North American Decoys at Auction | April 29 & 30, 2022

Guyette & Deeter, Inc. North American Decoys At Auction April 29 & 30, 2022

531a

499

122

53

Top to bottom Lot 409 | Pair of wood ducks, Charles Perdew Lot 266 | Mallard drake, Mason Decoy Factory Lot 543 | Pair of canvasbacks, Gus Moak Lot 502 | Black duck, Ward Brothers

Selections from lots 35 - 46 and 272 - 295 Miniature carvings by Elmer Crowell

Top to bottom: Lot 59b | Mallard hen, Charles Pice Lot 199 | Mallard field decoy, John Tax Lot 189 | Black bellied plover, Obediah Verity Lot 74 | Bass fish decoy, Hans Janner

We are excited to announce our new firearms division.

Meet the consultant J. Wesley Dillon has over 35 years of marketing experience in antique and modern firearms and sporting collectibles. A founding member of the original Cabela’s Gun Library in NE, Wes joined forces with the prestigious James D. Julia Auction firm in 2007 serving as Department Head and Senior Consultant for the Firearms Division until it’s sale in 2018. Today he serves the collecting fraternity and auction trade as an independent consultant based in the greater Denver area.

Guyette & Deeter is actively seeking single guns to whole gun collections.

Guns and rifles of all types are bringing historic prices and there has never been a better time to sell your firearms. While the options of qualified and respected sellers are on the decline, Guyette & Deeter is proud to announce opening of their firearms division.

The first sale will feature the extensive collection of Charlie Hunter, III.

Rare and Important L.C. Smith A-3 Grade 12 Ga. (1 of 17 made) Featured in Brophy’s Book.

Unusual Parker VHE 20 Ga Cutaway Demonstrator.

Exquisite Belgium Browning Superposed Exhibition 12Ga.

Winchester Model 21 Custom 20 Ga Built for G.L. Elliott.

Desirable Parker BHE Grade 28 Ga.

Wonderful Parker AAHE 20 Ga. w/ 32” bbls. with History

Rare L.C. Smith Ideal Grade ,410 Ga.

Guyette & Deeter, Inc.

North American Decoys At Auction The Westin Chicago Lombard 70 Yorktown Center Lombard, Illinois 60148 In conjunction with the North American Decoy Collectors Association Show | April 26 - 30, 2022

Thursday, April 28, 2022

Afternoon Preview 2:00 PM - 5:00 PM Preview 5:00 PM - 7:00 PM Join us for complimentary cocktails

Friday, April 29, 2022

Preview 8:00 AM - 9:45 AM Auction 10:00 AM

Saturday, April 30, 2022 Preview 8:00 AM - 9:45 AM Auction 10:00 AM

For questions during the auction call 410-745-0485

Catalog $45. Out of Country $70 Absentee, Phone & Online Bidding accepted call 410-745-0485 for arrangements For free decoy appraisal contact: Jon Deeter | jdeeter@guyetteanddeeter.com | 440-610-1768 Zac Cote | zcote@guyetteanddeeter.com | 207-321-8091 Gary Guyette | gary@guyetteanddeeter.com | 410-745-0485 Cooper Rossner | cooper@guyetteanddeeter.com | 609-560-8028

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 - Requests for a refund on an item purchased through a Guyette and Deeter, Inc. auction must be made within 3 days of the time you take physical possession of your purchases. Whether your items are shipped, delivered, or picked up at the auction site, it is still 3 days from date of possession. This guarantee is null and void if payment is received or mail is postmarked more than 30 days from the sale end date. The guarantee is also null and void if you choose to not take possession of your purchases within the 30 days.

If you have paid

for your purchases within the 30 days but Guyette and Deeter, Inc is unable to ship your item within the guarantee period, the guarantee will be extended until 3 days from the shipping delivery date. This policy protects our consignors by enabling us to make consignor payments in a timely manner.

■■ 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.

■■ Free appraisals are available with no obligation to consign and any correspondence is strictly confidential.

■■ Pick up hours are 1pm – 5pm beginning May 4, or by appointment. Please call ahead so we can have your items ready.

Future Auctions July 2022

Details to be announced

November 2022

Talbot County Community Center Easton, Maryland

We are fortunate to have Robert J. Koenke and J. Wesley Dillon on staff as our Sporting & Wildlife Art and firearm experts. Feel free to contact them for an appraisal or consignment to one of our auctions: 410-745-0485.

Guyette & Deeter, Inc.

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

Jon & Leigh Ann Deeter 507 W. Harbor Rd St. Michaels, Md 21663 Tel: 440-610-1768 jdeeter@guyetteanddeeter.com

Lacey & Zac Cote PO Box 347 Freeport, ME 04032 Tel: 207-321-8091 zcote@guyetteanddeeter.com

Mike Stevenson

Denise Jarrell

Ed Kenney

Cooper Rossner

Weston Anderson

Bill Lapointe

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

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

Office Coordinator St. Michaels, Maryland Tel: 410-745-0485 auction@guyetteanddeeter.com

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

Weekly Auction Manager St. Michaels, Maryland Tel: 609-560-8028 cooper@guyetteanddeeter.com

New England Decoy Specialist Swansea, Massachusetts Tel: 774-644-9426

New location, same great town

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

1210 S Talbot St, Unit A | St. Michaels, MD 21663

Featuring decoys from the collections of Jonathan & Virginia Chua Dick Cowan Herb Desch Dave Fannon Dick & Lynn Gove Dr. Lloyd Griffith Ron Gruber

Gary & Dale Guyette Charlie Hunter III Preston Lowe Steven Michaan Jeff Munson Kirby Roberts Family of A.T. Shearer

Trent Spolar Jimmy Thompson Norman & Alicia Volk Beans Weatherly Bruce Williams

Dr. Preston Lowe (1951 - 2020) Preston collected his first decoy in 1978 while on a fishing trip to Conesus Lake in New York’s Finger Lakes region. He was purchasing supplies at a local store when he noticed an old decoy on a table among some loaves of bread. The previous year, Preston had begun hunting ducks over decoys, and he had inherited a general interest in antiques from his parents. Something about that old decoy intrigued him, he couldn’t resist the asking price of $19.00.

The next few years were a busy time in Preston’s life including graduation from college, marriage, and establishing his career, but he still found time for his developing interest in decoys. He borrowed a copy of Bill Mackey’s book, drove from the Utica area to Clayton to attend the July decoy show, and began making the all-important contacts with fellow decoy collectors. In 1985, Preston decided to establish his own optical practice. He chose the St. Lawrence River area, purchasing an office site in Watertown, and a home on the banks of the river just outside Clayton.

Living on the St. Lawrence River it seemed natural that Preston’s collecting would focus on the local decoys from both the New York and Ontario sides. He loved the hunting decoys by Ken Harris made prior to 1965, and much of his early collecting concentrated on studying and documenting the myriad species, sizes, and styles that Harris produced. Over time, many other decoy interests emerged, some of the more notable including the work of Bill Chrysler, and the hollow Canada geese from Southwestern Ontario.

In addition to collecting the actual decoys, Preston enjoyed collecting information about the carvers that made them, and hashing that over with his fellow collectors. He published his first article in Decoy Magazine in 1991, featuring the work of local carver Don Wolfe. He soon became a contributing writer to the magazine, writing more than 20 articles on decoys and decoy collecting.

Some of my fondest recollections of Preston involve the changes in his decoy displays that occurred as his collection grew and evolved. Displays of decoys, paintings, and prints were continually assembled, reassembled, and replaced throughout his home in a manner that clearly reflected his artistic nature.

Eventually most of the displays were consolidated in a dedicated decoy room. After a period of years, the decoy room became cramped, necessitating a major expansion complete with a mural of flying ducks painted on one wall. I’m sure other collectors have similar memories, and most have had similar experiences with their own collections.

- Tom Eckert

Jimmy Thompson (1946 - 2012) Born in Pulaski, Tennessee, Jim Thompson began hunting its many farm ponds. He would make frequent trips to Calloway Gardens, the White River in Arkansas, and Realfoot Lake to hunt with friend Sam Bunch. The connections he made at Realfoot Lake would later drive his initial passion for call collecting.

Jim attended the Georgia Institute of Technology in Atlanta, Georgia where he obtained his degree in business. Eventually settling with his family in Nashville, Tennessee, he went to work as an insurance agent. Jim was an active member of Ducks Unlimited, the National Wild Turkey foundation, and a member of the Midwest Duck Call Collectors Association.

With a sizeable call collection, Jim’s passion for decoys started one Christmas when he received a duck decoy from his wife. Through the years Jim would go on to collect decoys, hunting books, antique hunting licenses, but still maintained a sharp focus on collecting duck calls. Jim also enjoyed visiting artisans of the craft, learning from them all he could about the history of duck decoys and duck calls. He was an avid reader and historian on hunting and its surrounding culture. He would spend all his spare time traveling around the country, collecting hand-crafted duck calls at flea markets, auctions, and attended the St. Charles Decoy show on an annual basis.

Several of his calls and licenses are showcased in “The Legacy of the American Duck Call” by Howard Harlan and James Fleming. Jim passed away in Arkansas, in the field, doing what he loved best, duck hunting.

The Fish Decoy Collection of Norman and Alicia Volk It was a love of the outdoors, fly fishing, and a close friendship with nationally known collector Alastair B. Martin, that took Norman and Alicia Volk down the path of putting together a world class fish decoy collection. Alastair was a worldly collector and a board member of the Brooklyn Museum of Art. All three were introduced to the art of fish decoy through a relationship to Steve Michaan in the early 1980’s. Michaan influenced a small group of prominent art patrons that fish decoys were an important segment of American Folk Art. Michaan did the leg work, buying many decoys from early collectors, and some directly from the creators themselves. The collection was put together over a 20-year period, and many of the pieces were then displayed in the exhibition book, “Beneath the Ice” at the Museum of American Folk Art. The Volks for the first time are offering their entire collection for sale, giving collectors a chance to own some of the best fish decoys ever assembled.

Guyette & Deeter Online Auctions

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

Outstanding decorative gadwall by Ben Heineman Sold! $5,117

Two perch by Oscar Peterson - Sold! - $5,347

Early Canada goose by Travis Ward - Sold! $5,980

Two box turkey calls by Neil Cost - Sold! - $3,762

For questions, contact: 609-560-8028

cooper@guyetteanddeeter.com

PO Box 1170 St. Michaels, MD 21663 www.decoysforsale.com

Recent Sales

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Session One Friday, April 29, 2022 10:00 am Lots 1 - 381

Session Two Saturday, April 30, 2022 10:00 am Lots 382 - 598

Jim Schmiedlin 1-6 Contemporary 7 - 18 Maryland 19 - 34 Miniatures by Elmer Crowell 35 - 46 New England 47 - 52 Pacific Coast 53 - 64 Michigan 65 - 72 Fish Decoys 73 - 83 Illinois River 84 - 94 Miniatures 95 - 104 Sporting Art 105 - 118 Fish Plaques 119 - 127 New Jersey & Delaware River 128 - 139 Oscar Peterson 140 - 161 Evans Decoy Factory 162 - 173 Miniatures 174 - 183 Shorebirds 184 - 198 Midwest 199 - 204 Illinois River 205 - 216 Fish Decoys 217 - 235 Sporting Art 236 - 255d Wisconsin 256 - 257d Mason Decoy Factory 258 - 271 Miniatures by Elmer Crowell 271a - 298 Items of Interest 296 - 305 Ontario 306 - 334 Etchings 335 - 341 Calls 342 - 381

Decoratives 382 Illinois River 401 Massachusetts 417 427a Harold Haertel Items of Interest 435 New England Shorebirds 449 Contemporary 464 Virginia 478 North Carolina 495 Ward Brothers 499 Maryland 507 New York 513 Ken Harris 524 Wisconsin 531a Contemporary 551 Jim Schmiedlin 588 Fish Decoys 562 Louisiana 584 Decoys 590

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400 416 427 434 448 463 477a 494 498 506 512 523 531 550 587 561 583 589 598

Please read conditions of sale in the back of catalog

SESSION ONE Friday, April 29, 2022 | 10:00

Jim Schmiedlin 1945 - 2015 | Bradfordwoods, Pennsylvania 1

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4

2 3

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1

Working wood duck, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with turned head and carved extended crest. Raised, crossed wingtips.

Signed and dated 1982. Inscription on underside indicates that this was the first working wood duck by Schmiedlin. “JAS” brand in underside. Measures 13.75” long. A few very minor paint rubs; otherwise excellent and original.

2

(3,000 - 5,000)

Pair of working bluewing teal, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Drake with reared back head, hen in minnow chasing pose. Both hollow carved. Dated 2000, branded “JAS” in underside, also with Jim’s “Reward for Return” label.

Measure 13.5” and 15” long. Very minor paint rubs, otherwise excellent and original.

(6,000 - 9,000)

13

3

Hooded merganser, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with slightly turned head and raised, crossed wingtips. Signed and dated 1984 on underside. Also branded “JAS”. Measures 14.5” long. Hairline crack in lower breast and underside of tail, otherwise excellent and original.

4

(4,000 - 6,000)

Gadwall, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with slightly turned head and raised, crossed wingtips. Inscription on underside indicates that this was Jim’s first working gadwall, dated 1982. “JAS” branded in underside. 14.5” long. A few minor paint rubs and small repair to the tip of one raised wingtip; otherwise very good and original.

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(3,000 - 5,000)

5

Decorative hooded merganser, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Tucked and slightly turned head. Raised, crossed wingtips and detailed feather carving. Signed and dated 1981 on underside.

Measures 13” long. Original paint with minor spots of discoloration; 1” paint rub on one side; very good structurally.

6

(3,000 - 4,000)

Bufflehead, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with slightly tucked and turned head. Relief wingtip carving. Signed and dated 1983. “JAS” brand in underside. Measures 13” long. Hairline crack in lower breast; otherwise excellent and original.

