the varnish; slight shrinkage to some of paint.

(10,000 - 14,000)

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10” long x 7/8” wide x 1 3/8” tall. Original paint protected by a coat of varnish; much of the paint on underside has flaked away, some areas on sides also; a few rough areas on body and above one eye; small spots of in painting on the head, middle of back, and larger area between two fins on the top.

(2,500 - 3,500)

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Rare rainbow fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Round painted tack eyes with vibrant red stripe running through the middle of both sides.

6.5” long x .5” wide x 1” tall. Strong original paint with Peterson’s varnish that has mellowed nicely; minor flaking at one fin and around eyes; line tie mark on one side of body; line tie marks around middle; small scratches.

Provenance: Walters collection. (2,500 - 3,000)

Rare fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Thought to be a smelt with a black background and gold painted spots along the top of both sides.

Honey combed dome tack eyes. Vibrant white eyebrow. 9” long x .75” wide x 1 3/8” tall. A rare species for Peterson. Strong original paint protected by a coat of varnish; very minor flaking and a few small rubs; paint missing from both belly weights; crazing mostly at tail.

Provenance: Walters collection. (2,000 - 3,000)

Pike fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Rounded brass tack eyes with black paint. 9.5” long x 7/8” wide x 1.5” tall. An early fish in original paint protected by Peterson’s coat of varnish; some flaking, mostly on top and underside; small area of paint missing from edges of fins; varnish cracks and a few small rubs.

(1,800 - 2,200)

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Large walleye fish decoy, Oscar Peterson, Cadillac, Michigan. Desirable carved eye.

Crisp brook trout fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. 7” long x .5” wide x 1” tall. Rounded tack eyes. Strong original paint; very small areas on underside of side fins with paint missing; line tie marks around mid point on body.

Provenance: Walters collection. (1,500 - 1,800)

Brook trout fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Round tack eyes. 8.75” long x .75” wide x 1.25” tall. Strong original paint; coat of varnish; even wear with rubs exposing a silver under coat; paint loss on fins; and around nail that secures line tie; several small areas of paint loss.

Provenance: Walters collection. (1,000 - 1,500)

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Brook trout fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Painted iron tack eyes that are painted black. 9.5” long x .75” wide x 1.5” tall. Original paint protected by Peterson’s coat of varnish which has crazed mostly along top and back of fish; flaking along underside and tail area; flaking at fins; moderate wear. (1,000 - 1,500)

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119

Perch fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Tack eyes painted black. 6.75” long x .75” wide x 1 1/8”. Excellent original paint protected by Peterson’s coat of varnish; very minor flaking; small paint drip on one side; light wear.

Provenance: Walters collection. (1,000 - 1,500)

Rare pike fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Unusual and appealing paint pattern.

Rounded tack eyes. 6.5” long x .5” wide x 1” tall. Sides of fish have been painted with a blend of orange and yellow, not typically seen on pike. Original paint protected by a coat of varnish that has darkened; paint loss at metal fins; small chips missing form tail; moderate wear.

Provenance: Walters collection. (1,200 - 1,500)

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Pike fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Round brass tack eyes that are painted. So called bear paw pattern on sides. 9” long x .75” wide x 1 1/8” tall. Original paint protected by Peterson’s coat of varnish; areas of paint loss on fins; small parts of body; one gouge near mouth.

Provenance: Walters collection. (1,200 - 1,800)

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Brown trout fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Domed flat tack eyes. 6” long x .5” wide x .75” tall. Strong original paint; protected by a coat of varnish; appears as if varnish was not applied to underside so it has aged differently; small area of paint loss near one fin; very light wear.

Provenance: Walters collection. (1,200 - 1,500)

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Pike fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Honey comb tack eyes painted black with bear paw pattern on sides of body. 9” long x .75” wide x 1 1/8” tall. Strong original paint with wear to edges of tail; paint missing from eyes and some fins; most paint is missing on underside of belly; light discoloration and a few rubs.

(1,000 - 1,500)

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Lawrence Irvine 1918 - 1998 | Winthrop, Maine Irvine from 1938 Winthrop (Me) high school

Lawrence Irvine was born in Winthrop, Maine in 1918 where he spent all of his life, except for a stint in World War II. A legendary hunter and fisherman in his home area, Irvine began carving fish in his 30s, supposedly after seeing others at a country fair, and deciding that he could do it better. Using mostly pine and simple tools, he carved at least 100 fish a year, saying “You know, lots of people do ducks and birds. I just wanted to do something different than anybody else and do it better than anybody else.” (Kennebec Journal Interview, published in 1985).

People would take their freshly caught fish to his garage workshop, and a few weeks later retrieve a carved model in the likeness of the fish they had caught. Irvine never charged more than $25 for his works, which became collector’s items and considerably increased in value after he died in 1998 at the age of 79.

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Very rare landlocked salmon on State of Maine carved plaque, Lawrence Irvine, Winthrop, Maine. Most of the State of Maine plaques made by Irvine have carved trout. Signed on the back of plaque. Fish measures 20” long. Plaque is 22” wide and 34” tall. Excellent and original.

Provenance: From a private Winthrop, Maine collection.

(3,000 - 4,000)

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126

Large and rare ‘left handed’ lake trout, Lawrence Irvine, Winthrop, Maine. Irvine made most of his fish facing to the right.

Signed on the back of plaque.

Fish measures 35” long and plaques measures just under 43” long. Excellent and original.

Provenance: From a private Winthrop, Maine collection.

(2,000 - 3,000)

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127

Large Atlantic salmon, Lawrence Irvine, Winthrop, Maine. Signed on the back of plaque. Fish measures 33 1/2” long. Plaque measures 38 1/2” long. Flat spot of top tip of tail appears to be from when the fish was made; excellent and original.

Winthrop, Maine collection.

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128

Provenance: From a private (2,000 - 3,000)

Early brown trout, Lawrence Irvine, Winthrop, Maine. Fish measures 22” long. Plaque measures just over 28” long. Small amount of filler added under pectoral fin after the fish was varnished, otherwise excellent and original with a warm patina.

Provenance: From a private Winthrop, Maine collection.

(1,000 - 1,400)

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129

Lake trout, Lawrence Irvine, Winthrop, Maine. Signed on the back of plaque. Fish measures 28 1/2” long. Plaque measures 38” long. Original paint with very minor wear; paint flake on eye; a few small dents on back; very slight separation at wood grain behind one fin.

(800 - 1,200)

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130

131

130

Tulley fish plaque. 9.5” x 25 7/8”. Beveled edge on plaque. Good carving and paint detail.

Eastern brook trout, Lawrence Irvine, Winthrop, Maine. On a wood plaque painted to

Inscription on plaque reads, “Killed June 26 1913. By

appear like birch bark. Identified on the back of

Gertrude Greville Willmott. Very good and original.

plaque. Fish measures 15 1/2” long. Plaque mea-

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(4,000 - 6,000)

sures 17 3/4”. Excellent and original.

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132

133

Chain pickerel on painted plaque, Paul Mailman, Lowell, Maine. Identified and signed

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Carved fish plaque, Jay Tonelli, Minneapolis, Minnesota. Signed and dated on back,

on the back of plaque. Fish measures 27 3/4” long.

“Pumpkin seed 2011.” Inserted metal fins. Carved

Plaque measures 34 1/2” long. Excellent and original.

gill and mouth with glass eye. Plaque measures

Provenance: From a private Winthrop, Maine collection.

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(600 - 900)

(600 - 900)

12”. Excellent and original.

(200 - 300)

135

136

137

134

138

134

‘The Mountain Man’ bronze by Michael Hambry. On original hardwood base. Stands 25” tall

136.

‘Home Rule’ boat model, mid-20th century. Wood and metal parts. Measures 18 1/2” long. Minor flaking

including base. Marked ‘Hambry 3/31, 1993’. Excellent

and wear; half of one flotation ring is missing. (200 - 400)

and original.

Provenance: Ex Potter collection. Dr. John Dinan collection.

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and a warm patina; some loose and missing parts; crack where bowsprit meets bow.

Three creels, circa 1900. Vary from 14” to 12.5” wide. split ash with a center hole. Original and good.

Provenance: Dr. Lloyd T. Griffith collection.

(400 - 600)

Motorsailer boat model, mid-20th century. With moveable rudder. Measures 21” long. Crazed varnish

(1,200 - 1,800)

Two are wicker with holes to the side of the top. One is

137.

138.

(200 - 400)

‘Dubois II’ boat model, mid-20th century. Wood and metal parts. Braided twine bumpers on bow.

Measures 30 1/2” long. Minor flaking and wear; crazing to varnish on hull; pilot house is loose.

(300 - 500)

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New England George Boyd 1873 - 1941 | Seabrook New Hampshire

Left: Papin at a social event. Undated photo.

Right: Papin at Port of Missing Men

Edward Vilray Papin | 1869-1955 | St. Louis Missouri and Rye, New Hampshire Born into a wealthy St. Louis, Missouri family, Papin traveled to Europe with his parents during 1881 and ‘82 where he “was thoroughly instructed in French.”

After college, he married Marie Chouteau in a private ceremony, and the young couple immediately went on an extended visit to the east coast. He was a very successful insurance broker and businessman who was popular in both social and business circles. He is remembered as “a man of scholarly achievement and an enthusiastic supporter of all manly outdoor sports.”

He was an avid golfer as well as an accomplished chef who co-authored (anonymously) a cookbook on French cuisine with his daughter.

He spent the last 28 years of his life at his summer home in Rye Beach, NH. He was friendly with Samuel Allen, a prominent St. Louis architect who also had a home on Sea Road in Rye Beach, and he was often a guest at Allen’s hunting stand, “The Port of Missing Men” on nearby Great Bay. The decoys at the stand were carved by George Boyd who was also a frequent guest at the stand. Boyd and Papin soon became good friends. Both Papin and Allen were to become important patrons of George Boyd, and both were determined to amass sizable collections of Boyd’s carvings. Papin’s collection alone would eventually number over 150 pieces. Mr. Cullen relates that members of “The Port of Missing Men” attended a birthday party in Rye Beach in 1935 where the guests were given a George H. Boyd full size red-breasted merganser decoy as a memento. Papin’s collection of Boyd carvings, mostly consisting of miniatures, were eventually gifted to his friend Herb Drake. This outstanding merganser, which was made as a special presentation piece for Papin, was the only Boyd carving retained by the family and is being offered here for the first time. The outstanding rarity and exceptional condition of the decoy would support both Bill Mackey and Jim Cullen’s assessments that Boyd’s work is, indeed, “Finely Carved and Nicely Painted.” Papin died of heart complications in a Boston, Massachusetts hospital and he is buried in St. Louis, Missouri.

96

Top: Great Bay c. 1920.

Middle: Main St., Seabrook, New Hampshire c. 1915.

Bottom: View up Sea Rd., Rye Beach, NH c. 1931.

139

97

139

Important unused merganser drake, George Boyd, Seabrook, New Hampshire. Very slightly turned and lifted head. Carved wooden crest. Good feather paint detail with crossed wingtips and subtle feathering. 17.75” long. Near mint original paint; structurally excellent.

Provenance: From the estate of Edward Vilray Papin of Rye Beach, New Hampshire. Consigned by the family.

Literature: “Finely Carved and Nicely Painted,” Jim Cullen.

98

(65,000 - 85,000)

99

140

141

140

Canvas over wooden frame Canada goose, George Boyd, Seabrook, New Hampshire. Canvas

Oversize old squaw hen, from the South Shore of Massachusetts, 1st quarter 20th century. Very

over wood slat construction with slightly turned head

slightly turned head. 15” long. Original paint; minor dis-

and tack eyes. Carter collection ink stamp on the

coloration and wear; two filled in the making cracks in

underside. Measures 26 1/2” long. Original paint with

one side; small tail chip that was filled a long time ago;

moderate discoloration and wear; paint flaking and

bill has been broken off and reattached with two small

some loss to canvas above nail holes; tight cracks in

nails; small cracks in head and breast.

breast; appears to have a very thin wash to the white on the breast; narrow chip repair on one side edge of tail.

Provenance: Dr. John Dinan collection. Ex Winfred Carter collection.

100

141

(3,000 - 5,000)

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

(2,500 - 3,500)

142

145

143

146

144

147

142

Cork body scoter, Shang Wheeler, Stratford, Connecticut. 16.5” long. Cedar head with good carv-

ing is in working repaint which shows average wear; the

ing detail. Paint on head is excellent and original; a lot

thin crack showing near the base; overall good structur-

of cork showing on the body; keel has been removed.

ally.

(900 - 1,200) 143

Provenance: Meyer collection. Formerly in the Mackey collection, Mackey collection stamp under tail.

Cork body black duck, Shang Wheeler, Stratford, Connecticut. 18.5” long. Original paint with minor wear on head; very little paint on body.

head appears to have been off and reattached with a

(1,250 - 1,750)

Provenance: Formerly in the collection of George Ross

Canvas scoter, Joseph Lincoln, Accord, Massachusetts. Canvas over wooden slat construc-

Starr, Starr collection stamp on keel.

tion and tack eyes. Leather line ties fore and aft.

146 (1,000 - 1,400)

Measures 17” long. Original paint with very minor gun144

Canada goose, unknown maker, Massachusetts, 1st quarter 20th century. Large hollow body, made from two piece and center cut. Unusual cast iron weight fastened to convex underside. 22” long. Appears to be original paint with old repairs to

ning wear; excellent structurally.

Provenance: Dr. John Dinan collection.

147

Merganser hen, George Boyd, Seabrook, New Hampshire. 19.75” long. Early style with paddle tail

neck and strengthening to white patch on face.

round body and slightly lifted head. Carved wooden

(1,000 - 1,500) 145

crest. Original paint with significant shrinkage and some wear; professional bill repair; professional repair to a

Oversized canvas over wood frame Canada goose, Joe Lincoln, Accord, Massachusetts. The head forward in a swimming or belligerent pose. It measures 39 1/2” from bill to tail. Some of the original feathering is still intact around the breast; the remain-

(1,000 - 1,400)

chip in one side of the end of the tail; age split in one side has been filled and touched up.

Literature: “New England Decoys,” John and Shirley Delph.

(2,000 - 3,000)

101

Louis Chadwick Rathmell 1898 - 1974 | Danbury, Connecticut Louis Rathmell was born in 1898 to a relatively average family in New Jersey.

However, his life would take a dramatic turn when he met and married Irene Parks Jennings, who happened to be from a very wealthy family in Danbury, Connecticut. As a result of this extraordinary good fortunate, Lou would spend the majority of his adult life living on their estate in ‘Hearthstone Castle’ and managing the expansive property named “Tarrywile Farm”.

Lou Rathmell and striper, Westport, MA

148

102

Aside from his business acumen, Lou developed a passion for the outdoors and became an avid sportsman. According to renowned collector Donal C. O’Brien, “Rathmell was probably the best hunter of those who hunted the Stratford marshes. He not only made beautiful decoys, but stood alone as a wing shot and duck caller. His presence in the marsh was feared by the other hunters.”

Lou Rathmell apparently made fewer than 100 decoys, seemingly all for his own use or gifts to select friends. His early efforts were quite simplistic and bordered on crude. Fate again smiled on Lou, when he met and befriended an older and much more accomplished Charles ‘Shang’ Wheeler. Lou was soon emulating his work and undoubtedly copying his patterns. It was not an unusual circumstance for ‘Shang’ to encourage and mentor young carvers from the Stratford area.

Due to Shang’s guidance, Rathmell would greatly improve both his carving and his painting. On one occasion Louis bested his tutor by winning the National Decoy Show in New York. In 1951, at the same New York show, Rathmell took the “Best of Show” honors under the discriminating panel of prestigious judges; Bill Mackey, Joel Barber, and Lynn Bogue Hunt.

Perhaps his crowning achievement was a rig of 55 phenomenal Black Ducks that he made in 1941. Each was unique, having slightly different head heights and positions. Dixon Merkt, in his chapter on Connecticut decoys in “The Great Book of Decoys,” states that this “must be considered one of the best gunning rigs ever made.” Ironically, this was the same year that Shang Wheeler made an almost identical cork Black Duck as a wedding present for the daughter of his friend. Dixon also relates the common belief that “There are those collectors that believe Rathmell’s work is equal to or possibly better than (that of) his mentor.” The two Makers’ works are very similar and often hard to differentiate at first glance. The most obvious difference is that Wheeler used applied teardrop weights while Rathmell normally inlet his weights on his working decoys, and these are usually stamped with his name.

Capt. Bill Head aboard the Cora F

Rathmell and Wheeler also shared a love of fishing. A little known fact is that in addition to fishing in Maine (Wheeler) and Connecticut (Rathmell and Wheeler), both men spent a considerable amount of time plying the waters off Westport, Massachusetts, and both men utilized the guiding services of Captain Bill Head of Westport Point. In appreciation for his guiding services, Wheeler gave the good Captain a sleeping Black Duck as a gift, and is also known to have given a number of small sketches to neighborhood children outside a local ice cream shop. Rathmell spent many summer mornings at ‘the point’, “rowing about the harbor in the morning in his little blue skiff.” In the article on Rathmell in Decoy Magazine, Cliff Alexander shows a page from Rathmell’s 1945 hunting journal where, across the top of the page, is written “Jerry Lougganes – Mgr. Moby Dick.” The Moby Dick, now the “Back Eddy,” was a popular seafood restaurant on the opposite side of the harbor and directly across the bridge from the docks on the Point. The picture of Rathmell holding a striper in Cliff’s article was almost certainly taken at Westport Point.

Moby Dick restaurant

148

103

104

148

Rare rigmate pair of black ducks, Lou Rathmell, Stratford, Connecticut. Sleeper is 17” long. Both decoys have cork bodies with inserted cedar tails and cedar heads. Ice dip behind necks. Near mint original paint; structurally very good.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “Connecticut Decoys,” Henry Chitwood. “Decoys: A North American Survey,” Gene and Linda Kangas.

(30,000 - 40,000)

105

Albert Laing 1811 - 1886 | Stratford, Connecticut

149

Preening bluebill drake, Albert Laing, Stratford, Connecticut and New York, New York, 3rd quarter 18th century. Hollow carved with turned head. ‘F. Burritt’ branded in the underside for the gunning rig of Francis Burritt (1850-1928).

Measures 12 1/4” long. In use repaint likely

by Shang Wheeler with minor to moderate wear; moderately hit by shot; tight drying cracks in lower part of body, minor rough spot on top of head.

106

(8,000 - 12,000)

150

Rare and important sleeping scoter, Albert D. Laing, New York, New York and Stratford, Connecticut, circa mid-19th century. ‘Laing’ branded into the underside.

Measures 14 1/2” long. Early in use repaint with areas of inpainting; tight cracks at nails around body seam; repair to the tip of bill.

Provenance: Dr. John Dinan collection. Donal C. O’Brien, Jr. collection. Peter Brams collection.

Ronald Swanson collection. George Ross Starr, Jr. collection. The gunning rig of Tom Marshall. The gunning rig of Charles “Shang” Wheeler. The gunning rig of Albert Laing.

(10,000 - 15,000)

107

Mason Decoy Factory 1896 - 1924 | Detroit, Michigan

151

Rigmate pair of blue wing teal, Mason Decoy Factory, Detroit, Michigan. Strong sponge painting on undersides. Drake with double blue wing patches. Measure 12” long. Both in original paint with very slight wear; both with small tail chip repairs and neck filler restoration; drake with touch up to a scratch on one side of head; small dents and shot marks.

Provenance: Dr. John Dinan collection. Ex Seitz collection.

108

(6,000 - 9,000)

152

Greenwing teal hen, Mason Decoy Factory, Detroit, Michigan. 12.5” long.

Branded “Manning”. Retains original Mason weight. Original paint; minor discoloration and wear; body seam has opened up very slightly on one side.

(4,000 - 6,000)

152

153

Extremely rare wood duck hen, Mason Decoy Factory, Detroit, Michigan, circa 1900. Tack eye model. With feather painting visible on back.

Plump body style.13” long. Original paint protected by a coat of varnish that has discolored on some of the white areas; neck filler missing; small areas of rubs and flaking; edge of front and side of bill appear to have been puppy chewed; tight cracks.

(4,000 - 6,000)

153

152

153

109

110

154

Very rare red breasted merganser drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. 17” long. Most Mason

Provenance: Dr. Lloyd T. Griffith collection.

Griffith collection stamp on underside. Formerly in collection of Dr. James McCleery, lot 595 in the

Factory mergansers were American common

Guyette & Schmidt /Sotheby’s January 2000 auc-

mergansers. Original paint with moderate dis-

tion catalog.

coloration and minor wear; small dents and shot marks; two in factory hairline cracks in back; professional repair to a fairly large chip in top of head with touchup in that area.

Literature: “Call to the Sky,” Robert Shaw, p. 98, exact decoy pictured. “Mason Factory Decoys,” Russ Goldberger and Alan Haid, p. 92, exact decoy pictured.

(25,000 - 35,000)

111

155

Rare early style bluebill drake, Mason Decoy Factory, Detroit, Michigan, circa 1900. 13.25” long with wide “spoon” bill style. Original paint; minor wear; a few small dents.

Literature: “Mason Factory Decoys,” Russ Goldberger and Alan Haid.

(2,500 - 3,500)

155 156

Blue wing teal drake, Mason Decoy Factory, Detroit, Michigan. Hollow carved Premier grade. ‘T.E.R’ branded into underside. Measures 12.5” long. Original paint with minor gunning wear; small dents and shot marks; hairline crack in base of neck; very minor separation at body seam.

Provenance: Michael West collection.

(2,500 - 3,500) 156

157

Black duck, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade. Excellent and bright feather loop painting. 17” long. Tight crack near underside; which was filled in the making; very tiny dent at top of head otherwise near mint.

(2,000 - 4,000)

157

158

Black duck, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Mason’s white ink challenge grade stamp is still visible on underside. 16.5” long. Excellent original paint with good detailed feather looping; tight crack in underside; small sliver of wood missing at tip of tail.

(2,000 - 2,500)

158

112

“A CRATE OF DECOYS”

Mason and Outers literature

When this Mason crate of exceptionally rare intact, unrigged and unused Bluebills was first sold by Ted and Judy Harmon’s ‘Decoys Unlimited’, the only provenance available to them was that it was found “at the Swift family estate auction back in the late fifties or early sixties”.

Research reveals this crate was shipped to the ‘Charles Williams Store’, located at 59 John St., Brooklyn, NY. This business was established in 1913 as a privately owned mail order company with an initial capitalization of one million dollars. It sold a wide range of products, and was designed to compete with the much larger Sears Roebuck and Montgomery Ward companies, both very popular at that time. At some point after 1913, the decoys were purchased by a Mr. Swift. The crate somehow made it’s way from Brooklyn to Woods Hole in Falmouth, possibly by coal-fired locomotive or steamship, and presumably remained with the Swift family until it first surfaced at the ‘Decoys Unlimited’ auction.

The Mason Decoy factory had, for its day, an efficient method of producing, marketing and distributing its product. From the company’s office on the second floor of its Detroit facility, numerous ads were placed 159

in the various sporting magazines of its day and individually typed letters were mailed to selected sporting goods and hardware stores promoting the decoys and encouraging timely sales in lots of at least one dozen decoys. Occasionally inventive promotions were attempted. One such example was when, in 1915, Mason entered into an agreement with the Outers (sporting) magazine where, if anyone sold 10 subscriptions to the publication, they would receive a free case of one dozen Mason decoys. No retail sales were conducted directly from the factory and the firm was proud to state that decoys were

“shipped in wire bound wooden crates containing one dozen decoys – 8 drakes and 4 hens”.

The factory itself was located in a relatively small, two-story building with woodworking processes performed on the first floor and painting and shipping carried out on the second floor. We are fortunate to have a firsthand account of how the shipping was actually carried out. A Mr. William Kurkowski was just 14 years old in 1904 when he began his short, two year, career with the Mason Decoy Factory as an apprentice painter. Fortunately, he had an excellent memory and, in 1975, he recounted what it was like to package and ship decoys from the factory. “ A large wood stove stood in the middle of the painting room on the second floor of the factory.

Near the racks of finished decoys were a shipping crate storage area and piles of newspapers which we used to wrap the decoys for shipment.”

“For shipment, all decoys were individually wrapped in newspaper and then packed in wooden crates.

The premier decoys were specially wrapped in newspaper treated with linseed oil to prevent sticking to the paint. We obtained the newspapers in wagonload quantities from the Detroit News. When shipments were ready, the crates were carried down the staircase to the ground floor and a sign was placed in the window of the lumberyard company to signal the drayage Company to make the pickup by horse and wagon” (Note: The factory was located behind the lumber company in a building leased from the lumberyard).

113

Herbert Mason (2nd from L) and sons

The Swift name was, and is, a very common one in Falmouth. In 1926, the Town directory listed 16 individual households of that name.

Three had a first name that began with the letter “C”, all were Charles.

A Charles H Swift (1865 – 1938) lived a modest life as a farm laborer and groundskeeper at various locations across the Cape and apparently never owned his own home. It is possible, but rather unlikely, that this was the Charles that ordered the decoys from N.Y. In addition, if he died in 1938 he would have had to give or sell the decoys to another family member who then kept them unused until the estate auction c1960.

Mr. Charles B Swift (1878 – 1943) lived on Commonwealth Ave. in Boston, MA but had a summer home in Falmouth. He was a partner in a lumber business and would have had the resources to purchase the decoys but, with living in Boston for most of the year, may not ever had the time to shoot over them. Like Charles H., after his death the decoys would have to have passed to another family member and remained unopened until the c1960 auction.

One final candidate exists. There was an Edward E. Swift (1861 – 1964) who was a carpenter but, beginning in about 1915, he became the proprietor of a hardware store in Falmouth. He certainly lived a long life and very conceivably was related to other Swift family members in Town. Perhaps it was he who ordered the decoys for Mr. “C _ Swift” and labeled the crate with his name when it arrived. He may also have acquired the decoys by sale or direct inheritance from one of the above referenced Charles Swifts and the crate , containing somewhat less desirable bluebills, could have languished in some dark corner of his storeroom, only to become “new – old stock” available upon the auction of his estate.

Did one or any of these scenarios actually occur, we may never know? What remains is the exceptionally rare and very possibly unique existence of a crate of mint, unused decoys that open a small window into life in the early 20th century in Detroit, Michigan, Brooklyn, New York and Falmouth, Massachusetts.

Charles Williams Store, Brooklyn, NY.

Charles Lawrence Swift (1893 – 1966) had sales in his blood and he was ultimately to become a successful Real Estate agent in Falmouth. Perhaps this sales acumen prompted him to sell subscriptions to Outers Magazine and thus acquire the decoys. It would appear that this Charles also had the resources to directly place an order for the decoys and , being a full time resident, may have had visions of actually using them. The primary species of duck shot on the Cape, especially in Falmouth, was the black duck. If he purchased the decoys, he may never have had the opportunity to hunt bluebills. His death somewhat conveniently aligns with the date of the auction where the birds surfaced. He is a possible candidate for the initial purchase of the decoys.

159

114

159

Important original Mason Factory crate with original 1 dozen unused Detroit grade glass eye model bluebills inside, Detroit, Michigan. Eight drakes and four hens. Shipped from the Detroit Factory some time in the early 1900s to the Swift family in Waquoit, Massachusetts on Cape Cod. We believe this to be the only full crate that exists. Sides marked, “Chas Williams Store, 59 John St, Brooklyn, New York,” “From Mason Factory, Detroit, Michigan,” 1 Dozen blue bill, 2/3 male,” “172134, Store 17,” and “C __ Swift, Falmouth.” Crate is 24” x 16” x 11”. Box is stable; some of the thin boards have cracked, a few are missing; stains and discoloration; decoys are in unused and unrigged condition with appealing paint;

159

all have some newspaper print on sides from original packing; a few have a crack; a few have a small amount of neck filler missing.

(12,000 - 15,000)

115

160

Early black duck, Mason Decoy Factory, Detroit, Michigan. Rare oversize premier grade. 18” long. Original paint that has darkened somewhat with age; almost no wear; several tiny dents; thin crack through one side of neck base; small tail chip repair.

(1,750 - 2,250)

160 161

Black duck, Mason Decoy Factory, Detroit, Michigan.

Early premier grade, circa 1905 with snakey head style.17.5” long.

Traces of original Mason premier ink stamp on underside. Also Mackey collection stamp. Original paint; flaking on sides and back; several tiny dents on one side; several small spots on old touchup on one side near tail.

Provenance: Dunford collection.

Formerly in collection of William J

161

Mackey, Jr. 162

(2,000 - 3,000)

Rigmate pair of bluebills, Mason Decoy Factory, Detroit, Michigan, circa 1900. Premier grade. Small body, early style. Each with painted brand on underside “B.W.O.”. Slightly flared bills. High quality paint job exhibiting tight swirling and detail feather painting.

13.5” long. Excellent original paint; very small area of neck restoration on hen; and one quarter inch of neck restoration on drake; shot

162

scars to body and head on both.

(2,000 - 3,000) 163

Mallard drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade model. Branded “E W Hord” on underside. Larger body style with bold wing patch. 17.5” long. Excellent original paint; professional restoration to tail chip, probably by Ken Delong, appears that one eye may be a replace-

163

116

ment; a few small rubs and areas of discoloration.

(1,500 - 2,000)

164

Bluewing teal hen, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Branded “L.U.” in underside. Also bares the Joe French, “JF.” 12” long. Strong original paint; with seven shot scars in back that have been professionally restored; in painting to small area of cheek; tight crack in neck.

(3,500 - 5,500)

164

165

Early Canada goose, Mason Decoy Factory, Detroit, Michigan, circa 1900. 24” long. Original paint; minor discoloration and wear; crack in underside; one eye is a professional replacement by Russ Allen.

(6,500 - 9,500)

165

164

165

117

Louisiana

166

169

167

170

168

171

166

Mallard hen, Dennis Pierra, Toca, Louisiana. 13.5”

paint with minor wear; several small spots of touchup on

long. Relief wing carving and slightly lifted

each side of the upper neck; thin crack through neck

head. Original paint with minor wear, mostly on the

base.

extremities; structurally good.

(1,250 - 1,750) 170

167

168

Wood duck hen, Ernest Vidacovich, Avondale, Louisiana. Signed and dated 1975. Slightly turned

(900 - 1,200)

Pintail drake, Sylvester ‘Sidney’ Duplessis, Davant, Louisiana. Relief wing carving and slightly raised head pose. Purchased directly from Duplessis and used near

head. Carved crossed wingtips. 13.5” long. Original

Laffite by Henry Patrick Burke of New Orleans. Measures

paint with a few small rubs; small chip missing from one

18” long. Original paint with minor gunning wear; small

side of the bill; one wingtip is broken off.

dents and shot marks.

(500 - 800)

Pintail drake, David Pierre Hymel, New Orleans.

Orleans, Louisiana.

17.5” long. Relief wing carving. Original paint with minor wear; mostly on extremities; numerous small dents; small cracks in breast; small amount of wood missing form lower breast where tie straps has been attached numerous times; minor roughness to end of tail.

(950 - 1,250)

Provenance: Hunting rig of Henry Patrick Burke, New

171

(1,200 - 1,800)

Mallard hen, John Scott Young, New Orleans, Louisiana. 16” long. Relief wing carving. Original paint with minor wear; several small dents; two reglued cracks in center of neck.

Provenance: Formerly in collection of John Frank, 169

118

Mallard drake, Eddie Granier, Davant, Louisiana.

Frank’s brass tag on underside. Also three museum exhi-

16.5” long with glass eyes. Relief wing carving. Original

bition stickers, New Orleans Museum of Art, August 1975.

Jacksonville Museum of Arts and Science, March 1983.

(950 - 1,250)

172

Pair of mallards, Fred Johnson, Algarve, Louisiana, circa 1920s. Hen is 16.5” long and hollowed out from the underside, with supports remaining. Both have relief wing carving and glass eyes. Original paint; minor to moderate wear; reglued crack in drake’s neck with a small amount of touchup in that area; professional repair to a large chip in drake’s tail; several small cracks in hen’s body; small chip missing from one

172

side of hen’s tail with old touchup on it.

Literature: “Louisiana Lures and Legends,” Brian Cheramie.

(2,500 - 3,500)

173

Pair of mallards, Walter Champagne, Bourg, Louisiana. 15” long. Original paint with minor wear; numerous scratches and shot marks on part of one side and back of hen.

(2,500 - 3,500)

174

173

Very rare canvasback drake, Reme Roussell, Raceland, Louisiana. 15” long. Glass eyes and raised wingtip carving. Original paint with minor discoloration and wear; structurally very good.

Literature: “Louisiana Lures and Legends,” Brian Cheramie.

(2,500 - 3,500) 174

175

Pintail drake, Reme Roussell, Raceland, Louisiana. 16.75” long. Raised wingtip carving and glass eyes. Near mint original paint; structurally excellent; rigged but never used.

Literature: “Louisiana Lures and Legends,” Brian Cheramie.

(2,500 - 3,500)

175

119

176

179

177

180

178

181

176

Pintail drake, Mitchell Lafrance, New Orleans, Louisiana. Relief wing carving. Measures 17 1/4”

to the work of Jack Couret, New Orleans, Louisiana. 16.75” long. Slightly turned head. Relief

long. Original paint with moderate gunning wear; tight

wing carving. Head, breast, and tail have old in use

crack in one eye; loss to wood on one lower side and

repaint; the rest is original with minor to moderate flak-

underside.

ing and wear; crack through bill and neck.

(800 - 1,200)

(800 - 1,200) 177

Mallard drake, George Ragus, Buras/Triumph, Louisiana, 2nd quarter 20th century. 17” long.

Relief wing carving and tack eyes. Very slightly lifted

Mallard hen, Charles Jafreau, New Orleans, Louisiana. 15” long. Relief wing carving and glass

head. Original paint with minor shrinkage and wear;

eyes. Good feather paint detail. Original paint with

small area approximately 3/4” x 1.5” of paint missing on

moderate wear; lightly hit by shot; tail chip repair with

back; 3.5” long thin dent on one wing.

touchup in that area; also touchup on one wing; minor

180

(950 - 1,250)

wear and denting to wood; small bill chip repair with 178

Early hunting model mallard drake, Mike Frady, New Orleans, Louisiana. 16.25” long. Relief carved wingtips. Original paint with moderate wear; minor

touchup to that area.

Literature: “Louisiana Lures and Legends,” Brian Cheramie.

roughness to balsa; underside has old working repaint; lightly hit by shot; bill appears to be a replacement.

(800 - 1,200) 179

Early gunning model pintail drake, similar

181

Bluebill drake, Reme Roussell, Raceland, Louisiana. 12” long. Balsa body and cyprus head. White paint appears to be second coat, the rest is original with minor wear; a few small dents; minor roughness to edge of tail.

120

(800 - 1,200)

(800 - 1,200)

182

Mallard drake, Whipple family, LaRose, Louisiana. 15.75” long. Original paint minor wear; thin crack through bill.

(1,000 - 1,400)

182

183

Mallard hen and drake, Jack Couret, New Orleans, Louisiana. “Lifelike Lures” stencil on underside. 15.5” long.

With raised wingtips. Original paint; minor wear; hen has a slight separation in balsa on one side and underside; hen has a bill chip repair.

(2,500 - 3,500)

183 184

Pintail hen, Arthur John Dugar, Buras, Louisiana. Long body with relief wing carving. Measures 16 1/2” long. Paint appears all original with moderate to significant gunning wear; a large nail added to each side of neck seat; some loss to wood at eye grooves; professional bill repair.

(1,500 - 2,000)

184 185

Pintail hen and drake from Louisiana. Both with relief wing carving.

Drake is ex Jimmy Hannemann collection and so branded. Also has ‘Cooney Matthew Litell’ written on underside.

Measure 14 1/2” and 15” long. White paint on drake is a thin second coat the rest in original paint with minor flaking and wear; wooden pegs have risen slightly at neck seat; hen is in original paint with flaking to an old coat of varnish; reglued crack in neck and blunting at tip of tail.

(1,000 - 1,400)

185

121

Elmer Crowell 1862 - 1952 | East Harwich, Massachusetts

186

Rare widgeon drake, Elmer Crowell, East Harwich, Massachusetts. In a rare pose for Crowell with slightly turned and reaching head. Crowell’s oval brand is in the underside. 13.75” long. Original paint with very slight wear, never rigged; structurally good.

Literature: “New England Decoys,” John and Shirley Delph.

(17,500 - 22,500)

122

In Crowell’s time, the duck most commonly hunted in Massachusetts was the black duck but, certainly, other species were taken when the opportunity presented itself. The American widgeon was not exceptionally common, yet it was a passing visitor to the State, particularly on Cape Cod. As with many other waterfowl species however, its numbers declined around the turn of the century. Elmer Crowell, in a 1928 letter wrote in part: “There has been plenty of blacks here this fall ponds full of them - - - -there are more mallards this fall than ever but few pintails and widgeon - - - .“ As one would expect, orders for decoys were undoubtedly proportional to the species most commonly hunted. Couple this with the fact that widgeon could be lured with decoys intended for other puddle ducks, and one can understand why orders for them would have been a rare occurrence at the Crowell shop.

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187

Pair of pintails, Elmer Crowell, East Harwich, Massachusetts. Both have Crowell’s oval brand in underside.

Both have slightly turned heads. 16” long. Original paint with minor discoloration and wear; several thin cracks.

(6,000 - 9,000)

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188

Mallard drake, Elmer Crowell, East Harwich, Massachusetts.

Carved crossed wingtips and fluted tail and carved side pockets. Good paint detail. 17� long. Underside has never been painted and has two of Crowell’s rectangular stamps. Original paint with a few small flakes missing; structurally very good.

Provenance: Dunford collection.

(4,500 - 6,500)

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190

191

190

Low head gunning model bluebill hen, Elmer Crowell, East Harwich, Massachusetts. Pre

Mallard hen, Elmer Crowell, East Harwich, Massachusetts. 16.5” long. Slightly turned head.

brand. Slightly turned head. 13” long. Original paint

Branded “B Haselton,” also the Quandy collection

with minor wear; small crack in underside and lower

brand is in the underside. Original paint; minor wear;

side at a defect in the wood; fairly small rough area

a few tiny dents.

to wood in one side; a few tiny chips at tip of tail.

(2,000 - 3,000)

126

191

Provenance: Dunford collection.

(3,000 - 4,000)

192

193

192

Black duck, Elmer Crowell, East Harwich, Massachusetts, circa 1910. Pre brand. Larger bold

193

Black duck, Elmer Crowell, East Harwich, Massachusetts. Good paint detail and slightly lifted

body with extra detail to feathering, wing patch,

head. Just under 17” long. Iver Johnson Supreme

wings, and tail paint. Head is turned with Crowell’s

Sporting Goods stencil on underside. Near mint origi-

typical rasp work to rear of head. Decoy is weighted

nal paint; two small cracks in underside; small drip of

but was never used. A good example of Crowell’s

black paint on one lower side; slight paint shrinkage

early gunning black ducks. 17” long. Excellent origi-

under tail and on one side near tail.

(3,000 - 4,000)

nal paint; some flaking at one side of head.

(4,000 - 6,000)

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193a

Redhead drake, Elmer Crowell, East Harwich, Massachusetts. Head turned slightly to the left. Crowell’s typical rasping to rear of the head with nicely fluted tail detail. Crowell’s rectangular stamp in underside. Large circular Vineyard style inlet weight. Never rigged. 17.75” long. Excellent original paint with some light crackling to the paint on the front of the head; small spot on top of head has been slightly darkened; one embedded shot on right side of breast.

128

Provenance: Originally found in a boat house in Florida.

(14,000 - 18,000)

129

William Bowman 1824 - 1906 | Lawrence, Long Island, New York & Bangor, Maine The Bowman / Bunn Controversy For almost one hundred years, since the days of renowned collector, decoy expert and author, William Mackey Jr., most collectors have accepted the notion that these exceptional shorebirds were the work of a William (Bill) Bowman (1824 - 1906) of Lawrence, Long Island, New York, and Bangor, Maine. Recently, the concept has been forwarded that they are, rather, the work of Charles Sumner Bunn (1865 – 1952), a Native American member of the Shinnecock tribe from Southampton, Long Island, New York. Without question, it is a universally accepted fact that historical accuracy is of vital importance not only in everyday facets of life, but most certainly in the world of rare collectables. It is also an accepted fact that with the passage of time and emergence of new evidence, and through informed knowledgeable debate, countless numbers of early attributions have been dispelled and proven inaccurate. For example, based on evidence available to him at the time, Mackey attributed four

“Fowling In The Marshes” Ancient Egypt – Artist Unknown

beautiful examples of shorebirds to be “Jess Birdsall type”, but they are now generally accredited to be the work of John Dilley. This is but one unintentional declaration discovered in Mr. Mackey’s book over time. Today, many agree that to some extent, the identity of an object’s Maker is almost irrelevant.

Value may be justified by its provenance, rarity, artistic merit, sculptural form, historical importance and overall appeal to the observer, as opposed purely to pedigree. Whoever made these carvings was undisputedly one of the best creators of gunning shorebirds known. Most collectors would

130

Double Statue of Mephistopheles and Margaretta.

Salar Jung Museum, Hyderabad, India

agree that these works are equal to the carvings of Crowell and Dilley, and arguably may be the best of the “big three.” It is not our position to enter the controversy over whether William Bowman or Charles Sumner Bunn created these masterworks.

However, until irrefutable evidence is presented, we will assign the long-standing attribution of “Bowman” to these majestic examples of waterfowl artistry and we encourage further research and documentation.

Mahomet or The Unveiled Profit of Inistan: A Bouquet for Jenny Lind. Author Unknown

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195a

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Harold E. Herrick, Jr. kneels on the Lawrence Marsh beside an original shotgun and carry basket. Before him in the sand is an authentic rig of Bill Bowman shorebird decoys, including one curlew, two black-bellied plover, and seven yellowlegs.

Winter 1973 North American Decoy Magazine

William J. Mackey, Jr. holding his favorite decoy, the spectacular curlew by Bill Bowman which Jim McCleery purchased in 1973, for $10,000 which set a world record for any decoy sold at auction. It next sold at the McCleery sale for $464,500 to Jim Doherty. It now resides permanently in a second generation Doherty collection.

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194

Understanding the three great hollow long bill curlews. The locations of all three are known, The Mackey, McCleery, Doherty example, which has been offered at auction twice, and resides in the Doherty family collection. A second was donated to the Stony Brook museum by the Herrick family.

The third is being offered in this sale, from the Lloyd Griffith collection. Lloyd’s has never been offered at auction. He likely acquired it privately from Mort Hanson. It was originally owned by Newbold Herrick, and then his wife Ann Ryes after Newbold’s passing.

She then gifted it to her son Harold who is photographed with it on the beach in Long Island in the early 1970’s.

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From “The McCleery Auction,” Ron Gard and Bob Shaw, p. 42.

194

Important hollow carved long billed curlew, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. 17” long. Shoe button eyes. Fine wing carving with extended wingtips. Included is the original stand where it is identified from the Herrick collection with label, “Jack curlew made by Captain Bill Bowman, rig from Sandhill’s Lawrence, LI, 1875.” Small chip at each wingtip that was touched up a long time ago; bill is a working replacement; very lightly hit by shot.

Provenance: Dr. Lloyd T. Griffith collection.

Griffith collection stamp on underside. Formerly in collection of Harold Herrick.

Literature: “Shorebird Decoys,” Henry Fleckenstein, Jr. “The Decoys of Long Island,” Geoffrey Fleming, Alan Haid, and Timothy Sieger.

(175,000 - 225,000)

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135

195

Exceptional greater yellowlegs, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. In content pose with shoe button eyes, relief wing carving with raised extended wingtips. Just under 12” long.

Fine feather paint detail. Excellent original paint with very slight wear; one of the eyes has a small crack in it; slight wear to the wood at the wingtips.

Provenance: Dr. Lloyd T. Griffith collection.

Griffith collection stamp on underside. Formerly in the collection of Dr. James McCleery, McCleery stamp on the underside.

Literature: “Shorebird Decoys,” Henry Fleckenstein, Jr. p. 15. “Gunners Paradise,” Jane Townsend, pp. 109-129. “Guyette and Schmidt/ Sotheby’s January 2000 auction catalog, Lot 217, exact decoy.

136

(45,000 - 65,000)

137

“The buyer of the Bowman willet was a quiet gentleman from Virginia who held his bidding card shoulder high throughout the bidding. The underbidder was a friend of his who sat nearby, the Michigan adman who had bought heavily at the July auction. When the bidding was over, the winner told me he was neither a collector nor a bidder, but an “acquisitor.” I guess that’s a highly selective buyer of a few fine things with no thought of resale or amassing a collection. As he requested I preserve his anonymity, I didn’t pursue this any further.”

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195a

Important willet, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. A large and plump decoy, 11.5” long. Relief wing carving with extended wingtips and shoe button eyes. “Willett made

by Elmer Crowell, Cape Cod” is written on underside by Bill Mackey. In Mackey’s book, he identified Bowman shorebirds as being made by Elmer Crowell. Original paint with good patina and very slight wear; two small spots of touchup at wear on wingtips; another at wear at tip of the tail.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Formerly in the collection of William J. Mackey, Jr. Acquired at the October 1982 Richard Bourne sale from the collection of John Dilworth for a new world record price at the time.

Literature: “Decoy Hunter Magazine,” front cover, MarchApril 1982 issue.

(80,000 - 120,000)

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196

Lesser yellowlegs, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. 10” long. Original paint with minor wear; several tiny dents and shot marks; rust stain at each shoe button eye.

140

(14,000 - 18,000)

141

Contemporary 197

Large harlequin duck carved in the style of George May, Mark McNair, Craddockville, Virginia.

Incised carving between plumage colors. Signed. One of two in this style by the artist. Measures 17.25” Original paint that has been aged; structurally good.

Provenance: Ex Carr collection.

(1,750 - 2,250)

197 198

Hollow carved sleeping black duck, Marty Hanson, Hayward, Wisconsin. Hanson’s ink stamp is on the underside. 16.5” long. Relief wingtip carving and sleepy eye. Bill is buried in feathers. Good feather paint detail. Excellent and original.

(1,000 - 1,400)

198 199

Hollow carved gadwall, William Gibian, Onancock, Virginia. Slightly turned head and raised wing tips. Fine comb feather paint detail. ‘Gibian’ carved into the underside. Measures 17 1/2” long. Very good and original.

(1,000 - 1,500)

199 200

Merganser drake with lifted wingtips, William Gibian, Onancock, Virginia. Signed. 15” long. Very good and original.

(1,000 - 1,400)

200

142

201

202

201

Oversized black duck, Frank Finney, Cape Charles, Virginia. Thinly carved with tucked and turned, hollow carved head. Raised wing tips. ‘F’, ‘2’, and ‘Mud Cove’

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carved into the underside. Measures 17 1/2” long. A few tiny dents, otherwise excellent and original. (1,200 - 1,800) 202

Preening black duck, Keith Mueller, Killingsworth, Connecticut. Signed. 16” long. Relief wing carving. Has bill buried in feathers. Extremely fine paint detail. Tiny dent in one lower side otherwise original and mint.

Provenance: Dunford collection.

(2,500 - 3,500)

143

203

206

204

207

205

208

203

204

Running curlew carved in the style of one time world auction record Massachusetts curlew sold by G&S in the late 1990s, Mark McNair, Craddockville, Virginia. 22” long with relief wing

deeply carved wing. “CTM” carved in underside. 7” long. Crazed paint on white areas around belly; fine

that has been aged; some wear to the end of wooden

exaggerated wear on bill, otherwise excellent and

bill.

original.

(950 - 1,250)

Standing wood duck, Reggie Birch, Chincoteague, Virginia. Tucked and turned

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(500 - 700)

Whimbrel, Mark McNair, Craddockville, Virginia. Deeply carved shoulders with split tail. Bone

head, raised wing tips, and relief tail feather carving.

bill with shoe button eyes. Carved “McNair” in under-

Identified, signed, and dated 1992 on the underside of

side. Bone inset scutchen around stick hole. Hollow

base. Some sap bleed on the underside, otherwise very

carved. 15” long. Excellent and original. (1,200 - 1,500)

(800 - 1,200)

Two shorebirds, Mark McNair, Craddockville, Virginia. Includes a greater yellowlegs and a lesser

208

Ruddy duck carved in the style of Lee Dudley, Mark McNair, Craddockville, Virginia. “M” carved

yellowlegs. ‘McNair’ carved into the undersides. Each

under the tail. 10” long. Original paint that has been

mounted with two wire legs. Measure 9 1/2” and 13

aged; structurally good.

1/2” long. Painted to appear older, otherwise excellent and original.

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Well executed Long Island peep in the style of Obediah Verity, Cameron McIntyre, Falls Church, Virginia. Plump carving with large carved eye and

carving and fine feather detail. Signed. Original paint

good and original.

205

206

(1,500 - 2,000)

(900 - 1,200)

210

209

209

211

Folky owl, Frank Finney, Craddockville, Virginia. Surface is crazed and made to look old. Owl

212

Owl, crow, and crow call, Robert Moreland, Harrisonburg, Virginia. Owl opens to store crow and

made to sit on a base through hole drilled in underside.

call. Crow also opens. Applied wing on crow is move-

Wings are relief carved. 15” tall. Excellent.

able with a pull cord through owl. Initialed and dated (1,200 - 1,500)

’02 on the inside of crow and owl. Owl measures 19 1/2” tall. With included perch and base 50 ½” tall. A

210

Pair of hollow carved wood ducks, Pete Peterson, Cape Charles, Virginia. Slightly turned heads and relief wing tip carving. Branded, signed, and dated

few minor paint rubs, otherwise excellent and original.

Provenance: Dr. John Dinan collection.

(800 - 1,200)

2002 on the underside. Measure 15” and 15 1/4” long. Very minor sap bleed under drake’s tail, otherwise excellent and original.

Provenance: D & J Jenny collection and so stamped.

(1,000 - 1,500)

211

Pair of hollow carved green wing teal, Pete Peterson, Cape Charles, Virginia. Slightly turned heads and raised wing tips. Branded, signed, and dated 1993 on the underside. Measure 10 1/4” long. Paint was slightly worn in the making to appear older; excellent and original.

Provenance: D & J Jenny collection and so stamped.

(600 - 900)

212

145

216

217

216

218

Goldeneye drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Turned head.

long. Hollow carved with two Bob White weights on

carved tail feather. Branded “JAS”. 14” long. Light gun-

underside. Signed and dated 1998. Near mint original

ning wear with a few rubs and a shot mark.

paint on most of the decoy; minor paint shrinkage on

Pintail hen, Grayson Chesser, Jenkins Bridge, Virginia. Signed “Meadows Island Gun Club 1987.”

Fannon, Owen Earnshaw, Jim Allen, Fred Ellenberg, Bud Ward, Gary Gibberson, Grayson Chesser, Ron Baur, and Ron Mcgrath. 17.25” long. Lifted tail and wingtips. Original paint with very minor wear; small amount of white paint chipped on top of tail.

one side near tail; body seam in the same area has

(3,000 - 4,000)

Signed by people that were hunting that day, Dave

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Brant with raised wingtips and slightly turned head, Bob White, Tullytown, Pennsylvania. 19.25”

Preening with a slightly lifted wing. With a raised and

Provenance: Walters collection.

217

218

(500 - 800)

opened slightly.

Provenance: Dunford collection.

(650 - 950)

Items of Interest

220

219

219

221

Carving of Nathan Cobb, Jr. holding a shorebird and shotgun, Frank Finney, Cape Charles, Virginia. Large serifed “F” carved under the base

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beak. Banners are carved from a single piece of wood

and stamped. Just over 27” tall with good detail. Three

but made to look like two separate banners. Metal wall

shorebirds on sticks in sand. Original and good.

mounting bracket on back. Wing span measures 34 1/2”. Original paint and gilding with some areas of in

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

220

Carved patriotic eagle plaque with double banners, 19th century. Relief feather carving and open

painting; small chip in one wing tip; reset crack through

(2,500 - 3,500)

one wing; some flaking to jesso on one leg and at a few wood seems.

A set of andirons, circa 1900. Each of a black butler dressed in fancy top coat with hands on knees and knees bent. Both are painted black and are cast from one piece of iron with extended arm inserted in to back. 17” tall x 18” long.

(1,500 - 2,000)

222

(1,500 - 2,500)

Carved walking stick with intertwining snakes crawling up staff. Appears to be some kind of hard dense wood. Measures 45” tall. Includes stand.

(200 - 300)

222

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Delaware River and New Jersey

Working bufflehead decoys from the late 19th and early 20th century are extremely hard to find in original paint. Those by known makers like Ira Hudson, Harry V. Shourds, Nathan Cobb, Arthur B Vance, and John English rarely come to market as there are very few examples and those examples are highly cherished by collectors.

Bufflehead decoys were never really needed as the ducks would decoy to any species. Those early examples were almost certainly not made as a rig of bufflehead for hunting the species but used as confidence decoys in a spread of other birds. The sneakbox sculling style of hunting in the Delaware River area would require ducks to not only come into a spread of decoys but be contented enough to give the hunter time to scull in, and confidence decoys would no doubt have helped.

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Not only were few made but the black and white plumage pattern of both hen and drake buffleheads would have made it easy for the carver or the gunner to spruce up the paint each year with these readily available colors. This hen bufflehead was likely used for a season and set aside after having the end of its bill broken off, saving it from multiple coats of gunning paint. A hollow carved example by John English from the collection of Bob and Pauline White was sold in the November 2007, Guyette & Schmidt auction for $54,625.

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Extremely rare bufflehead hen, John or Dan English, Florence, New Jersey, circa 1900. Narrow head and tack eyes. Possibly the only solid body example in original paint. Measures 11”. Dry original paint with minor gunning wear; dents on each side near wing patch; drying crack in the underside; filler has flaked above nail in each side of neck seat; much of the bill is a professional replacement by Russ Allen.

Provenance: Recently aquired from a small auction in Pennsylvania.

Literature: Repainted rigmates from the Hillman collection pictured on page 30 of “Decoys of the MidAtlantic” and page 259 of “New Jersey Decoys,” Henry A. Fleckenstien Jr. Also page 63 of “Floating Sculpture,” H. Harrison Huster & Doug Knight and page 150 of “Working Decoys of the Jersey Coast and Delaware River,” Kenneth L. Gosner.

(9,000 - 12,000)

149

224

225

224 Rigmate pair of bluebills, Harry V. Shourds,

150

Tuckerton, New Jersey, circa 1900. 14”

Early mallard drake, John English, Florence, New Jersey, last quarter, 19th century. Exhibits

long. Both are in strong original paint; drake’s paint

superb raised “V” primaries, incised feather carving,

has mellowed on back; a few small rubs; areas of

and carved “curly” tail. Branded “J. B. PERKINS”.

flaking; hen has small area of paint loss on back of

15.25” long. Some old repaint has been taken

head and one spot on body; scratches on under-

down to reveal the original surface; some separa-

side.

tion at seam on one side.

(4,000 - 6,000)

225

(2,000 - 3,000)

226

Early hollow carved black duck from the Delaware river, last quarter 19th century. Similar to the work of John and Dan English, Florence, New Jersey. Hollow carved with tucked head and tack eyes. Raised wing tips with incised feather carving on tail and back. Round, flat lead weight on underside. Measures 16 1/4” long. Dry original paint with minor flaking and wear, mostly at body seam and above nail holes around body seam; small dents and shot marks; old chip in each raised wing tip; minor roughness on tips of tail feathers.

Provenance: Recently aquired from a small auction in Pennsylvania.

(3,000 - 5,000)

226

227

Classic redhead drake, Harry V. Shourds, Tuckerton, New Jersey. 15” long. Original paint with minor wear; very lightly hit by shot; small crack at one side of neck base.

Literature: New Jersey Decoys,” Henry Fleckenstein, Jr. (5,000 - 8,000)

227

226

227

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Dan English 1883 - 1962 | Florence, New Jersey

228

Mallard drake, Dan English, Bordentown, New Jersey. A large “HC” is stamped twice in underside. 15” long. Branded “HC” in underside for the Harry Cheesman rig. Original paint with minor wear; small area of working touchup on underside where the tie strap was attached.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Formerly in the collection of Dr. James McCleery, lot 9 in the Guyette & Schmidt/ Sotheby’s January 2000 auction.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight. “Call to the Sky, Robert Shaw, p. 67, exact decoy pictured. “New Jersey Decoys,” Henry Fleckenstein, Jr. (6,500 - 9,500)

152

Delaware River hunters waited in camouflaged boats upriver from their small rigs for birds to settle in amongst the decoys, then quietly sculled downstream to shoot. This method required carefully carved and painted decoys that could fool birds long enough to give the hunters time to approach. Area carvers spent extra time on intricate paint patterns and often carved tail feathers and wing outlines as well as varied head positions. The second bird from the left has an inserted wooden tail or “sprig.”

“Call to the Sky,” Robert Shaw, p. 67.

153

229

230

232

231

229

Canada goose, Gideon Lippincott, Wading River, New Jersey, 3rd quarter 19th century. Large ice

231

Hollow carved black duck from the Philadelphia, Pennsylvania area. 15.5” long. Worn old paint with

dip behind neck. 22” long. Body halves are joined by

some original showing; crack partway through neck;

2 half inch dowels. Original paint; minor discoloration

brand in underside was gouged out a long time ago.

(600 - 900)

and wear; slight separation at body seam; touchup in center of underside.

Literature: Exact decoy pictured on page 111 of “The Great Book of Wildfowl Decoys,” Joe Engers, editor.

(650 - 950)

230

Black duck in resting pose, Tom Fitzpatrick, Delanco, New Jersey. Just under 16” long. Raised V wingtip carving and fluted tail. Original paint on head; body has appealing old in use repaint.

154

(650 - 950)

232

Large great grey heron, from New Jersey, 1st quarter 20th century. 33” long. Tack eyes, elaborate wing carving and hinged neck. Iron and wood base is included. Old repairs to several cracks in neck right below the head; numerous surface crack in body; old in use repaint with moderate wear; small chips missing from tail.

Provenance: Meyer collection.

(4,000 - 6,000)

233

236

234

237

235

238

233

Hollow carved widgeon drake, John Blair, Jr., Philadelphia, Pennsylvania. 14.5” long. Mixture of

Frank Ford Hunting Club.” Also stamped “BF”. 12.75” long. Paint has been restored; structurally good.

(800 - 1,200)

original paint and old touchup; paint on underside has been restored; small crack in underside.

(1,750 - 2,250) 237

234

Pintail hen and drake, Ridgeway Marter, Burlington, New Jersey. Hollow carved with raised V

paint protected by an old coat of varnish; thin crack in back.

wingtip carving and fluted tails. Hen is 17.5” long. Good feather paint detail. Drake is signed on the underside. Original paint with minor flaking and wear; structurally good.

235

minor wear; a few small dents.

236

(600 - 900) 238

(800 - 1,200)

Swimming bufflehead drake, John Blair, Jr., Philadelphia, Pennsylvania. Hollow carved with glass eyes. Inscription on underside reads, “Bridesburg

Literature: Exact decoy pictured on page 111 of “The Great Book of Wildfowl Decoys,” Joe Engers, editor.

(1,250 - 1,750)

Bluebill drake, Mark Kears, Tuckerton, New Jersey. Tack eyes. 13.5” long. Original paint with

Brant, Gideon Lippincott, Wading River, New Jersey, 3rd quarter 19th century. 18” long. Original

Canada goose, Lloyd Parker, Parkertown, New Jersey, last quarter 19th century. 25” long. Working repaint by Chris Sprague; small amount of flaking and wear on back of head and sides of neck; hairline crack in tail.