(3,000 - 4,000)

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Contemporary

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Preening canvasback, William Gibian, Onancock, Virginia. Hollow carved with

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Excellent pair of wood ducks, William Gibian, Onancock, Virginia. Thinly hollowed

raised, carved, crossed wing tips. Relief tail

with raised wing tips and relief wing and tail

feathers and comb feather paint detail. Maker’s

feather carving. Extended crests and comb

business card under plexiglass. Measures 13 3/4”

feather paint detail on drake. Hen in swimming

long. Excellent and original.

pose with slightly turned head. Maker’s business

(2,500 - 3,500)

card under plexiglass on each. Measure 15” and 16 1/2” long. Excellent and original.

(5,000 - 8,000)

16

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Rare and stylish back preening shover drake, William Gibian, Onancock, Virginia. “Gibian” carved in underside.

16” long. Strong original paint with small amount of crazing at breast and one side.

(2,000 - 2,500)

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Excellent black duck, William Gibian, Onancock, Virginia. Hollow carved with raised and slightly lifted head. Relief carved wing feathers and raised wing tips.

“Gibian” carved in the underside. Maker’s business card under plexiglass. Measures 19” long. Excellent and original.

(2,000 - 3,000)

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Well executed turkey decoy mounted on base. Hollow body with removable legs that can be stored inside of body. Detailed tail feathers which are carved out on the underside. Wing and shoulder carving with glass eyes. Base has been stressed. Turkey measures 34” long. Excellent original paint; tiny chip at tail; slight bluntness at bill.

Provenance: Charlie Hunter, III collection.

(1,500 - 2,500)

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Sleeping black duck, Cameron McIntyre, New Church, Virginia. “CTM” carved in underside. Made with a long Island influence. Incised wing and shoulder carving. Made from a single piece of wood. 15” long. Original black paint has been worn away to expose grain; shot marks and wear have been added to

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create the appearance of age.

(1,800 - 2,200)

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Hollow carved swan, Cameron McIntyre, New Church, Virginia. “CTM” is carved in the underside.

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Mallard drake, Cameron McIntyre, New Church, Virginia. Hollow carved with half inch bottom board.

Relief wing tip carving and very graceful form. 31”

Relief wing carving. Reared back head. Scratch feather

long. Very good and original.

paint detail. “CTM” carved in the underside. Measures

(4,000 - 6,000)

18.5” long. Excellent and original.

18

(1,800 - 2,200)

15

Flying pintail, Cameron McIntyre, New Church, Virginia. Full size flying pintail in the style of Ira Hudson with tack eyes and scratch feather paint detail. “CM” carved under one wing. Measures 25” long with a 22 1/4” wing span. Very minor separation where upper wing joins body, otherwise excellent and original.

Provenance: Charlie Hunter, III collection.

(1,000 - 1,400)

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Pair of bluebills, Bob White, Tullytown, Pennsylvania. Hollow carved with raised ‘V’ wingtips and relief tail feather carving.

Both retain maker’s bobwhite quail weights.

Measure 14” long. Excellent and original.

Provenance: Bruce Williams collection.

(1,000 - 1,500)

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Pair of wood ducks, Bob White, Tullytown, Pennsylvania. Hollow carved with raised “V” wingtips and relief tail feather carving.

Both with extended crests. Drake is in swimming pose, hen is in preening pose. Both retain maker’s bobwhite quail lead weight on underside. Measure 13” and 16.5” long. Very minor paint rubs and discoloration otherwise excellent and original.

(1,200 - 1,800)

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Oversize sleeping mallard, Bob White, Tullytown, Pennsylvania. Hollow carved in sleeping pose, with bill buried in feathers.

Relief wing and tail feather carving.

Signed and dated 1992 on underside.

Maker’s bobwhite quail weight on the underside. Measures 17” long. Very minor sap bleed on one wing patch, otherwise excellent and original.

(800 - 1,200)

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Charlie Joiner 1921 - 2015 | Chestertown, Maryland

Charlie Joiner

Joiner with Lem Ward

Charlie inherited his nickname from his father, and related that he had no idea where or how it originated.

He was born in the small town of Betterton, MD and began to hunt small game when he was about 12 years old. Around 1937, he and some friends decided to expand their efforts to include waterfowling. His first decoys were empty ‘Prestone’ antifreeze cans that were painted black, which he claimed, “worked just fine”.

He envied the better-quality stool that floated upon the eastern shore of the Chesapeake Bay as derelicts from the large rigs on the Susquehanna Flats. By his own admission, “he couldn’t afford to buy any like that ,” so he decided to make them himself.

After high school, he would find a job at the new Aberdeen Proving Grounds on the opposite shore of the Bay, returning home on weekends. At the start of WWII, young Charlie joined the Navy, he would serve with the Seabees in New Guinea and the Philippines. After the war, he returned home and would return to his job at the Aberdeen Proving Grounds. He would go on to accept a position with the local power company and would remain in that trade for the next 40 years. In 1945, he married June Rebecca Jewell in Aberdeen, MD. It is unclear how this marriage ended, however, in 1991, he would go on to marry divorcee Janet Watson Sterling, with whom he would spend the rest of his life.

While in Aberdeen, rather than the long commute in winter back to Betterton, he took a room in Havre de Grace, and it was here that a long and abiding friendship developed between him and Madison Mitchell. He was at Mitchell’s most evenings and weekends and ultimately had participated in every aspect of the shop’s activities. While carving heads for Mitchell, he would return with a finished basket to the shop, which would then be critiqued by his mentor.

One day he showed Madison a head which was indeed carved solely by him, and Mitchell began his usual

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Joiner in the Navy

critique until Charlie informed him it was one of his own carvings. At that point Joiner “ . . . figured if he couldn’t tell mine from his I must be doing okay”.

Returning to Betterton he would open his own decoy business in 1950. His early birds were based on Mitchell’s patterns with slight modifications he thought to be appropriate. Joiner carved for local sportsmen and repaired hundreds of decoys for clubs along the Chesapeake. He had admired the work of the Ward brothers and, about 1958, visited them in Crisfield. As with Mitchell, this visit developed into a long friendship between the three men. Charlie studied their work scrupulously and began to carve decoys strongly influenced by the work of the two brothers. His reputation began to spread when in 1960, he was photographed and featured in Roy Walsh’s “Gunning the Chesapeake” and the orders began to pour in from collectors and hunters across the country. In 1963, he moved to Chestertown, carving nights and weekends out of a small shop at his home. He had many notable customers, among them slugger Ted Williams, Senator and Secretary of State Ed Muskie , and Bob Carpenter, then owner of the Philadelphia Phillies. In the 1980’s, some of his decoys were sold by the Orvis company of Vermont. From the 1940’s through the 1960’s he was selling his decoys for $30 - $35 dollars per dozen. In 1987, a collection of his decoys sold at auction at the Havre de Grace Museum where they sold for $30,000, a price he found astounding commenting; “Never in my wildest dreams did I think those decoys would bring that kind of money”. At the end of his career, he estimated his total production at around 40,000 decoys.

He was an avid trap and skeet shooter and enjoyed sporting clays. He was well liked by all that knew him and, he loved life and his family stating, “I’m as happy as a clam at high tide”. He has well earned his place as an important member of the elite Chesapeake decoy carving fraternity

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Rigmate pair of canvasbacks, Charlie Joiner, Chestertown, Maryland. Signed and dated 1960 with town of Betterton, Maryland. “Joiner” is also written under tail of drake. 15” long. Very good and original; paint on hen has a tight crack in one side; tiny bit of filler loss at neck; some small discoloration rubs on both.

(1,750 - 2,250)

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Rigmate pair of bluebills, Charlie Joiner, Chestertown, Maryland. Both signed and dated 1965. Wonderful stipple painting on backs of both. 15” long. Excellent original paint; some discoloration from pitch bleed at underside of tail area of drake; minor rubs; small spot on hen where sap has bled through on back, otherwise excellent.

(1,000 - 1,500)

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Rigmate pair of redheads, Charlie Joiner, Chestertown, Maryland. Signed and dated 1964. Both have “R.N.C.” branded in underside. Both have stipple painting on backs. 14” long. Excellent original paint; hen has a small spot of pitch bleed on underside.

(1,000 - 1,500)

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Pair of greenwing teal, Charlie Joiner, Chestertown, Maryland. Both are signed on underside, and have original keels. Both have turned heads. Drake has fine stipple painting on back. 11” long. Very good and original.

(1,500 - 2,000)

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Rigmate pair of mallards, Charlie Joiner, Chestertown, Maryland. Signed on undersides. 16” long. Near mint on drake; hen is excellent original paint that has mellowed slightly and a few tiny rubs at top of back.

(1,000 - 1,500)

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Rigmate pair of widgeon, Charlie Joiner, Chestertown, Maryland. Signed and dated 1992 on undersides. Both have heads extended over back in a preening position. 13” long. Near mint.

(1,000 - 1,500)

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Rigmate pair of black ducks, Charlie Joiner, Chestertown, Maryland. Signed and dated 1992 on underside. Fine feather paint detail on both body and head. 18” long. Near mint.

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(1,000 - 1,500)

John “Daddy” Holly 1818 - 1892 | Havre de Grace, Maryland

26a

Canvasback, John “Daddy” Holly, Havre de Grace, Maryland, 3rd quarter 20th century. Excellent Upper Bay form with relief bill carving and painted eyes. Very difficult to find John Holly decoys in original paint.

Measures 14 1/4” long. Original paint with moderate to significant wear; much bare wood exposed with a warm patina; tight drying cracks in body; crack in each side of neck seat; very small chip in the underside of the tip of bill.

Literature: “Waterfowling on the Susquehanna Flats”, by Michael Daley, pages 157-161.

(5,000 - 8,000)

By 1853 John Holly was already one of the most highly respected duck hunters from Havre de Grace, as stated by John Krider in his classic book, “Sporting Anecdotes”. Holly is believed to be the father of the Havre de Grace style, which is still influencing carvers after more than 170 years.

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Ben Dye 1827 - 1896 | Perryville, Maryland Ben had an agrarian upbringing in inland Mercer County, New Jersey, slightly closer to New York City than to his future homes on the shores of the Susquehanna Flats. He spent his youth on his parent’s farm and it was in Mercer where he met and, in 1856, married Adeline Mitchell in Groveville . The couple began their migration southwest and by 1860 were living in Elkton, MD at the headwaters of the Elk River and here they began to have children and raise their family while Ben worked as a “laborer” in an unspecified trade. In 1870, the growing family had relocated further west, to Port Deposit, MD, very near the mouth of the Susquehanna River, to work as a “laborer”.

By this point in his life however it is known that he was actively involved in waterfowling for, in 1872, he was appointed to the then newly formed “Susquehanna Flats ducking police”. He moved still closer to the Flats in 1880 and he made his home on Perry Point in Perryville, listing his occupation as “fisherman” but it must be presumed that he was surely involved in gunning as well. The family moved to Havre de Grace in Harford County c. 1885 and he took out gunning licenses there in 1888, 1889 and 1892.

Apparently, he was relatively successful, for he owned at least two boats, a sinkbox, and the decoys needed to operate them. Perhaps due to his failing health (he would succumb to tuberculosis) or to aid his son’s future, he sold these items to his 23-year old, newly married offspring, William, for $100 (the equivalent of $3000 dollars today).

William went on to operate a sinkbox rig on the Flats and another son, Joseph, would continue to follow in his father’s footsteps by becoming a skilled decoy carver in his own right.

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Ben Dye’s decoys were all hand chopped, attractively painted, and considered some of the finest on the Chesapeake. His birds were in high demand and were sold to numerous Flats sinkbox operations, gunning clubs and individual sportsmen. He was prolific but his total production is unknown. One of the earliest-documented carvers from the region, he, along with his contemporary John Graham, are credited with originating the “Cecil County” style of decoys.

Like other carvers on the flats, the majority of Dye’s decoys represent those species most commonly hunted and thus, in the highest demand. Canvasback, blackheads (bluebills) and redheads comprise the majority of his birds in collections today. He produced far fewer numbers of other species such as oldsquaw and teal. Commanding only $1.00 while canvasback brought as much as $7.00 to the market hunter, his diminutive ruddies are particularly rare. Today, they are eagerly sought after and are always welcome additions to any advanced Susquehanna collection.

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Rare ruddy duck, Ben Dye, Perryville, Maryland, last quarter 19th century. Raised neck seat and tack eyes. “St Peters Club” branded in underside. Measures 9.75” long. Original paint with moderate flaking and wear; roughness with loss to wood on top of head and edges of bill; crack in neck was reglued long ago; drying cracks in breast and front of neck seat.

Literature: “Waterfowling on the Susquehanna Flats” by Michael Daley, page 99. (10,000 - 14,000)

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Rare oversize black duck, Leonard Pryor, Chesapeake City, Maryland, 1st quarter 20th century. Measures 17” long x 7.5” wide.

Two piece body. Original paint with minor to moderate wear; small dents; minor roughness to bill; crack through neck.

Literature: “Decoys of the Mid Atlantic Region,” Henry Fleckenstein, Jr. (1,000 - 1,400)

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Pair of canvasbacks by William Heverin, Charlestown, Maryland, 1st quarter 20th century. Both branded with a “K” on the breast. Reportedly made for David Kay, a lumber salesman from Westchester, Pa. who delivered the wood and “K” brand to Heverin who then made him eighteen pairs of canvasbacks and two pairs of redheads. 15” long. Hen is strong original paint with light to moderate gunning wear; a couple of small chips and shot scars, rubs in the normal places like tail and sides, a drip of blood ran from one side to bottom of decoy; drake has putty exposed where nails secure head to body;

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original paint has discolored on white areas, mostly from gunning wear; some stains and rubs around tail and bill.