Provenance: Formerly in the collection of Somers G. Headly, Headly collection stamp on underside.

(800 - 1,200)

155

Richard Wistar Davids 1825 – 1863 | Philadelphia, Pennsylvania

Only a handful of decoy makers have been documented that predate the Civil War. We are fortunate to know quite a bit about one of these people and his decoys.

Richard W. Davids was the son of Benjamin and Rebecca Davids and the husband of Elizabeth P Morris. His father must have been quite successful for in 1860, Richard (with no listed occupation) and his wife were living with his parents along with a coachman and four “domestics”. He appears in the Philadelphia City directory in 1861 listed as “a gentleman”. Like other men of his time, he was swept up in the emotions of the Civil War and, in August of 1862, enlisted in the 118th Infantry Division of the Pennsylvania volunteers with the rank of lieutenant. He received a field commission and was promoted to the rank of full captain on January 12, 1863. He must have had a premonition of the brutality of the coming events for, on September 12, 1862, he wrote his will leaving his estate to his wife.

The will began with his stating: ” - - in view of my immediate death in the service to my Country - - ”.

Captain Richard Wistar Davids, age 38, was killed on July 2nd, 1863 in the battle of Gettysburg.

During his brief life he enjoyed the sporting life in and around Philadelphia. He was related to Albert Davids Laing (1811 – 1886) who would go on to become considered the father of the Stratford (Ct) school of carving. Laing was living in New York at the time and was an avid duck hunter by the time he began his journal in 1831. In addition to hunting New York waters, Laing spent a considerable amount of time

156

both on the Chesapeake and on the Delaware River. He undoubtedly hunted with his relatives when in Philadelphia. Laing must have had a strong influence on carvers of the Delaware River region.

Evidence for this comes from a group of birds that turned up about 1970 (Sorenson says 1980) and were reported to have come from Philadelphia.

These included a Laing bluebill and two pintails, a high head and a sleeper made by R.W. Davids. The Davids birds are branded “C.W. Morris” and the Laing is branded “R.W. Davids”. Laing undoubtedly gave the bluebill to Davids. Casper W. Morris (1806 – 1877) was another relative and hunting partner of R.W. Davids and it can be safely assumed that he acquired the Davids birds upon Davids death in 1863 and simply rebranded them.

The C.W. Morris rig was passed down to his son, Jacob Giles Morris (1835-1905), who used them on the Delaware and later at his property on the eastern shore of Maryland. After Jacob died in 1905 his son Thomas Clifford Morris lived on the family farm and, in 1912, he gave the decoys to C. Lowndes Johnson who, along with J. Graham Lawrence and Dick Tilghman, purchased portions of the rig over the next several years. The remnants of the original rig remained in the loft of the Johnson boat shop until they resurfaced again in 1992 when they were acquired by Peter Lesher.

The historical importance of these birds cannot be overstated. They document Laing’s influence on the carvers of the Delaware River and the Philadelphia region in particular. They were certainly influential in the design of future birds by noted carvers such as A.B. Vance (1818 – 1889) and others of the “Blair School”.

239

239

Extremely rare greenwing teal hen, Richard Wistar Davids, Philadelphia, Pennsylvania, 3rd quarter 19th century. Hollow carved with carved eye. 12.75” long. Original paint with minor flaking and wear; professional bill chip and tail chip repair by Russ Allen.

(3,500 - 4,500)

240

240

Sleeping black duck, Richard Wistar Davids, 3rd quarter 19th century. Branded “RW Davids” in underside. 13.5” long. Old in use repaint; minor roughness on top of tail.

Provenance: Meyer collection.

(1,400 - 1,800)

157

Fish decoys

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Black sucker fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Honey comb tack eyes painted black. 9” x 7/8” wide x 1 3/8” tall. Strong original paint; light coat of varnish; crazing; paint is missing on fins; a few small scratches and rubs.

242

241

(800 - 1,200)

Brook trout, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Round tack eyes. 6” long x .5” wide x 1” tall. Strong original paint; minor loss at fins and around belly weight on underside; wear at tip of head; and tips of tail.

Provenance: Walters collection.

(800 - 1,200)

243

Rare carved eye brook trout fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Carved eye model with painted round tacks in the middle. 9” long long. Very rare fish with a nice

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style that we have not seen before. Much of the paint is original; most of tail is a professional replacement; top of forehead and small area around mouth; some paint appears to have been added a very long time ago when the fish was in use.

(800 - 1,200) 244

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Rare and important frog decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. 2 3/8” in length. Carved in a swimming motion.

With yellow painted eyes with black pupils. Green body with black banded stripes from the neck back.

Legs are carved to appear bowed out. Sleek lines have been achieved through carving to make this frog swim easily below the ice. Less than a handful of Oscar Peterson frogs are known to exist. Original paint; damage to both legs; one foot is missing and has been darkened with green color similar to the

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original paint.

Literature: “Master Michigan Carver Oscar Peterson,” Ron Fritz, p. 51, exact frog pictured.

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(800 - 1,200)

Fish decoy, Lake Chautauqua, New York, last quarter 19th century. An unusual model with no line tie or fastener for hole. Fish from this period or style had the line tied directly to the fish. Metal side fins with leather tail. Gills are carved form sides

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extending up underneath mouth, which is also carved. 7” long. Original paint which fades form dark green at top of back to yellow midline then to a white belly; structurally sound.

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(800 - 1,200)

Fish decoy, Lake Chautauqua, New York, circa 1900. Classic line tie running through body. Tack eyes and unusual face and mouth carving. Belly weight extends from mid length of body all the way

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to underneath mouth. 5.5” long. Original brown paint fades from dark at back to much lighter color

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at belly; original jig stick is included. (1,200 - 1,500)

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Bass fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Tack eye model. 7” long x .75” wide x 1.25” tall. A fairly thick fish. Original paint underneath a heavily crazed varnish; paint loss mostly on wide fins; structurally good.

(800 - 1,000) 247

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Sucker fish decoy, Jess Raimey, Cadillac, Michigan, 1st half 20th century. Carved gills that is painted yellow with yellow/black eye and metal fins, also with yellow and black paint. Two belly weights. 7” long. Original paint with slight wear to bare wood at tip of tail and one side of head; small dent in one side.

(600 - 800) 248

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Rare style sucker fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Painted eye with carved sucker mouth. Unusual red and yellow stripe on side. Which appears to be original. 5” long x .5” wide x 5/8” tall. Original paint with moderate wear; paint loss, mostly on underside; a few small nicks. (500 - 700)

250

249

Early brook trout fish decoy, Oscar Peterson, Cadillac, Michigan, probably 1st quarter 20th century. Rounded tack eyes. 6.75” long x .75” wide x 1.25” tall. Original paint protected by a coat of varnish; possible strengthening to red area of gill; possible restoration to tail.

(500 - 700) 250

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Brook trout fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Painted eye. Measures 5.75” long x .5” wide x .75” tall. Very strong original paint protected by a coat of varnish; slightly unusual paint pattern; flaked paint missing at fins and underside.

Provenance: Walters collection.

(500 - 800)

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Small pike fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Flat

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tack eyes. With semi bear paw painting pattern on sides. 5” long x 3/8” wide x 3/4” tall. Original paint protected by a coat of varnish; paint loss on metal fins; small areas along top of head and back; and tip of mouth.

(400 - 600)

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159

Factory Decoys

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256

254

257

255

258

253

Greenwing teal drake, Mason Decoy Factory, Detroit, Michigan, circa 1900. Branded “B Drake.”

1/2”. Original paint with moderate wear; minor sepa-

11.5” long. Original paint with minor wear on head

nails added to secure; hairline crack in one eye.

and back; moderate wear on lower sides; a few tiny dents and shot marks.

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(1,250 - 1,750)

Mallard hen, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier

ration at knots in body; split in one lower side with old

collection.

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grade. “JLH” carved in underside. Detailed feather-

hit by shot; tight crack in tail; head has been reset

small amount of in painting at neck seam; a few shot

slightly back of neck seat.

scars; small rubs.

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Provenance: Ex McCarthy collection. Dr. John Dinan collection.

(1,250 - 1,750)

Bluebill drake, Mason Decoy Factory, Detroit, Michigan. Challenge grade. 14” long. Original

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256

160

Very rare blue goose, Wildfowler Decoy Factory, Old Saybrook, Connecticut. Old Saybrook stamp unusual plumage. Original paint with very minor wear

(1,250 - 1,750)

Brant, Mason Decoy Factory, Detroit, Michigan. Challenge grade. Measures 19

(1,200 - 1,800)

in underside. 19.5” long. Retains original keel. Very

paint; very minor wear; thin crack in back; several tiny dents and shot marks.

Rare hollow carved brant, Mason Decoy Factory, Detroit, Michigan. Challenge grade. thin second coat of white under tail and sides; lightly

strong original paint; professional tail restoration and

Haid.

(1,200 - 1,800)

Measures 19 3/4” long. Original paint with minor wear;

ing and desirable rosy colored breast. 18” long. Very

Provenance: Consignor purchased directly from Alan

Provenance: Ex McCarthy collection. Dr. John Dinan

and good patina; structurally good.

Provenance: Formerly in the collection of Robert Lee Salmons.

(1,000 - 1,400)

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265

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263

266

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264

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Black duck, Mason Decoy Factory, Detroit, Michigan. Rare hollow challenge grade model.

With traces of Challenge stamp on underside. 16.25” long. Original paint with good feather detail and slight wear; slight separation at neck seam; very small chip missing form top of tail that has been touched up.

(1,000 - 1,400)

260

Redhead drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade.

265

Mallard drake, Mason Decoy Factory, Detroit, Michigan. Challenge grade. 16.5” long. Original paint with minor wear; some neck filler is missing; crack in underside.

(950 - 1,250)

263

Mallard hen, Mason Decoy Factory, Detroit, Michigan. Early premier grade, circa 1900. 17.75” long. Original paint with minor wear; several small dents and shot marks; small tail chip repair.

(950 - 1,250)

Canvasback hen, Mason Decoy Factory, Detroit, Michigan. Premier Seneca Lake model. 16.25” long Original paint with minor gunning wear; small dents and shot marks; tight drying cracks in back; restoration to one side of neck seat; half the bill is a professional replacement.

Provenance: Bentley collection.

266

Widgeon drake, Mason Decoy Factory, Detroit, Michigan. Challenge grade. 13.5” long. Original paint;

Branded “S.G. Gavitt.” 14.5” long. Excellent original paint; a few shot scars; small amount of restoration to tip of bill.

(1,000 - 1,500) 262

Canvasback, Mason Decoy Factory, Detroit, Michigan. Premier grade, Chesapeake Bay model.

Branded “BPC” in underside. 16” long. Original paint; moderate discoloration and minor wear; touchup to spot on top of head; crack in one side.

(900 - 1,200)

Redhead hen, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade.

14.5” long. Strong original paint with light wear; a few small rubs; very tight crack that has not separated in one cheek.

(1,000 - 1,500)

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264

(800 - 1,200)

moderate wear; crack in one side; filled crack with touchup on other side; small amount of touchup on one cheek.

(800 - 1,200) 267

Canvasback drake, Mason Decoy Factory, Detroit, Michigan. Premier Seneca Lake model. Measures 16 1/2” long. Original paint with minor discoloration and wear; hairline crack in neck; touch up at neck seat.

(800 - 1,200)

End of session one 161

SESSION TWO August

Decoratives Ward Brothers Crisfield, Maryland

268

Well carved preening Canada goose with lifted wings, Ward Brothers, Crisfield, Maryland. Signed “Sunbathing Lem Ward 1968.” 25” long. Fine feather paint detail, carved primaries and secondaries and fluted tail. Feather carving on head and neck. Original paint with no wear; small area of shrinkage at top of one wing and on one side near tail; tiny spot of shrinkage right behind head.

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Provenance: Herrington collection.

(12,000 - 16,000)

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269

Goldeneye hen, Ward Brothers, Crisfield, Maryland. 13” long. Signed and dated 1966.

Slightly turned head and finely detailed feather carving. Near mint original paint; hairline crack in underside; minor separation at seam in lower side.

(2,500 - 3,500)

164

270

Pair of pintails, Ward Brothers, Crisfield, Maryland. Signed and dated 1959. Drake is 17.5� long. Both have slightly turned heads, carved secondaries and extended carved primaries. Both have fluted tails and good paint detail. Near mint original paint; slight separation at one side of drake’s neck seam.

Provenance: Dunford collection.

(7,000 - 9,000)

165

Alexander Pope, Jr. 1849 - 1924 | Boston, Massachusetts Born in Dorchester, Massachusetts, near Boston, Alexander Pope became known as a society painter who spent his entire life in the Boston area with a major interest in hunting and fishing and painting and sculpting art objects of those subjects. According to Alfred Frankenstein in his book, The Reality of Appearance, Pope was “of the back-slapping, clubgoing variety who spent his entire life in and around Boston.”

antlers, canteen, gun, game bag, etc. In this same style, he also painted a lot of dead animal subjects and sometimes live animals, usually in crates.

As a child he worked at his father’s lumber business and carved animals out of wood. He studied briefly with Walter Rimmer, Boston painter and sculptor, but primarily was self taught. In the 1880s, he stopped sculpting and focused on painting still lifes for which he had a strong market.

Some of his paintings were trompe l’oeil still lifes with hunting themes and iconography that included deer

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Very rare hanging game carving of cock pheasant, Alexander Pope, Jr. In original frame. 20” x 30”. Fine carving detail mounted on backboard that is carved to look like woven twigs. Professional repair to the tip of each tail feather; tip of beak by Russ Allen; leg angled off to the side was broken off and glued back on, this has been professionally reset

by Russ Allen, otherwise Very good and original.

166

(10,000 - 15,000)

272

Very rare hanging game carving of a mallard drake, Alexander Pope, Jr. 20 “ x 30�. Fine carving detail with board background carved to look like woven twigs. Very good and original.

(10,000 - 15,000)

167

273

275

277

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278

273

Pair of canvasbacks, Mike Frady, New Orleans, Louisiana. Signed. 14.5” long. Raised carved primaries

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and secondaries. Fluted tail. Drake has slightly turned

Black duck in content pose, Mike Frady, New Orleans, Louisiana. Signed. 14” long with carved, crossed wingtips and fluted tail. Very good and original.

head. Near mint original paint; reglued crack in hen’s bill.

(1,000 - 1,400)

(2,000 - 2,750) 278

275

276

Gadwall drake, Mike Frady, New Orleans, Louisiana. Signed. 14.5” long. Slightly turned head.

Canther, NO. 1.” 13.5” long with carved primaries and

Raised carved primaries and secondaries fluted

secondaries and fluted tail. Very good original paint; no

tail. Very good and original.

structurally flaws.

(1,000 - 1,400)

Goldeneye, Mike Frady, New Orleans, Louisiana. Signed. 14.5” long. Slightly turned head.

Raised carved primaries and secondaries with fluted tail. Very good and original.

168

Black duck, Mike Frady, New Orleans, Louisiana. Signed and inscribed, “Especially for Allan

(1,000 - 1,400)

(1,200 - 1,600)

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282

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282a

281

282b

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280

Goldeneye drake, Robert Paquette, Isle Perrotnord, Quebec. Signed, “To Frank Ash Fulton

282

Standing mallard drake, Bob Burke, Wolf Island, Ontario, 2nd quarter 20th century. 17”

New York” and dated 1960. 13.75” long. Slightly

long. Scratch feather paint detail and slightly

turned head. Carved primaries and secondaries.

turned head. Original paint with very minor wear;

Fluted tail. Very good and original.

small chip missing from top of tail.

(900 - 1,200)

Old squaw drake, Mike Frady, New Orleans, Louisiana. Signed, identified, and numbered

Literature: “The Decoy Maker,” Decoy Magazine, July/August 2011, exact decoy pictured.

(900 - 1,200)

1 on underside. Detailed feather carving. 16.5” long. Very good and original.

281

(1,000 - 1,400)

282a

Greenwing teal hen, Jim Foote, Detroit, Michigan. Hollow body. Feeding or drinking pose.

in the underside twice. 12.5” long. Near mint original paint; crack in underside has been filled and

Keel has been removed. Relief carved wings and

touched up.

side pocket. 12” long. Strong original paint; excellent.

(800 - 1,000)

2/3 size mallard, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is

282b

(1,250 - 1,750)

Partridge on drift wood base, Mark Holland, West Brewster, Massachusetts. Signed. 13.5” tall with detailed feather carving on fanned tail.

Slightly turned head. Fine paint detail. Very good and original.

(1,400 - 1,800)

169

Charles Hart 1862 - 1960 | Gloucester, Massachusetts

Nat (left) and Charles Hart (right) with geese shot at Cole’s Island, Massachusetts, circa 1920s.

282c

282c

Pair of emperor penguins, Charles Hart, Gloucester Massachusetts.

7� tall. Original paint; very slight wear; structurally good.

282c

170

(6,000 - 9,000)

282d

Carved wooden emperor penguin, Charles Hart, Gloucester, Massachusetts. 7” tall. More full bodied than typical. Original paint; minor discoloration and wear; good patina; structurally good.

(3,500 - 4,500)

282d

282e

Three miniature emperor penguins, Charles Hart, Gloucester, Massachusetts. Range from 3 7/8” - 3 1/8” tall. Carved wood mounted on lead bases. Original and good.

(3,500 - 4,500)

282e

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Elmer Crowell 1862 - 1952 | East Harwich, Massachusetts

Photo courtesy Jim Parker.

O’Brien, Stephen B. Jr and C.W. Olney. 2019. “Elmer Privately printed. Hingham, MA.

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Standing 2/3 size black duck, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside of the base. 10.75” long. Slightly turned head and fluted tail.

Good feather paint detail and patina. Structurally very good.

Literature: “Songless Aviary,” Brian Cullity.

(12,500 - 17,500) 283

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Full size least tern, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside of the base. 6.5” long. Good wide body style with extended wingtips. Near mint original paint; chip missing from one tip of split tail.

(2,250 - 2,750) 284

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Flying greenwing teal, Elmer Crowell, East Harwich, Massachusetts. 19” wing span. Fine feather paint detail with fluted tail, also carved leg and foot. Rectangular stamp in back. Very good and original.

Literature: “New England Decoys,” John and Shirley Delph.

(17,500 - 22,500)

175

Ontario Tom Chambers 1860 - 1948 | Toronto, Ontario

Thomas Chambers was a highly skilled waterfowl hunter from Toronto, Ontario who as a young man hunted the Toronto waterfront and surrounding area centred on Ashbridges Bay.He moved to Wallaceburg and the Walpole Island “Flats Marshes” in the mid 1880’s to manage the St. Anne’s Club for George Warin and David Ward after they left the St. Clair Flat’s Shooting Co. “SCFSC” Canada Club.

He moved to the “SCFSC” to become manager there on the recommendation of George Warin in 1900. (John Reeves worked there until his untimely death in 1896)Chambers was a rugged individual over 6 feet tall, nicknamed “King Tom” apparently for his dictatorial style when dealing with native Canadian guides, and would for the next 43 years manage the Club, one of Canada’s finest and most prestigious hunting clubs. Most importantly to collectors, Chambers carved many decoys including his Flats/Toronto School geese for the wealthy sportsmen of the “SCFSC” who hunted the vast St. Clair marshes.

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Extremely rare goldeneye hen, Tom Chambers, Toronto, Ontario, 1st quarter 20th century. One of only two or three known. Hollow with bottom

Excellent canvasback drake, Tom Chambers, Toronto, Ontario, 1st quarter 20th century. Braded “JTN” on underside for John T. Nichols, St.

board. Wet on wet paint blending was used to create

Clair Flats Shooting Company member 1901-1935. This

wings on side. 15” long. Strong original paint that has

is part of a rig that Chambers made with J.R. Wells

crazed tightly, mostly on head area; small amount of

style paint. Whether they were finished and painted

wear at tail and one side of body; two areas were

by Wells or painted by Chambers it is not known but

professionally darkened by Russ Allen, one at bill and

they are very desirable. Classic diamond cut nostril,

one around one side of eye.

with slightly reared back head. Bottom board hol-

(7,000 - 10,000)

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low. Fine feathering over the back of the body. 15” long. Strong original paint; two shot scars; small separation at bottom board seam.

(7,000 - 10,000)

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288

Canvasback drake, Tom Chambers, Toronto, Ontario. Solid body model. Branded “Thos. Chambers maker.” Also branded “JT McMillan” for James T. McMillan, St. Clair Flats Shooting Company member 1913-1946. Long body style with attractive wing outline painting. Tight combing on lighter areas of back. 17” long. Very light wear and small separation at neck seam.

(3,000 - 5,000)

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289

Solid body Canada goose, George Warin, Toronto, Ontario, last quarter 19th century. 21.5” long. Branded “GH and G & J Warin Maker, Toronto” on underside. Original paint with moderate discoloration and wear; fairly large chip missing from tail.

Provenance: Formerly in the collection of Peter Brown.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid. (4,000 - 6,000)

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178

Ivar Fernlund 1881 - 1933 | Hamilton, Ontario

290

Hollow carved black duck, Ivar Fernland, Hamilton, Ontario. 14.75” long. Fine scratch paint detail. Original paint with very minor wear; several small spots of touchup on back and sides.

Provenance: Peter Brown collection.

Literature: “Ontario Decoys,” Bernie Gates, p. 34.

(10,000 - 14,000)

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291

Pair of widgeon, Ken Anger, Dunnville, Ontario. Relief wing and incised feather carving. Measure 13 3/4” long. Excellent and original.

Provenance: West collection.

(3,000 - 4,000)

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292

Black duck, John R. Wells, Toronto, Ontario. Solid body with extra attention to paint detail on both back and head.

Fine combing on head. 17” long. Strong original paint; a few shot scars and very light wear.

(1,250 - 1,750)

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293

Hollow redhead, Thomas Chambers, Toronto, Ontario. Hollow carved with 1/4” bottom board. Measures 16” long. Original paint with minor flaking and wear; very good structurally.

Provenance: Dr. John Dinan collection.

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(1,200 - 1,800)

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Well executed redhead hen, from the Markham rig. Classily carved deep jowls with fine feather painting on both head and sides of body. Hollow carved with bottom board. Extended paddle tail. Never rigged.14” long. Outstanding original paint; a few rubs; edge wear at tail and bill.

(6,000 - 8,000)

181

Cobb Island Shorebirds

Cobb Island hotel and guest c1880 – 1885

Some of the most easily recognizable and sought-after shorebird decoys were carved in the Cobb Island area of Virginia. As most collectors are aware, the best examples of the Cobb Island style share a few similar traits. They are boldly carved with split tails, carved ‘S’ shaped wings, and hardwood bills. Choice of material for the eyes depended on the time, mood of the carver and availability of materials. Fine examples are known which sport carved, painted or glass eyes.

In addition, many were carved in what can be described as a running, reaching, or feeding position. A few carvers strayed slightly from this design form, yet all are related.

Decoys were needed on the Island because of the extraordinary hunting opportunities offered there and the hugely successful Cobb’s Island Hotel which was established there by Nathan Cobb Sr. and later run by his sons, as well as hired managers. Some of the early managers, apparently, gave the hotel a rather bad reputation but, ultimately, in its heyday,

it was one of the most popular resorts on the southeastern seaboard outside of Atlantic City. It offered year-round accommodations to serve the needs of visitors with fine dining, cricket, croquet, billiards, bowling, surf bathing and fishing.

Shorebird shooting took place from late spring to early fall and duck, goose and brant shooting from late fall to early spring.

Shorebird hunting was particularly popular. As noted by Sam Dyke, it was: “Known as the ‘gentle sport.’ Shorebird shooting was popular in the late 1800’s because it could be pursued in a leisurely fashion during the mild weather of spring and early fall”. Along with the usual seaside pastimes, resorts such as Cobb Island advertised shorebird hunting with guides and decoys provided. By observing the feeding and resting habits of the birds, the guide would select a favored spot, prepare a simple pit or

Guide setting out Cobb Island shorebirds and sport in blind

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Ad for Cobb Island Hotel

brush blind and await the arrival of his quarry as the changing tides moved the birds from one area to another. Shorebirds, or beach birds as they were often called, decoyed readily, especially when whistled by a skilled bayman or sportsman with a snipe call.

Some of the best of these decoys were produced by members of the Cobb family itself. Many believed that those with the carved initials such as E.B., N, or A. Cobb, were all produced

by Nathan Cobb Jr. and that the initials were meant as rig or ownership marks. As noted by Grayson Chesser, “after all, everyone on (small) Cobb Island would know the maker”. However, in the forthcoming book on Cobb Island by Dr Lloyd Newberry, he makes the argument that the individual family members did indeed produce their own duck and shorebird decoys. Because of the success of the hotel, additional guides and decoys were needed to supply the growing demands of the hunting parties and men from the immediate area adjacent to Cobb Island were quick to fill this need and produce decoys in the Cobb Island tradition. A partial list of some familiar names would include men such as John Haff, Capt. Charles Crumb, Walter Brady and George Isdell.

Unfortunately, as someone has said, “families put down roots, barrier islands do not”. A series of classic Atlantic storms battered the Island and the Cobb family empire there. A particularly fierce storm in 1933 finally put an end to human occupation on the Island except for the Coast Guard station there.

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This exact Nathan Cobb, Jr. curlew on display at the IBM Gallery of Arts and Sciences exhibit in 1966 in New York City.

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Always striving for the finest example At the time Lloyd bought this Cobb Curlew he owned a fantastic example. So why buy this one?

His incredible, sophisticated eye told him this was a superior example. When be bought it, he set a world record for the maker. Lloyd knew in his heart that this was the largest and best example that he would ever have a chance to buy. After securing this piece he consigned the other Cobb curlew from his collection.

We sold it in the April 2007 sale for $258,000.

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Important running curlew, Nathan Cobb, Jr., Cobb Island, Virginia, last quarter 19th century. 17” long. Raised “V” wingtip carving and shoe button eyes. A serifed “N” is carved in front of the stick hole. Original paint with good detail and minor wear; lightly hit by shot; some of the shot marks have some unpainted filler added during use; thin crack in one edge of tail; bill curves slightly to one side.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Formerly in the collection of William J. Mackey, Jr. Lot 115, Guyette & Schmidt, November 2006 auction catalog, selling for $390,000, a world auction record at the time.

Literature: “Shorebird Decoys,” Henry Fleckenstein, Jr. “Decoy Collectors Guide,” Hal Sorenson 1966-1967 Annual, p. 48, exact decoy pictured. IBM Exhibit of the Mackey collection in Manhattan, exact decoy pictured, left hand side.

(200,000 - 300,000)

185

Albert F. Cobb 1836 – 1890 | Capeville and Cobbs Island, Virginia

Albert was the son of Nathan F and the grandson of Elkanah. He was brother to Nathan F Jr. and Warren Cobb. Our knowledge of him is very limited.

In 1850, Albert was living with his parents, apparently on Cobb Island, where his father listed his occupation as “keeper Ples house”. In 1855 Albert married his wife Ellen and the couple raised two children, Sadie Travis and Thomas Lucius. By 1860 he was living in Capeville and listed his occupation as “sailor”.

This was apparently a short-lived endeavor for by 1866 he was back living on the Island (then listed as Sand Shoals Island) and employed as “hotel keeper” in the “retail liquor” industry. He remained on the Island at least through 1870 where, now along with his brother Warren, he remained a “hotel keeper”. This seems to be the period where the hotel was being managed by a Mr. Segar who, it is claimed in an 1880 article in Forest and Stream Magazine, overcharged the guests and left the Island with $10,000 of the Hotel’s dollars. At about this time, the records indicate that Elkanah assisted the new manager of the hotel, a Mr. Spady and Albert returned to Capeville and resumed his earlier occupation as “sailor”.

The Masonic Square and Compasses symbol, which is remarkably similar to the capital letter “A”, appears on some Cobb Island shorebirds. This has long been thought to represent Arthur Cobb. Research by Dr. Lloyd Newberry, however, finds that Arthur was never a Mason while, indeed, Albert was a member of this organization.

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296

Very rare black bellied plover, attributed to Albert or Arthur Cobb, Cobb Island, Virginia, 3rd quarter 19th century. 11.75” long with carved eyes, relief wing carving, and raised “V” wingtip carving. A large “A” is carved behind the stick hole. The “A” in the underside could be for either Arthur, who did make shorebirds or perhaps Albert. It is believed that Albert used a masonic style “A” after he became a Free Mason. However, It is possible that he made this decoy prior to that membership. Original paint with minor to moderate wear; several short hairline cracks in body; lightly hit by shot.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

(40,000 - 60,000)

187

Ira Hudson 1876 - 1949 | Chincoteague, Virginia

297

Exceptional lesser yellowlegs, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Very good form with plump body and thin neck. Scratch feather paint in dark areas. “Ira Hudson Chincoteague, Virginia,” is written on underside in Bill Mackey’s handwriting. 11.25” long. Original paint with minor wear and small scuffs; structurally good.

Provenance: Dr. Lloyd T. Griffith collection.

Griffith collection stamp on underside. Ex Mort Hanson, Sr. collection. Lot 171 in the February 1992 Guyette & Schmidt auction.

Literature: “Great Book of Decoys,” Joe Engers, editor.

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(30,000 - 50,000)

“Ira Hudson Chincoteague, VA.” written

by William J. Mackey, Jr.

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298

299

190

“Two different styles of Hudson yellowlegs, The exaggerated, long-necked example here was Jim McCleery’s Favorite decoy” - Ron Gard

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Greater yellowlegs, Ira Hudson, Chincoteague, Virginia. 14” long. Original paint with minor to mod-

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erate wear; a few small dents.