(1,500 - 2,500) 30

Rigmate pair of bluebills, Robert McGaw, Havre de Grace, Maryland. 1st quarter 20th century. Both retain McGaw’s original dog bone weight. McGaw’s information was written on underside of both. 14” long. Both are in strong original paint with moderate gunning wear; flaking on back of hen’s head and neck expose bare wood; nail at top of drake’s head has putty exposed.

(1,250 - 1,750)

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Very rare preening canvasback drake, Leonard Pryor, Chesapeake City, Maryland, 1st quarter 20th century. “F” branded in underside. 13” long. Old in use repaint; small cracks and dents.

Provenance: Ex Henry Fleckenstein, Jr. collection.

Literature: “Decoys of the Mid Atlantic Region,” Henry Fleckenstein, Jr., p 105, exact decoy pictured.

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(800 - 1,200)

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Pair of canvasbacks, Charles Barnard, Havre de Grace, Maryland, circa 1900. Drake has an “N” carved in underside. Both have slightly raised neck seats. Drake has a more pronounced center line running from back to tail. 14” long. Both are in a mix of original and old working repaint; drake has a line tie impression around neck; hen has a tight crack at neck.

(7,000 - 9,000)

Courtesy “Waterfowling on the Susquehanna Flats,” Michael Daley

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Robert McGaw 1879 - 1958 | Havre de Grace, Maryland Havre de Grace has proclaimed itself the “decoy capital of the world”, a title that certainly has a degree of justification. An entire school of carving emerged from the Susquehanna Flats area and many of its most noted carvers, dating back to the Holly’s, resided in this waterfront community, among them, Bob McGaw. Born on Spetsutie Island at the southern end of the Flats, McGaw’s life was steeped in the trappings and traditions of the watermen and gunners. His father was a waterfowl hunter as were many of his relatives and most of the other men in the community. As a young man he worked on his father’s farm on the Island but eventually found employment variously as an insurance collector and a substitute letter carrier for the U.S. Postal Service in nearby Havre de Grace. Between 1909 and 1911 he served in the National Guard, and it is here that it is believed he developed the skills that enabled him to work in the marine and small engine trades. When he left the service and was living in Havre de Grace he, once again, became surrounded by the activities of the Bay and it was here, about 1911, that it is thought he began to carve decoys. He worked at the Thompson Boat Yard alongside owner John Thompson who also ran a sinkbox rig on the Flats and it is believed that McGaw assisted him in that operation. In 1918, he married Caroline (Carrie) P Moore, daughter of noted gunner, sinkbox operator and captain of the gunning yacht “Reckless”, William “Billy” Moore. The newlyweds moved in with the Moore’s where he eventually assisted his new father-in law in the operation of the “Reckless”. Many historians believe that it was this relationship with both Thompson and Moore that gave him his start in the decoy business.

His early decoys were hand chopped in the time-tested Havre de Grace style but, in order to increase his output (and profits), he revolutionized the local carving tradition when, in 1929, he purchased the first duplicating lathe to be used in decoy production on the Flats. Demand for his decoys increased dramatically and he began to gain national recognition through pictorial articles in the Los Angeles Times and National Geographic magazine (1928). In 1931, Abercrombie and Fitch displayed his work in their showrooms in New York and he received possibly his biggest boost when, in 1934, his work was featured

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(L to R) Lou Klair, Bob McGaw, Madison Mitchell and Paul Gibson in McGaw’s shop

in Joel Barber’s seminal, highly acclaimed, and widely read book, “Wildfowl Decoys”. Unfortunately for the carving community at the time, the State of Maryland outlawed the use of sinkboxes on the Flats in 1934 and the demand for large rigs of gunning decoys fell off precipitously. Barber’s book however enabled him to still be able to produce birds, now, more and more, destined for the mantle rather than the water. Recognizing this growing market for decorative items, McGaw began to produce larger and larger numbers of miniatures which found their way across America through purchases by the servicemen at the Government’s nearby Aberdeen Proving Grounds.

Eventually, arthritis began to affect his carving ability and his, now famous, lathe was sold in 1941 to his friend, R. Madison Mitchell, who utilized it for years before selling it to young carver Paul Gibson. The sale contained the stipulation that they both continue to supply him with turned bodies upon demand.

Noted historian C John Sullivan in his “A Chronicle of Letters: Robert F McGaw Jr. Decoy Maker, 1879 – 1958” describes McGaw’s work as “. . . magnificent folk art . . .” and states that “ . . . his decoys were among the finest to float on the Susquehanna Flats.”. Honors continued, even well after his death when, in 1985, the U.S. Postal Service featured a McGaw canvasback on one of the first U.S. commemorative decoy stamps. Today, his work can be appreciated through its inclusion in some of the finest Chesapeake Bay collections and through exhibits such as that at the Havre de Grace Decoy Museum.

33 - William H. Purnell, Jr. hot brand

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Early and very rare widgeon, Robert McGaw, Havre de Grace, Maryland. A very rare species for the maker. Retains the McGaw dog bone weight on underside.

William Purnell brand on underside. Measures 13.25” long. Dry original paint with minor discoloration and wear; small amount of flaking at hairline cracks in underside; very minor separation at neck seat; filler on top of head has risen slightly.

Provenance: Ex William Purnell collection.

(8,000 - 10,000)

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James T. Holly 1855 - 1935 | Havre de Grace, Maryland The waters of the Susquehanna flats in the last quarter of the 19th century up until the first part of the 20th, were dominated by large market hunting rigs.

These rigs were mostly made up of canvasback decoys, as the canvasback was the most sought after query, selling for upwards of $2.50 per duck. The early decoy makers of Havre de Grace filled this demand for canvasback decoys by producing tens of thousands. The orders for puddle ducks however, were obviously few and far between, as early black ducks, mallards, pintails, and teal from Havre de Grace are very rare. The scratch feather paint detail on the head and subtle feather looping on the body, make this Holly black duck a true gem of the Upper Bay.

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Early and important black duck, James T. Holly, Havre de Grace, Maryland, circa 1900. Appealing mellow wing patch and scratch feather paint detail. A long body with hard chine and very slightly forward tilted neck seat. 17” long. Original paint with minor wear, mostly on the underside; small dents and shallow chips in body; minor roughness on edge of tail; tight crack in neck.

(8,000 - 12,000)

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

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Dropped wing miniature Baltimore oriole, Elmer Crowell, East Harwich, Massachusetts. Maker’s

in underside. “Robin” is written in pencil on underside.

tail raised and wings dropped. Crowell miniatures with

Measures 3.5” long. Strong original paint with a very tiny

dropped wing carving are harder to find. 3” long. Excellent

spot of inpainting near one eye and over bill.

(2,500 - 3,500)

Miniature bluebird, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp in underside

(1,500 - 2,000) 39

with number “3” in pencil. 2.75” long. Excellent and

amount of flaking on tail and edge of base, otherwise

original.

(1,500 - 2,000)

(1,500 - 2,000) 40

Miniature Connecticut warbler, Elmer Crowell, East Harwich, Massachusetts. The number “25” and maker’s rectangular stamp in underside. Measures 3.25” long. Professional bill crack repair with touchup; small spot of touchup on base otherwise very good.

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Miniature goldfinch, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp in underside

along with ‘11’ in pencil and ‘74’ in pen. 3” long. Small excellent.

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Miniature robin, Elmer Crowell, East Harwich, Massachusetts. Maker’s maker rectangular stamp

rectangular stamp in underside. Bird is slightly tilted with

and original.

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(1,200 - 1,800)

Miniature Baltimore oriole, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp in underside. Measures 3.25” long. Excellent and original.

Provenance: Dick and Lynn Gove collection.

(1,500 - 2,000)

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Miniature red headed woodpecker, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular

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stamp in underside. 3” long. Excellent and original.

in underside. Measures 5” long with wide body style. Very

(1,500 - 2,000) 42

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Miniature old squaw drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp

Miniature mallard drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp good and original.

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(1,750 - 2,250)

Miniature bluewing teal drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp

in underside. 4.5” long. Excellent dry original paint;

in underside. “Teal” is written in pencil on the underside.

structurally good.

4.25” long. Excellent and original.

(1,800 - 2,200)

Miniature wood duck drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp in underside. 4.5” long. Excellent and original.

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(1,500 - 2,000)

Miniature hooded merganser, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp in underside. Also identified in pencil. Measures 3.25”

(1,500 - 2,000)

long. Original paint with a worn patina; a few tiny flakes on base otherwise very good and original. (1,500 - 2,000)

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New England Lou Rathmell 1898 - 1974 | Danbury, Connecticut

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Exceedingly rare cedar black duck, Lou Rathmell, Danbury, Connecticut. Hollow carved decoy with slightly turned head. Very fine form and feather paint detail. Excellent bill carving and scratch feather paint detail on head. Rathmell was known for his cork decoys, and made very few wooden decoys. Decoy was made for Rathmell’s display at the Manhattan Sporting Show in the late 1940’s and was gifted in 1951 to the owner of a Palm Beach, Florida sporting goods store that Rathmell frequented. Signed and dated at that time. Measures 17.25” long. Excellent original paint with a few very minor dents; small amount of flaking at front of neck seat.

Provenance: Munson collection.

(20,000 - 30,000)

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Rare working black scoter, Wendell Gilley, Southwest Harbor, Maine, circa 1930s. Three piece hollow body with head doweled through a square whole in body, allowing the head to be placed in four different positions. Measures 20” long. Original paint with very minor gunning wear; small dents and a hairline crack in breast.

(2,000 - 3,000)

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Eider drake, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Back preening

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pose with inlet head. Carved eyes and relief carved bill. Underside remains unpainted and is slightly beveled. 14.5” long. Old working repaint that has crazed and darkened slightly; a few shot scars and small rubs; wood imperfection at one side of head.

(3,000 - 4,000)

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Rare surf scoter, Wendell Gilley, Southwest Harbor, Maine, circa 1930s. Two piece hollow body with head doweled through a square whole in body, allowing the head to be placed in four different positions. “Gilley” brand in underside and “Roger Rich” carved in underside. Relief carved wing tips. 21” long. White on wing patches was taken down, otherwise very good and original.

(1,750 - 2,250)

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Sleeping black duck, Shang Wheeler, Stratford, Connecticut, 1st quarter 20th century. Cork body. Retains Wheeler’s tear drop weight. It is believed to be one of only two of his buried bill cork decoys. Very graceful body with excellent scratch feather painting on head. Retains Hunter collection tag and Richard Oliver auction information. 15” long. Original paint that is worn from light gunning wear; some rubs to bare wood on head and around edge of tail; a few small scratches; possibly some brown added to high points on head, most likely done by Wheeler.

Provenance: Charlie Hunter, III collection.

(5,000 - 8,000)

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Charles “Shang” Wheeler 1872 - 1949 | Stratford, Connecticut

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Hollow carved black duck, Charles E. “Shang” Wheeler, Stratford, Connecticut. Head is very slightly turned with scratch feather paint detail. Measures 17.75” long. Excellent original paint with almost no wear; touchup around one eye and to wear on one side of head.

Provenance: Munson collection.

(17,500 - 22,500)

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Pacific Coast Richard Janson 1872 - 1951 | Sanoma Creek, California “I don’t give a kick. My name is Fresh Air Dick” Richard Janson was of Baltic descent, but he could not be more specific. He knew little of his parents or even of the possible existence of other family members. Through his 20’s, he worked as an able body seaman and ship’s carpenter, aboard a number of sailing ships traveling to a variety of ports around the world. On one of these voyages in 1899, while aboard the “Austrasia”, he left ship in San Francisco to begin his life in America. For a number of years thereafter, he lived in a variety of the waterfront hotels in that port, petitioning for US citizenship in 1906.

In San Francisco, he worked first as a beer salesman and later returned to sea to work aboard vessels in the Alaska (salmon) Packers Association fleet. It is generally agreed that aboard these various vessels he received his now wellknown nickname, due to his habit of preferring to sleep on the open deck of the ships, with a few blankets, regardless of the weather, rather than dwell in the crowded and undoubtedly, odiferous crew’s quarters.

In America, he soon purchased his own small boat which allowed him access to the San Francisco Bay and its many rivers, creeks, and marshes. This enabled him to fish commercially on his own account, netting bass and other inshore species. One of these fishing expeditions led him to Sonoma Creek, on the shores of which he built a rudimentary dock from which he could tie up the boat, store his gear and spend a night. Around 1930, Janson retired from the Alaska Packers Association and took up permanent residence as a squatter at his Sanoma site aboard a houseboat/barge, known locally as an ark. His little self-sufficient habitation consisted of the ark, a tiny shack for his workshop, a series of small piers, and a floating dock. His new home provided the basic necessities, but little else in the way of comfort. He lacked electricity, running water or indoor plumbing, and he never saw the need to install any glass in the windows of his ark. A wood stove provided a little heat for him, several cats, and a dog of ill-defined pedigree named “bum”. As Roger Barton pointed out in a 1987 article in “Wildlife Carving and Collecting”, visitors to his residence referred to it as “more shipwrecked than shipshape”. He reportedly ate only fish – morning, noon, and night, spoke very sparingly, and drank heavily with gusto.

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Until 1918, he gunned for the market to supplement his other forms of employment, but stopped duck hunting about 1932. From that point onward, his meager income consisted of what he could squeak out from fishing on a small scale, renting a few boats from his dock, and selling his decoys. His first birds were possibly carved immediately after his arrival in America, and he carved continuously for the rest of his life until ill health finally forced him to become a ward of the County Hospital. He used only the most basic of hand tools to carve his decoys. Apparently, he never owned an automobile nor a bandsaw. His style did evolve over his lengthy career but remained surprisingly somewhat consistent. The various periods of his production are discerned through analysis of somewhat subtle changes in the number of primary and tail feathers on his birds, and the existence and width of a keel along with minor variations in the paint pattern.