Lesser yellowlegs, Ira Hudson, Chincoteague, Virginia. Raised “V” wingtip carving. 8.75” long. Original paint with minor wear; most of the bill is missing; several tiny shot marks.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Formerly in collection of Dr. James McCleery, McCleery collection stamp

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

(6,000 - 9,000)

on underside. Lot 43 Guyette & Schmidt/Sotheby’s January 2000 auction. Aquired from Harold “Hal” Evans in 1972.

Literature: “Shorebird Decoys,” Henry Fleckenstein, Jr. “Southern Decoys,” Henry Fleckenstein, Jr. “Call to the Sky,” Robert Shaw, p. 81, exact decoy pictured.

(12,000 - 15,000)

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300

Plump robin snipe from the eastern shore of Virginia. Relief wing carving with raised “V” wingtips.

8” long. Original paint; minor discoloration and wear; structurally good.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Guyette & Schmidt/Sotheby’s, January 2000 McCleery sale, lot 38, similar example.

(4,000 - 6,000)

300

301

Large curlew from Cobb Island, Virginia, last quarter 19th century. Raised V wingtip carving and carved eyes.

16.25” long. Original paint with minor to moderate discoloration and wear; thin crack in back; age split in underside; bill and front of face are replacements.

Provenance: Meyer collection.

Literature: Exact decoy pictured on page 211 of “Southern Decoys of Virginia and the Carolinas” by Henry A. Fleckenstein, Jr. Middle left example.

(5,000 - 8,000)

301

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302

Yellowlegs from the Matthews rig, Assateague, Island, Virginia, last quarter 19th century. 10.25” long with shoe button eyes and carved wingtips. Slight ridge on back. Worn old paint , some of which is original; hit by shot.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (2,000 - 2,500)

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Curlew, Charles Clark, Chincoteague, Virginia, last quarter 19th century. 14.25” long. “M” carved in underside just behind the stick hole. Original paint with good detail and minor wear; bill is a professional replacement; flat area on one side body has old touchup.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (6,500 - 9,500)

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Luther Lee Nottingham 1852 - 1942 | Capeville, Virginia

Early references have stated that Luther Nottingham lived in Cobbs Station, which later became Chesapeake, Virginia. However, United States Federal Census records, and his death certificate, indicate that his residence between 1870 and 1942 was, in fact, Capeville, Virginia. Similar records proclaim he was the Superintendent of Schools for Northampton County, a title validated by a letterhead dated 1907. Additional occupations included Postmaster of his town, and Game Warden for the Eastern Shore Game Protective Association of Virginia. In this capacity he could have earned up to $60.00 per month providing he collected at least that sum from game offenders. However, research leads us to believe these were part-time jobs held between 1905 and 1920, as again the Federal Census lists his occupation as ‘Farmer’, (having his) ‘own income’ or ‘None’.

In Luther’s time, growing vegetables for shipment to distant markets was a profitable means of earning a living on the Eastern Shore. Potatoes were a particularly lucrative crop, as were strawberries. Mr. Nottingham must have been an astute and progressive farmer. He was a regular attendant at the yearly Agriculturalist Exposition Luther Lee Nottingham Photo credit - Nottingham Family

in Norfolk and served as vice president of the Sunnyside Farmers Alliance. He acted as secretary to the Berry Growers Association of Northampton where he often gave talks on current trends or advances in the industry.

He married Clara West in 1877, and the couple raised a son and two daughters. Luther L. Nottingham died of “senility” and “cold” in Capeville, and he is buried in Chesapeake, VA. Upon his death, his son, Samuel, continued to work the family lands.

Potato buyers, Cape Charles, Virginia, 1912

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Nottingham was an ardent hunter, and apparently financially successful enough to pursue the sport at his leisure. As noted by southern decoy authority, the late Henry Fleckenstein, “he made strong, well carved and distinctive shorebird decoys.”

Fleckenstein goes on to lament that “Unfortunately, not many of his snipe are around (as) his output must have been low.” His decoys bear the distinctive carved “L.L.N.” under the tail. The specific decoy offered here must be considered particularly rare not only due to the remarkable state of preservation to its surface, but also because of the highly unusual, gracefully turned head.

Plate 17 of “American Bird Decoys,” William J. Mackey, Jr. Two of the Hudsonian Curlews made

by Luther Nottingham of Cape Charles, Virginia. As a game warden, Nottingham had observed the birds well. Made from a hard, heavy, walnut-like wood, and carefully painted, each of the decoys in this rig is different. Hudsonian Curlews sometimes darkened the sky over the salt marshes along the Eastern Shore of Virginia.

1911 map of Capeville and Cape Charles.

L. L. Nottingham Letterhead 1907

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Plate No. 18 from “Classic Shorebird Decoys,� Milton C. Weiler

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Important curlew, Luther Lee Nottingham, Cobbs Station, Virginia. Two piece construction with slightly turned head and relief wing carving. “LLN” is carved under the tail. McCleery stand included.

14.25” long. Original paint with minor discoloration and wear; worn area and hairline surface crack on underside near stick hole.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Formerly in collection of Jim McCleery, McCleery stamp on underside. Formerly in the collection of William J. Mackey, Jr. Adele Earnest helped the Mackey family with their appraisal after Bill passed. For her services, she was allowed to select the decoy of her choice. She picked the Nottingham curlew. At some point it then was purchased by Jay Miles who sold it to Don Snyder. Don eventually sold it to Jim McCleery.

Literature: “American Bird Decoys,” William J. Mackey, Jr., p. 39, exact decoy pictured. “Call to the Sky,” Robert Shaw, p. 83, exact decoy pictured.

Guyette & Schmidt/Sotheby’s auction catalog, January 2000, lot 34, exact decoy pictured. “Southern Decoys,” Henry Fleckenstein, Jr., pp. 146 & 147.

(65,000 - 95,000)

Interior of Dr. James McCleery’s home. Exact Nottingham curlew on display on the top shelf.

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Midwest 305

Important pair of mallards, Ben Schmidt, Detroit, Michigan, circa 1940. Schmidt made this pair for Charlie Mosser as models for Mosser who wanted them to use as a decoy pattern. Both are signed by Schmidt on underside. Drake has unusual brass curly tail. Both have feather stamped bodies. 17” long. Mint original paint.

(2,000 - 3,000)

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Canada goose, Ben Schmidt, Detroit, Michigan, circa 1950. Good feather stamping and tail carving. Branded “Fulton” on underside. Unusual white painting around base of neck. 24” long. Original paint; small separation at neck seat; otherwise structurally good.

Provenance: Formerly in the Robert Congon collection.

(1,800 - 2,200)

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Early and well made widgeon hen, Ben Schmidt, Detroit, Michigan, circa 1945. Plump cheeks, heavy feather stamping. Part of a group that Ben Schmidt made and gave to a carver to use as models. 13” long. Very good and original.

(1,500 - 2,000)

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Pair of mallards, Hiram Hotze, Peoria, Illinois. Hollow carved and branded ‘L.J.R. on the lower sides. Mounted to hardwood bases after retired from use. Measure 15 1/2” long. Original paint under an old coat of varnish with minor gunning wear; grey on top part of drake’s sides is an early second coat; chip in underside of hen’s bill with old filler; each with a tail chip that has been darkened.

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(2,000 - 3,000)

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310 309

Rare bufflehead hen, Frank Buchner, Erie, Pennsylvania. Intricate relief wing feather carving with anchor carving in back. ‘AS’ stamped under tail and copper rig tag for Anthony Straub, Erie City, PA. A hard species to find by this maker. Measures 12” long. Original paint with minor gunning wear; hunter repaired chip in one side of neck seat with glue drips on that side; small chips in tail; hairline cracks in body.

Provenance: Dr. John Dinan collection.

Literature: Exact decoy pictured in the article on Buchner, November/ December 2008 issue of ‘Decoy Magazine’.

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(3,000 - 4,000)

Large canvasback, Frank Buchner, Erie, Pennsylvania. Wide body with intricate relief wing and tail carving. Anchor carving in back. Tack eyes. Measures 17” long. Early in use repaint with moderate flaking and wear; minor roughness on edge of tail; reglued crack through neck.

Provenance: Dr. John Dinan collection.

(1,500 - 2,000)

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Rigmate pair of pintails, Ben Schmidt, Detroit, Michigan. Both have very slightly turned heads. 17” long.

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Oversize goldeneye drake, John Zachman, Detroit, Michigan, circa 1950. Hollow with bottom board. “Donal

Both have old labels on underside stating that they were

O Brien collection” stamp on underside. John Zachman

in the Russel van Housen collection and he acquired in

manufactured sticker on underside. Additional sticker on

1967. Original paint; minor discoloration and wear; thin

underside reads “1961 first place diver Midwest contest. First

crack in hen’s back.

goldeneye I ever made.” 18.5” long. Strong original paint;

(1,500 - 2,500)

paint has flaked away at small area near tail.

(1,000 - 1,500)

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Rigmate pair of canvasbacks, Ben Schmidt, Detroit, Michigan, circa 1950. Both are branded “T.L. Baker” on underside. Slightly turned heads. Hen’s body has some feather stamping. 16” long. Very good and original.

when underside was painted black a streak dripped underneath the tail.

Housen.

(1,200 - 1,500) 314

Pair of redheads, Ferdinand Bach, Detroit, Michigan. Proportedly from Bach’s last personal gun-

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toration.

being filled; reglued crack in drake’s bill with touch up.

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Early mallard drake, Ben Schmidt, Detroit, Michigan, circa 1930. Hollowed from underside.

paint; light wear; small rough area at tip and side of bill;

(600 - 900)

Pair of canvasbacks, Ben Schmidt, Detroit, Michigan. Just under 17” long. Near mint original paint; reglued crack in hen’s bill; undersides have both been planned.

Turned head. Tail carving and faint stamping on back.

Painted brand on underside, “FWL”. 17” long. Original

Pair of blue wing teal, Hays Decoy Factory, Jeffreson City, Missouri. Measure 12 1/2” long. Original with some flaked neck filler; hen with some neck filler res-

minor flaking and wear; tight drying cracks with some

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(800 - 1,200)

paint with minor wear; drying crack in undersides; drake

ning rig. Measure 16” long. In use repaint by Bach with

(800 - 1,200)

Provenance: Formerly in the collection of Russ Van

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(650 - 950)

Coot, Ben Schmidt, Detroit, Michigan, circa 1950. Mild feather stamping and wing carving. 12” long. Original paint; chip in sliver of bill has been reglued; very light wear at tip of tail; shot scar.

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(300 - 500)

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322b

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Pair of canvasbacks, Daniel Scrivins. Drake is branded “D Scrivins and Lourie”, a famous Michigan rig.

Hollow carved bluebill hen, John Schweikart, Strawberry Island, Michigan. Hollowed with 1/4”

Drake is 17” long. Both are in strong original paint; areas

bottom board. Slightly turned head. Measures 16 1/4”

of even wear; some paint missing; screw in underside of

long. Appealing in use repaint with minor wear; hairline

drake’s bill was used to secure a stress crack.

cracks and shot marks in body.

(1,800 - 2,200) 320

Early style canvasback drake, Ferdinand Bach, Detroit, Michigan, circa 1920. Turtle back style with small paddle tail. 16” long. Original paint; some flaking

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Dinan collection.

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to the head; rough area around underside of bill where

lightly hit by shot; two tight cracks in body; some touch up to black on bill.

Provenance: Dr. John Dinan collection.

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Mallard hen, Bert Graves, Peoria, Illinois. Hollow

on underside. Hollow carved with bottom board. Very intricate feather painting on head and part of neck.

Canvasback drake, Ferdinand Bach, Detroit, Michigan. Smooth body style with deep keel. ‘W.G. Original paint with minor to moderate gunning wear;

(1,200 - 1,500)

Rare black duck, Zeke McDonald, Mt. Clemens Michigan, 1st quarter 20th century. Branded “GBM”

(1,200 - 1,800)

Walters’ stenciled on the underside. Measures 16” long.

chip has fallen out; a few shot scars to one side.

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Provenance: Ex Robert Congdon collection. Dr. John

(1,200 - 1,800)

Slightly upswept tail. 17” long. Strong original paint; shot

body with original Graves weight. Good feather paint-

scars and rubs, evenly placed from bill to tip of bill; one

ing on back by Nellie Graves. 16” long. Original paint

gouge in back.

that has worn evenly to expose wood in some small

(1,200 - 1,700)

areas; chip in tail; one shot scar in back.

(1,000 - 1,500)

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Sporting Art Frank Stick 1884 - 1966

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Important oil on canvas, Frank Stick (1884-1966). Two cowboys, one brandishing the classic western rifle, the Remington Model 8 Autoloader. One taking aim from saddle, the other in midst of a dismount. In pursuit of escaping grizzly, seen running down mountain side with snow covered peeks in background illuminating the morning sky. 34” x 24.5”. Typical Frank Stick thick pallet, which has been well preserved with very light cracklature in upper half of painting; a few tiny spots of in painting, mostly along the edge of the canvas.

Literature: “Frank Stick Spendid Painter of the Out-of-Doors,” Michael F. Mordell, p. 119, exat painting pictured.

(15,000 - 25,000)

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Pintails in California, Allan Brooks (1869-1945). Watercolor and gouache on paper. Signed and dated 1933 lower right. Purchased from the daughter of a caretaker of a California gun club. Professionally

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framed and matted. Measures 19.5” by 14”. Excellent and original.(3,000 4,000)

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Oil on canvas, Antonio Nicolo Gasparo Jacobsen (1850-1921). Signed and titled lower right. Signed and dated 1890. Hoboken New York. Early American steam sailor. With American flag and ship name flag at top of front pole, Iroquois. Semi calm seas. Slightly pink and clouded sky. Image size 21.5” x 35”. Canvas has been relined and reframed; some inpainting, mostly around edge; some small flakes, two areas that may have punctured the canvas, one approximately 1.5” slightly above the ship and other near front flag pole, approximately 1”; varnish has darkened.

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(4,000 - 6,000)

Adamson’s work has frequently been displayed nationally and internationally in the prestigious “Birds in Art” and “Animals in Art” exhibitions, and has been shown at the Smithsonian Art Museum, the British Museum and the Carnegie Museum of Natural History in Pittsburgh, among others. He was named the first California Waterfowl Association Artist of the Year and 1979 Ducks Unlimited Artist of the Year.

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Oil on canvas, Harry Curieux Adamson (1916-2012). Well executed image of six mallards dropping into a wooded marsh. Against a clouded morning sky. Image size 22” x 30”.

Has been professionally framed in a carved medium stained oak frame. Small scratch in top right corner, otherwise excellent.

(8,000 - 12,000)

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Watercolor and gouache of five dogs, Edmund Osthaus (1858-1928). Watercolor on gouache on paper laid down on card. 21.5” x 28.5”. Two St. Bernard’s, a black cocker spaniel, an English setter, and black & white terrier. Signed, “Edm. H Osthaus” in the lower right. Professionally matted and framed. Excellent and untouched.

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(5,000 - 7,000)

Born in Liverpool, England, Arthur Tait became America’s first important sporting artist. In England, he trained as a lithographer for Agnews, an art dealer in Manchester, and taught himself to paint by copying works at the Royal Institute. He also assisted American Indian painter George Catlin, with his traveling Indian gallery that he had brought to England, and Tait was impressed with Catlin’s subject matter and skill.

In 1850, Tait came to America to pursue his interest in wildlife and hunting, sports that were closed to the public in aristocratic England. He worked primarily from a studio in New York City and never got west of Chicago. Becoming a skilled woodsman and marksman, he acquired excellent first-hand knowledge that he brought to

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his paintings. As a result, his realistic genre hunting scenes, with their story-telling aspects, made him one of the 19th century’s most popular painters.

1850 to 1860 was his most productive period, and his frontier paintings were taken as literal views although he never got west of Chicago.

His colorful sporting and wildlife paintings were usually Adirondack Mountain scenes, which were popularized through thousands of Currier and Ives reproductions and Prang’s chromolithographs.

People loved the warm camaraderie of his hunting and fishing, cabin and campfire depictions, and he did much to focus public attention on natural scenery and wildlife.

Oil on canvas, Arthur Fitzwilliam Tait (1819-1905). Image of water spaniel with mature bull canvasback in mouth. Image size 11.5” x 15.5”.

Signed lower right, “AF Tait N.H.. NY 1892”. AF Tait is stamped twice on back of canvas. Exposed original canvas does not show any retears and has not been restretched or relined; no in painting is visible under black light; image appears to be in very good condition.

Literature: This particular work is found as inventory #92-11 in the book on A.F. Tait by Cadbury and Marsh.

(8,000 - 12,000)

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Watercolor, Ogden Pleissner (1905-1983). Salmon fishing scene titled, “Fisherman by a Stream.” Fighting a jumping Atlantic salmon with guide and fishing companion in canoe. Image measures 7” x 9.5”. Professionally framed with name plaque. Sticker on back indicates “Reproduction rights to the painting expressly reserved by the artist. Ogden M. Pleissner.”

Provenance: Clune Walsh II collection. Formerly in the collection of Paul Tudor Jones II. Original gallery sticker on back from Crossroads of Sports. (5,000 - 7,000)

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Watercolor, Frank W. Benson, (18621951). Signed lower right and dated 1924. Flock of scoters moving over rocky shoreline. Visible image measures 7.5” x 10.5”.

Professionally matted and framed. A few scuff marks on frame; image is excellent and original.

Provenance: Jim and Diane Cook collection.

(4,000 - 6,000)

Growing up in Kansas and living primarily in Minnesota, Francis Jaques became an avid hunter and one of America’s premier wildlife artists.

As a youngster, he sketched in his spare time, and by the age of 16, had already had work published in “Field and Stream” magazine.

He won national acclaim for his work as staff artist for the American Museum of Natural History in New York City. He did a wealth of paintings, illustrations, murals, wildlife dioramas and traveled with the museum’s world wide scientific expeditions.

His depiction of two black ducks in flight was chosen for the Federal Duck Stamp in 1940-41

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Oil on canvas of hooded mergansers in pond, Frances Lee Jaques (18871969). Image size 29.5” x 23.5”. Original and good.

Provenance: Jim and Diane Cook collection.

(4,000 - 6,000)

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Oil on board, Dr. Edgar Burke (18891950). Exact painting illustrated on page 213 of “Duck Shooting Along the Atlantic Tidewater” by Eugene Connett.

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Signed lower right. Measures 11.5” by 15.25”. Excellent and original.

(2,000 - 3,000)

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The art world lost one of the giants in the wildlife art world May 19, 2020. John Seerey Lester was born in and raised in England and located in the USA. in 1980.

He became a US citizen in 2012.

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His work is featured in the White House, museum collections, and private collections through out the world. John was a was a master teacher to many artists and was published by limited edition publisher, Mill Pond Press.

John continued to paint till his death and had just completed his fourth book, “Legendary Hunters and Explorers” due out this fall. He had completed three previous books on the hunts of Theodore Roosevelt, each illustrated by his paintings.

Avid in conservation, he provided many paintings for those groups. He was honored by the Boone & Crockett Club, Artists for Conservation, Society of Animal Artists, and was knighted by His Imperial and Royal Highness, Archduke of Austria.

I was a good friend with John and his wife Suzi for many years teaching art workshops from Yellowstone to Alaska and Arcadia in Maine. There is a bit of rascal in both of us and the many shows we attended together were a always memorable.

John was featured at the Waterfowl Festival in Easton and many other art exhibitions.

It is always sad when we lose good friends, but our 35 year legacy is a most difficult one.

Robert J. Koenke

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“When the Jaguar Speaks”, John SeereyLester. Watercolor and gaouche on paper. Signed lower right. Measures 11 1/8” by 15 1/8”. Excellent and original.

(2,000 - 2,500)

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Oil on board of two flying grouse, Richard Bishop (1887-1975). Signed lower right and dated 1955. Professionally framed and matted. Measures 14.5” by 9.75”. Excellent and original.

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(1,500 - 2,500)

Oil on canvas board, Louis Frisino (1934-2020). Image of Canada geese landing amongst decoys. Signed lower left. Image size 17.5” x 23.5”. Varnish has darkened otherwise very good.

(700 - 1,000)

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Oil on canvas, William Henry Machen (1832-1911), Toledo, Ohio. A brace of hanging quail. Signed “Machen” lower

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center. Image size 21” x 16.5”. Original canvas and stretcher; mounted in period frame; two small tears have been professionally repaired; both were located near sides of painting.

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(800 - 1,200)

Oil on canvas, Ron Van Gilder (Born 1946). Titled, “Along the Coast Buffleheads.” Image of five buffleheads along the Maine coast with lobster boat in background. Measures 24” x 39”.

Professional matted and framed. A portion of this image was used for the 1987 Maine duck stamp by Van Gilder. Framed Maine migratory duck stamp is included.

(800 - 1,200)

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Oil on canvas of king eiders on ice, Sir Peter Scott. Signed and dated 1949. Image size 25� x 30�. Very good and original.

(6,500 - 9,500)

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Phillippe Sirois 1893 - 1980 | Arrowsic, Maine With only a few days of formal education Sirois never learned to read or write but was well schooled in fishing and hunting the waters and woods of Maine. As a self-taught folk artist he documented his own catches and hunts with a realistically carved and painted model, usually from sugar pine. His largest group of work are his fish plaques. All realistic facsimiles of the trophy Sirois had caught. At least one owl with real owl feet, a standing pheasant, a flying mallard, and two flying partridge are known to have decorated his home. Sirois expressed his painting ability with folky landscapes and scenes of hunting and fishing. A true folk artist Sirois rarely painted on canvas but utilized other flat surfaces that would otherwise had been destined for the landfill. The backside of old artists pallets, thin pieces of plywood, and cut squares of formica were all used to capture his art.

Dr. John Dinan and young son used to visit Phillippe Sirois often starting in the mid-70’s. After Sirois passed away Dinan purchased many of Sirois’ carvings and the contents of his workshop including carving tools, patterns, and paints. The following selection of items were purchased directly from Sirois estate and the pheasant and grouse represent some of the rarest of the artists carvings.

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Oil on canvas of pike fisherman, Phillipe Sirois (1892-1979), Arrowsic, Maine. Two fisherman in a boat named Tina with a pike on the line. One of the artists better efforts with great folk art appeal.

Signed lower right. Image measures 16 1/4” by 20 1/2”. Minor wear; 1” puncture on top of highest tree; small puncture repair in upper part of sky.

337a

Provenance: Dr. John Dinan collection. Purchased directly from the artists estate.

337b

(600 - 900)

Flying grouse, Phillipe Sirois, Arrowsic Maine.

17.75” long. Tack eyes and carved legs and feet. Excellent and original.

Provenance: One of 337b

two flying grouse hanging in Sirois’s house. Dr. John Dinan collection.

Purchased directly from the artists estate.

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(3,000 - 4,000)

Oil on board of bass fisherman, Phillippe Sirois (1892-1979), Arrowsic, Maine. Three fisherman in a boat named “On” with a bass on the line. Signed lower right. Image measures 13 1/2” by 17 1/2”.

Very good and original.

Provenance: Dr. John Dinan collection. Purchased directly from the artists estate in the early 70’s.

(600 - 900)

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Rare and possibly unique pheasant hen, Phillippe Sourois, Arrowsic, Maine. Hollow carved with relief carved wings and detailed feather stamping. Signed on the underside of base. Measures 23 1/2” long and stands 10 1/4” tall. Excellent and original.

Provenance: Dr. John Dinan collection. Purchased from the artist estate.

(3,000 - 5,000) 339

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Bass fish plaque, Phillippe Sirois, Arrowsic, Maine. Full body fish mounted to a blue painted backboard. Signed on front of backboard. Fish measures 20” and backboard measures 26” wide. Small amount of unpainted filler where one fin joins body, otherwise very good and original.

Provenance: Dr. John Dinan collection. Purchased from the artists estate.

(1,200 - 1,800)

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Two carvings with painted backgrounds, Phillippe Sirois, Arrowsic, Maine. A carved and applied woodcock and two carved and applied flying mallard hens. Woodcock plaque measures 15 1/2” wide and the flying mallard plaque measures 16” wide. Very good and original.

Provenance: Dr. John Dinan collection. Purchased directly from the artists estate.

(600 - 900)

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Maine

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Eider drake from Maine, 1st quarter 20th century. Long inlet neck seat and ridge down back. Measures 19” long. Thin second coat of paint has flaked down mostly to the original; cracks in head and neck with nails added to secure; chip on one side of neck seat; later paint on bill.

(2,000 - 3,000)

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Oversize eider drake, Everet Sinnett, Baileys Island, Maine. 24” long with inlet head. Old in use repaint; moderate flaking and wear; two thin cracks through neck.

(1,750 - 2,250)

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Oversize eider drake, Everett Sinnett, Baileys Island, Maine. 27” long x 14” wide. Inlet head. Old repaint; two cracks in bill; repair to a chip at end of bill.

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(800 - 1,200)

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349

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350

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Black duck, Gus Wilson, South Portland, Maine, 1st half 20th century. Head is tilted forward with slen-

slightly turned heads and are 15” long. Original paint with

of green paint along back of head, possibly emulating

very slight wear; structurally good.

cracked, but secure; very light wear with a couple of rubs that expose bare wood.

Oversize eider drake, from Orr’s Island, Maine. 20”

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cracks through neck.

(1,200 - 1,600)

Merganser hen, Sam Toothacher, Harpswell, Maine. 16.5” long with inlet head. Original paint; minor to moderate wear; neck crack repair with touchup in that area; professional bill repair; small cracks.

(1,200 - 1,500)

Oversize eider drake from Baileys Island, Maine. 20” long with inlet head. Old repaint; heavily hit by shot; numerous crack and dents; tail chip missing.(1,200 - 1,500)

and discoloration; black areas have old in use repaint; two shot scars on back; small cracks and dents; two

Provenance: Colby Woods collection stamp on underside.

(400 - 600)

(1,200 - 1,500)

long. Inlet head. Original paint on white areas with wear

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Pair of goldeneye, Fred Anderson, South Portland, Maine. Large “A” carved in the undersides. Both have

der body and upswept tail. Inletted neck. Small area a mallard hen. 18” long. Strong original paint; neck is

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350

Black duck, Gus Wilson, South Portland, Maine. Slight turned inlet head. With carved eyes and relief wing carving. 17.5” long. Original paint with very minor wear; small cracks and dents; slight separation at neck seam; defect in wood in underside extends a short way up the breast.

(750 - 950)

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The Snaky Neck Eiders When one studies the birds in this tiny rig, it becomes instantly apparent that no pattern was utilized. The maker individually crafted and painted each bird, following a common theme, but subliminally imparting enough variation among the decoys to produce an extremely lifelike raft when viewed as a group. The maker of the rig is believed to have lived on the coast of central Maine, perhaps the Monhegan or Deer Island area. He seemingly only made one small rig, perhaps less than one dozen, undoubtedly for his own use. Just a fraction of this rig has survived to this day.

Perhaps no one species of waterfowl best represents the State of Maine better than the Common Eider (Somateria mollissima). These large rugged birds are year-round residents of the coast, and nowhere else along the Atlantic seaboard were they more heavily hunted. As one would expect, because of their prevalence and value to Mainers for both food and down, the vast majority of eider decoys originated here. Most of these were simple, functional tools - many bordered on being outright crude. A few, however, rose to the level of art and fewer still have reached the lofty status of becoming iconic.

Anyone who has watched a raft of these birds riding the ocean swells or plunging to depths for food as waves crashed against the jagged rocks, would instantly recognize that eiders seem to be in constant motion. Years of knowledgeable observation of these unique birds would have been the inspiration for the designing and crafting of the decoys. The sweeping, undulating body of the decoy being offered here convincingly captures the behavior of these birds. The positioning of the head, back behind the outer limit of the breast, would not only protect the fragile bill tip, but create the appropriate picture of a bird at complete ease.

In typical frugal Maine fashion, the paint pattern, while simple, accurately portrays the plumage of a living bird and, conveniently, could be easily duplicated if touchups or repairs were needed.

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Only a fortunate few have had the opportunity to include a representative by this maker in their personal collections. Examples have been treasured by collectors such as Dr. Lloyd Griffith, Peggy and David Rockefeller, Quintina Colio and a handful of others.

A number of examples from the rig have numbers stenciled on the bottom of the birds, and some have the stenciled initials of “EWE”. In addition, some examples bear the hot brand of “E.C. Sargent”. Are these rig marks or indications of

the carver? One curious feature of these decoys is the presence of a screw eye in the back of each bird.

These seem to be oriented at a ninety-degree angle to the centerline. Were the birds, for some unexplained reason, rigged in a string across their backs, or as some have suggested, perhaps hung from the rafters of some obscure fish shack, or did they simply serve another purpose?

Recent research by Gene Kangas has led him to the conclusion that the “EWE” can be credited to one Eben Weed Eaton (1838 - 1888 ) of Deer Island, Maine, and that the eiders were used basically as net floats to capture eiders at Duck Cove on nearby Isle au Haute (see an article in Decoy Magazine, March/April 2018).

Without a doubt, members of this rig are certainly among the very finest examples of Maine decoy carvers’ art. And those fortunate enough to possess one, may indeed consider themselves privileged!

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Important oversize eider drake from Deer Island, Maine, last quarter 19th century. 17” long. Inlet head that is attached to the body by a 1/2” wooden dowel. Detailed bill carving. Original paint with minor to moderate wear on much of the decoy; black on underside appears to be working repaint; numerous small cracks; tiny tail chip missing; lightly hit by shot.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “American Bird Decoys,” William J. Mackey, Jr.

(60,000 - 80,000)

221

Georoge Raymond Huey 1885 - 1946 | Friendship, Maine

As stated by John Dinan in the Great Book of Decoys, “If the great Maine carvers had a commonality it was that they loved to make mergansers.

Willie Ross of Chebeague, Os Bibber of Harpswell and Gus Wilson of the entire coast made superb mergansers (but) George Raymond Huey was the master”.

By any stretch of one’s imagination, Huey must have been a character! He was born in 1886 in Friendship, Maine, the son of John Huey and Sultana Thomas. His father appears to have left his family while George was quite young, and he was raised by his artistic mother who is remembered for her small intricately detailed house models painstakingly crafted from simple boxes. George was apparently quite a handful as a youngster, and on one occasion is reported to have shot an arrow into his mother’s buttocks!

One can only speculate whether this offense was a contributing factor, however he did in fact spend part of his youth in a reform school. During his time there, he learned the art of chair caning, a skill he would occasionally utilize later in life to earn a few dollars. Over the years his main source of income was a variety of odd jobs when funds were necessary to provide food and drink. He would often tackle undesirable tasks unwanted by others, such as cleaning privies, or rowing elderly lobstermen around the harbor to tend their gear. If he had anything that vaguely resembled a regular job it was the back– breaking occupation of digging steamer clams. Not known for his hunting ability, only on rare occasions would he accompany his neighbors in a dory to hunt the shores of the Meduncook River. For a brief time around 1910 he lived in nearby Cushing as a boarder

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Harbor, Friendship Maine c1905

Hatchet Cove, Friendship, Maine

at the home of William and Ellen Carter. A confirmed bachelor, he lived in a shack on the road between Hatchet Cove and the harbor in Friendship, and it was said he would often show up at the backdoor of many neighbors around dinner time with the expectation of being invited in for a meal. Reports state that he delighted in introducing neighborhood children to his ‘live-in girlfriend’, a ten-inch high statue of a woman he carved and named “Martha Conch”. He had neither running water nor electricity, resulting in less than ideal personal hygiene, and was reported to routinely sit alone when at dinner or church, often in a wooden chair that could be easily cleaned.

George ‘merganser man’ Huey is remembered for the decoys he called, in the Maine vernacular, his “tollers”. He carved a number of species but lavished most of his artistic abilities on these Mergansers. The stylized bodies of these carvings typically have a high regal head and upswept tail, almost rocking horse in appearance. Incised eyes and bills, along with

mortised heads, made his creations unique. Reports indicate he never used a pattern and each bird is slightly different with clean, sweeping lines that present the image of a bird resting peacefully.

Most have a distinctive sharp chine, a trait likely familiar to him from his maritime exposure. At times he adorned his works by adding scraps of leather to simulate a crest or tail feathers.

As noted by Luann Yetter in Decoy Magazine; “He perhaps knew his own worth as many of his decoys were signed on the bottom with a flourish and a carving of (a) bird in flight, as if he knew what he was creating would someday be regarded as a work of art”. He is remembered by old acquaintances as occasionally saying, “Gee Willakar, I told you old George would amount to something after all”.

His services were at the Methodist Church and he is buried in the Old Village Cemetery in Friendship.

352

Hollow carved merganser drake, George Huey, Friendship, Maine. 17” long.

Carved eyes, carved wooden crest and relief wing carving. “GR Huey” is carved in the

underside, along with a flower. Original paint with very minor wear; structurally good.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “New England Decoys,” John and Shirley Delph.

(6,000 - 9,000)

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New Jersey Shorebirds

353

354

353

Small robin snipe, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Just under

Rare dowitcher, Taylor Johnson, Point Pleasant, New Jersey, last quarter 19th century. 10” long.

8” long. Original paint with minor discoloration and

With metal eyelet under tail for carrying. Original paint

wear; several shot marks and shot scars; a fairly large

with slight wear; very lightly hit by shot; reglued tight

one on the underside of the head.

crack in neck.

Literature: “Classic New Jersey Decoys,” James Doherty Jr.

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354

(5,000 - 7,000)

(5,000 - 8,000)

355

356

355

Fine early curlew, attributed to the McCarthy family, Cape May, New Jersey, last quarter 19th to 1st quarter 20th century. 13” long. Fine feather paint detail. Outstanding dry original paint shows average wear; structurally excellent.

Provenance: “The Hillman Collection Rare American Bird Decoys”, April 1996, lot 52.

356

(6,000 - 9,000)

Rare black bellied plover, Daniel Lake Leeds, Pleasantville, New Jersey. 9.75” long. Relief wing carving and fine feather paint detail. Near mint original paint structurally very good.

(6,000 - 9,000) 356

225

357

“Lumberyard Rig” yellowlegs, New Jersey, last quarter 19th century. Relief wing carving and carved eye grooves. Measures 9 1/2” long. Original paint with good patina and minor wear; tiny chip missing from one edge of tail.

Provenance: Formerly in the collection of Dr. James McCleery, McCleery auction stamp on underside.

(3,000 - 4,000)

357

358

Curlew, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. 13” long. Original paint with very minor discoloration and wear; bill is an old replacement.

Provenance: Meyer collection.

(2,000 - 3,000)

358

359

Ring neck plover from New Jersey, last quarter 19th century.

Very plump body style. 7.5” long.

Original paint with minor to moderate wear.

Provenance: Formerly in collection of Jim McCleery. McCleery collection stamp on underside. Formerly in the collection of William J Mackey, Jr., Mackey collection stamp under the tail.

Literature: “American Bird Decoys,” William J. Mackey, Jr., p. 50, exact

359

226

decoy pictured.

(5,000 - 8,000)

Pacific Coast 360

Stick up pintail drake, Roger Barton, Sacramento, California. 16” long. Original paint with minor wear and slight patina; small chip missing from top of tail.

(900 - 1,200)

360

361

Sleeping pintail drake, Roger Barton, Sacramento, California, circa 1970. 16” long. Some wingtip carving detail. Bill is buried in feathers. “RB” stamped in weight. Original paint with good detail and very slight wear; structurally excellent.

(1,250 - 1,750)

361

362

Pacific brant in alert pose, William McClellan, Eureka, California, circa 1920s. 16.5” long. Original paint with minor wear; structurally good.

(1,500 - 2,000)

362

362a

Hollow carved pintail drake, Percy Bicknell, Vancouver, British Columbia. 18.25” long.

Scratch paint detail and raised V wingtip carving. Original paint with minor discoloration and wear; structurally good.

(800 - 1,200)

362a

227

Shorebirds Mason Decoy Factory 1896 - 1924 | Detroit, Michigan

363

Sickle billed curlew with very slightly turned head, Mason Decoy Factory, Detroit, Michigan, circa 1910. 17.75” long. Original paint with very minor wear; two small shot scars on one lower side; several tiny dents on the other side; thin crack in underside has been professionally filled and toched up; touchup to flat area at metal bill on front of face.

(6,500 - 9,500)

228

365

366

364

364

Black bellied plover, Mason Decoy Factory, Detroit, Michigan. Tack eye model, circa 1905. 10.75” long. Original paint with very minor wear; several tiny dents; short in factory filled crack at one side of breast has lost some of the filler.

365

(3,000 - 4,000)

Dove, Mason Decoy Factory, Detroit, Michigan. Glass eye model.

10.75” long. Finely detailed original paint with very minor wear; slight discoloration to front of face due to rusting on the metal bill.

Provenance: Colodny collection.

366

Dowitcher, Mason Decoy Factory, Detroit, Michigan. Glass eye

(3,000 - 4,000)

model. Fine feather paint detail. 11” long. Near mint original paint; small amount of gray wash cleaned off of the stick hole area; several tiny dents.

Provenance: Colodny collection.

(2,500 - 3,500) 364

229

367

Yellowlegs with glass eyes, Mason Decoy Factory, Detroit, Michigan. Simpler than typical paint pattern. 11.5” long. Near mint original paint; two small holes in underside.

Provenance: Colodny collection.

(2,500 - 3,000)

367

368

Yellowlegs with glass eyes, Mason Decoy Factory, Detroit, Michigan. Good paint detail.

11.5” long. Near mint original paint; two filled cracks in underside with touchup on them.

Provenance: Colodny collection.

(2,500 - 3,000)

368

369

Willet with glass eyes, Mason Decoy Factory, Detroit, Michigan. 11.75” long. Original paint with minor to moderate discoloration and wear; a few small dents.

Provenance: Colodny collection.

(1,600 - 2,000)

369

230

370

371

370

Black bellied plover, Mason Decoy Factory, Detroit, Michigan. Glass eyes. 10.75” long. Original

372

Yellowlegs, Mason Decoy Factory, Detroit, Michigan. Tack eye model. 12” long. (1,200 - 1,500)

373

Willet with glass eyes, Mason Decoy Factory, Detroit, Michigan. 12.5” long. Original paint with

paint with moderate wear; very lightly hit by shot; crack in back with some of filler missing; thin in factory crack in underside.

(1,250 - 1,750)

minor discoloration and slight wear; small amount 371

Willet with tack eyes, Mason Decoy Factory, Detroit, Michigan. 12.5” long. Original paint with

of touchup to a thin crack at one side of the neck base; bill is a professional replacement.

minor to moderate wear; lightly hit by shot; some rust

(1,250 - 1,750)

to bill and eyes; paint drip on head right below one eye.

(1,250 - 1,750)

373

372

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Capt. Samuel Augustus Fabens 1813 - 1899 | Marblehead, Massachusetts The stylish decoys bearing the brand of ‘S.A. Fabens’ have been highly sought after by astute collectors for many years.

The mark was eventually traced to a Samuel A. Fabens of Marblehead.

However, it is not known with any certainty if Mr. Fabens was the carver of the birds or simply the owner of the rig. The few examples known to exist have primarily been found on the north shore of Massachusetts.

Samuel Fabens was born in Salem, Massachusetts, a son of Captain William Fabens and his wife Sarah (Hughes) Fabens. In 1848 he married Mary G. Wilson, and the couple raised a large family of at least six children. Samuel became a very successful seafarer and the family, along with up to two Irish ‘domestic’ girls, resided for much of their lives at 14 Washington Square in Marblehead, Massachusetts. This small seafaring community was located on the coast about 18 miles north of Boston.

Samuel’s path followed his father’s life on the open seas. While in his early teens, he made his first voyage as ‘Cabin Boy’ aboard his father’s ship Tarquin. By the second voyage he had advanced to the rank of ‘Mate’ aboard another ship from his father’s fleet. He was to spend his entire life sailing the oceans as a Captain or Master Mariner, dropping anchor in many exotic ports around the world.

Between 1834 and 1850, he made sixteen voyages on the ship Ariosto owned by Samuel C. and F.H. Grey of New York, sailing to St Petersburg, Havana, Antwerp, Rio de Janeiro, and New Orleans. In 1850 – 1851, he was part owner of the Bark Wessacumcon sailing to San Francisco via Chili, Honolulu, Calcutta, and St. Helena.

In 1852, he supervised the building of the ship Golden Eagle in Medford, MA, and from 1853 to 1856 he sailed

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Ship “Golden Eagle”

Ship “Challenge”

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her to China, San Francisco, Callao, and France.

From 1858 to 1860, he was in command of the clipper ship Challenge, from New York to San Francisco, Hong Kong, and China. Finally, in 186263, he captained the ship Ganges to Calcutta and London. From the 1870 census until the time of his death, he is listed as a “retired sea captain.”

His obituary states that “he was greatly interested in the affairs of that Town (Marblehead) and his voice was heard in many town meetings. He had served on the board of overseers and as surveyor of highways.” Some writers have stated that, upon his retirement, he served as a “trial justice” but this is not verified in the available historical documents.

As discussed at the onset, the actual identity of the creator of the decoys branded with a likely facsimile of the Captain’s name remains in question. It seems likely that Fabens would have been interested in and capable of woodworking.

An article in the Fitchburg (Massachusetts) Sentinel states that one Roby Fletcher, while serving with Captain Fabens aboard the Golden Eagle in 1892, made, among other items, “a pair of rosewood planes for the Captain”. He also gifted “a rosewood spectacle case with silver hinges that was a marvel of fine workmanship which he (Fabens) still carries.” Perhaps Samuel used these planes along with other tools to craft his own

decoys. There also exists an alternative theory, that Fletcher or some other craftsman aboard one of Fabens’ ships made the decoys for the Captain. In any event, the only decoys that are indeed attributed to Samuel Fabens are a small rig of birds believed to be for his own use, and all surviving examples must be considered rare. There are known examples of Scoters, Mergansers, and perhaps a few Goldeneyes. All exhibit a level of craftsmanship and seaworthiness that speaks of the maritime heritage of their Maker.

The unique craftsmanship qualities of the early decoys produced on Massachusetts’ North Shore, such as those of Captains Fabens and Osgood, certainly helped set examples for future Massachusetts Masters such as Fred Nichols, Charles Hart, and Tom Wilson, all of whom were born in the 1860s. Fabens’ branded decoys are included in some of the best collections in the country and are represented in the permanent collection of the prestigious Peabody Essex Museum in Salem, MA. Captain Samuel A. Fabens cast off lines for the last time on January 31, 1899. He is buried in Marblehead, appropriately in the town’s Waterside Cemetery.

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374

Very rare hollow carved merganser hen, Capt. Samuel Augustus Fabens, Marblehead, Massachusetts, last quarter 19th century. Retains original keel. Glass eyes with detailed bill carving and inserted wooden crest. 16.75” long. Original paint with good patina and minor wear; small working repair to a thin chip at the base of the neck; several small dents; wooden crest is a professional replacement; appears to be a tiny bit of inpainting on one lower side.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

(100,000 - 150,000)

234

235

374a

375

374A Canada goose, Elmer Crowell, East Harwich,

Massachusetts. Crowell’s oval brand is in the under-

Canada goose, Joseph Lincoln, Accord, Massachusetts. 24” long. Original paint with minor

side. Also the initials “MVP”. 24” long. Original paint with

wear; professional touchup on the cheek patches; age

minor to moderate wear; age splits in underside; two

split in underside.

cracks in neck base.

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Provenance: Meyer collection.

375

(3,500 - 5,500)

Provenance: Meyer collection.

(4,000 - 6,000)

376

377

376

Old squaw hen, Joseph Lincoln, Accord, Massachusetts. Branded “CF Spear, Situate”. 13.75” long. Old working repaint on white areas; the rest is

Rare and important red breasted merganser drake, Franklin Pierce Wright, Sandwich and West Barnstable, Massachusetts. Head is carved in a

original; age split in underside; several tiny dents.

reared back pose. Classic wing and shoulder relief

Literature: “Decoys of the Atlantic Flyway,” George Ross Starr.(5,000 - 8,000)

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carving as seen on the hens from this same rig. To our knowledge this is the only drake that has surfaced at auction. Carved eyes with carved bill and teeth. 17” long. Original paint; with a second coat of old working to most of the white areas on the neck, body and wings.

(4,000 - 6,000)

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David Goodspeed 1863 - 1943 | Duxbury, Massachusetts

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Very rare old squaw, David Goodspeed, Duxbury, Massachusetts. 11.75” long. 17” long with tail sprig. Glass eyes. Original paint with minor discoloration and wear; structurally good.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Formerly in the collection of George Ross Starr, Duxbury, Massachusetts. Starr collection stamp on underside.

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(12,000 - 15,000)

The American House, c. 1870, Boston MA.

Map of Duxbury, 1879.

When the original colonists arrived in Plymouth, they were required to remain together for seven years.

The 1629 land grant gave about 1/3 of the original colonist’s land to the north called Mattakesett by the natives. Notable early settlers of what was to become Duxbury included familiar names such as John Alden, Capt. Myles Standish, and William Brewster. In 1637, the land on which they settled was incorporated as the second town in the Colonies. This area, directly on the shore of the Atlantic, about 35 miles south of Boston, would become the lifelong home of another direct Mayflower descendant, David Goodspeed.

Dr. Starr discusses Mr. Goodspeed in his “Decoys of the Atlantic Flyway.” He relates that Goodspeed, in about 1890, “made himself a fine set of Quandies (oldsquaws).” The bird offered here is the exact decoy that Doc Starr kept for himself, and it is pictured on page 173 of his book. Goodspeed, as noted by Starr apparently made only a few decoys, and these were for his own use. He recognized the fragility of a wooden tail to imitate the feathers of the live bird, and he arrived at a very practical and lifelike solution by drilling a few holes in the tail of the decoy into which he could insert tail feathers plucked from a real bird.

Washington Street, Duxbury, c. 1906.

Starr goes on to describe Goodspeed as having worked as a bartender at the old American House in Boston, and that he was apparently very sensitive about this occupation and never mentioned the nature of his work but always left Duxbury dressed like a banker and spoke of “going to business.” This would have been c.

1900 for, in actuality, Goodspeed held a wide range of occupations throughout his lifetime. These included: mariner, carriage painter, flagman for the railroad, printer, poultry grower, and cook in a lunchroom. In 1893, he married Lucy Cummings, and the couple spent almost their entire lives on Washington Street. He was a member of the Masons and was somewhat active in town affairs. He helped organize the 250th Anniversary of the town in 1887. He served as constable in 1907 and ‘08 and was superintendent of the alms house in 1906 and ‘07. He and his wife are buried in the Mayflower Cemetery in Duxbury.

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Captain Clarence Bailey 1882 - 1952 | Kingston, Massachusetts

Kingston is a small town on the south shore of Massachusetts, located between Plymouth and Duxbury. This was the home of both Clarence and his brother, Fred. Both gentlemen were Boston Harbor Pilots for almost 50 years. Clarence graduated from the Massachusetts Nautical Training School in 1900 and ran the boats “Liberty,” “Louise,” and “America.”

Both brothers made decoys, but it was Clarence, the perfectionist, who gained fame with his expertly crafted, canvas over ash frame, “loomer” geese. He also made a small rig of oldsquaws (long- tailed duck) that were locally referred to as “Quandies.” Like his huge geese, these decoys were made oversized. They

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are carefully hollowed from below to reduce weight and increase buoyancy. Each is unique, not only for their life like head positions but because all are painted slightly differently. When asked about this by Dr. George Ross Starr, he replied: “As near as I know, the quandy is the only bird – or, leastwise, the only duck – where the feathering actually differs from bird to bird. We old fellas have shot a lot of ‘em in our time, and that’s the one thing we do agree on.”

379

Two old squaw in different plumages, Captain Clarence , Kingston, Massachusetts. 16” long. Hollow carved with slightly lifted heads and glass eyes. Appealing old paint appears to be original; minor discoloration and wear; small amount of paint shrinkage on one of the decoys.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “New England Decoys,” John and Shirley Delph.

(12,500 - 17,500)

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380

Oversize canvas over wire frame Canada goose, Captain Clarence Bailey, Kingston, Massachusetts. Body is 40” long. Old in use repaint; small cracks in tail.

Literature: “New England Decoys,” John and Shirley Delph.

(2,000 - 3,000)

380

381

Self bailing scoter, Joseph Lincoln, Accord, Massachusetts. 17.5” long. Original paint with minor discoloration and wear; a few small dents and shot marks.

Literature: “New England Decoys,” John and Shirley Delph.

(2,000 - 2,500)

381

382

Redhead hen, Keyes Chadwick, Martha’s Vineyard, Massachusetts. 15.5” long. His early style with tucked head. Inset round weight. Original paint with moderate flaking and wear; structurally good.

(950 - 1,250)

382

383

Pair of bluebills, Keyes Chadwick, Martha’s Vineyard, Massachusetts. Both have slight turned heads. Drake is 13.75” long.

Drake has the Foote rig brand in the underside twice. Original paint with minor shrinkage and wear; age split in one side of drake.

383

242

(2,000 - 2,500)

384

Early wigeon drake, Elmer Crowell, East Harwich, Massachusetts. Pre brand model with slightly turned head, raised, crossed wing tips, and gouge feather detail. ‘CWW’ and ‘CW. Whittier’ branded on the underside. Measures 16 1/2” long. Paint was restored in the Crowell style with minor wear; under side is original.

(1,200 - 1,800) 384

385

Canvas over lath frame scoter, Captain Clarence Bailey, Kingston, Massachusetts. 25” long. Original paint with very minor wear; structurally good.

Literature: “New England Decoys,” John and Shirley Delph.

(2,000 - 3,000)

385

386

Pair of mallards from a home in Duxbury, Massachusetts. 16.5” long with relief wing carving and glass eyes.

Drake has very slightly turned head. Original paint; minor wear; drake has a repair to a small chip in the underside of the bill.

(2,000 - 3,000)

386 387

Sleeping Canada goose from New England, 1st quarter 20th century. 20” long with relief wing carving and feather carving on tail and lower sides. (2,000 - 3,000)

387

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Stephen Badlam 1822 - 1899 | Dorchester, Boston, Massachusetts Prior to its 1870 annexation by the capital city of Boston, Dorchester was a picturesque little town on the seacoast of Massachusetts. This rural community founded by the Puritans in 1630, was home to a long line of the Badlam family, which included sea captains, Revolutionary War Generals and enlisted soldiers, Church Deacons, City Officials and carpenters. On October 5th, 1822, Stephen Badlam 5th and his wife Nancy added yet another link to the family lineage with the birth of their son, Stephen Badlam 6th. As illustrious as the early family history seemed, perhaps the most noteworthy of the Badlam clan was arguably the line of accomplished furniture makers. Today, many pieces made by these skilled craftsmen are highly sought after treasures, and can be found in the collections of The Metropolitan Museum of Art in New York and the Yale University Art Gallery.

Not much is known of Stephen’s early life, but considering his pedigree it is reasonable to imagine he may have apprenticed for some time in the family’s woodworking shop. Research has shown he also worked as a city clerk in the public water office of Dorchester for many years, and records from 1890 show him listed as ‘Examiner – Water Office’. It is assumed he never married, but is believed to have lived with his widowed mother through 1864. His remains are included in the Badlam family tomb in the Dorchester North Burying Ground.

Decoys by this Maker commonly carry the “S.B.” brand, which was the identifying mark associated with the family shop. It is not certain if they were carved

by Stephen’s father, one of the skilled artisans he employed, or if Stephen carved them himself using the tools and equipment of the family’s business.

As noted by Doc Starr, a well-known early author and collector from Duxbury Massachusetts, many South Shore (MA) carvers had extensive knowledge of the varied plumage patterns of Oldsquaws, and painted their decoys accordingly. Known examples of Badlam Oldsquaw decoys reflect this insightful practice, and coupled with their thrust back head pose, represent the species in a realistic and natural manner.

Regardless of their specific origins, decoys by Badlam are considered to be among the finest to emerge from the Bay State. Today, we know of less than one dozen decoys by this maker, and this is one of only four existing Oldsquaws. This exact decoy was selected for inclusion in Gigi Hopkins recent “Massachusetts Masterpieces – The Decoy as Art” by the Massachusetts Audubon Museum of American Bird Art, and is the subject of a full page photograph on page 29 of that reference. In addition, a Badlam Oldsquaw was the subject of the highly selective and well-vetted 1999 Massachusetts Waterfowl Stamp. A Scoter from the rig is held in the collection of the Peabody Essex Museum in Salem, MA.

The decoy community first became aware of this Maker’s work just prior to 1987 when a group of decoys were put up for auction. The consignor stated that the decoys came from her father, who had acquired them from Elizabeth Badlam Nichols in 1948. She further stated that she was the grandniece of their Maker, Stephen Badlam, a direct descendant of the renowned cabinetmaker of the same name.

Left: Washington St. c. 1895. Badlam cabinetmakers shop 2nd from left.

Right: Boston 1880. Dorchester in lower left.

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Rare old squaw drake, Steven Badlam, Dorchester, Massachusetts, 3rd quarter 19th century. 12” long.

Slightly uplifted head with tack eyes. “SB” branded in underside. Rectangular lead weight attached with hand forged nails. Original paint with minor wear, mostly on one lower side; several small spots of touchup on that same side.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Lot 89 in the July 1987 Richard Bourne decoy auction.

(17,500 - 22,500)

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Franklin Pierce Wright 1854 – 1939 | Sandwich and West Barnstable, Massachusetts

The son of Capt. Zenas and Sarah Wright, young Franklin spent his youth working on the family farm in East Sandwich on Cape Cod and he remained there until at least 1880. In 1885, while now “railroading”, he had relocated to West Barnstable and he married Dulcina R Crocker. The pair would raise four children.

By 1900 through at least 1910 he lived on Fish Lane and he provided for the family by working as a “Carpenter”. The skills he developed in this trade would become readily apparent in the very limited number of outstanding decoys that have survived and are attributed to him. Farming must have been in his blood however for by 1920, he had returned to his agricultural roots and now owned his own “general farm” in Barnstable.

The choice of West Barnstable as a home was fortuitous. Much of the Town abuts the Barnstable Great Marsh which is separated from Cape Cod Bay by an area known as Sandy Neck, a long spit of low dunes. These two habitats provided ideal areas in which to hunt and Franklin supplemented his normal income by seasonally gunning for the market.

Decoys carved by Franklin were owned by members of the Swift family of Swift Meat Packing Company fame. The merganser offered here was stored in Larkin Swifts gunning camp on Sandy neck where it apparently came a little to close to the wood stove.

Decoy authorities Gigi Hopkins and Ted Harmon have lavished praise on this remarkable decoy. Ms. Hopkins illustrates this carving in “Massachusetts Masterpieces – The Decoy as Art” by the Audubon Museum of American Bird Art and proclaims:

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“Only three, perhaps four, other decoys are known by this maker. One is the snakiest, raciest merganser ever found.”

Mr. Harmon echoes her remarks and goes on to further describe the decoy as: “One of the finest expressions of decoy artistry ever to have been discovered on Cape Cod or anywhere else in North America.” - - - “It is obvious that Wright witnessed this species skimming across the surface of Barnstable Harbor to be able to execute such a compelling lifelike sculpture in a feeding pose.”

Only a very few individuals have had the privilege of placing this singular decoy in their collection and the new owner will be joining a very small, select group of seasoned collectors and art lovers.

Swift Meat and Provisions, Barnstable, MA

389

Swimming merganser hen, Franklin Peirce Wright, West Barnstable, Massachusetts, last quarter 19th century. 17.75” long. Very racey swimming form. Carved eyes and relief wing carving. Original paint with minor to moderate wear; small dents; coat of varnish has been professionally removed.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Sold in a 1986 Julia & Guyette auction for a man who found it at a flea market in North Carolina.

(20,000 - 25,000)

Franklin Pierce Wright

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John James Audubon 1785 - 1851

John James Audubon was born in 1785 on his father’s sugar plantation in Haiti. He was the illegitimate son of Jean Audubon and a young French chambermaid named Jeanne Rabin who worked at the plantation.

Shortly after giving birth, Jeanne died suddenly, and her young son was sent to live with his father’s legal wife Anne at their home in Nantes, France. John was lovingly welcomed into this new family, and Anne raised the handsome young lad as her own.

By all accounts he had a happy and fulfilling childhood, spending long summer days exploring the marshes along the Loire with his father and family friends. It was during these years that his love of nature and interest in drawing birds had their beginnings, and the budding naturalist began to grow. But the idyllic life he had come to know was about to drastically change.

After the French Revolution, the bloody ‘Reign of Terror’ was advancing towards Nantes. Fearing for his son’s safety, Jean booked passage for 18 year old John James aboard a ship bound for America, where he was instructed to help run his father’s Mill Grove farm near Philadelphia. This new land ignited a passion in John that would continue to burn brightly in his soul, and light every new path in life until his death. It was here that he developed a technique to prop and pose freshly shot birds using sharpened wires inserted into the specimen, then placing the wire ends into holes on a gridded block. Employing this method, he was able to arrange birds in lifelike positions while he sketched and then painted the models. It was also his practice to eat the birds whenever possible after the session, and many of these culinary descriptions can be found in his Ornithological Biography. One day while working on the farm, he noticed a pair of eastern phoebes nesting outside a cave on the farm, and wondered if they had been the same pair that had occupied that particular nest the previous year. Just before the chicks left the nest, he tied a piece of thin silver thread around one leg of each bird. The following year, two birds returned

248

still sporting the silver thread. And so it was, that in 1804 John James had performed what is recognized as the first recorded incidence of bird banding, a procedure still used today to study bird migration patterns. Soon after arriving at Mill Grove, he met Lucy Bakewell, the tall beautiful daughter of a distinguished family who owned a prosperous neighboring plantation. She was not only well educated, but also a talented pianist and accomplished horsewoman. In fact, she skillfully nursed the young French neighbor back to health when he had fallen ill with fever. The couple married

390

in 1808, and decided to move to Kentucky, where John started opening a string of general stores along the Ohio River. John’s duties were to keep the cooking pots filled with fresh fish and game, and the shelves stocked with goods, while a partner dealt with all business issues. Lucy kept house, worked the gardens, and tended their two sons. As John hunted and fished, he continued his painting while keeping fastidious field notes of his observations. But tranquility was again about to be derailed. ...Continued

Original aquatint engraving, John James Audubon (1785-1851), Plate 306 - Sora Rail. Drawn from nature by John James Audubon F.R.S. and F.L.S. engraved, printed and colored by R. Havell 1834. Full sheet size 25 5/8” x 38 1/8”. Plate press is visible. “J Whatman 1836” watermark. Retains excellent vibrant contrasting colors.

Provenance: Meyer collection. From Hirshcel and Adler Gallery.

(4,000 - 6,000)

249

Continued...

Until this point in his life Audubon’s fascination with drawing birds had been an obsession and hobby, and despite his painting and collecting, he managed a decent living for his family through his business partnership. However, ‘The Panic of 1819’ caused by the ‘Paper Banks’ financing of businesses during those times, swept the transAppalachian West and bankrupted almost every business in the land. An advisor told the governor of Ohio “One thing seems to be universally conceded, is that the greater part of our mercantile citizens are in a state of bankruptcy—that those of them who have the largest possessions of real and personal estate . . . find it almost impossible to raise sufficient funds to supply themselves with the necessaries of life.” Along with many other business owners of the time, the Audubons lost everything except John’s portfolio, drawings and painting supplies. Before he declared bankruptcy, even Audubon was briefly jailed for debt.