Today the work of this somewhat reclusive, self-sufficient, self-trained artist places him at the apex of California carvers and he has earned the prestige of being possibly the most recognized and celebrated carver from anywhere along the west coast.

Richard Janson’s life came to a tragic end, far from his beloved marsh, when he was caught in, and perished in a grass fire, possibly started by one of his own cigarettes at the Sanoma County Hospital.

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Important greenwing teal drake, Richard Janson, Sanoma Creek, California, 2nd quarter 20th century. Four carved primaries and carved tail feathers. 12” long. Strong original paint with some discoloration below water line; small holes were filled when keel was removed; two tiny holes at underside; small paint flecks at one side of head; a few small dents from light gunning wear; one eye cracked.

Provenance: Wild Goose Club collection. This decoy was lot 68 in our November 2013 auction. At the time it was consigned by the widow of a Colorado Springs member of the Wild Goose Club in Butte Sink, California. When he joined the club his share included around 40 Pacific Coast and Mason factory decoys that were sold in the November 2013 sale and on our weekly online auction.

Literature: “Wildfowl Decoys of the Pacific Coast,” Fred Hanson and Mike Miller, p. 152 (18,000 - 22,000)

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Pair of pintails, Richard Janson, Sanoma Creek, California, 2nd quarter 20th century. Four carved primaries on each. 18” long. Both are in excellent unrigged condition with a few spots of spider drippings.

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(6,000 - 9,000)

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Rare rigmate pair of canvasbacks, Richard Janson, Sanoma Creek, California, 2nd quarter 20th century. Both have carved wooden skegs and carved primaries. Both have slightly turned heads. 15” long. Original paint with minor wear; a few small dents.

Literature: “Wildfowl Decoys of the Pacific Coast”, Michael, R. Miller and Frederick W. Hanson, p. 142.

“North American Decoys”, Fall 1970.

(8,000 - 12,000)

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Mallard hen, Charles Bergman, Astoria, Oregon, 2nd quarter 20th century. Two piece hollow body. With upswept tail and loop feather painting influenced by Mason Decoy Factory, as many decoys in this area were. 17” long. Good original paint; moderate gunning wear; a few small nicks and rubs around bill and tail; professional restoration to an area on the tail and neck.

Provenance: Trent Spolar collection.

(2,000 - 3,000)

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Very rare pair of pintails, Harry Holloway, Vancouver, British Columbia, circa 1930. Both retain Holloway weights stamped “HSH”. Hollow with bottom board. Thin, delicately carved neck. 18” long. Strong original paint; some paint loss around bottom board of drake; light wear to bodies and tip of tail; some flaking around breast of hen; professional restoration to hen’s bill.

Provenance: Ron Gruber collection.

Literature: “Wildfowl Decoys of the Pacific Coast,” Miller and Hanson, p. 33, exact decoys pictured.

57 58

(2,000 - 2,500)

Rigmate pair of mallards, Percy Bicknell, Richmond, British Columbia, circa 1930. Two piece hollow body with bottom board. The earlier style with a more slanted body, higher rump, and lacking the scratch feather paint that he did on his later work.

Draw shave marks are still very visible. 16” long. Original paint with light gunning wear; tight crack in drake’s bill; hen is missing one eye.

Provenance: Ron Gruber collection.

Literature: “Wildfowl Decoys of the Pacific Coast,” Miller and Hanson, p. 32, exact decoys

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pictured.

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(1,500 - 2,000)

Rare rigmate pair of mallards, Harry Holloway, Vancouver, British Columbia, circa 1930. Both retain Holloway’s signature weights with his name and location carved in them. Hollow body with bottom board. Carved wing and tail separation. Squared off raised neck seat. Tiny hat pin eyes. 17.5” long. Original paint with minor gunning wear; light flaking with a bit more on head of hen; some small rubs; hairline crack in bill of hen; a few shot marks in drake.

Provenance: Ron Gruber collection.

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Literature: “Wildfowl Decoys of the Pacific

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Coast,” Miller and Hanson, p.28.

(1,500 - 2,500)

John Luedtke 1901 - 1956 | Stockton, California

59A

Pintail hen, John Luedtke, Stockton, California, 2nd quarter 20th century. Balsa body construction with stylistic upswept tail, curved neck, and finely carved bill. Strong original paint with minor rubs from gunning; small spot of touch up on center of back; a few small paint flakes under tail.

Provenance: Trent Spolar collection.

Literature: “Wildfowl Decoys of the Pacific Coast,” Miller and Hanson.

(4,000 - 6,000)

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Charles Pice 1886 - 1957 | Astoria, Oregon

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Mallard hen, Charles Pice, Astoria, Oregon, 2nd quarter 20th century. Hollow carved with 1/2” bottom board. Alert head that is slightly tilted up. Relief carved notches above bill. Painted eyes and loop feathering which was an influence from the Mason Decoy Factory.

17” long. Excellent original paint; small chip at tail; a few tiny rubs.

Provenance: Trent Spolar collection.

Literature: “Wildfowl Decoys of the Pacific Coast,” Miller and Hanson.

(8,000 - 10,000)

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59c

Pintail drake, Charles Pice, Astoria, Oregon, 2nd quarter 20th century. Hollow carved with ½” bottom board. Alert head that is slightly tilted up.

Relief carved notches above bill. Painted eyes and loop feathering which was an influence from the Mason Decoy Factory. 17” long. Original paint with minor crazing and wear under a thin coat of varnish; small dents and shot marks; hairline crack through neck and in breast.

Provenance: Trent Spolar collection.

Literature: “Wildfowl Decoys of the Pacific Coast,” Miller and Hanson.

(8,000 - 10,000)

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Pair of canvasbacks, Walter Rupple, Portland, Oregon. Hollow carved with slightly turned heads. Hen in slightly swimming pose. Relief wingtip carving. Signed on the undersides and dated 1978. Measure 17.5” and 18.5” long. Excellent and original.

Provenance: Trent Spolar

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collection.

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Rigmate pair of mallards, Percy Bicknell, Richmond, British Columbia, circa 1950. Hollow body with bottom

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Rare brant, Marshall Aubrey Kent, Victoria, British Columbia, circa 1920. Stylish decoy with a “razor”

board. Scratch painting on bodies. 17” long. Both are very

back to shed water and weight. Tack eyes. With a bit of a

good and original with a few small rubs.

swimming attitude, which is uncommon for British Columbia decoys. Kent is said to have only made one rig of brant.

Provenance: Trent Spolar collection. (1,000 - 2,000) 62

(1,000 - 1,400)

Hollow with bottom board. 20” long. Strong original paint with some discoloration, rubs, and edge wear.

Early and stylish Pacific brant, identified as Jack McGee, Demin Island, British Columbia, 2nd quarter 20th century. Two piece hollow body with high alert, turned

Provenance: Ron Gruber collection.

Literature: “Wildfowl Decoys of the Pacific Coast,” Miller

head. Raised neck seat. 20” long. Heavy gunning wear has

and Hanson, p. 29, exact decoy pictured.

produced a nice patina; some rough spots showing where nails secure the two halves of body and a support securing the neck to the body is missing; dry old paint is a mix of original and second coat with rubs, flaking, and some wood separation on body parts; tight crack in neck.

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(1,500 - 2,500)

Rigmate pair of mallards, Percy Bicknell, Richmond, British Columbia, circa 1950. Both retain original Bicknell rigging. Hollow with bottom board. Fine scratch painting.

17” long. Excellent original paint; a couple of small dents;

Provenance: Ron Gruber collection.

three drops on side of drake’s bill appear to be blood stain.

Literature: “Wildfowl Decoys of the Pacific Coast,” Fred

Provenance: Ron Gruber collection.

Hanson and Michael Miller, p. 20, exact decoy pictured.

(1,000 - 1,500)

(1,000 - 2,000)

Michigan Ferdinand Bach 1888 - 1967 | Detroit, Michigan

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Canvasback drake, Ferdinand Bach, Detroit, Michigan, 1st quarter 20th century. Wide body style with relief wing feather carving. “F. Bach” carved in the underside. Measures 14.5” long. Second coat of working paint by Bach; with minor crazing and wear; small dents and shot marks; some roughness to wood on back from before the bird was repainted.

Provenance: Kirby Roberts collection.

(8,000 - 12,000)

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Large swan found in Michigan, unknown maker, 1st quarter 20th century. A bobtail style, similar to those decoys used on the Detroit River. Probably an inlet neck, but the lower portion of the neck is missing, and what remains has been fastened in that spot. Head and bill are two piece construction. Body is hollow with bottom board. Bottom board has “JRC” branded multiple times.

34” long. Multiple coats of old paint; bottom board was probably added at a later date; cracks in body; moderate to heavy gunning wear. (1,750 - 2,250)

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Rigmate pair of mallards, Ben Schmidt, Detroit, Michigan. 18”

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long. Both have the original keels and branded “HLR”. Original paint with good patina and minor wear; structurally good.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid.

(3,000 - 5,000)

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Rare gadwall drake, Ben Schmidt, Detroit, Michigan. Relief wing carving and feather stamping.

Measures 15.5” long. Original paint with very minor wear; drying crack along the back; minor separation at neck seat.

Provenance: Trent Spolar collection.

(3,000 - 4,000)

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Rare pintail hen, Ben Schmidt, Detroit, Michigan. “KD” is carved in the underside. Old label on underside states “From Jim Foote in 1969.” Measures 17.25” long. Original paint; very minor wear; keel is missing; minor wear to wood at one bottom edge; very lightly hit by shot.

(2,000 - 3,000)

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Rare and important standing, full body half size shoveler drake, Ben Schmidt, Detroit, Michigan. Feather stamping, wing carving, and turned head. All mounted to a wooden base.

9” tall. Strong original paint with a nice mellowed patina; bill has been broken with the original piece reset.

(1,500 - 2,000)

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Shoveler hen, Ben Schmidt, Detroit, Michigan. Relief wing carving and slightly turned head. Feather stamping on body. “L” stamped into the underside for the collection of Dick Lancaster. Measures 15.5” long. Minor discoloration and a few small paint rubs, otherwise very good and original.

(1,800 - 2,200)

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Rare brant, ben Schmidt, Detroit, Michigan. Signed “Ben J Schmidt Detroit Michigan”. Also has Vic Brocker stamp on underside and “BR. 2” under tail. Stamping with wing feather carving.

Only a few brant are known to have been made by Schmidt. 16” long. Strong original paint; structurally good.

(2,000 - 3,000)

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Hans Janner, Sr. 1880 - 1963 |Mt. Clemens, Michigan

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Very desirable fish decoy, Hans Janner, Sr., Mt. Clemens, Michigan, 2nd quarter 20th century. White sided bass with sculpted dorsal fin, glass eyes, and carved mouth. Similar period and paint style of the so called “ghost fish” models.

Measures 12” long. With copper fins. Strong original paint that has mellowed nicely; very tip of copper dorsal fin has broken off or worn off; fish appears to have very light in use wear.

Provenance: Alicia and Norman Volk collection.

Literature: “Beneath the Ice,” Steven Michaan, p.

19, exact decoy pictured.

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(35,000 - 45,000)

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Fish decoy, Hans Janner, Sr., Mt. Clemens, Michigan, 2nd quarter 20th century. Bass with glass eyes, sculpted dorsal fin, carved mouth, and scratch carved gills. White paint on underside with natural finish on most of decoy. All fins with exception of dorsal are copper. Measures 12” long. Excellent.

Literature: “The Fish Decoy,” Art, Brad, and Scott Kimball, p. 75, exact decoy.

“Beneath the Ice,” Steve Michaan, p. 31, exact decoy.

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(8,000 - 12,000)

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Important fish decoy, Hans Janner, Sr., Mt Clemens, Michigan, 2nd quarter 20th century. Flip tail bass with sculpted dorsal fin and layered decorative paint pattern. Glass eyes with carved mouth.

Fins were made from some consumer product where advertising still shows on one side, adding to its appeal. Strong original paint with light flaking; a few small rubs.

Provenance: Alicia and Norman Volk collection.

Literature: “Beneath the Ice,” Steven Michaan, p. 28, exact fish pictured. “Underwater Decoys: Fish,” Gene Kangas, North American Decoy Magazine, (Spring, 1978), pp.14-23 (Hart & Buchman Collection).

(15,000 - 20,000)

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Fish decoy, Abraham Dehate, Mt. Clemens, Michigan, 2nd quarter 20th century. Menominee with paint decorated fins, carved eyes, gill, and mouth. Detailed carving at underside of head. Measures 10” long. Strong original paint; with some rust areas where fins attach to body; reglued chip at top and

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bottom of tail.

Provenance: Alicia and Norman

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Volk collection.

Early fish decoy, Alex Meldrum, Fair Haven, Michigan, 2nd quarter 20th century. Glass eyes with metal

(2,500 - 3,500)

fin and linear carving at wooden tail. Measures 11” long. Very old paint which mostly appears to be original; a silver primer may have been applied underneath the white and green outer layers; restoration to top and bottom of tail fin.

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Provenance: Alicia and Norman Volk collection.

(2,500 - 3,500) 78

Impressive fish decoy, Andy Trombley, Mt. Clemens, Michigan, 2nd to 3rd quarter 20th century. Glass eyes with carved mouth. Painted metal fins. Measures 13.75” long. With excellent original paint protected by a coat of varnish; some loss of paint where fins attach to body; chip at lower portion of tail.

Provenance: Alicia and Norman

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79

Volk collection.

Large fish decoy, Abraham Dehate, Mt Clemens, Michigan, 2nd quarter 20th century. Impressive bass with carved eyes. Detailed carving of gill, mouth, and underside of mouth. Metal fins. Measures 11.5” long. Excellent original paint; a few small spots of discoloration; small areas of paint loss at fins and around belly weight.

Provenance: Alicia and Norman Volk collection.

(2,000 - 3,000)

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(3,000 - 5,000)

80

81 80

Fish decoy, Ken Brunning, Tower, Michigan, 2nd quarter 20th century. Yellow phase trout with metal fins

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Superb fish decoy, Auggie Janner, Mt Clemens, Michigan, 2nd to 3rd quarter 20th century. Railroad

and tail. Rare color for a Brunning trout, which are typical

reflector glass eyes with carved mouth and broad sturdy

more red and pink. Measures 13” long x 2.25” tall. Strong

fins. Measures 13” long. With layered and scratched paint

original paint protected by a coat of varnish; some flaking

moving from gray at top to a white under belly. Excellent

where fins attach to body.

original paint; tip of bottom tail fin has been reglued.

(2,000 - 3,000)

Provenance: Alicia and Norman Volk collection.

(2,000 - 3,000)

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Fish decoy makers construction and tool box. Includes nine cigar boxes used as storage containers for tools and materials, like knives, metal for fins, and eyes. There are several fish decoys in different states of construction, probably form a Michigan maker.

Three of the fish are nearly complete, others are unpainted blanks. Box measures 21” tall.

Provenance: Steven Michaan collection.

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(1,500 - 2,000) 83 83

Penobscot fish creel, JD Pelkey. Medway, Maine. Wood slat construction with carved trout on lid and front. Signed on the underside and dated 2000. Measures 10.5” x 6.5”. Minor dents and marks from light use, otherwise excellent.

(1,000 - 1,500)

Charles Perdew 1874 - 1963 | Henry, Illinois

58

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Rare sleeping mallard hen, Charles Perdew, Henry, Illinois, 3rd quarter 20th century. Two piece hollow body with head reaching and offset to one side of back.15” long. Excellent original paint by Charles Perdew; structurally excellent.

(15,000 - 20,000)

59

85

Canvasback, Bert Graves, Peoria, Illinois, 1st quarter 20th century. Hollow carved with comb feather paint detail. Measures 17” long. Original paint with moderate flaking from heat on one side; hit by shot with a few shot strikes being darkened; very thin wash of white has mostly wore off of one side.

(1,500 - 2,500)

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Early pintail hen, Hector Whittington, Oglesbee, Illinois, 2nd quarter 20th century. Number “24” written on underside, probably made for an early gun club in Illinois. Two piece hollow body. 17” long. Original wet on wet brush painting; body has shot marks; some early repaint to bill and one side of body seam.

(1,500 - 2,000)

86 87

Pair of mallards, Hector Whittington, Oglesbee, Illinois, 2nd to 3rd quarter 20th century. Two piece hollow body.

Drake has comb painting on back and sides. Hen has initials “BD” on underside.

18” long. Original paint; hen has restoration to crack in neck and some inpainting around seam at one side of body and small spot between breast and neck; drake has moderate gunning wear; rubs, crazing, and some discoloration to white areas.

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Provenance: Trent Spolar collection.

(2,000 - 3,000) 88

Redhead, Robert Elliston, Bureau, Illinois, last quarter 19th century. Hollow carved with fine comb feather paint detail. Retains the Elliston weight. Measures 14” long. Original paint with moderate flaking and wear; hit by shot; tight cracks with small nails added to one side of body seam; separation and losses at a defect in wood on back; hairline crack in neck and bill; approximately 1/3” of bill is a professional

88

replacement.

60

Provenance: Trent Spolar collection.

(2,000 - 3,000)

89

Pair of mallards, Charles Perdew, Henry, Illinois. Hollow carved. Drake with slightly turned head. Each retain Perdew weight. Near mint paint protected under old coat of varnish that has darkened; hairline crack in one eye of each; otherwise excellent structurally.

(7,000 - 9,000)

61

90

Swimming mallard drake, attributed to John Stiles (b.1908), Savannah, Illinois, circa 1940. Long, extended reaching head with two piece hollow body.

“Kangas” brand on underside. Retains Bourne July 8, 1987 sticker and Charlie Hunter collection tag. Comb painting on body. 20” long. Thick original paint; with some separation and filler loss where neck is attached to body; rub spot around bill.

Provenance: Charlie Hunter, III collection.

90

Literature: “North American Survey,” Gene and Linda Kangas, p. 248, exact decoy pictured.

91

(1,500 - 2,500)

Mallard hen, Charles Perdew, Henry, Illinois, circa 1950. Hollow carved with slightly turned head. Retains Perdew weight on underside. Measures 15.75” long. Original paint with very minor wear; layer of varnish has crazed and bubbled giving a textured feel; small amount of touchup to white bar on one wing patch; very good structurally.

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92

(1,500 - 2,200)

Mallard drake, Charles Perdew, Henry, Illinois, circa 1950. Two piece hollow body. Tight comb painting on sides.

“Travis” painted on underside. Retains original Perdew weight. 16” long. Excellent original paint by Charles Perdew; one small spot of touchup near wing bar and under tail; small amount of touchup to some wear spots on top of head.

(2,500 - 3,500)

92

93

Mallard, Hiram Hotze, Peoria, Illinois, circa 1930s. Hollow carved. “LJR” branded in underside. 16” long. Original paint with minor wear; protected under an early coat of varnish; minor roughness and a small chip in tip of bill; area of touchup on one lower side.

Provenance: Trent Spolar collection.

(2,500 - 3,500)

93

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Pair of pintails, Charles Perdew, Henry, Illinois. Hollow carved. “LHB” stamped in the underside of each for Louis Henry Barkhausen, who was Ducks Unlimited’s third president.

Both retain Perdew weights16” long. Original paint with minor wear; thin wash to white on drake that has mostly worn down to the original; minor separation and flaking at a repaired crack in hen’s neck; some roughness at tip of hen’s tail; professional repair to a crack in drake’s neck.

Provenance: Carl Nemec collection.

(8,000 - 12,000)

63

Contemporary miniatures

95

96

95

98

Miniature semipalmated plover, Frank Finney, Cape Charles, Virginia. Made in the style of Elmer Crowell.

Carved wings, split tail, and slightly turned head with

Miniature owl, Steve Weaver, Cape Cod, Massachusetts. Perched

glass eyes. Base is stamped “Finney” with “FF” carved in

owl with relief wing carving

underside. 6.5” tall. Excellent and original.

and excellent paint detail.

(1,000 - 1,500)

98

Signed on the underside and titled “Silent Vigil”. Owl

96

Miniature rooster, Frank Finney, Cape Charles, Virginia. With dropped tail feathers and carved

measures 3.25” tall, piece

waddle. Maker’s ink stamp on underside. Measures 9.5”

base. Mint.

long. Painted to appear older, with minor flaking and rubs; excellent structurally.

Provenance: Dick and Lynn Gove collection.

(1,000 - 1,400)

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measures 9.75” tall with (1,750 - 2,250)

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101

103

100

102

104

99

100

Miniature walking yellowlegs, Frank Finney, Cape Charles, Virginia. Made in the style of Elmer Crowell

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Miniature black crowned night heron, Frank Finney, Cape Charles, Virginia. Walking with open mouth,

with dropped, carved wings and turned head that is

having caught an eel. Carved wings and glass eyes. Base

slightly lifted. Base is stamped “Finney” and signed “FF”.

is signed and stamped “Finney”. Measures 6” tall. Mint in

Measures 7” long. Excellent and original.

all respects.

(1,000 - 1,500)

Miniature ruffed grouse, Frank Finney, Cape Charles, Virginia. In strutting pose. Measures 5.5” tall.

103

Stamped “Finney” with “FF” carved in underside. Mint.

(800 - 1,200)

Miniature barn owl, Frank Finney, Cape Charles, Virginia. Chip carved with glass eyes. Standing on layered base. Slightly turned head. Stamped “Finney” and

(800 - 1,200)

signed “FF” on underside. 5” tall. Excellent and original.

(800 - 1,000)

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Miniature swan, Frank Finney, Cape Charles, Virginia. Swan has open mouth reaching back over head. Stamped “Finney” with carved “FF” in underside. 7”

Miniature rooster, Frank Finney, Cape Charles, Virginia. Head turned and tail feathers raised. Maker’s

long. Excellent and original.

ink stamp on underside. Measures 6.5” long. Painted to

(1,000 - 1,500)

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appear older; with minor flaking; very good structurally.

Provenance: Dick and Lynn Gove collection.

(1,000 - 1,400)

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Sporting art David Hagerbaumer | (1921 - 2014) Born in Quincy, Illinois, the young Hagerbaumer remained in the Prairie State through 1940, working on the family farm.

As a young man, he, along with his father, uncles, and grandfather would hunt, trap, and fish, primarily to put food on the table during the Depression. He shot his first duck at Turtle Lake when he was eight years old and, in the 1930’s, followed his grandfather’s lead and carved his first duck decoy. Growing up, he was called Warren by the family, and this is how he was listed in the 1938 Quincy (IL) High School yearbook. At the beginning of WWII, he enlisted in the Marine Corp and served as Staff Sargent on Midway Island in the Pacific. After his service, he lived in San Diego, California and enrolled in San Diego State College, majoring in art, but never graduating. He found employment as a preparator (taxidermist) and assistant ornithologist at the Carson City Museum (NV) while simultaneously forming, along with his cousin, the Custom-Built Decoys factory in San Diego in 1946.

The endeavor was short lived and ceased operations when the shop burned to the ground after only one year in business.

When the Korean War began, David, again, answered his Country’s calling and returned to active duty, this time with the security of spending his time creating propaganda posters and maps for the military. Upon being discharged, he returned to California and became the staff artist at the Santa Barbara Museum. He had been painting all this time in whatever spare moments he had. He would paint during the week and sell his work on the weekends, at the open air markets in the San Diego and La Jolla area. In his own words:

Hagerbaumer’s works first appeared in the 1956 Crossroads Catalog – four watercolor prints published by Frost and Reed in England. Affirming he could make a living through his art, he would devote himself full time to painting. He was married multiple times, and, at the time of his death, he had been living in Washington State for some period.

During his lifetime he achieved remarkable success and widespread acclaim. In addition to his numerous originals, prints and etchings, he wrote and illustrated a number of books including “Selected American Game Birds” (1972) and “Waterfowling – These Past Fifty Years – Especially Brant” (1998). References have been written cataloging his work including: “The Art of a Sporting Life – The Wildlife Art of David Hagerbaumer” and “David Hagerbaumer Sporting Images: Etchings, Drypoints and Drawings” to name but a few. He was chosen by multiple authors to illustrate their writings, notably Miller and Hansen who penned “Wildfowl Decoys of the Pacific Coast – Carving Traditions of British Columbia, Washington, Oregon and California”. Considered one of the premier wildlife artists of his time, major art museums such as the Lehigh Yawkey Woodson Art Museum, Wausau, WI and others have staged exhibits which focused on his work.

His art is based on his personal knowledge and experiences afield and thusly, accurately portrays the look and mood of the hunt. When reminiscing about him, David Maass once proclaimed: “Dave was truly a sportsman’s artist and has done it all, both with gun and brush”.

“I got my break in 1954 when a mentor, Edward Selden Spaulding, showed my work to Ralph Terrrill, who managed the Crossroads of Sport in New York City”.

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David Hagerbaumer (1921-2014), watercolor on paper. Hunter setting a rig of Richard Janson decoys from small skiff. Pintails are in flight.

Appears to be in northern California, possibly Butte Sink scene. Image measures 18.5” x 25.5”. Signed lower right. Excellent and original; not covered by glass.

(2,000 - 3,000)

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106

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David Hagerbaumer (1921-2014), watercolor on paper. Mallards landing in flooded timber.

Signed lower left and dated 1980. Sticker on back from Reed Galleries, Mt Vernon, Washington.

Image measures 21.75” x 29”. Double matt framed, with with oak. Excellent and original; not covered by glass.

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David Hagerbaumer (1921-2014), watercolor on paper. Measures 21.5” x 29”.

(1,500 - 2,500)

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Image of snow geese in flight with others feeding on tidal flat. Signed lower right. Excellent and original; not covered by glass.

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(1,500 - 2,500)

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David Hagerbaumer (1921-2014), watercolor on paper. Mallards and widgeon landing into windblown decoys and light snow storm. Decoys appear to be made by Pacific Coast maker, possibly Percy Bicknell. Signed lower right. Image measures 18.5” x 25.5”. Triple matt with linen and hardwood frame. Excellent and original; does not covered by glass.

(1,500 - 2,500)

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Lynn Bogue Hunt (1878-1960), oil on canvas. Of hunter with setter and three pheasants flushing form autumn brush.

Image measures 15.5” x 12”. Signed lower right. Sticker on back from The Sporting Gallery and Book Shop, New York City. As viewed under black light image is excellent and original with no crazing Provenance: Charlie Hunter, III collection.

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(5,000 - 8,000)

110

Henry Sumner Watson (1868 - 1933), oil on canvas. 20” x 14”.Watson not only illustrated many sporting covers, but was also the editor of Field & Stream from 1918-1924. This image

110

was used for the cover of the December 1922 issue of Field & Stream Magazine. A copy of the magazine is included. Painting has been cleaned with small amount of varnish left untouched around signature; very good.

Provenance: Charlie Hunter, III collection.

(3,500 - 4,500)

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Lynn Bogue Hunt (18781960), oil on canvas. Male

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bobwhite quail resting on chair in what appears to be a library.

This quail was purportedly Earnest Hemmingway’s pet. Mr. Hunt painted this as a gift to Mr. Hemmingway while visiting his residence in Cuba. Image measures 15.5” x 17.5”. As viewed under black light minor amounts of inpainting to lightly flaked areas.

Provenance: Charlie Hunter, III collection.