250

To support his family, John began painting portraits and exhibit backgrounds for a Cincinnati Museum, and within a few years saved enough money to support his family as he prepared for a trip to explore the wildlife of the Mississippi flyway. He moved Lucy and the boys in with family members while he embarked on a trip to float the Ohio and Mississippi Rivers, and for the next 5 years he collected and painted a vast array of birdlife from this new land. His journey ended in St Francisville, Louisiana, where he settled in and sent for his family. The wealthy plantation owners kept John employed by teaching art and fencing to their privileged children. Lucy was employed to teach piano, and the little family prospered once again.

During his time there, Audubon identified no less than 65 new species of birds. ...Continued

391

Original aquatint engraving, John James Audubon (1785-1851), Plate 345 - Tell-Tale Godwit or Snipe. Drawn from nature by John James Audubon F.R.S. And F.L.S. engraved, printed and colored by R. Havell 1836. Full sheet size 25 1/2” x 37 3/4”. Plate press is visible. “J Whatman 1836” watermark. Retains excellent vibrant contrasting colors

Provenance: Meyer collection. From Hirshcel and Adler Gallery.

(5,000 - 10,000)

251

Continued...

Finally, in May of 1826, John Audubon was finally ready to have his collection of watercolor drawings reproduced. No printer in America had the machinery or skill to undertake such a feat, so with important ‘Letters of Introduction’ in hand, and approximately $18,000.00 in his pocket, he sailed from New Orleans to Liverpool in hopes of fulfilling his dream. Sponsored by a prominent family in Liverpool, John was quickly elevated to celebrity status and welcomed at the best society tables in the city. He traveled to Manchester, Edinburgh and London, renting halls to exhibit his impressive collection of paintings to European citizens anxious to see these previously unseen wonders from the New World in dazzling color! One French critic who view the exhibit in Edinburgh wrote:

392

“Imagine a landscape wholly American, trees, flowers, grass, even the tints of the sky and the waters, quickened with a life that is real, peculiar, transAtlantic. On twigs, branches, bits of shore, copied by the brush with the strictest fidelity, sport the feathered races of the New World, in the size of life, each in its particular attitude, its individuality and peculiarities.

Their plumages sparkle with nature’s own tints; you see them in motion or at rest, in their plays and their combats, in their anger fits and their caresses, singing, running, asleep, just awakened, beating the air, skimming the waves, or rending one another in their battles. It is a real and palpable vision of the New World, with its atmosphere, its imposing vegetation, and its tribes which know not the yoke of man. . . . And this realization of an entire hemisphere, this picture of a nature so lusty and strong, is due to the brush of a single man; such an unheard-of triumph of patience and genius!” ...Continued

Original aquatint engraving, John James Audubon (1785-1851), Plate 386 - Duskey Duck. Drawn from nature by John James Audubon F.R.S. and F.L.S. engraved, printed and colored by R. Havell 1836. Full sheet size 25 5/8” x 37 5/8”. Plate press is visible. “J Whatman 1836” watermark. Retains excellent vibrant contrasting colors.

Provenance: Meyer collection. From Hirshcel and Adler Gallery.

252

(5,000 - 7,000)

253

Continued...

Audubon contracted an engraver in London and worked feverishly for the next 10 years to complete production of a 4-volume masterpiece containing 435 color plates, titled ‘The Birds of America’. Drawing upon his good business skills, he calculated and amortized the estimated costs of the project, then cleverly managed to market and sell yearly subscriptions to the wealthy gentry to pay for the ongoing production. The venture was extraordinary not only in its concept, but also in it’s completion! ‘Unsupported by gifts, grants or legacies, he raised almost every penny of the enormous cost himself by painting, exhibiting and selling subscriptions and skins’ . . . (the equivalent of approximately $2, 200,000.00 in today’s currency)! Slightly less than 200 copies were produced. (In 2000 one copy sold for $8,802,500.)

After completion of the project John returned to Louisiana to be reunited with his beloved Lucy, and they remained a devoted couple until his

254

death in January 1851. In addition to his art, Audubon left behind a collection of letters, five written volumes, two complete surviving journals with fragments of two more, and ‘a name that has become synonymous with wilderness and wildlife preservation’.

Richard Rhodes’s (published in the Smithsonian Magazine in 2004) said it best when he wrote; “He became a national icon—“the American Woodsman,” a name he gave himself. The record he left of the American wilderness is unsurpassed in its breadth and originality of observation; the Audubon Society, when it was initially founded in 1886, decades after his death, was right to invoke his authority. He was one of only two Americans elected Fellows of the Royal Society of London, the preeminent scientific organization of its day, prior to the American Civil War; the other was Benjamin Franklin.”

393

Original aquatint engraving, John James Audubon (1785-1851), Plate 304 - Turn-stone. Hand colored engraving with aquatint and engraving. On ‘J Whatman’ watermarked paper. Sheet size 26 9/16” by 39 15/16”. Plate size 14 5/8” by 20 15/16”. Narrow band of discoloration on left side of sheet not visible in image; a very nice example with vibrant color.

Provenance: From the Sachsen - Meiningen Set of Audubon’s Birds of America, Chritie’s, New York, New York. June 25, 2004.

(4,000 - 6,000)

255

394

Original aquatint engraving, John James Audubon (1785-1851), Plate 230 Sanderling. Drawn from nature by John James Audubon F.R.S. and F.L.S. engraved, printed and colored by R. Havell 1834. Full folio measures 26.25” x 39.25”. Retains excellent vibrant contrasting colors.

256

Provenance: Meyer collection. From Hirshcel and Adler Gallery.

(3,000 - 5,000)

395

Original aquatint engraving, John James Audubon (1785-1851), Plate 294 - Pectoral Sandpiper. Drawn from nature by John James Audubon, F.R.S. and F.L.S. engraved, printed and colored by R. Havell 1836. Full folio measures 26” x 38.75”. Retains excellent vibrant contrasting colors.

Provenance: Provenance: Meyer collection. From Hirshcel and Adler Gallery.

(3,000 - 5,000)

257

Ward Brothers Crisfield, Maryland

Sale of the “Prescott collection� first appeared in the Richard Bourne auction held in July of 1981. Nineteen lots were offered, all with the same provenance. Fifteen of the decoys were working pieces, but unrigged gunners dated to the early 1930s. The identifying link on some of them was the white painted underside with the name of the species painted within a black banner. The species offered in the gunning style in the Prescott sale included a Pintail pair, Shoveler pair, Canvasback pair, Redhead pair, Bluebill pair, and a Goldeneye drake.

258

396

Rigmate pair of bluebills, Ward Brothers, Crisfield, Maryland. 1930 models. Drake is in rare tucked head pose. Hen has slightly turned and cocked head. Fine feather paint detail. Hen is 15.5” long. Near mint original paint; decoys appear to have never been used.

Provenance: Prescott collection.

(15,000 - 20,000)

259

397

398

397

Swimming Canada goose from the Bishops Head Club, Ward Brothers, Crisfield, Maryland, circa 1930s. Signed and dated 1938. Inscription says, “Made

Early Canada goose, Ward Brothers, Crisfield, Maryland. Large, slightly turned head with detailed bill carving and large glass eyes. Deep ice groove carving

for the Fox’s Island Hunting Club, Crisfield, Maryland.”.

behind neck seat. Signed and dated 1929 at a later

Large ice dip behind neck. 25.5” long. Paint has been

date. Measures 24 1/2” long. Mix of original and early in

restored; minor wear; small filled chip in top of head;

use repaint that has flaked away; tight drying cracks in

lightly hit by shot.

body, otherwise very good structurally.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath.

260

398

(5,000 - 7,000)

Provenance: Dr. John Dinan collection.

(4,000 - 6,000)

399

Well sculpted mallard drake, Ward Brothers, Crisfield, Maryland. Head is turned approximately 45 degrees. VL&A stamp on underside. 16.75” long. Near mint original paint; hairline crack partway through neck.

Provenance: Dick Stevenson collection.

(6,500 - 9,500)

261

In the 1930’s the Ward brothers were at the top of their game for several reasons. They had been making decoys since about 1918 so they had honed their skills of carving and painting. They were young and physically able to handle the grind of turning out large volumes of decoys but also mentally able to concentrate on the quality. They were still somewhat undiscovered as celebrities so they did not yet have the distractions that burdened them in their later years. The decoys made during these years are sought after by collectors from across the globe. Most specifically, the decoys in the style known as “1936” are iconic within the scope of the Wards Brothers work. This pattern was created, perfected and produced from about the early 1930’s until about 1945.

This hen canvasback exhibits an added characteristic not often found on other cans from this period. The tight hump back body with the alert turned head add an extra bit of desirable artistic design.

262

400

Well sculpted 1936 model canvasback hen, Ward Brothers, Crisfield, Maryland. Head is turned approximately 45 degrees to one side.13” long. Strong original paint with pleasing tone; very minor wear; thin crack on one side of neck and in underside; very slight wear to the wood at one edge of tip of bill; hairline surface crack in bill.

(12,000 - 17,000)

263

401

1936 model canvasback drake, Ward Brothers, Crisfield, Maryland. Turned head. Ward ink stamp under tail. Signed and dated by the Ward brothers at a later date on the underside. Measures 16” long. Original paint with minor to moderate gunning wear; two hairline cracks in body and one in front of neck; eyes are replaced; professional bill repair.

264

(6,000 - 9,000)

402

Rare goldeneye drake, Ward Brothers, Crisfield, Maryland, circa1930s. 15.125” long. Head is turned 45 degrees and lifted slightly. Original paint with minor discoloration and wear; mostly on breast and bill.; small crack in lower breast.

Provenance: Formerly in collection of James Cahal.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath.

(8,000 - 12,000)

265

Maryland

403

403

Swan, very similar to the work done by members of the Orem Family. Dorchester County, Maryland. 38” long. Three piece body construction with humps on back attached with dowels. Original paint with moderate discoloration and minor wear; slight separation at head seam.

Literature: “Chesapeake Bay Decoys, the Men Who Made and Used Them,” R.H. Richardson.

(3,500 - 4,500)

404

404

Canada goose, John Vickers, Cambridge, Maryland. 29.5” long. Original paint with minor wear; several small filled in the making cracks in body; a few small dents.

Provenance: Meyer collection. (1,500 - 2,500)

405

Rare cast iron redhead wing duck, Richard Tighlman, Easton, Maryland. A rare Talbot county wing duck. Measures 14 1/2” long. Old paint with moderate wear; indent in one side is from when the casting was made.

405

266

(2,000 - 3,000)

406

Swan, John Vickers, Cambridge, Maryland. 31” long. Original paint with minor discoloration and wear; bill is a professional replacement.

Provenance: Meyer collection.

(1,000 - 1,400)

406

407

Pair of full size redheads, Robert McGaw, Havre de Grace, Maryland. On hardwood bases.

Measure 13 1/2” long. Original paint with minor paint rubs and a few small dents under a thin coat of varnish; filler on top of drake’s head has risen slightly; filler on hen’s head has flaked off.

(1,200 - 1,800)

407

408

Canvasback drake, Edward Parsons, Oxford, Maryland, 1st quarter 20th century. Small hole drilled through tail for rigging.

Measures 14 1/2” long. Dry original paint with minor wear; drying split in underside; splash of gray paint on one side of bill and face; some flaking to filler above nail holes; small tail chip repair.

(1,200 - 1,800)

408

409

Black duck, James Holly, Havre de Grace, Maryland. Measures 15 1/2” long. Paint taken down to much bare wood that has darkened; tight drying cracks in body, head, and neck; crack through neck.

(600 - 900)

409

267

410

411

410

High head style canvasback drake, Sam Barnes, Havre de Grace, Maryland, 1st quarter 19th century. Branded “JAH”. 17”

411

Canvasback drake from the Chesapeake Bay, 1st quarter 20th century. Unusual wide body with champhered edges. Four piece body

long. Appealing old in use repaint; small cracks

construction joined by small wooden dowels. 15.5”

and dents.

long. Worn original paint; crack through neck base and top of head.

Provenance: Dr. Lloyd T. Griffith collection. Griffith

collection stamp on underside. (400 - 600)

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. (350 - 450)

412

414

416

413

415

417

412

Pair of redheads, Madison Mitchell, Havre de Grace, Maryland. Signed and dated 1968. 14” long. Very good

415

original paint; hairline crack in underside of each; each has several flecks of off white paint on tail area.

long. Appealing old in use repaint; structurally good.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

tion stamp on underside.

Pintail hen and drake, Madison Mitchell, Havre de Grace, Maryland. Drake is 17.25” long and unsigned.

Hen is signed in pencil and dated 1960. Hen is very good; drake has minor discoloration on white areas; several tiny

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. From his personal hunting rig.(300 - 500)

(350 - 450)

417

Canvasback hen and drake, Madison Mitchell, Havre de Grace, Maryland. Drake is 17” long. Both

Pair of canvasbacks, Madison Mitchell, Havre de Grace, Maryland. Signed and dated 1963 in electro

are signed and dated with electro pen. Drake has lightly

pen. 15” long. Near mint original paint; hairline crack in

tiny dents.

hen’s back; several specks of off white paint on bodies; two small shot marks on hen.

Pair of widgeon, Madison Mitchell, Havre de Grace, Maryland. Both are signed and dated. Both have very

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

414

(250 - 350)

slightly turned heads. 15” long. Original and good.

dents; hairline crack in neck.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collec-

(350 - 450) 416

413

Canvasback drake, Will Heverin, Charlestown, Maryland, 1st quarter 20th century. 15”

turned head. Original paint with very minor wear; several

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. From his personal hunting rig.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. From his personal hunting rig.

(350 - 450)

(300 - 500)

Massachusetts

418

421

419

422

420

422a

418

Wood duck drake, Joseph Lincoln, Accord, Massachusetts. 15” long. Branded “CF Spear Situate” in

421

Black duck, Charles Hart, Gloucester, Massachusetts, 2nd quarter 20th century. Solid

underside. Paint has been restored in the Lincoln style; thin

body style with relief carved wings. Measures 17 3/4”

crack through bill; age split in underside that extends a

long. Original paint with almost no wear; minor loss at a

short way up the breast.

knot in back; in the making filled crack in one side that 3”

(1,250 - 1,750)

of was filled and touched up at a later date; never used.

419

Redhead hen, Keyes Chadwick, Martha’s Vineyard, Massachusetts. His middle carving period. 14.5” long. Original paint with very minor discoloration and wear; structurally good.

420

(1,250 - 1,750)

Provenance: Dr. John Dinan collection.

422

Bluebill drake, Keyes Chadwick, Martha’s Vineyard, Massachusetts. Slightly turned head. 14.5” long. Inset circular weight. Original paint with minor wear; crack in

Black duck from Massachusetts, 1st quarter 20th century. Solid body with tack eyes. Scratch feather paint detail on head. Similar to the work of Ben Pease.

Measures 16” long. Original paint with minor wear; hairline cracks in body; blunting and cracks on tail; small chip in one side of bill; paint on bill likely a second coat.

(800 - 1,200)

underside.

422a

(800 - 1,200)

Bluebill drake, Joseph Lincoln, Accord, Massachusetts. 14.5” long. Original paint with minor flaking and wear; age split under tail.

(1,500 - 2,000)

(800 - 1,200)

269

Obediah Verity 1813 – 1901 | Seaford, New York

1873 map of Seaford’s location on Great South Bay

Located only a short distance from New York City, Seaford is a mecca of extensive marshes situated on the Great South Bay, and was a year-round haven for visiting sportsmen and waterfowl hunters. For many years, the local waters bordering the town have proved to be an abundant source of seafood, fresh fish and game.

In the early 1800s, the Village of Seaford was home to a large family by the name of Verity. So substantial was their influence, that the stream flowing through the town was in fact called Verity Creek, and the town was often referred to as Verityville.

Numerous members of the Village carved decoys to attract waterfowl to their own spreads, or to supply the needs of fellow guides or visiting sports. With the passage of time, a distinct ‘style’ of decoys emerged from the Village that proved to be exceptionally effective. It was said this ‘style’ was begun by John Henry Verity (1788 – 1866) or perhaps even earlier.

Eventually the form was perfected by one individual who is now recognized as Obediah Verity. Obediah’s identity, however, remained a mystery for many years after his death. Well known early collectors such as Mackey, Earnest, and many others, recognized the beauty and craftsmanship of the carvings, but unwittingly attributed his work to one H.F. Osborn.

Eventually, early Long Island collectors Bud Ward, George Combs Sr. and George Combs Jr., suspecting the decoys originated in the Seaford area, were determined to track down and interview one of the last of the ‘old baymen’, Andrew (“Grubie”) Verity

270

(1881 – 1976). In 1975, one year before Grubie’s death, they visited him in a nursing home, and presented him with a group of decoys for possible identification. George Combs Sr. related Andrew’s reaction to the decoys: “He was in a day room - music playing in the background, lots of elderly people were around.

He didn’t seem interested in anything. So I had the basket and I put it on the table . . . . by God, he came around. His eyes lit up and he’s all smiles. My God, he says “stool”. We had snipe stool and some other stool. He picked up one and he says “Diah”, “Obediah”. He picked up another and says “William Southard”.

1873 map with at least 9 Verity families shown

This identification was later verified by George Weeks, the former historian for Suffolk County, who stated in the “Long Island Forum” that when he knew him, “He (Obediah) was about 90 years old. Diah was a carver of decoys of which I have about a dozen”. Grubie was living in the same neighborhood as Obediah and would have been twenty at the time of Obediah’s death, and Weeks would have been seventeen, so both men could have known and remembered him. The final identity of “Diah”, however, was not easy. Various research efforts identify six or seven “Obediah Veritys” on Long Island that were somewhat contemporaneous, and could have been the correct one identified by Grubie. Richard Baldwin has done extensive research on the Verity family genealogy and has found 16 Verity’s who carved decoys, and an additional 3 who served as guides.

However, through careful investigation and a thoughtful process of elimination, the identity of Obediah Verity the carver, is now believed to be known with some degree of certainty.

he was living with his sister Maria and her husband, John Alvin (a ship carpenter). In 1880 he was in the household of William H. Baldwin and his wife Mary Ann Verity, and in 1900, he returned to again live with his sister and her husband.

Shorebird decoys by his hand are usually plump with a well-fed look, possessing carved eyes and carved “S” shaped wings, with wingtips that met in the back. His paint is often described as impressionistic, with a feather detail that was accomplished by multiple daubs from the chewed end of a stick or match. His decoys are now considered to epitomize the ‘Seaford School of Carving’ and, as Henry Fleckenstein stated, his feeding Black-bellied Plovers in particular are “The ultimate in Obediah Verity snipe”. His work has been included in the collections of the most important and respected individuals and museums in America.

Even today, with all the research that has been done, very little is known about the life of Obediah Verity. We do know however, that he was a lifelong bachelor who worked the bay his entire life. In 1860

Verity Creek, Seaford, L.I. c1911

423

271

423

Rare feeding black bellied plover, Obediah Verity, Seaford, Long Island, New York, 3rd quarter 19th century. Carved eyes and relief wing carving with carved wingtips. 10.5” long. Original paint with good detail and very minor wear; working touchup on breast; bill is a later professional replacement; very lightly hit by shot.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Formerly in the collection of Dr. James McCleery, lot 423 Guyette & Schmidt/ Sotheby’s January 2000 auction catalog.

Formerly in the collection of William J. Mackey, Jr. Mackey collection stamp on underside.

Literature: “American Decoys,” Quintina Colio, p. 73, exact decoy pictured.

“American Bird Decoys,” William J. Mackey, Jr., p. 102 exact decoy pictured.

“Call to the Sky,” Robert Shaw, p. 43, exact decoy pictured. The Mackey collection, Richard Bourne Auctions, lot 160, exact decoy. “Great Book of Decoys,” Joe Engers, editor, pp. 100-101.

(90,000 - 120,000)

272

273

424

425

424

424

425

Running yellowlegs, William Southard, Seaford, Long Island, New York, last quarter 19th century. 12” long. Relief wing carving

long. With raised wingtip carving.

Shoe button eyes. Original paint with

way down neck; repair to a small chip

moderate wear; heavily hit by shot.

with minor discoloration and wear.

Provenance: Meyer collection.

(4,000 - 6,000)

274

Yellowlegs, Thomas Gelston, Quogue, Long Island, last quarter 19th century. Approximately 14”

and carved eyes. Hairline crack partin the top of the head; original paint

425

Literature: “Shorebird Decoys,” Henry Fleckenstein Jr.

(3,500 - 4,500)

Captain Al Ketchum Copiague, New York

427

Yellowlegs, Captain Al Ketchem, Quogue, New York, last quarter 19th century. 10.25” long. Relief wing carving with carved wingtips and carved eyes. Original paint; minor discoloration and wear; small dents; stick hole was fairly large and at one time made smaller with some sort of filler.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

(3,500 - 4,500)

275

428

Yellowlegs, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. 13” long. His earlier style.

Relief wing carving with extended wingtips. Shoe button eyes. Thigh carving. From the Fox rig, “Fox” is painted under the tail. Original paint with minor discoloration and wear; structurally good.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

276

(8,000 - 12,000)

429

Black bellied plover, Obediah Verity, Seaford, New York, 3rd quarter 19th century. 9 1/8” long. Original paint with fine feather detail; relief wing carving and carved eyes. Near mint original paint that has darkened with age; very lightly hit by shot.

(15,000 - 20,000)

277

Thomas Gelston 1850 - 1924 | Quogue, Long Island, New York Thomas Gelston was born into wealth. His father George S. was a jeweler by trade and apparently very successful, for the family, even after the death of the patriarch, always enjoyed the services of assorted maids, servants and cooks. Thomas did not follow in the family business and occasionally held a variety of jobs ranging from working in a grocery store to serving as an Inspector in Civil Service. For much of his life, however, he seems to have relied on the family monies and he repeatedly lists his occupation as having his “own income�.

In 1875 he married his wife Elizabeth and they had one son and one daughter. Unfortunately, his wife passed away sometime prior to 1910. His leisurely lifestyle seems to have allowed adequate time to hunt and perhaps fish. As a boy, he hunted around Sheepshead Bay and later near Quoque, NY. One of his limited financial ventures was selling some of his decoys through the firm of Abercrombie and Fitch in downtown, New York. Today his carvings are considered to be among the best of the shorebirds produced on Long Island.

Shore Rd., Brooklyn, NY. The location of the Gelston family home c1900

278

430

Very rare whimbrel, Thomas Gelston, Quogue, Long Island, New York, last quarter 19th century. 16” long with shoe button eyes and carved wings. Original paint with good detail and very minor wear; two small spots of touchup on breast; well done professional neck crack repair with a thin ring of touchup there.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “Long Island Decoys,” Fleming and Haid.(25,000 - 35,000)

279

431

432

434

433

435

431

Group of six cork sandpipers, Hewlett rig, Long Island, New York, last quarter 19th century.

Approximately 10” long. Three are quite good and origi-

Measures 10” long. Original paint on black and red areas; thin wash of white on white areas; minor discol-

cork.

oration and wear; lightly hit by shot; cracks vertically in

Provenance: Meyer collection.

432

Dowitcher, Chief Eugene Cuffee. Applied “dropped”

head and neck with two nails securing a long time ago;

(1,000 - 1,400)

wings and shoe button eyes. Decoy is 9” long. Mounted on hardwood weighted base for use as a paper weight. Original paint; minor wear; structurally good.

(1,000 - 1,400)

Sandpiper, Chief Eugene Cuffee, Long Island, New York. 7” long. Original paint with no wear and good patina; small chip missing from one wingtip. (800 - 1,200)

280

Ruddy turnstone from New Jersey, circa 1900. ‘Mackey collection’ ink stamp on the underside.

nal; the other three have replaced bills and roughness to

433

434

bill is an early replacement.

435

(1,000 - 1,400)

Yellowlegs from Long Island from the Mackey collection, last quarter 19th century. Relief wing carving and carved eyes. ‘Mackey collection’ ink stamp on the underside. Measures 11 1/2” long. Mix of original and later repaint with minor wear; hairline crack in tail, otherwise good structurally.

(1,000 - 1,400)

436

439

437

440

438

441

436

Ruddy turnstone from New Jersey, last quarter 19th century. 9.5” long. Original paint with minor wear;

439

crack in one side.

437

paint with minor wear; two hairline surface cracks in

(1,750 - 2,250)

Pair of yellowlegs, Jessie Penn, Forked River, New Jersey. Both have relief wing carving. Iron bills, and the original iron stake. 8.75” long. Original paint; minor discoloration and wear; several tiny dents.

Provenance: Meyer collection.

438

Ruddy turnstone, Otis Townsend. Relief wing carving.

(2,000 - 3,000)

10” long. Original paint with good patina and very minor wear; bill is a professional replacement.

underside.

Provenance: Formerly in the collection of John Hillman, Hillman collection stamp under tail.

Provenance: Meyer collection.

Ruddy turnstone from New Jersey, last quarter 19th century. Wide “beetle” head style. 9.5” long. Original

Provenance: Meyer collection.

440

Ruddy turnstone from New Jersey. 11” long and

(1,250 - 1,750)

slightly flat sided. Very good and original.

Provenance: Meyer collection.

441

Plump robin snipe form New Jersey, last quartet 19th century. 8” long and 2.75” wide. Original paint

(1,200 - 1,500)

with moderate wear; structurally good.

Provenance: Mackey collection stamp on underside.

(1,000 - 1,400)

(1,250 - 1,750)

281

Elijah “Eli” Doughty 1846 – 1923 | Franktown, Virginia

In 1844 Martin and Mary Doughty (Douty) welcomed a son they named Eli into the population of approximately 300 residents that inhabited the tiny settlement of Broadwater, on Hog Island. Settled in 1692, this island lies across the bay from Willis Wharf, Virginia, and is one of the larger barrier islands running along the Atlantic coast of Virginia’s Eastern Shore.

Little is known of Eli’s early years but it would be a logical assumption that, like most other ‘islanders’, his life would be tied to the water. In 1866 he married Margaret Elizabeth, and the couple would ultimately raise a large family of four sons and two daughters.

The 1870 Census records indicate that he and his young family were living in Eastville, where he earned a living as a fisherman, oyster planter or oysterman.

By 1880 the growing family had moved to Franktown, which remained Eli’s home until his death in 1923. He was buried in the Downing Cemetery in Willis Wharf, VA. For many years, the Doughtys maintained a large and prominent presence on Hog Island. Men of the family were known to be watermen or lighthouse keepers, and hunting guides. Some of them probably served visiting sportsmen at the Broadwater Hunt Club on the Island during the years of 1895 until it ceased operation around 1915. Eli’s oldest son Henry lived to be 94, and had the distinction of serving as waterfowl guide to President Grover Cleveland when he came to Hog Island to hunt. As noted by an early writer: “Hog Island is, at certain seasons of the year, ideal ground for the sportsman. Machipongo Inlet and its channels is a famous feeding ground for wild geese and that king of wildfowl, the brant, and the marshes

Hog Island light

282

Eli Doughty (left) c1875

abound with black duck. In the spring and summer, the curlew, willet and greybacks flock to the oyster shoals and ponds in the meadows. Fine bags can be made of these delicious birds that have all the flavor of the salt crustaceans on which they feed.

The hotel, erected by Mrs. Stockton of Atlantic City is open all year for the accommodation of tourist, sportsmen and other visitors. Most of the prominent sportsmen of the north pay a visit to the island to shoot bay birds and waterfowl”.

We also know many Doughty men were avid waterfowl hunters, as this abundant harvest provided food and income for many local families.

Their pursuit of waterfowl on the open waters surrounding the islands would have required the use of decoys with unique characteristics. For the most part, little is known about decoy carvers on Hog Island. However, those carved by the Doughty family are often described as being among the very finest representatives of what has become known as the “Hog Island Style”.

Loading in the harbor at Hog Island

Capt. George Doughty hunting shorebirds

According to expert Philip Harvey; “Local carvers made their decoys larger than usual, which allowed the wooden fowl to be viewed from a distance across the ‘Banks’ wide, shallow sounds. The decoys are solid and heavier than those from other areas, and most have a boat-like, V-shaped bottom that allows them to ride out rough wind and water conditions. Many feature less paint patterns and have no eyes”. Harvey claimed, “All they needed here was a silhouette on the water.

Eyes on decoys were a waste of time and money, since once a passing duck got close enough to see eyes, it was too late.’’

A series of hurricanes eventually destroyed most of the buildings and the protective pine forest that held the soil on the island. By the early1940’s, all of the residents had left the island. The only occupants in the following years were members of the U.S. Coast Guard that maintained a station to aid in navigation.

Today, the island is uninhabited.

442

Solid body brant, Eli Doughty, Oyster, Virginia, last quarter 19th century. Carved eyes, applied bill, and raised V wingtip carving. 16.5” long. Old in use repaint; small nail added to top of bill at a later date to keep it from moving; head has been off and reattached; numerous cracks and dents.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (20,000 - 30,000)

283

David Francis (“Umbrella”) Watson 1851 - 1938 | Chincoteague, Virginia

Gooseville Gun Club. Hatteras, NC

Dave Watson was the son of Peter T. Watson and Susan (Handy) Watson. Peter must have been quite successful in his profession as oysterman, for at times the family employed a “domestic servant” by the name of Comfort Scarborough. David and his younger brother followed their father’s lead and also become oystermen. Dave would continue with this line of work until at least 1910, after which his listed occupation was “carpenter” or “house carpenter” until the time of his death. Various references state that prior to 1918, he supplemented his income by gunning for the market and serving as a commercial guide. He also carved decoys, both for his personal use and to sell.

His decoys broke with local Chincoteague tradition by being hollow carved, requiring specific skills in selecting seasoned lumber, and great patience in shaping and finishing the heads and bodies. These pieces were generally considered too expensive for most of the locals, but found their way into rigs as far north as Hampton Bays (Long Island), New York. He is well known for a large rig he made for the Gooseville Gun Club in Hatteras, North Carolina, whose members and guests included men willing to travel substantial distances from cities such as Philadelphia, PA (Henry Stelwagon) and Detroit, MI (Al Lyons). Sporting author, Van Campen Heilner, was also a charter member of this club, and sporting illustrator Lynn Bogue Hunt was a frequent guest.