(2,500 - 3,500)

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Percival Leonard Rosseau 1859 - 1937

Born in Pointe Coupee Parish, Louisiana, Rousseau’s father was killed in the Civil War and his mother died shortly thereafter. The family farm was destroyed by the Union Army and Percival and his sister were rescued by a slave then raised by a family friend in Kentucky. He tried his hand at being a cowboy, cattle driver, and timberman, ultimately owning a brokerage business in New Orleans. This venture prospered allowing him to travel to France to study art and paint the human figure. In 1903 he executed a portrait featuring two wolfhounds, which met with much critical acclaim.

This, and similar paintings soon to follow, catapulted him into the spotlight and launched him on a career as a sporting and animal artist. He was a member of the Pennsylvania Academy of the Fine Arts, the Lotos Club in New York City, and the Lyme Art Association. His work hangs in many of the most prestigious museums and galleries throughout the country

Percival Rosseau seated in his studio 112

Percival Leonard Rosseau (1859-1937), oil on canvas. Two setters on point on the edge of a marsh.

Signed and dated 1905 lower left. Measures 23” by 31 1/4”. As viewed under UV light there are no repairs or inpainting; very good condition.

70

(40,000 - 50,000)

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Roland Clark (1874-1957), watercolor on paper. Titled “Snipe”. Measures 17” x 12.5”.

Signed lower left. Linen matting and professional gilt frame. As viewed under black light excellent and original.

Provenance: Ex collection Paul Rundell. Private New England collection.

Literature: Exact painting pictured in the 1993 Limited Edition of “Roland Clark’s Etchings”, The Sporting Heritage Collection, LiveOak Press, Columbia, South Carolina.

(2,000 - 3,000)

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Lynn Bogue Hunt (1878-1960), gouache or tempura. Image measures 16” x 19”.

Mallards setting into marsh. Signed lower edge.

Professionally matted and framed. Very good and original.

Provenance: Charlie Hunter, III collection.

(2,000 - 3,000)

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Edmund Osthaus (1858-1928), Pencil drawing. Measures 7” x 6”. Alert pointer, probably a field study for a later oil on canvas. Signed lower right. Professionally matted and framed. Preserved paper on back with the Franklin Studio, Toledo Ohio and in pen enscribed by Osthaus says “Presented by Eho to..” something not legible dated 1921. Appears to be very good and original.

Provenance: Charlie Hunter, III collection.

(2,500 - 3,500)

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Aiden Lassell Ripley (1896-1969), watercolor on paper. Of two hunters retrieving downed ducks over decoys. Signed lower left and dated 1936. Image measures 15” x 22”. Sticker from Philadelphia Gallery on back indicated title as “Fetching a Duck.” As viewed under black light image is excellent and original.

Provenance: Charlie Hunter, III collection.

(8,000 - 12,000)

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David Maass (b.1929), oil on board. Measures 23.5” x 29.5”.

Image of pair of ruffed grouse in snowy birch and pine forest. Signed “Maass” lower left. Very good and original.

74

(4,000 - 6,000)

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David Maass (b.1929) oil on board. Group of mallards landing in flooded timber. Signed lower right. Image measures 23.25” x 31.5”. Excellent and original.

(7,500 - 10,000)

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Oscar Peterson 1887 - 1951 | Cadillac, Michigan

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Large and impressive carved plaque, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Spawning trout carved in a courtship ritual

of plaque to top of fish. Peterson’s metal strapping along

swimming above river’s gravel or sand bottom. The

into a gun rack at some point and three repairs have been

female is in Peterson’s famous flip tail pose, and the

made to lower part of board to return it to its original state; a

male displays a large type jaw. Each with glass eyes,

few small smudges to the varnish.

excellent carved detail on face, mouth, and fins. A meticulously wet on wet blended paint application transitioning from green to pink to yellow on the sides of body and face. Metallic flakes were embedded

edges and along back. Strong original paint covered by Peterson’s application of varnish; plaque had been made

Provenance: David Fannon collection. Ex Gary Miller collection. This plaque was found at the Haring Township dump in the 1970s.

prior to an application of varnish which is seen on some

Literature: “Michigan Master Carver - Oscar Peterson,” Ron

of Peterson’s highest grade plaques. The board is an

Fritz, p. 76, exact plaque pictured.

(40,000 - 60,000)

impressive 20” x 36” x nearly 2” thick from the back

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Carved fish plaque, Oscar Peterson, Cadillac, Michigan, circa 1940. Bluegill with open mouth. Detailed carving around gills and fins. Glass eye. Board that retains Peterson’s metal strapping to prevent warp. Measures 8” x 11.5” x .75” thick. Excellent original paint protected by a coat of varnish.

Literature: “Michigan Natural Resources Magazine,” November 1982, p. 61, exact plaque illustrated. “Michigan Master Carver - Oscar Peterson,” Ron Fritz, p. 80, exact plaque pictured.

Michigan State University 1982 included in a display of Oscar Peterson works. (15,000 - 20,000)

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Large salmon plaque, Edward Gerrard & Sons, Natural History Studio Camdenton, London. Gerrard was friends with Charles Darwin and mounted specimens for Darwin. They were one of the worlds foremost taxidermist and known for their fabulous fish carvings. Brass plaque on lower left corner reads “George R Nutter/Fosland on the Namsen-Elv./Norway July 21, 1932/ Weight 44lbs.” Salmon measures 44.5” long, plaque is 20” x 55”. Original paint under the original coat of varnish; a few spots of touchup; repair to a chip in the tip of one fin; minor flaking where dorsal fin was inlayed; seams have opened on backboard.

(8,000 - 12,000)

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121a

Large salmon plaque, P.D. Malloch, Perth, Scotland. Salmon measures 45.5” long, plaque is 15” x 49”. Tag on plaque indicates the fish was caught at Upper Stobhill River Tay, 30 lbs., 25th February 1933.” Original paint protected under an early coat of varnish; that has crazed; a few small dents and paint rubs; some dents and cracks along edges of backboard.

(8,000 - 12,000)

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Chinook/Tyee Salmon by Thomas “Tommy” Brayshaw (1886-1967), (English-Canadian), arrived 1911 in Vernon, British Columbia, Canada. Originally made for the Canadian Fishing

Provenance: George C. Wallis Collection, Harry

Company. Right-facing bold dark salmon with rare

Gene Kangas, Cleveland State University, Ohio, p60.

open mouth. Estimated to have been a very large 50

“The 1992 American Museum of Fly Fishing Festival

plus pounds, and 48” long. The detailing is rich. Caught

Weekend Art Exhibit,” Manchester, Vt. The Ward

in the Tyee Pool in Campbell River, British Columbia,

Museum Wildfowl Art Exhibition. 1/1997 to 5/1997.

in 1936 by George C. Wallis and his guide was Carl Erickson. This trophy carving certainly ranks as one of the very best made in North America. It also helps establish Tommy Brayshaw as one of North America’s premiere fish carvers. Brayshaw is the critical historical link between Europe and North America. Excellent original paint with some minor restoration at tip of dorsal fin, where the tip of tail fin was reset; a scratch in body behind gill, and one side of lower fin.

80

MacDonald, British Columbia Collection, Kangas Collection. : “New World Folk Art and Cross-Cultural Inspirations, 1492-1992.” Curated by John Hunter &

Literature: Tommy Brayshaw, The Ardent Angler-Artist

by Stanley E. Read, The University of British Columbia, 1977. The Western Angler, 2nd Edition of R.L. HaigBrown. Brayshaw did the illustrations for this book.

“Thomas ‘Tommy’ Brayshaw” by Gene Kangas, Decoy Magazine, May/June, 2006. Decoys by Gene & Linda Kangas, Collector Books, Paducah, KY., 1991, p 96 text, p103 & 173Tyee (R Facing).

(20,000 - 30,000)

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Lawrence Irvine 1918 - 1998 | Winthrop, Maine

Lawrence lived his entire life in rural Winthrop, surrounded by Maine’s classic woods and waters.

He quickly developed a love for the outdoors which remained with him for his entire life. He followed in his father’s footsteps and found employment after high school in the local woolen mill, working later in life in the food service division of the local school system. During WWII he served in the 4th Armored Division. Upon his return to Winthrop after the war, he married a local girl, Donna Stevens, in 1948. The couple lived a simple but extremely happy life alone, in a trailer, on the outskirts of Town. He carved his first fish after seeing some at a local fair and decided “he could do better”.

Irvine did all his carving in a crowded one car garage behind his home using only hand tools. People would bring in their prize and he would do a tracing of the fish and jot down a few notes. The customer would return in a few weeks to claim an accurate wooden model of his catch. He rarely charged more than $25 dollars for his carving and some of his completed fish were sold at Audette’s Hardware Store in Winthrop for a mere $10 to $15 apiece. A number of his fish are mounted on a backboard with a faux birch bark finish that looked

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Lawrence Irvine

real enough to be considered trompe d’oeil. The vast majority of his carvings were of local fish species, predominantly the legendary Maine trout and salmon.

Other freshwater fish by him are scarce and he would, very rarely, carve saltwater fish. Striped bass by him are almost unknown.

Lawrence Irvine’s beloved wife died in 1988 and he lost interest in much after her passing. He had a stroke after her death and died after a lengthy stay in a local nursing home.

Rare striped bass fish plaque, Lawrence Irvine, Winthrop, Maine. A rare example, one of three known. Relief gill and mouth carving. Striper measures 37” long x 4.75” wide. Plaque on board indicates it was caught at Popham Beach, Maine June 1969 by B.K. Still. Excellent original paint; under the original coat of varnish; tiny chips at spines in dorsal fin; reglued chip in pectoral fin; hairline drying crack along side.

82

(10,000 - 15,000)

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Excellent brook trout, Lawrence Irvine, Winthrop, Maine. Relief carved mouth and gills. Backboard painted to mimic white birch.

Signed on the back of board.

Trout measures 21” long, plaque 28.5”. Excellent and original.

(2,000 - 2,500)

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Large leaping salmon, Lawrence Irvine, Winthrop, Maine. Signed

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on the back of board. Two piece laminate construction with relief gill and mouth carving. Salmon measures 33.5”, plaque measures 40”. Minor separation at body seam under mouth and gills; otherwise excellent.

(2,000 - 3,000)

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Lake trout, Lawrence Irvine, Winthrop, Maine. Signed and dated on backboard. Dated 02/48.

Excellent carved fin detail. Mounted to plywood backboard. Board measures 28” in length.

(1,500 - 2,000)

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Small mouth bass plaque, Lawrence Irvine, Winthrop, Maine. Relief carved gills and

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mouth. Signed on the back of board.

Bass measures 20” long, backboard measures 28”. Minor dents and rubs on edge of backboard, otherwise excellent and original. (1,200 - 1,800)

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New Jersey and Delaware River Harry V. Shourds 1861 - 1920 | Tuckerton, New Jersey

“From the late 1880s to the early 1900s, Charles P. Irwin purchased all of the decoys for his rig from Harry V. Shourds. He used them to hunt the Twin Rivers in Monmouth County New Jersey. The black duck decoys from this rig can be identified by the unique brass line tie hardware, which replaced the customary leather thong used to tie off line attached to a lead weight holding the decoys in the water.”

An excerpt, by collector Phil Ryser, about the Irwin Rig decoys as written for “Classic New Jersey Decoys” by James R. Doherty.

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Black duck, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Hollow carved with tack eyes and scratch feather paint detail. From the famed Charles P. Irwin rig. Indicated by the metal line tie rigging on the underside. As featured on page 40 of “Classic New Jersey Decoys,” by James R. Doherty, Jr. Measures 16.75” long. Original paint with minor gunning wear; slight separation at body seam; blunting with minor paint separation at very tip of tail; appears to have had some paint restoration on bill but bill is structurally fine.

(15,000 - 20,000)

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Bufflehead hen, Lloyd Parker, Parkertown, New Jersey, last quarter 19th century. Hollow carved with carved eyes and ice groove behind neck seat.

“Accomack Club VA” brand in underside. Measures 11.5” long. Early working repaint; with moderate flaking and wear; hairline drying cracks in head and neck; numerous shot marks have been

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plugged with wooden dowels; small chip in one side of neck seat.

(1,500 - 2,500)

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Very rare brant, Will Hall, West Mantoloking, New Jersey, circa 1925. Carved for his own use.

Measures 18.5” long. Original paint on the back and center sides; the rest is appealing old in use repaint; crack through neck.

(1,250 - 1,750)

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Bluebill drake, Harry M. Shourds, Ocean City, New Jersey, circa 1920s. Hollow carved with inlet lead weight. 14” long. Original paint with moderate wear mostly on the white areas; separations at body seam.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr. (1,250 - 1,750)

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Black duck, John English, Florence, New Jersey, last quarter 19th century. Hollow carved with raised V wingtips. Relief tail feather carving and tack eyes.

Roy Bull brand on the underside.

Measures 15.5” long. Overpaint was taken down and paint on head restored in the English style; chip in tail.

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(1,500 - 2,500)

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Mallard drake, Joe King, Edgley, Pennsylvania. Hollow carved with raised wingtips and incised feather carving. Slightly turned head. Measures 16.25” long. Original paint with very minor wear; gray on sides and underside is a second coat and is over a thin coat of varnish and may have been done in the making; very good structurally.

Provenance: Bruce Williams collection.

(1,750 - 2,250)

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Mallard drake, M. Welker, Edgely, Pennsylvania, 2nd quarter 20th century. Weight is stamped “M Welker Edgly PA”. Raised neck seat with two piece hollow body and glass eyes. Classic Delaware River raised and carved wingtips. Tail has additional fluted carving. Mallards are rare decoys from the Delaware River. 16” long. Minor rubs and discoloration from light gunning use; tips of tail feathers are slightly worn exposed to bare

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wood.

Provenance: Preston Lowe collection.

(1,000 - 2,000)

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Black duck, Reg Marter, Burlington, New Jersey, 2nd quarter 20th century. Two piece hollow body with raised carved wingtips, carved tail, and additional side wing carving.