By 1880 Watson had married his first wife, Elexine and they had two daughters, Mary and Sarah.

Unfortunately, sometime prior to 1910 Elexine died, and Dave went to live with his daughter Sadie (Sarah).

During this time he met and married the widow Nancy (Williams) Carpenter who brought with her two children into the marriage.

As noted by authors Barry and Velma Berkey, “he was regarded generally as a quiet and reserved man, an individual who kept to himself, who hunted alone (and) who did not search for an audience of admirers”.

“Some interpreted Mr. Watson’s taciturn nature to represent a sign of unfriendliness or aloofness while others viewed him as modest or shy”. “(He) was a religious man, honest, didn’t drink and liked to read”.

Bill Mackey offers additional insights into his life when he states, (Watson) “- - - seems to have lead a busy but solitary life and seldom tidied up his shop. One eyewitness during the 1920’s claims the shavings, at that time, were knee deep. The fact that Dave always wore hip boots enabled him to ignore such things”.

Numerous authors have noted his somewhat unusual habit of always carrying an umbrella regardless of the weather or season. A compulsion that had led to his widely accepted nickname, “Umbrella”. He is said to have remarked: “Any fool can carry an umbrella when it was raining, but it took a smart man to carry one when the sun was shining” .

There appears to be some discrepancy on the actual date of death for Dave Watson. His death certificate lists his demise as being from the “flu” on November 28, 1932 at an age of 81. All other references, however, list his death date as 1938.

Henry Stelwagon with Watson decoys, Gooseville Club

284

443

Hollow carved brant, Dave Umbrella Watson, Chincoteague, Virginia. 17.75” long. Original paint with minor discoloration and wear; hairline crack in underside; crack through neck; thin chip missing from underside of bill.

Provenance: Meyer collection.

(8,000 - 12,000)

285

443a

443A Preening Canada goose, similar to Ira Hudson,

Chincoteague, Virginia. Flat bottom style. 19.25” long. Original paint with minor shrinkage and wear; age split in one side.

Provenance: Meyer collection.

444

(4,000 - 6,000)

Redhead battery decoy attributed to Alvirah Wright, Duck, North Carolina. 17” long. Old repaint worn to the wood in many places; some wood was carved off the underside a long time ago; numerous cracks and dents;

444

head has been off and reattached.

445

445

446

Hollow carved bluebill drake, Ira Hudson, Chincoteague, Virginia. 14” long. “JAP” branded in underside. Old repaint; slight roughness on one edge of tail.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside.

286

(2,000 - 3,000)

(900 - 1,200)

446

Battery redhead drake from North Carolina, attributed to Wallace O’Neill. 16.25” long. Old paint with numerous cracks and shot marks.

(300 - 500)

447

447

449

448

Early and very well made birch bark pack basket, likely Eastern Woodlands Indian. Hinged leather top and shoulder straps.

448

Large standing penguin in the style of Charles Hart, Gloucester, Massachusetts. Applied wings and tack eyes.

Copper reinforcements at bottom corners.

Measures just short of 24”. Original paint with

Measures 17 1/2” tall and 15” wide. Has dark-

minor wear; drying cracks on front and one side;

ened with age; minor losses and small holes; an

split in back and minor roughness on bottom of

excellent example.

tail.

(2,000 - 3,000)

(1,800 - 2,200)

38” carved wood and metal fish weathervane circa 1920’s. Proportedly made by Guy L. Marvel, Dana, Massachusetts. The town of Dana was flooded in the formation of the Quabbin Reservoir and the fish was then mounted in Petersham, Massachusetts and passed down in the family. Measures 38” by 12”. A few dry old layers of paint with flaking; small chip in lower part of tail.

Provenance: By descent in the family of Guy L. Marvel.

(1,500 - 2,500)

449

287

Etchings 450

450

Important etching, Carl Clemens Moritz Rungius (1869-1959). Titled, “The Wanderer”. Image of a single bull moose standing in mountain scene.

Image measures 10.5” x 14”. Personalized from Rungius, lower left “ To Pal from CR. Pal, R H Palenske” for the artist Reinhold H Palenske. Signed by Rungius on lower right. Professionally matted and framed. Image has been reframed. Prior framing did not encompass the entire image, so there is a very slight discoloration line that shows where the old border was.

(2,500 - 3,500)

451 451

“Wildfowler”, Frank W. Benson (18621951). Paff #220, edition of 150, 1923.

Signed lower left. Plate measures 11 3/4” by 7 7/8”. Very minor toning, otherwise very good and original.

(2,000 - 2,500)

452 452

“Dory Fisherman”, Frank W. Benson (1862-1951). Paff #267, edition of 150, 1927. Signed lower left with incription lower center. Bottom edge of sheet with original price of $75.00. Whatman watermark along left edge of sheet. Plate measures 7 3/4” by 9 3/4”. Minor toning in plate; moderate matt burn around sheet.

288

(1,200 - 1,800)

453

“Reflections”, Frank W. Benson (18621951). Etching, Paff 197,

455

453

edition of 50, 1920. Signed lower left. Plate measures 4 7/8” by 8”. Minor toning on sheet, otherwise good.

(500 - 800) 454

“Duck Hunter”, Aiden Lassell Ripley (18961969). Titled lower left and signed lower right. Plate

454

456

measures 9 13/16” by 7 1/8”. Excellent and original.

(500 - 800) 455

“Ducks at Dawn”, Frank W Benson (18621951). Etching, Paff 198, one of two trail proofs in this state. Signed lower left. Plate measures 6 7/8” 8 3/4”. Minor toning, otherwise good.

456

(600 - 900)

“Misty Morning”, Roland Clark (18741957). Drypoint etching circa 1921. Signed lower right. Plate measures 9 3/4”

457

“Incoming geese”, Frank W. Benson (1862-1951). Paff #114, edition of 136, 1917. Signed lower left and numbered ‘34’ lower

by 7 3/4”. Very minor ton-

right. Plate measures 5 15/16” by 3 13/16”. Excellent and original.

ing, otherwise excellent.

(300 - 500)

(400 - 600) 458

“Point!”, Marguerite Kirmse (1885-1954). Drypoint etching circa 1940. Titled lower left and signed lower right. Plate measures 7 3/4” by 9 1/2”. Excellent.

459

(300 - 500)

“Dusk”, Roland Clark (1874-1957). Drypoint etching circa 1929. Signed lower right. Plate measures 10 3/4” by 8 7/8”. Very minor toning, otherwise excellent.

457

458

(300 - 500)

459

289

460

460

460

460

460 460

460

Six chromolithographs from ‘The Day’s Shooting’ series published

by Charles Scribner & Sons, New York, 1903. After original works

by A.B. Frost (1851-1928). Includes “Good Luck”, “Bad Luck”, “Gun Shy”, Ordered Off”, “We’ve Got Him”, and another of a grand father and grand son hunting. Very minor toning, otherwise excellent.

461

(2,200 - 2,800)

“Grouse and Vines”, Aiden Lassell Ripley (1896-1969). Titled lower left and signed lower

462

#298, edition of 150, 1930. Drypoint signed lower

right. Dated 1936. Plate measures 6 1/2” by 8

left. Plate measures 7” by 12”. Professionally

3/8”. Minor toning, otherwise very good.

matted and framed.

(400 - 600)

461

290

“Waders,” Frank Benson (1896 - 1951. Paff

462

(300 - 500)

463

464

464

463

Four aquatint engravings, Roland Clark (18741957). “Wistlers”, “Tranquility”, “Fair Haven”, and “Pintails Coming In”.

Edition of 250. Minor toning a a few small spots on bottom edge of “Tranquility”.

464

(400 - 600)

Two etchings, Frank Benson. One by Frank W Benson, ‘Two Geese’, Paff #310, 1931. Edition of 15 signed and 75 used as a frontispiece that were unsigned. Signed

465

lower left. Image measures 5 7/8”

465

x 7 7/8”. Professionally matted and framed. Other by Richard Bishop Titled “Alone.” Signed and dated lower right, 1925. Etching image measures 9.5” x 7.5”. Professionally matted and framed. Very good.

(400 - 600) 465

Two etchings, Richard Bishop. One Federal duck stamp design, 1936. Signed lower right.

466

Image size 5” x 8”. One dollar federal duck stamp is also framed and matted. The other titled, “Honkers.” Signed lower right.

Copyright 1943. Image measures 10” x 12.75”. Professionally matted and framed. Very good; some light staining around the edge.

(400 - 600) 466

Professionally matted and framed collection of Federal Migratory Bird Hunting Stamps, 1934-1997. All are unsigned and unused and in a protective sleeve. Frame measures 31 1/4” by 29”. Excellent unused condition.

(400 - 600)

291

Delbert “Cigar” Daisey 1928 - 2017 | Chincoteague, Virginia Born in 1928 on Chincoteague Island, Virginia, Cigar, along with his two brothers, followed the footsteps of his father, Herbert, a decoy carver, market gunner and waterman who made a living off the land.

After graduating high school in 1945, Cigar was making more money than most of the elders on the island doing what he truly loved, trapping, which included fur bearing animals and ducks. Times were different then and game laws were not as strictly enforced as they would eventually become. In truth, these were exciting times for Cigar and one could probably write an entire novel about his brushes with the game enforcement officers.

Cigar eventually turned his efforts to carving and other more mainstream occupations, which included finding and selling decoys for Bill Mackey in the mid1950s. Learning that there was increasing interest for both old and contemporary decoys, Cigar was quick to capitalize on both. Over the next several decades, Cigar fine-tuned his reputation as a decoy carver, where he both judged and competed in carving competitions up and down the East Coast. One highlight was winning three first place awards, one of which was best of show, in a single World Championship contest sponsored by the Ward Foundation.

467

Large running whimbrel, Delbert ‘Cigar’ Daisey, Chincoteague, Virginia. Relief wing carving and raised wing tips. Branded, identified, and signed on the underside. Underside of custom stand is also signed and branded. Measures 17 3/4” long. Excellent and original.

Provenance: Doily E. Folcher collection.

(1,400 - 1,600)

467

468

468

469

Dowitcher, Delbert ‘Cigar’ Daisey, Chincoteague, Virginia. Branded and signed on the underside.

Measures 9” long. Excellent and original.

Provenance: Doily E. Fulcher collection.

469

Low head yellowlegs, Delbert ‘Cigar’ Daisey, Chincoteague, Virginia. Tucked head and ‘sleepy’ eyes. Branded and signed on the underside. Identified

(650 - 950)

and signed on the underside of base. Measures 9” long. Excellent and original.

Provenance: Doily E. Fulcher collection.

292

(800 - 1,200)

470

Pair of hooded mergansers, Delbert ‘Cigar’ Daisey, Chincoteague, Virginia. Relief wing and tail feather carving.

Branded, signed, and dated 2/95 on the underside. Measure 12 1/2” and 13” long. Excellent and original.

Provenance: Doily E. Fultcher collection and so stamped.

(3,500 - 4,500)

470

471

Pair of red breasted mergansers, Delbert ‘Cigar’ Daisey, Chincoteague, Virginia. Relief wing tip carving. Branded, signed, and dated 2/94 on the underside.

Measure 17” long. Excellent and original.

Provenance: Doily E. Fulcher collection and so stamped. (1,400 - 1,600)

471

472

472

473

Feeding dunlin, Delbert ‘Cigar’ Daisey, Chincoteague, Virginia. Branded and signed on the

Golden plover, Delbert ‘Cigar’ Daisey, Chincoteague, Virginia. Branded and signed on the

underside. Identified and signed on paper glued to

underside. Identified and signed on the underside of

the underside of the clam shell base. Measures 7 3/4”

base. Measures 9” long. Excellent and original.

long. Minor discoloration, otherwise excellent and original.

473

Provenance: Doily E Fulcher collection.

Provenance: Doily E. Fulcher collection.

(650 - 950)

(800 - 1,200)

293

Miniatures

474

475

477

476

478

474

Three 1/4 size decoys, Tom Schroeder, Detroit, Michigan. 7” long. Goldeneye, canvasback, and

Schroeder, 1965.” Turned head. Carved wingtips and tail.

7” long. Excellent and original.

bluebill. All drakes. Relief wingtip carving and fluted tails. Goldeneye has four small spots of touchup on

477

Miniature robin, Jess Blackstone. Rasped carved body and dropped wings. Signed on underside by

head, otherwise original and good.

Provenance: Clune Walsh collection.

475

Pair of miniature yellowlegs, Steve Weaver, Cape Cod, Massachusetts. Identified, signed, and dated

Blackstone, along with number 179. 3” tall. Strong origi-

(1,000 - 1,500)

2018 on the underside of the base. Excellent paint detail

nal paint; small chip at bill; small repair to one side of tail.

(250 - 350) 478

and raised wing tip carving. Measure 3” and 3 1/2” long

Pair of miniature mallards in the style of the Caines brothers, Georgetown, South Carolina. Relief carved wings and reared back ‘S’ curved necks. Rigged and

and tallest stands 3 1/2” tall. Excellent and original.

weighted. Most likely carved by Frank Finney but not

(800 - 1,200) 476

(800 - 1,200)

signed. Measure 5 1/2” and 6” long. Made to look older with darkened varnish and minor wear; excellent structur-

Miniature greenwing teal drake, Tom Schroeder, Detroit, Michigan. Signed on underside, “Tom

ally.

Provenance: From a private Maine collection.

(800 - 1,200)

294

479

482

480

483

481

484

479

Miniature running brant, Elmer Crowell, East Harwich, Massachusetts. 5.5” long. Shelburne Museum tag is taped under the base. Small amount of touchup, otherwise very good and original.

Provenance: Colodny collection.

480

Miniature redhead drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp

stamp is under the base. Very good and original.

Provenance: Colodny collection.

482

Pair of miniature bluebills on wooden base, A.J. King, North Scituate, Rhode Island. Signed. Base is

(650 - 950)

(900 - 1,200)

3.5” long. Fine carving detail. Very good and original.

(900 - 1,200)

wear; numerous small spots of touchup on sides of head

Pair of miniature scoters, A.J. King, North Scituate, Rhode Island. Signed. Fine carving detail. Base is 4”

and neck; underside of base was painted at a later date.

long. Very good and original.

is in the underside. 4.25” long. Original paint with slight

483

(800 - 1,200) 484 481

Miniature running black duck, Elmer Crowell, East Harwich, Massachusetts. 6” long. Crowell’s round ink

(900 - 1,200)

Pair of canvasbacks A.J. King, North Scituate, Rhode Island. Signed. Fine carving and feather paint detail. Base is 4” long. Very good and original.

(900 - 1,200)

295

Ontario 485

Hooded merganser from Ontario, 2nd quarter 20th century. Slightly turned thinly carved head with extended crest. ‘DWS’ stamped twice in the underside. Measures 14 1/2” long. Original paint with minor wear; reset chip in one side of neck seat with touch up.

Provenance: Ex collection Don Snyder.

485

486

(1,000 - 1,400)

Redhead drake, Tom Chambers, Toronto, Ontario, 1st quarter 20th century. Branded “JT McMillan” for St. Clair Flats Shooting member 19131946. Earlier slightly rounded head style. Comb painting on back. 16” long. Strong original paint that has crazed; light wear, mostly on sides; small area of paint loss at neck seam; tight crack in neck.

487 486

(1,000 - 2,000)

Stickup field goose from Prince Edward Island, Canada. Deep relief carved, crossed wing tips.

Typical two piece head and neck.

Was once standing on wooden legs.

Measures 26” long. Mix of original and old in use repaint with moderate wear; filled splits in body with modern touch up especially on and under tail; small amount of glue visible at neck seat.

Provenance: Dr. John Dinan collection.

487

488

(1,200 - 1,500)

Rigmate pair of Canada goose field decoys, Wilbur Roy Mill, Kensington, Prince Edward Island. From his own hunting rig, “WRM” is painted under each tail.

Both have relief wingtip carving.

Sentinel has slightly turned head. 32” each. Original paint with very minor wear; each has an age split in underside; feeder has two cracks in the back and thin crack in neck.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette.

(800 - 1,200)

488

296

489

492

490

493

491

494

489

Rare bluewing teal hen, John R. Wells, Toronto, Ontario, 1st quarter 20th century. Delicate hollow decoy with bottom board. Honey combed tack eyes.

Solid body redhead drake, Bob Jones, Dermarrestville, Ontario, 1st quarter 20th century. 14” long. Large “W” carved in the under-

12.5” long. Paint is a mix of original and working repaint;

side. Original paint; with minor to moderate wear, mostly

some wood putty visible around neck; filler at one side of

on bottom edge; a few small dents and shot marks.

breast; flaking and shot scars.

490

(800 - 1,200)

Black duck, John R. Wells, Toronto, Ontario, 1st half 20th century. Commercial grade period, however this

(500 - 700) 493

Greenwing teal drake, Davey Nichol, Smiths Falls, Ontario. Relief wingtip carving and comb painting on

decoy has better painting on both body and head than

back. 11.5” long. Bill crack repair with a small amount of

most decoys from that period. 17” long. Strong original

touchup in that area, otherwise very good and original.

paint; a few shot scars; rub at tip of bill.

491

492

(600 - 800)

Rare bluewing teal hen with slightly turned and lifted head, Jack Sheppard, Brockville, Ontario. 12”

(500 - 700) 494

Pair of hooded mergansers, Oliver King, Port Severn, Ontario. Drake is 13.5” long. Both have carved

long. Original scratch paint with minor wear; structurally

wooden crests and slightly lifted heads. Wing tip carving.

very good.

Very good and original.

(500 - 800)

Literature: “Decoys of Thousand Island,” Stewart and Lunman.

(650 - 950)

297

Shorebirds

494a

497

495

498

496

499

494a

Large golden plover from Atlantic City, New Jersey, last quarter 19th century. Just under 12” long. Beetle

497

head style. Two piece body construction with applied

Lesser yellowlegs attributed to Lou Barkelow, Forked River, New Jersey. 8.5” long. Original paint with minor wear; structurally good.

(800 - 1,200)

head. Original paint with minor to moderate wear; hit by 498

shot.

Provenance: Formerly in collection of John Hillman, Hillman collection stamp on underside.

wear; structurally good.

(500 - 800)

495

Robin snipe from New Jersey, last quarter 19th century. 10” long. Branded “S.S.S.” Original paint with minor

Curlew from Cape May, New Jersey. 16.5” long.

Provenance: Formerly in collection of John Hillman, collection stamp on underside.

(800 - 1,200)

Carved eyes. Original paint with minor discoloration and 499

wear; structurally good.

Provenance: Meyer collection.

496

(1,200 - 1,500)

Large curlew, Jonas Sprague, Beach Haven, New Jersey, circa 1900. 16.25” long. Original paint; minor discoloration and wear; age split in one side; bill is a replacement.

Provenance: Meyer collecting. Formerly in Conover collection, Conover stamp in underside.

298

(1,200 - 1,500)

Black bellied plover from Cape Cod, Massachusetts, last quarter 19th century. Tack eyes.

Relief wing carving with incised feather carving at wingtips. 10” long. Original paint with good patina and minor wear; touchup to tack eyes.

(700 - 900)

500

502

501

503

500

Curlew, from Cobb Island, Virginia, last quarter 19th century. 13.75” long. Raised V wingtip carving. Very

503

Yellowlegs from South Hampton area of Long Island, New York, last quarter 20th century. Shoulder

slightly turned head. Old in use repaint; hit by shot; chip

and wing relief carving. Split and raised tail. “W. Bowman”

missing from front of neck had filler put in it a long time

is written on underside. Obviously with similar charac-

ago; several small cracks.

teristics to those shorebirds attributed to Bowman. 11”

(800 - 1,200)

long. Original paint that has small flakes evenly mostly 501

Plump black bellied plover from New Jersey, last quarter 19th century. 9.75” long. Relief wing carving. Original paint with minor to moderate discoloration and wear; structurally good.

over head and neck; a few small shot scars.

504

(-)

(600 - 800)

Set of six tin yellowlegs on iron stakes, Massachusetts, 1st quarter 20th century. 10.75” long. Original paint with minor wear; all have some por-

502

Curlew, Jonas Sprague, last quarter 19th century. 15” long. Original paint with minor wear; structurally good.

tion of the bill broken off.

Provenance: Meyer collection.

(600 - 900)

Provenance: Conover collection stamp on underside.

(650 - 950)

504

299

Sporting Art

505

505

506

505

506

507

Two acrylic on boards, John Seerey-Lester (b.1946). Both with panda bears. Signed lower

“Out of the Dark - Grizzly”, John SeereyLester (b.1946). Oil on canvas. Signed lower

right. Measure 9 3/4” by 7 3/4”. Excellent and

right. Measures 8 1/2” by 11 1/2”. Excellent and

original.

original.

(1,200 - 1,800)

Watercolor, Arthur Shilstone (b.1922). Winter scene of fly fisherman in river with hooked fish.

Signed lower right. Measures 9” x 12”. Excellent.

(1,500 - 2,000)

300

507

(1,000 - 1,400)

508

508

509

“Woodcock at Evening”, William Schaldach (1896-1982). Signed lower left. Image size 8 7/8” by 7”. Excellent and original.

509

(800 - 1,200)

Watercolor, Brett Smith (b.1958). Marsh scene shooting ducks over decoys from shore blind. Professionally matted and framed. Image measures 14” x 21”. Signed lower left. Excellent and original.

510

(800 - 1,200)

511

510

Oil on canvas of widgeon, Bob Hines (1912-1994). Signed and dated lower left. Sight size 15.5” by 19.5”. Excellent and original.

511

(600 - 900)

Watercolor, Paul Milliken (UK 1920-2014). Flying grouse. Signed lower right. Image size 21” by 29”. Very good and original.

(800 - 1,200)

301

512 513

512

Early folk art painting on wood, dated 1882. A setter at the mantel with a portrait of his likely deceased owner hanging above it. Inscribed on the back and dated December 1882. Measures 39” by 15 1/2”. Original paint has darkened with age; minor flaking at wood grain.

Provenance: Dr. John Dinan collection.

513

(500 - 800)

Oil on board, Tim Eastland (20th century), Connecticut. Image of a decoy carver’s workshop decorated with Long Island decoys, shot shell boxes, a shorebird, and other hunting memorabilia.

Image size 23” x 31.5”. Professionally framed. Excellent.

514

514

515

Acrylic on canvas, Jorge Mayol (b.1948). Signed lower left. Measures 11 3/8” by 8 3/8”. Excellent and original.

515

(600 - 800)

(400 - 600)

Watercolor on paper, William Schaldach (1896-1982). Signed “W. W. J. Schaldoch 38” lower left. Image of flying ruffed grouse. 18” x 14”. Professionally matted and framed. Spotted discoloration over most of light areas in sky.

302

(700 - 900)

517

516

516

Watercolor, William Schaldach (1896-1982). Signed and dated lower right. Image of woodcock in flight. Image size 16” x 13”. Professional matted and framed. Some discoloration to light areas of sky.

(700 - 900)

517

Oil on canvas, Hugh Cecil Charles Monahan (1914-1970). A group of canvasbacks coming into a marsh. Signed lower right. Titled “Prairie Lake Canvasbacks”, signed and dated 1972 on the back of the stretcher. Measures 19.5” by 23.75. Excellent and original.

(600 - 900)

519 518

518

Watercolor signed A.B Frost (1851-1928). A hunter and two dogs on a river bank.

Signed and dated 1890 lower left. Inscribed ‘On The Leam, Frakton, Warwickshire’ on the back. Image measures 9 3/4” by 6 3/4’”. Foxing in sky, otherwise good.

519

(600 - 900)

Gouache on paper, Alan Brooks (1869-1945). A single canvasback coming in.

Signed lower right. Professionally framed and matted. Image measures 14” by 10”, frame measures 32.5” by 25.5”. Excellent and original.

(600 - 900)

303

Duck Calls

520

My grandfathers both lived in southern Illinois, one in Gorham and the other in Jacob. The three calls were given to my father by my grandparents after they were unable to hunt.

I remember the three calls hanging on the same string in our gun cabinet for over fifty years. My grandfather would take my grandmother to church in Rattle Illinois and would wait outside for her at the general store. The calls were purchased at the general store for $1.00 and have remained in our family ever since. My grandfather on my dads’ side was an avid duck hunter in the southern Illinois and used these calls. He eventually gave them to my father, the youngest of the 9 kids in the family and the most avid hunter in the group of boys.

521

- Consignor of lots 520, 521, and 524

520

520

521

Very early duck call, found in southern Illinois. Has characteristics of calls from the Glodo family. Wonderful surface from a varnish that has darkened and crazed. Decorative layered carving on barrel. 5” long. Wedge block is a later replacement; a rubberized material was applied a very long time ago around the stopper; it appears as if the stopper was checkered at the lower portion because the pattern is visible through the rubberized material.

521

(6,000 - 8,000)

Important duck call, Albert Glodo, Southern Illinois. Smooth barrel with flat top. “E” is carved in the stopper. 5.5”. Wedge block is an early replacement; currently has two copper reeds; even wear; shows good age.

522

(5,000 - 7,000)

Desirable duck call, A.M. Bowles, Little Rock, Arkansas. An early “high shoulder” model. With four raised and checkered panels.

No stamp at top of barrel. 6.5”. Reed and wedge block are possible replacements; small chip missing form stopper.

304

(1,500 - 2,000)

522

523

Rare duck call, Tom Turpin. Checkered barrel model with three panels. 6.5”. Very good and original.

523

523a

(5,000 - 7,000)

Important and rare cartridge shot box, Robin Hood Company, Swanton, Vermont. 38 cal. S. & W. Shot Cartridges, 50 count box, Central Fire, Loaded with black powder. Box is full and sealed. 4” long. Retains vibrant color; a very few small pieces of edge wear.

523a

(700 - 900) 523

524

524

525

526

Very rare duck call, Doc Taylor, Tennessee. Unusual

526

stippled panels with remnants of water label. 6.5”.

(3,000 - 3,500)

527

Rare duck call, Ben Jon, Memphis, Tennessee. “Water” label at top of barrel. 6.75”. All parts seem to be original; some varnish flaking and light wear.

525

(1,000 - 1,500)

Duck call, John Jolly, Memphis, Tennessee. Smooth barrel model. 7”. Reed is missing; some white residue or possibly mold is inside some of the wood grain.

(1,200 - 1,500)

527

Duck call, similar to Claude Stone. Four raised and checkered panels, with flared mouth piece and cedar stopper. 6.5”. A few very tight cracks near mouth piece; a bit dusty or grungy in the checkering.

(1,800 - 2,200)

305

528

530

532

529

531

533

528

Duck call, Charles Perdew, Henry, Illinois. Carved

531

checkered panels with cedar stopper. Probably made by

wear at end of stopper and around mouth piece.

Tiff Sr. 5”. Light wear around mouth piece, otherwise very

(3,000 - 4,000) 529

530

Duck call, Roseberry Family, Illinois. Three raised and

call with red mouth piece and initials “LDW.” 6.25”. Light

Duck call, Tiff Roseberry, Murphysboro, Illinois. Three

good and original.

532

(800 - 1,200)

Checkered duck call from Illinois. Four checkered

checkered panels with flared mouth piece. 5.5”. Excellent

panels with real foot style stopper. Appears to have

and original.

decent age. 5.5”. All parts seam original.

(1,000 - 1,500)

Duck call, Roseberry Family, Illinois. Three raised and

book, “Duck Calls of Illinois,” on page 178.

checkered panels. An “X” marked at the end of the stopper. 5.25”.

(800 - 1,000)

Literature: This exact call is pictured in Bob Christensen’s

533

(1,000 - 1,500)

Duck call, rare, G.D. Kenny, Tennessee. Burled wood barrel with applied separate wood mouth piece.

5.5”. Wedge block and stopper may be a replacement.

(800 - 1,200)

306

534

536

538

535

537

539

534

Duck call, Joseph Goodbrake, Illinois. Smooth barrel with shaped stopper. 5.5”. Crack in barrel; reed appears

Desirable duck call, A.M. Bowles, Little Rock, Arkansas. Stamped at top of barrel. Made from ebony

to be an old replacement; tape has been used to keep

wood. Four carved and checkered raised panels, one of

call together on the inside; light wear.

which has a lighter wood spot. 6.5”. Light wear with some

537

(400 - 600)

tiny scratches on stopper.

535

Duck call, John Sandy Morrow. Flint, Michigan. Smooth barrel with exaggerated mouth piece

538

Duck call, Sharpie Shaw, Tennessee. “Sharbie Shaw”

and unusual bulge at midpart of barrel. 6.5” Light wear

stamped on heavy burl barrel. 7.25”. Light wear with some

with some varnish missing at tip of mouthpiece.

varnish missing; very tight age crack at top of barrel.

(800 - 1,200) 536

(1,500 - 2,000)

Rare and unique duck call, A.M Bowles, Little Rock, Arkansas. Barrel is carved in a candy stripe fashion. End

(800 - 1,200) 539

Duck call, Tom Turpin, Real Foote, Tennessee. Number “8” stamped on both stopper and

of barrel is stamped “AM Bowles, Arkansas.” Arkansas style

wedge block. Barrel has Turpin duck stamp impressed

stopper. 5.5” long. End of stopper has a piece missing

three times. 6.75”.

from one side.

(800 - 1,000)

(800 - 1,200)

307

540

540

541

542

Duck call, Chester Walker, Memphis, Tennessee. Burled wood barrel with water label.

5.25”. Very good and original.

544

Very rare Herter’s goose call. Jimmy Robinson model with brass band. In original early Herter›s black box.

(500 - 700)

5.5”. Some discoloration to brass label, otherwise original and good.