Intricate feather paint over rest of body and head. 15” long. Light gunning wear with some flaking at head; tight crack in bill.

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(800 - 1,200)

Bluebill, Bill Brown, Barnegat, New Jersey, last quarter 19th century. 14.75” long. From the Furlow rig and so branded. Original paint with minor discoloration and wear; small amount of flaking to filler at body seam under tail.

(600 - 900)

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138

137

Black duck, Dan English, Florence, New Jersey, 2nd quarter 20th century. Two piece hollow body. Original

138

Very rare mallard, Henry Kilpatrick, Barnegat, New Jersey, 1st quarter 20th century. Hollow carved with

pad weight. Extra fancy feather carving in back. 16”

raised neck seat. Measures 16.25” long. Original paint with

long. Strong original paint; two small rubs near body seam

minor flaking and wear; a few minor dents otherwise very

on one side; tiny tail chip restoration.

good structurally.

(4,000 - 6,000)

Literature: “Classic New Jersey Decoys,” James Doherty, Jr., rigmate pictured.

88

(3,000 - 5,000)

138a

Black duck, John English, Florance, New Jersey, last quarter 19th century. Hollow carved with raised ‘V’ wing tips and relief tail feather carving. Measures 16” long. In use repaint by John Dawson with minor discoloration and wear; a few filled and touched up shot marks; some minor dents.

Provenance: Ex Malcolm Fleming collection. Ex Bob White collection. Bruce Williams collection.

Literature: Exact decoy pictured on page 123 of “Floating Sculpture” by Huster and Knight.

(8,000 - 12,000)

89

138b

Low head black duck, Dan English, Florance, New Jersey, 1st quarter quarter 20th century.

Hollow carved with tucked head.

Raised ‘V’ wing tip and incised feather carving. Measures 14 1/2” long. A few minor rubs, otherwise excellent and original.

Provenance: Ex Bob White collection.

Bruce Williams collection.

Literature: Exact decoy pictured on page 57 of “Floating Sculpture”

by Huster and Kight. Exact decoy pictured on page 129 of “The Great

138b

Book of Waterfowl”, Joe Engers, Editor.

138c

(4,000 - 6,000)

Pintail drake, Jess Heisler, Burlington, New Jersey, 2nd quarter 20th century. Three piece hollow body with raised wing tips and relief tail feather carving. Measures 16 1/2” long. Original paint with minor gunning wear; small dents; minor roughness on one edge of bill.

Provenance: Ex Bob White collection.

Bruce Williams collection.

(2,500 - 3,500)

138c

138d

Pair of black duck, Jess Heisler, Burlington, New Jersey, 2nd quarter 20th century. Three piece hollow carved bodies with raised wing tips and relief tail feather carving. One in tucked head pose and one in preening pose with bill tucked into back. Measure 14” and 15” long. Original paint with minor gunning wear; small dents; minor roughness on edge of tails.

Provenance: Ex Bob White collection.

Bruce Williams collection.

Literature: Exact decoy pictured

138d

90

on page 130 of “The Great Book of Waterfowl”, Joe Engers, Editor.

(3,000 - 5,000)

139

Important and desirable greenwing teal drake, Arthur B. Vance, Philadelphia, Pennsylvania, 3rd or 4th quarter 19th century. Two piece hollow body, with slightly raised neck seat. Slight shoulder carving behind neck. Early hat pin eyes. 12” long. Original paint protected by a coat of varnish that has darkened; crack in neck has been repaired and paint restoration to neck and head and around neck base in that area; puppy chews at bill; a few nicks and small rubs; paint loss at tail.

Provenance: Trent Spolar collection.

(10,000 - 15,000)

91

Oscar Peterson 1887 - 1951 | Cadillac, Michigan

140

140

92

141

140

Fish decoy, Oscar Peterson, Cadillac, Michigan. Large pike. Blended paint on body with white spot decoration. Dome tack eyes. 9.25” x 1.5” x 1”. Excellent original paint protected by a coat of varnish; rough edge at one side of mouth; two tiny drill holes at top of back; paint loss mostly to one fin.

Provenance: David Fannon collection.

(8,000 - 10,000)

141

Glass eye brown trout, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. An early style glass eye fish. Measures 9” long x 1 1/2” tall x 7/8” wide. Original paint with some small restoration around eye; a chip at top of tail and area on side of body half the size of dime; rough edge at tail; some paint loss at fins.

Provenance: David Fannon collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 93, exact decoy pictured.

(8,000 - 12,000)

141

93

142

Impressive fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Brook trout with dome tack eyes. Measures 9.5” x 1.75” x 1”. Added red faded color to underside makes it more unusual. Excellent strong original paint protected by a coat of varnish; a few small scratches or flaked areas with missing paint; small amount of paint loss at fins.

Provenance: David Fannon collection.

143

(6,000 - 8,000)

Fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Walleye with carved eyes and a rare style paint pattern. 8.5” long x 1.25” tall x .9” wide. Color fades form dark green on top back to light colored belly. Decorative paint pattern on body sides. Strong original paint protected by a coat of varnish; paint loss around belly weight; professional restoration at tail fin.

Provenance: David Fannon collection.

143

94

(7,000 - 10,000)

148

148

An impressive and unusual collection of hand made fishing lures by Oscar Peterson, Cadillac, Michigan, circa 1927. Four lures were created by Peterson and are accompanied by the original patent documents that were applied for and approved by the US government patent office in 1927. The artificial fishing bait patent and application is for the bumble bee pattern lures. There are two other lures in the collection which patent paper work is not included for. Largest measures 6” long. Lures appear to be unused and in excellent condition; all are enclosed in a decorative display case.

Provenance: David Fannon collection.

(3,000 - 5,000)

142

95

149

150

149

Rare fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Brook trout with

150

Fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Pike with both white and black

unusual carved eye and red to simulated a wounded fish

decorative spots on sides. Rare glass eye model. Measures

has been painted below the jaw and gill line. Measures

9” x 1.5” x .75”. Original paint protected by a coat of

8.5” x 1.25” x .75”. Excellent original paint; light coat of

varnish that has darkened; chip at top of tail; small areas

varnish discolored in some areas; very small amount of

of loss at fins; small scratch near back of mouth that has

paint loss under side near belly weights.

darkened on one side.

Provenance: Alicia and Norman Volk collection.

Provenance: David Fannon collection. (5,000 - 8,000)

(4,000 - 6,000)

151

Fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Brook trout with brass domed tack eyes. Measures 7” x 1.25” x .75”. Strong original paint with a coat of varnish that is partially worn away on sides of body; paint loss at underside and fins.

(2,000 - 3,000)

151

96

152

Fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Perch with dome tack eyes. Measures 9” x 1.5” x 1”. Strong original paint protected by a coat of varnish that has darkened; some paint loss on underside around belly weight and small areas of fins; restoration at two small areas at tip of tail.

(2,000 - 2,500) 152

153

Fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Perch with domed tack eyes and additional golden dot paint decoration accompanying each of the seven bars painted on the body. Measures 8” x 1.25” x .75”. Excellent original paint protected by a coat of varnish that has darkened slightly; small amount of paint loss at fins; professional tail chip restoration

153

to lower quarter of tail.

(2,000 - 3,000)

154

Fish decoy, Oscar Peterson, Cadillac, Michigan, 3rd quarter 20th century. Brook trout with painted dome tack eyes. Measures 7” x 1” x .6”. Excellent original paint protected by a coat of varnish; a little varnish pooling at one side of head and another area where varnish did not cover; small paint loss at underside.

155

154

(2,000 - 2,500)

Sucker fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Painted eyes.

With additional painted area on tail. Measures 5” x 7/8” x 1/2”. Minimal paint loss at fins otherwise very good and original.

(1,500 - 2,000) 155

97

156

Fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Brown trout with flat steel tack eyes and painted pupil. Measures 7” x 1” x .6”. Strong original paint; protected by a coat of varnish; some crazing at lower side of body; some restoration to lower portion of tail; restoration to tail fin.

(1,500 - 2,000)

156

157

Fish decoy, Oscar Peterson, Cadillac, Michigan, 3rd quarter 20th century. Shiner with tack eyes. Measures 9” x 1.5” x .6”. Near mint original paint protected by a coat of varnish.

(1,500 - 2,000)

157

158

Fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Sucker with flat domed tack eyes.

Measures 9” x 1.25” x .8”. Original paint with a few little scratches; paint loss mostly on underside at fins and tiny spots on body.

(1,500 - 2,000)

158

98

159

Fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Perch with dome tack eyes. Measures 6.75” x 1.25” x .6”. Strong original paint protected by a coat of varnish; small amount of crazing and a small area of varnish did not cover.

(1,500 - 2,000)

159

160

Fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Perch with domed tack eyes. Measures 7” long x 1.25” x .75” wide. Strong original paint protected by a coat of varnish; a few small areas of paint loss.

(1,500 - 2,000)

160

161

Fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Pike with white spot decorated sides and tack eyes. Excellent original paint protected by a coat of varnish; small area of loss at fins; some inpainting or darkening has been done to a 1.5” area along ridge and top of back.

(1,000 - 1,500)

161

99

Evans Decoy Factory

Walter DeCastro Evans was born in Stockton, the youngest son of Hugh and Sarah Evans. He spent his youth on the family farm until, in 1901, he married Mabel Post in Oneida. He was a millwright by trade and began his career working for the Stevens Lumber Co in Rhinelander where he remained through at least 1918.

By 1920, the family had moved to Ladysmith where he became a “Superintendent in a lumber mill” – this would have been the Flambeau River Lumber Co. He is believed to have started his decoy production business when he was hurt during a fall from some scaffolding at the mill. Reports differ as to the date of this injury and, thus, the beginning date of his business. Early research indicated that this may have occurred as soon as 1921 however more recent investigation places the date closer to 1927/1928. Initially, the operation began on a small scale out of a shed behind Evans’ home in Ladysmith but within two years, business was flourishing, and Walter moved his business to larger facilities on 8th Street. By 1930, he lists his occupation as “proprietor – decoy factory”. Orders continued to come in and additional employees were hired to meet the growing demand. One newspaper article reported that 225 dozen (decoys) were ordered by the Morley, Murphy Co of Green Bay and that 66 dozen decoys were on hand, awaiting the arrival of cardboard cartoons to ship them in. Another report indicated that a duck club in Texas placed an order for 50 dozen pintails alone.

In the midst of this growth and success however, Walter became ill and, in 1932, closed up shop and placed his equipment in storage. In an attempt to revitalize the business, his son-in-law set up a new shop for him in 1934 but that, too, closed after a year. For a brief

Evans at the Ladysmith factory

period in the late 1930’s/mid 1940’s, Walter and Mabel moved to White Lake but returned to Ladysmith where Walter is now buried in the Riverside Cemetery.

Evans Decoy Factory was only in business for a few years but in that brief period, produced a very highquality product that was in demand by hunters and clubs throughout the Country. Walter was a savvy businessman and, like his predecessor, the Mason Decoy Factory of Detroit, produced decoys in a number of grades to meet the pocketbooks of his many customers. Large numbers of his birds were sold through prestigious firms such as VL&A and Abercrombie and Fitch. A salesman for the large Morley, Murphy Co in Green Bay commented that “Mr. Evans duck is the best his company can buy, both by reason of design and workmanship, but also the quality of wood (used)”.

As one would expect, certain of his decoys are much rarer than others. His teal, in particular, are highly sought simply because Evans produced them in such very limited numbers. His stylish pintails possess a certain grace that make them particularly attractive and desirable. As noted in an article by Ed Wojceichowski, being a Wisconsin company, Evans tended to produce decoys for species common to that state and, thus few pintails were made on a regular basis and his mammoth pintails “are extremely difficult to find”.

Walter himself said in a 1928 Ladysmith newspaper article that “My aim is to make the best duck decoy in this Country”. He can rest knowing that many of today’s collectors would find no fault with that statement.

Walter and Mabel c1940

100

163

Pair of bluewing teal, Evans Decoy Factory, Ladysmith, Wisconsin. Standard grade with glass eyes and scratch feather paint detail. Factory ink stamp on the underside. Also branded “Dean Swift” on the underside. Measure 14” long. Strong original paint with very minor wear; a few small dents; and a tight crack in one side of hen; otherwise very good structurally.

(12,000 - 16,000)

101

164

Rare pintail drake, Evans Decoy Factory, Ladysmith, Wisconsin. Mammoth grade with detailed bill carving. Factory ink stamp on the underside. Measures 18.5” long. Original paint with minor to moderate wear; areas of overpaint on breast and white under tail have been taken down; in the making wooden patch along one lower side; four nails added to secure a separated piece of wood on one side.

Provenance: Herb Desch collection.

(2,000 - 2,500)

164

165

Pair of canvasbacks, Evans Decoy Factory, Ladysmith, Wisconsin. Mammoth grade. “EG” painted on the underside.

Hen retains Factory ink stamp. Measure 18” long. Original paint with minor wear; drying crack in drake’s neck; small screw in underside of drake’s bill to secure a bill crack.

Provenance: Herb Desch collection.

(800 - 1,200)

165

167

Pair of mallards, Evans Decoy Factory, Ladysmith, Wisconsin. Standard grade with glass eyes. Factory ink stamp on the underside. Hen with scratch feather paint detail. Measure 15” long. A few very minor paint rubs, otherwise excellent and original.

Provenance: Herb Desch collection.

(1,000 - 1,400)

167

102

168

168

171

169

172

170

173

Pair of mallards, Evans Decoy Factory, Ladysmith, Wisconsin. Hollow carved mammoth grade. Factory ink

171

stamps on underside. “WLE” carved in underside. Hen with scratch feather paint detail. Measure 18” long. Original paint with minor to moderate wear; a few small dents and shot marks; repaint on the undersides with a couple fingerprints on drake’s lower side.

Provenance: Herb Desch collection.