541

(800 - 1,200)

Duck call, Johnny Marsh, Tennessee. Three raised checkered panels. 6.5”. Excellent and original. (700 - 900)

545

Duck call, Tom Turpin, Tennessee. Flared mouth piece.

Cedar stopper. Measures 5.25”. Original and good.

542

Duck call, Tom Turpin. With Bill Barnt string. Red paint

(1,000 - 1,500)

marking both wedge block and stopper. 6.5”. Excellent.

(800 - 1,000)

546

Three duck calls, E. Stoffer, Missouri Smallest a checkered call stamped K.C.MO. Measures 4.5”. Tallest with four

543

Duck call, John Yasger, Horicon, Wisconsin. Classic

checkered panels, stamped E.Stoffer Loan Jack MO.”

Yasger construction with self holding reed.

Measures 5.5”. Third with rare Stoffer label, Bean Lake.

5.75”. Structurally very good; light wear around mouth

Measures 5.5”. Small chip at barrel in Bean Lake call; all

piece; staining and discoloration with worn varnish.

with light wear.

(500 - 700)

(400 - 600)

543

308

544

545

546

547 547

548.

548

549

Checkered duck call. Appears to be quite old with

550

Lot of eight snipe whistles. Made form wood, brass, tin,

real foot stopper and oversized barrel with exceptional

and bone. Vary in length from 2.1” - 3.5” long. Copper whis-

four panel checkering. Made from walnut. 7.5”. Excellent

tle marked “Woodman, Boston, Mass.” A tin whistle marked

patina .

“R Woodman, Boston Mass.” Good to very good.

(800 - 1,200)

Duck call, Willard Kingsley 1905-1975, Kingston Mines, Illinois A maker of Glodo style calls from the 1940s into the 1960s. According to Bob Christensen his total output

Provenance: Meyer collection.

551

Box call, Neil Cost, Greenwood, South Carolina. Made as a match call for Don Gollanhon.

of about 100 - 150 calls was given to relatives, hunting part-

(1,750 - 2,250)

Signed and dated 1993. Bares turkey call stamp. 10” long.

ners, or other friends. Some of the barrels of his calls, includ-

(800 - 1,000)

ing this, taper to a rectangular mouth piece. Made from walnut. 6”. Wedge block and reed have been replaced; a few dents near top of stopper; light wear.

549

(800 - 1,200)

Provenance: Dr. Lloyd T. Griffith collection.

(1,000 - 1,400)

Box call, Neil Cost, Greenwood, South Carolina. Made as the old hen in a set of six calls for Mark Kirks, Raleigh, North Carolina. Signed and dated 1992.

Two barrel type snipe whistles, last quarter 19th century. One is stamped “McIntosh” the other is stamped “Pat Jan 29/1889.” Larger is 4.75” long. Original and good.

552

Bares Neil›s turkey foot on underside. 10” long. (800 - 1,000) 553

Box turkey call, Neil Cost, Greenwood, South Carolina. Stamp and signature on underside, “Made for Greenwood Supply Company, Greenwood, South Carolina.

As a signature grade.” 9.5” long.

(800 - 1,000)

End of session two

550

552

551

553

309

Index of Carvers Adamson, Harry Curieux................................................ 326 Anderson, Fred............................................................... 348 Anger, Ken...................................................................... 291 Armstrong, Charles................................................. 38,81,94 Audubon, John James ........................................... 390-395 Bach, Ferdinand............................................. 314,320,322a Bailey, Captain Clarence.................................379,380,385 Barkelow, Lou................................................................. 497 Barnard, Charles.. ................................................. 68,72,410 Barto, George “Skipp”..................................................... 20 Barton, Roger.. ......................................................... 360,361 Bedlam, Steven.............................................................. 388 BenJon .......................................................................... 526 Benson, Frank.. ........................330,451-453,455,457,462,464 Bicknell, Percy.. .............................................................362a Birch, Reggie.. ................................................................. 204 Bishop, Richard........................................................ 333,465 Blackstone, Jess.. ............................................................ 477 Blair, Jr., John.. ......................................................... 233,236 Bowles, A.M... .....................................................522,536,537 Bowman, William.............................................. 194-169,428 Boyd, George........................................ 42,101,139,140,147 Brady, Walter.................................................................... 51 Brooks, Allan............................................................ 324,519 Buchner, Frank......................................................... 309,310 Burgess, Ned..................................................................... 37 Burke, Bob....................................................................... 282 Burke, Dr. Edgar.............................................................. 331 Carmadell, Willie.............................................................. 93 Chadwick, Keyes........................................ 382,383,419,422 Chambers, Tom..........................................286-288,293,486 Champagne, Walter...................................................... 173 Charles Scribner & Sons .. .............................................. 460 Chesser, Grayson.. .......................................................... 217 Clark, Charles.......................................................... 302,303 Clark, Roland.....................................................456,459,463 Cobb, Elkanah.. ................................................................ 52 Cobb, Albert or Arthur................................................... 296 Cobb, Jr., Nathan.. ............................................... 46-48,295 Cooper, Bill....................................................................... 65 Cost, Neil.. ................................................................ 551-553 Couret, Jack........................................................79,179,183 Crowell, Elmer........... 21a-36,109-111b,186-193a,282a-285, 374a,384,479-481 Cuffee, Chief Eugene............................................. 432,433 Daisey, Delbert “Cigar”.. ......................................... 467-473 Davids, Richard Wistar.. ........................................... 239,240 Doughty, William.. ........................................................... 442 Dugar, Arthur John......................................................... 184 Duplessis, Sylvester “Sidney”..................................... 85,170 Eastland, Tim................................................................... 513 Elliston, Robert............................................................. 15,16 English, John................................................................... 225 English, Dan.................................................................... 228 English, John or Dan....................................................... 223 Fabens, Capt. Samuel Augustus. . .................................. 374

Fernland, Ivar.................................................................. 290 Finney, Frank................................................. 10,201,209,219 Fitzpatrick, John.............................................................. 230 Foote, Jim....................................................................... 281 Frady, Mike................................ 80,86,178,273,275-278,280 Frisino, Louis..................................................................... 334 Frost, A.B......................................................................... 518 Garren, Otto..................................................................... 14 Gelston, Thomas...................................................... 425,430 Gibian, William..................................................6,11,199,200 Gilder, Ron Van.............................................................. 336 Glodo, Albert.................................................................. 521 Goodbrake, Joseph....................................................... 534 Goodspeed, David................................................. 105,378 Granier, Eddie............................................................ 91,169 Graves, Bert.................................................. 1-4,17,19,322b Hambry, Michael............................................................ 134 Hanson, Marty................................................................. 198 Hart, Charles................................................. 282c-282e,421 Hays Decoy Factory ..................................................... 316 Herter’s Factory ............................................................ 544 Heverin, Will.................................................................... 415 Hines, Bob....................................................................... 510 Holland, Mark...............................................................282b Holly, James.......................................................... 69,73,409 Holly Family ..................................................................... 75 Hotze, Hiram “Hy”...................................................... 18,308 Howard, William................................................................ 84 Hudson, Ira............................................... 297-299,443a,445 Huey, George................................................................. 352 Hymel, David Pierre........................................................ 168 Irvine, Lawrence............................................... 125-129,131 Jacobsen, Antonio Nicolo Gasparo.............................. 325 Jafreau, Charles............................................................. 180 Jaques, Frances Lee.....................................................330a Jester, Doug...................................................................... 49 Johnson, Fred................................................................. 172 Johnson, Taylor............................................................... 354 Jolly, John....................................................................... 525 Jones, Bob...................................................................... 492 Kears, Mark..................................................................... 235 Ketchem, Captain Al..................................................... 427 King, A.J................................................................... 482-484 King, Percy...................................................................... 494 Kingsley, Willard.............................................................. 548 Kinney, G.D..................................................................... 533 Kirmse, Marguerite.......................................................... 458 LaFrance, Mitchell....................................... 76,77,83,87,176 Laing, Albert............................................................ 149,150 Leeds, Daniel Lake......................................................... 356 Lincoln, Joseph........... 43,45,145,146,375,376,381,418,422a Lippincott, Gideon.................................................. 229,237 Machen, William Henry.................................................. 335 Mailman, Paul................................................................. 132 Marsh, Johnny................................................................. 541 Marter, Ridgeway........................................................... 234

Mason Decoy Factory . . .............. 151-165,253-267,363-373 Mayol, Jorge.. ................................................................. 514 McCarthy Family .......................................................... 355 McClellan, William.......................................................... 362 McDonald, Zeke............................................................. 321 McGaw, Robert.................................................... 40,41,407 McIntyre, Cameron........................................................ 206 McNair, Mark................................. 5,8,197,203,205,207,208 Mill, Wilbur Roy.. .............................................................. 488 Milliken, Paul................................................................... 511 Mitchell, Madison............................................................. 71 Mitchell, Madison.......................................412-414,416,417 Monahan, Hugh............................................................. 517 Moreland, Robert........................................................... 212 Morrow, John Sandy. . ..................................................... 535 Mueller, Keith.................................................................. 202 Murray, Anthony................................................................. 7 Nichol, Davey................................................................. 493 Nottingham, Luther Lee ................................................ 304 O’Neill, Wallace.. ............................................................ 446 Osthaus, Edmund........................................................... 327 Paquette, Robert.. .......................................................... 279 Parker, Lloyd................................................................... 238 Parsons, Edward............................................................. 408 Pelligren, Arthur................................................................ 88 Penn, Jessie.. ................................................................... 437 Perdew, Charles........................................................ 21,528 Peterson, Oscar........ 112-124,210,211,241-244,247,249-252 Pierra, Dennis.................................................................. 166 Pleissner, Ogden.. ........................................................... 329 Pryor, Leonard.................................................................. 74 Ragus, George............................................................... 177 Raimey, Jeff.................................................................... 248 Rathmell, Lou.................................................................. 148 Ripley, Aiden Lassell................................................ 454,461 Robert, George................................................................ 62 Robin Hood Company ...............................................523a Roseberry, Tiff.. ................................................................ 529 Roseberry Family .. .................................................. 530,531 Roussell, Reme.............................................. 78,174,175,181 Roussell, Sr., J.C................................................................ 90 Rungius, Carl Clemens Moritz.. ....................................... 450 Schaldach, William.. ....................................................... 508 Schmidt, Ben.. .........................305-307,311,313,315,317,318 Schmiedlin, Jim............................................................... 216 Schroeder, Tom....................................................... 474,476 Schweikart, John............................................................ 322 Scott, Sir Peter.. ............................................................... 337 Scrivens, Daniel.. ............................................................. 319 Seerey-Lester, John...........................................332,505,507 Seidler, Otto...................................................................... 63 Shaldoch, William.................................................... 515,516 Shaw, Sharpie................................................................. 538 Sheppard, Jack.............................................................. 491 Shilstone, Arthur.............................................................. 506 Shourds, Harry V... ....................................... 224,227,353,358

Sinnett, Everett......................................................... 343,344 Sirois, Phillippe........................................................ 337a-341 Smith, John........................................................................ 67 Smith, Brett...................................................................... 509 Southard, William............................................................ 424 Sprague, Jonas........................................................ 496,502 Stevens, Harvey...................................................... 53-55,57 Stevens, George............................................................... 56 Stick, Frank...................................................................... 323 Stoffer, E.......................................................................... 546 Stone, Claude................................................................. 527 Tait, Arthur Fitzwilliam..................................................... 328 Taylor, Doc...................................................................... 524 Terry, Albert....................................................................... 60 Tighlman, Richard........................................................... 405 Tonelli, Jay...................................................................... 133 Toothacher, Sam............................................................ 347 Townsend, Otis................................................................ 438 Tulley, ............................................................................ 130 Turpin, Tom.................................................. 523,539,542,545 Verity, Obediah....................................................... 423,429 Vickers, John............................................................ 404,406 Vidacovich, Ernest..................................................... 89,167 Vizier, Clovis...................................................................... 92 Walker, Charles.................................................... 12,13,20a, Walker, Chester.............................................................. 540 Ward Brothers ...........................................268-270,396-402 Warin, George................................................................ 289 Watson, Dave “Umbrella”......................................... 50,443 Weaver, Steve............................................................. 9,475 Wells, John R......................................................292,489,490 Wheeler, Shang....................................................... 142,143 Whipple Family ............................................................. 182 White, Bob...................................................................... 218 Wildfowler Decoy Factory, ........................................... 258 Wilson, Gus............................................................... 345,350 Wright, Franklin Pierce.................................................... 377 Wright, Alvirah................................................................ 444 Yasger, John................................................................... 543 Young, John Scott.......................................................... 171 Zachman, John............................................................... 312 Zwicker, John.................................................................... 64

Additional information references Lot 1 Pennington, Willis G and H Sorenson. 1968. “Bert Graves of Peoria (1887 –

1956)”. Decoy Collectors Guide, 1968 Annual. Burlington, Iowa.

Tonelli, Donna. 1997. “G. Bert Graves – Decoy Maker and Canvasback Hunter Extraordinaire”. Decoy Magazine. March/April 1997. Bartonsville, MD. Tonelli, Donna. 1998. “Top of the Line Hunting Collectibles” Schiffer Pub. Atglen, PA.

Lot 239 Allen, Russ. 2014. “Arthur Bartholomew Vance & the ‘Philadelphia School’

– Discovering the Maker and Painter of Many ‘Blair School’ Decoys”. May/ June 2014 Decoy Magazine. Lewes, DE. Chitwood, Henry C. 1987. “Connecticut Decoys – Carvers and Gunners”.

Schiffer Pub Ltd. West Chester, PA. Lesher, Pete. 2016. “New Additions to The R.W. Davids Rig”. Decoy Magazine Nov/Dec 2016. Lewes DE. Swanson, Ronald S. 1995. “Albert D. Laing – A Decoy Maker Unequaled in His Day”. July/Aug, 1995. Decoy Magazine. Burtonsville, MD.

Lot 12 Decoys and Decoy Carvers of Illinois, Parmalee and Loomis, copyright 1969, Northern Illinois University Press, DeKalb, Illinois.

Top of the Line Hunting Collectibles, Donna Tonelli, copyright 1998, Schiffer Publishing Co., Atglen, PA.

Lot 52 Fleckenstein, Henry A. Jr.1983. “Southern Decoys of Virginia and the Carolinas”. Schiffer Pub Ltd. Exton, PA.

Lot 271 American Art Review, December 2001 Lot 295 Chesser, Grayson.1998. “Cobb Island – A Hunters Paradise”. Decoy Magazine, Nov./Dec. 1998. Lewes DE. Dyke, Samuel H. 2006. ‘The Illustrious John Haff”. Decoy Magazine, July August 2006. Lewes DE. Fleckenstein, Henry A. Jr. 1980. “Shorebird Decoys”. Schiffer Pub Ltd. Exton, PA. Fleckenstein, Henry A. Jr.1983. “Southern Decoys of Virginia and the Carolinas”. Schiffer Pub Ltd. Exton, PA. Levinson, John M. and S.G. Headley. 1991. “Shorebirds – The Birds, The Hunters, The Decoys”. Tidewater Pub. Centreville, MD.

Lot 68 McKinney, J. Evans. 1978. “Decoys of the Susquehanna Flats and Their Makers”. Decoy Magazine Pub. Ocean City, MD. Sullivan, John C. 1989. “The Dignified Upper Chesapeake Bay Decoys of Charles Nelson Barnard”. Decoy Magazine. Nov./Dec. 1989 Berlin, MD. Sullivan, Jon C. 2006. “Missing Barnard Coot Reunited With His Rig”. Decoy Magazine Jan./Feb. 2006. Lewes DE.

Lot 99 Earnest, Adele. 1965. “The Art of the Decoy: American Bird Carvings”. Clark-

son N Potter Inc. Publisher. New York, NY. French, Joe. 2001. “Walter Bush and the Green Collection’. Decoy Magazine, May/June 2001.Decoy Magazine. Lewes, DE. Harrell, Loy S. Jr. 2000. “Decoys – North America’s One Hundred Greatest”.

Krause Publications, Iola, WI. Hopkins, Gwladys. 2016. “Massachusetts Masterpieces – The Decoy as Art”.

Museum of American Bird Art – Mass Audubon. Lincoln, MA. Merkt, Dixon. 1982. “The Joel Barber Collection of Decoys – Exhibited at the Wilton Heritage Museum Danbury, Connecticut”. North American Decoy Summer 1982. Hillcrest Publications Inc. Spanish Fork, UT. Parker, Jackson. “Decoy Record Price Set at SPB Auction of Gregory Folk Art”.

North American Decoy. Summer 1979. Hillcrest Publications Inc. Spanish Fork, Utah.

Rogers, Kory, W. 2017. “Birds of a Feather: Wildfowl Decoys at Shelburne Museum”. Skira Rizzoli, New York.

Shaw, Robert. 1992. “Call to the Sky – The Decoy Collection of James M. McCleery, M.D.” Houston Museum of Natural Science. Gulf Publishing Company.

Houston, TX. Shaw, Robert. 2010. “Bird Decoys of North America – Nature, History, and Art”.

Sterling Publishing. New York, NY.

Lot 296 Fleckenstein, Henry A. Jr. 1983. “Southern Decoys of Virginia and the Carolinas”. Schiffer Pub. Ltd. Exton, PA.

Lot 304 Fleckenstein, Henry A. Jr. 1983. “Southern Decoys of Virginia and the Carolinas”. Schiffer Publishing Limited. Exton, PA.

Lot 351 Kangas, Gene. 2018. “Duck Harbor Snakey Neck Eiders – New Questions,

New Clues and New Answers” Decoy Magazine, March/April 2018. Lewes Delaware

Lot 352 Dinan, John. 1990. Chapter on Maine decoys in “The Great Book of De-

coys”, Joe Engers Ed. Thunder Bay Press. San Diago, CA. Shaw, Robert. 2010. “Bird Decoys of North America – Nature, History, and Art”. Sterling Publishing. New York and London.

Yetter, Luann. 1995. “George Huey – An Eccentric Folk Artist as Original as His Carvings”. May/June Decoy magazine, Burtonsville, MD.

Lot 374 Engers, Joe.1990. “The Great Book of Wildfowl Decoys”. Chapter on Massachusetts by Jackson Parker. Thunder Bay Publishing. San Diego, CA. Lindsey, Benjamin J. 1981. (reprint) “Old Marblehead Sea Captains and the Ships They Sailed On”. Marblehead Historical Society. Marblehead, MA. Moir, Rob. 1990. “Massachusetts Waterfowl Decoys 1840 – 1940”. Massachusetts Wildlife Magazine. Summer 1990.

Shaw, Robert. 2010. “Bird Decoys of North America – Nature, History, and Art”. Sterling Publishing. New York and London.

Lot 109 Blanchan, Neltje. 1912. “Birds Thar Hunt and are Hunted”. Doubleday Page & Co. Garden City, NY. Forbush, Edward Howe. 1912. “A History of the Game Birds, Wildfowl and Shorebirds of Massachusetts and Adjacent States”. Massachusetts State Board of Agriculture. Wright and Potter Co. Boston, MA. 3. Rich, Walter H. 1907. “Feathered Game of the Northeast”. Thomas Y. Crowell & Co. NY.

Lot 378 Bradford, Lawrence. 1902. “Historic Duxbury in Plymouth County, Mas-

sachusetts”. Fish Printing. Boston, MA. Goodspeed, Weston A. 1907. “History of the Goodspeed Family”. W.A. Goodspeed Pub. Chicago IL Starr, George Ross Jr. M.D. 1974. “Decoys of the Atlantic Flyway”. Winchester Press. New York, NY.

Lot 139 Cullen, Jim. 2009. “Finely Carved and Nicely Painted – The Life, Art and De-

coys of George H. Boyd – Seabrook, New Hampshire – 1873-1941”. Privately Printed. Rye, New Hampshire.

Mackey, William J. Jr. 1965. “American Bird Decoys”. Bonanza Books. New York, N.Y.

Lot 148 Alexander, Cliff. 2015. “Lou Rathmell – A Decoy Maker Who Lived In A

Lot 388 Hopkins, Gwladys. 2016. “Massachusetts Masterpieces – The Decoy as

Castle.” Decoy Magazine, Nov./Dec. 2015. Lewes, DE. Chitwood, Henry C. 1987. “Connecticut Decoys – Carvers and Gunners.”

Schiffer Publishing Ltd., West Chester, PA. Lot 389 Cummings, John B. 2016. “Lobstah Tales – A History of the Moby Dick/Back Eddy Restaurant in Westport, Maassachusetts.” Hillside Media. Westport, MA. Merkt, Dixon, MacD. 1984. “Shang.” Hillcrest Publications, Inc. Spanish Fork, UT. Merkt, Dixon MacD. 1990. “The Great Book of Wildfowl Decoys – Connecticut Chapter.” Thunder Bay Press. San Diego, CA.

Lot 159 Crandall, Bernard W.1972. “Mason Decoys”. Hillcrest Publications, Spanish

Shorebirds of Massachusetts and Adjacent States”. Massachusetts State Board of Agriculture. Wright and Potter Co. Boston, MA.

Lot 194 Mackey, William F., Jr. 1965. “American Bird Decoys.” Bonanza Books, New

York, NY. Sieger, Timothy R. et al. 2010. “The Decoys of Long Island.” Ward Museum of Waterfowl Art. Pub. By the Long Island Decoy Collectors Association, Watermill, NY.

Harmon, Theodore. 2011. “Summer Auction – July 24&25,2011”. West Barnstable, MA. Hopkins, Gwladys. 2016. “Massachusetts Masterpieces – The Decoy as Art”. Massachusetts Audubon. Canton, MA.

Lot 442 Fleckenstein, Henry A Jr. 1983.“Southern Decoys of Virginia and the Caroli-

Fork, UT. Decoys Unlimited Inc. 2005. “Our Annual Cape Cod Decoy Auction, July 24 & 25, 2005”. Privately printed.

Goldberger, Russ J and A.G. Haid. 1993. “Mason Decoys – a Complete Picto- Lot 443 rial Guide”. Decoy Magazine Pub. Burtonsville, MD. Olson, Earl R and B. W. Crandall. 1975. “Former Employee Interviewed – William Kurkowski Recalls His Experiences as An Apprentice Painter at Mason’s Decoy Factory”. North American Decoy, Spring 1975. Hillcrest Pub. Spanish Fork, UT.

Lot 186 Forbush, Edward Howe. 1912. “A History of the Game Birds, Wildfowl and

Art”. Museum of American Bird Art. Massachusetts Audubon.

Starr, Dr. George Ross Jr. 1974. “Decoys of the Atlantic Flyway”. Winchester Press, New York, N.Y.

nas”. Schiffer Publishing Ltd. Exton, PA. McIntyre, Cameron. 2000. “Walter Brady – The Grandfather of the Hog Island Style of Carving”. Decoy Magazine, May/June 2000. Lewes, DE.

Berkey, Barry R and Velma A. 1981. “Chincoteague Carvers and Their Decoys”. Herff Jones University Publications. Gettysburg, PA. Dudley, Jack. 2001. “Wings – North Carolina Waterfowling Traitions”.

Coastal Heritage Series. Moorehead City, NC. Dudley, Jack. _____. “Mattamuskeet & Ocracoke Waterfowl Heritage”.

Coastal Heritage Series. Moorehead City, NC. Fleckenstein, Henry, A. Jr. 1983. “Southern Decoys of Virginia and the Carolinas”. Schiffer Publishing. Exton, PA. Mackey, William J. Jr. 1965. “American Bird Decoys”. Bonanza Books.

Collection Planning Program

Enjoy Collecting Now and Plan Ahead With a forty year history, you can rely on the Guyette & Deeter decoy auction house as the most trusted decoy auction firm to handle your estate planning and collection management needs. Whether it’s for tax purposes, estate planning, gifting, charitable giving or insurance purposes, let us manage and periodically update a comprehensive written appraisal of your collection.

Gary and Jon are available to work with banks, attorneys, trust and estate officers, probate court, private clients and family members who may be responsible for the dispersal of estates and collections.

Let professionals document your collection with accurate values and descriptions. We will work closely with you to ensure that your wishes are established at agreed upon terms and conditions now, to make it easier to administer your estate later.

Please contact Gary or Jon to discuss our Collection Planning Program today.

With several options, we make it easy for you to reach us: Gary Guyette PO Box 1170 • St. Michaels MD 21663 (410) 745-0485 • (410) 745-0487 fax gary@guyetteanddeeter.com Jon Deeter 7980 Darbys Run • Chagrin Falls OH 44023 (440) 610-1768 jdeeter@guyetteanddeeter.com For more information, visit our website: www.guyetteanddeeter.com

NORTH AMERICAN ASSO NORTH AMERICAN ASSOCIATION

WE’VE CHANGED OUR NAME TO REFLECT WHO WE REALLY ARE

Introducing the North American Decoy Collectors Association “Midwest” becomes “North American.”

What started out 55 years ago as a small gathering of early decoy enthusiasts, the Midwest Decoy Collectors Association has grown into the largest and most geographically diverse decoy collecting group anywhere. With nearly 800 members hailing from 45 states, the District of Columbia, and five Canadian provinces, we are, in fact, a “North American” group.

Clearly, we’ve changed. And now, so has our name.

Our members collect decoys and other sporting collectibles from all over

the continent. Our roster includes historians, authors, restorers, dealers, magazine publishers and contemporary folk artists. As sponsor of the premier North American Vintage Decoy & Sporting Collectibles Show, our new name truly reflects who we are today.

Come Join Us: If you are not already a member, we invite you to join us now.

Not only will you receive information rich club newsletters, a full member directory, free admission to the annual show, and access to trading in our “members only” Facebook group, all through 2021, you’ll

be able to connect with hundreds of other collectors who share similar interests.

Join by October 1, 2020 and get a new North American Decoy Collectors hat for FREE! You can join online at nadecoycollectors.org, or complete the membership application below and mail it along with a check made out to “NADCA” for $25, and we’ll send your free hat right away.

We look forward to having you join our passionate group of collectors.

NADCA Membership Application Name

Spouse

Address

Phone Email Collecting Interest

Mail to: Matt Bryant, 17144 Erskine Street, Omaha, NE 68116

Plus shipping & handling

(810) 845-2434

CONDITIONS OF SALE ‑- PLEASE READ 1.

GUARANTEE ‑ We have made a concerted effort to accurately catalog and describe the property to be sold. The decoys and paintings have guaranteed condition reports. 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. Absentee bids will not be executed on items that are found to be other than described in the catalog. Since opinions can differ, particularly in the matter of condition, the auctioneer will be sole judge in the matter of refunds. If we fail to identify a flaw that has an impact on the value, you can return the decoy.

2.

DURATION OF GUARANTEE ‑ Request for a refund for items purchased IN PERSON at the auction must be made within 3 days of the sale. If you bid absentee, by phone, or on the internet, it is your responsibility to examine the lot immediately upon receipt and notify us of any issues. The guarantee will end 5 days from the date of delivery. Therefore, all guarantees on items purchased will become null and void 10 calendar days from the date of shipment. IT IS VERY IMPORTANT TO NOTE THAT IF YOU PAY LATE, YOU WILL NOT BE ELIGIBLE FOR THE GUARANTEE. Payment must be postmarked no later than 30 days after the auction.

3.

PROTESTED BIDS ‑ In the case of a disputed bid, the auctioneer is the sole determinant as to who 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’s sales records shall be conclusive as to who the purchaser was, and the purchase price.

4.

BIDDING - Bidding usually starts below the low estimate and advances in increments of approximately 10% of the open‑ ing 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 - $2,000 $1000 to $10,000 - $100 $20,000 to $100,000 - $1,000 5.

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.

6.

TERMS ‑ All items are to be paid for in U.S. funds on 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 & Deeter 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 defi‑ ciency 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.

7.

PAYMENT FOR PURCHASES CAN BE MADE WITH CREDIT CARD (VISA, MasterCard, American Express, or Discover), CASH, CHECK, OR WIRE TRANSFER. 8.

BUYERS PREMIUM- The buyer’s premium, assessed on each selling lot, is 20% of the hammer price up to and includ‑ ing $1,000,000, plus 10% on any amount in excess of $1,000,000. For payments made using a credit card, the buyer’s premium is 23% up to and including $1,000,000, plus 13% on any amount in excess of $1,000,000.

9.

TAX ‑ THERE IS AN 6% SALES TAX IN MARYLAND. Tax is waived if buyer presents a valid resale certificate from any state or has purchases shipped outSIDE of MARYLAND. 10. ACCEPTANCE OF CONDITIONS ‑ Bidding on any articles in this catalog indicates your acceptance of all the above items.

11.

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.

12. WITHDRAWAL ‑ We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal.

13. 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 & Deeter 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.

14. 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.

15. Cases are not included with shotgun shell boxes. All dimensions are approximate and are not guaranteed. All calls are sold “As Is”.

THE OFFICE WILL NOT BE OPEN UNTIL WEDNESDAY AFTER THE AUCTION.

ABSENTEE, PHONE, AND ONLINE 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 or 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 successful or unsuccessful.

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 20% 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 8 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 $1,000, but not wishing to lose the lot for simply $25 more, the party might bid $1,000 + 1 bid if they definitely don’t want to go over a certain price, they would indicate $1,000 +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 a few days 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. Please provide notice in writing if items are covered under your own insurance policy. 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. 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 Deeter 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.

OFFICE:

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

I desire to bid on the following items in the sale. The bids are to be executed by Guyette & Deeter, 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.

A PREMIUM OF 20% WILL BE APPLIED TO ALL ITEMS SOLD, TO BE PAID BY THE BUYER

Page 2

NAME OFFICE USE

PHONE IN CATALOG # ORDER

AUCTION DATE DESCRIPTION

BID AMOUNT

323

337

328

186

159

Guyette & Deeter, Inc. PO Box 1170, St. Michaels, MD 21663 www.guyetteanddeeter.com 410-745-0485