169

(1,000 - 1,500)

carving. Factory ink stamp on underside. Measure 15.5” long. Original paint with minor flaking and wear; hairline crack in drakes back; two shot strikes in hen’s bill.

Provenance: Herb Desch collection.

172

Pair of canvasbacks, Evans Decoy Factory, Ladysmith, Wisconsin. Mammoth grade. Measure 17.5”

170

(800 -

Pair of bluebills, Evans Decoy Factory, Ladysmith, Wisconsin. Mammoth grade with detailed bill carving.

Factory ink stamp on the underside. Measure 16” long. Original paint with very minor wear; a few dents and shot marks; black on drake’s head and around edge of tail appear to be a second coat.

Provenance: Herb Desch collection.

(800 - 1,200)

(800 - 1,200)

Pair of mallards, Evans Decoy Factory, Ladysmith, Wisconsin. Mammoth grade with detailed bill carving.

Factory ink stamp on undersides. Hen with scratch feather paint detail and “PGC” branded in the underside. Measure 18” long. In factory filled crack in drake’s back has opened slightly; otherwise drake is excellent; hen in original paint with moderate wear, tight crack with small amount of filler at neck seat; drying crack along underside with old filler.

long. Original paint with moderate wear; small dents and shot marks; minor roughness at hen’s neck seat; tail chip repair on hen; in factory filled crack along drake’s back has opened slightly.

Provenance: Herb Desch collection.

1,200)

Pair of redheads, Evans Decoy Factory, Ladysmith, Wisconsin. Mammoth grade with detailed bill

Provenance: Herb Desch collection.

173

(800 - 1,200)

Coot, Evans Decoy Factory, Ladysmith, Wisconsin.

Standard grade with glass eyes. Factory ink stamp on underside. Measures 13.75” long. Original paint with minor wear; under a thin coat of varnish; hairline crack in back and neck seat; tight drying crack in underside; a drip of gray paint was taken down on one side of the head.

Provenance: Herb Desch collection.

(300 - 500)

Miniatures

Six tiny shorebirds

Prior to about the turn of the century, very few miniature carvings had been produced. Until that time, most wooden replicas of avian life were intended, first, and foremost as lures to mimic a live bird and attract them within gun range. Wild game was a common staple on numerous menus both in the home, and at restaurants, hotel dining rooms, and private clubs. The ducks, geese, and shorebirds were susceptible to the attraction of their wooden counterparts and thus, literally tens of thousands of decoys were carved. These were, almost uniformly, intended purely as functional objects. They were, simply, necessary “tools of the trade” both for the sportsman and market gunners. Eventually, this demand for wild game birds took its toll on the birds and laws were passed to reduce the harvest, hopefully to sustainable levels (although too late for a small number of species). The demand for carved wooden decoys decreased and the death knell was sounded with the eventual introduction of plastic or similarly constructed attractors. Many commercial decoy carvers of the period shifted their production to the carving of decoratives, meant now more to attract the human than the bird. Notable examples would include the works of A. Elmer Crowell, George Boyd and Charles Perdew among others. Almost universally these early decoratives and miniatures were tiny replicas of the working decoys that they had been making all along.

Crowell’s earliest miniatures date from about 1894 and clearly represent tiny decoys. Eventually, the art would mature, and the carvings began to appear less and less like a tiny decoy and more and more true to life likenesses of the actual bird. The success of these men

Carrie Stevens streamer fly

was the seed for a raft of early to mid-1900 decorative carvers such as Robert Morse, Harold Gibbs, and others who would follow.

What then was the stimulus for carving the very early miniatures prior to1900? They served no practical purpose and there was no economic gain to be had for their production, yet a number of early sportsmen such as John Blair, Nate Quillen, John Williams, and others carved them. The relatively few early miniatures must have been carved simply to satisfy some creative urge in the carver or were an expression of his/her pride of craftsmanship. These early carvings (as well as all those to follow) would have served a solely decorative purpose. Elmer Crowell is recorded as producing a number of fanciful creatures that were hung in John C Phillips camp which would move overhead when a puff of smoke was blown their way. Others must have initially been intended as miniature mementos of time spent in the blind. Almost assuredly, these would have been given as gifts to close friends or companions. Others, perhaps, went to a wider audience of appreciative wives or female companions and children, maybe at Christmas or other special occasions. Some early carvers even referred to their minis as “toys”. People of the time were much more attuned to the outdoors and their environment than most individuals today and they would have appreciated the significance and meaning of the tiny birds.

176

104

This close association with, reliance on, and appreciation of the beauty of their natural surroundings, becomes evident in a number of decorative carvings and crafts produced by sportsmen. Carvings meant to adorn duck calls by Charles Perdew, and creatures such as chipmunks and turtles carved by Oscar Peterson would be typical examples. Anonymous carvers through the north decorated their functional “canoe cups” with images of their experiences in their native woods and on the waters.

Some trout or salmon flies are far more elaborate than what is necessary to merely catch a limit of fish. Souvenir or tiny decorative paddles and drawings or ledgers on dried shelf fungus are yet another example among many.

We can only appreciate the desire of these early sportsman to create something purely as a whimsey. They are as desirable today as when they were created and should remind us all of the talents of those who produced them. They are worthy additions to any sporting collection as well as being an enjoyable collectible in their own right.

174

175 174

Rare miniature bluewing teal drake, John Blair, Sr., Philadelphia, Pennsylvania, 2nd half 19th century. Swimming position with an elevated neck seat, tack eyes, and

Rare miniature greenwing teal drake, John Blair, Sr., Philadelphia, Pennsylvania, 2nd half 19th century. Swimming position with elevated

Blair’s fine feather paint application. 4.5”

neck seat, tack eyes, and Blair’s fine feather

long. Strong original paint; tiny bit of flaking

paint application. 4.5” long. Original paint;

near tip of bill; nail has popped out slightly but

some tiny rubs at top of head; small portion at

secures the head.

tip of bill missing; two small splatter marks of

Provenance: Dick and Lynn Gove collection.

(4,000 - 6,000)

175

white paint.

Provenance: Dick and Lynn Gove collection.

(4,000 - 6,000)

105

176

177

176

Miniature mallard drake, John Blair, Sr, Philadelphia, Pennsylvania, 2nd half 19th century. Swimming position with elevated neck seat, tack eyes, and Blair’s fine feather

Rare miniature bluewing teal drake, John Blair, Sr., Philadelphia, Pennsylvania, 2nd half 19th century. Swimming position with elevated

paint application. 5.5” long. Some small rubs

neck seat, tack eyes, and Blair’s fine feather

to bare wood around edge of bill and top of

paint application. 4.5” long. Strong original

head.

paint; light areas of flaking and rubs; dowel

Provenance: Dick and Lynn Gove collection.

(4,000 - 6,000)

177

has popped through top of head; edge wear around bill and tail.

Provenance: Dick and Lynn Gove collection.

(3,000 - 5,000)

106

178

181

179

182

180

183

178

179

Miniature mallard drake, Horace Crandall, Westwood, California. Slightly turned head and relief

Pair of miniature redheads, Ward Brothers, Crisfield, Maryland. Both are dated 1954. Both have raised, split

wingtip carving. Carved curly tail sprig. Measures 6.75”

wings and dropped tail. Both have turned heads. 8”

long. Excellent and original.

long. Original paint; couple of light imperfections.

(600 - 900)

Miniature pintail hen, Horace Crandall, Westwood, California. Slightly turned head and relief wingtip carving. Measures 7” long. Tiny dent in top of head, otherwise very good and original.

180

181

Provenance: Beans Weatherly collection.

182

(600 - 900)

Miniature white throated sparrow, Jess Blackstone, Concord, New Hampshire. Dropped wingtips with delicate detailed paint. Number “134 white throat sparrow” and “JB” on underside of base. 3.75”

Pair of 1/3 size flying mallards, Roy Conklin, Alexandria Bay, New York. Applied wooden legs and

long. Excellent and original.

Literature: “Birds in Wood and Paint” by Joseph Ellis.

wings. Scratch feather paint detail on drake. Measures

(1,800 - 2,000)

7.75” long. Original paint with a warm patina; excellent structurally.

(600 - 800)

(800 - 1,200) 183

Miniature Blair school mallard hen. Painted eyes. With loop feather painting on back. 7.5” long. Strong original paint with some restoration to a break in the neck and additional coat of varnish applied to head; replaced bill and neck repair by Russ Allen.

Provenance: Dick and Lynn Gove collection. (1,000 - 1,500)

Shorebirds

186

184

185

184

Yellowlegs, Harry V. Shourds, Tuckerton, New Jersey. Measures 10.25” long. Original paint with

bill doweled through back of head. Measures 13”

shot with two shot strikes being filled.

long. Dry original paint with very minor wear, mostly on

(2,000 - 3,000)

Small robin snipe, Harry V. Shourds, Tuckerton, New Jersey. Measures 8” long. Original paint with moderate flaking and wear; lightly hit by shot; otherwise good structurally.

Provenance: Dick and Lynn Gove collection.

(2,000 - 3,000)

108

Feeding yellowlegs, Levi Rhodes Truex, Atlantic City, New Jersey, circa 1900. Plump body with hardwood

moderate wear; under an old coat of varnish; lightly hit by

Provenance: Dick and Lynn Gove collection.

185

186

the bill; excellent structurally.

(3,000 - 5,000)

187

188

187

Dowitcher from the Rogers rig, Long Island, New York, last quarter 19th century. “T. Rogers” branded

188

Running yellowlegs, Thomas Gelston, Quogue, Long Island, New York. Relief wing tip carving. Measures

in underside for the rig of Theodore Rogers. Measures 11”

15.5” long. Original paint with very minor wear; small spot

long. Original paint with very minor wear.

of touchup on one side; minor roughness to tail, otherwise

(5,000 - 8,000)

very good structurally.

Literature: Cranbrook Academy of Art, January 27, 1987, included in exhibit and pictured on page 20 of exhibition catalog.

(5,000 - 8,000)

109

Obediah Verity 1813 - 1901 | Seaford, Long Island, New York

110

189

Rare running black bellied plover, Obediah Verity, Seaford, Long Island, last quarter 19th century. Relief wing carving and carved eyes. Wide body and head.

Measures 10 3/4” long. Dry original paint with minor crazing and wear; hit by shot, mostly in one side; hairline crack in top of head.

(30,000 - 40,000)

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 he was living with his sister Maria and her husband, John Alvin (a ship carpenter).

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 painting style 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.

111

190

Running sanderling, Obediah Verity, Seaford, Long Island, New York, last quarter 19th century. Classically carved eyes, shoulders, and wingtips.

Branded “J.B.” in underside. 7.5” long. Original paint with two areas of restoration, one at top of head and the other at one wing; several tiny shot scars on both sides of body; paint loss at bill.

(3,000 - 4,000)

190

191

Alert willet, William Bowman or Charles Sumner Bunn, Long Island, last quarter 19th century. Relief wing carving with raised wingtips. Measures 12” long. Original paint; under a thick coat of varnish that has yellowed somewhat; heavily hit by shot in one side, small chip on raised wingtip; bill is a professional replacement.

(4,000 - 6,000)

191

112

192

Curlew from the rig of William Matthews, Assawoman, Virginia, last quarter 19th century. Slightly turned and cocked head with relief carved wing tips. Measures 14 1/2” long. Worn original paint exposing much bare wood under a thin coat of varnish; small dents and shot marks; bill is an early replacement with part of the face and side of head having been replaced long ago; hairline drying cracks in body.

Literature: Exact decoy pictured on page 105 of “Shorebirds”

by Levinson and Headley.

(3,000 - 4,000)

192

192a

Large curlew, William Roberts, Cape May, New Jersey. Tack eyes and hooked hardwood bill.

Measures 15” long. Surface is down to a natural finish with warm patina; small dents and shot marks; half of bill is a professional replacement.

(1,200 - 1,800)

192a

113

192b

192b

Black bellied plover from the Eastern Shore of Virginia, 1st quarter 20th century. Similar to the work of Doug

193

Black bellied plover, John Dilley, Quogue, Long Island, New York, circa 1900. Relief carved wings. Measures

Jester of Chincoteague. Measures 9”

10.5” long. Stick hole was redrilled at some

long. Original paint with minor wear; tight

point. Original paint; moderate flaking

crack at a defect in wood in one side

and wear; a few filled and touched up

from when the decoy was made.

shot marks; black area on belly has been

(2,000 - 3,000)

darkened; professional bill replacement.

Literature: Cranbrook Academy of Art, January 27, 1987, included in exhibit and pictured on page 16 of exhibition catalog.

(3,000 - 5,000)

193

114

193a

Black bellied plover, Toronto Harbor, Ontario, last quarter 19th century. Large shoe botton eyes and wire legs. Measures 10.25” long. Original paint with minor gunning wear; small tail chip missing; lightly hit by shot; bill is slightly blunted; wooden base is a professional replacement by Russ Allen.

Provenance: Ex Peter Brown collection.

(6,000 - 9,000)

115

194

194

Willet, Amityville, Long Island, circa 1900. Two piece body and head. Measures 14” long. Mix of

Curlew from Seaford, Long Island, last quarter 19th century. Releif wing carving and

original and early in use repaint; with

raised wing tips. Measures 13”

moderate wear; tight drying cracks

long. Original paint with moderate

in neck and head; bill is an early

wear; hit by shot; old chip in one

replacement.

side of tail; multiple drying cracks

(2,500 - 3,500)

195

in breast and one side; the original bill was off and reglued with small amount of glue visible. (2,000 - 3,000)

195

116

196

Dowitcher, Gus Bishop, Long Island, New York. Relief wing carving and raised wing tips.

Measures 10” long. Original paint with minor flaking and wear; bill appears to be an early replacement.

(1,500 - 2,500)

196

197

Yellowlegs, Charles Clark, Chincoteague, Virginia, last quarter 19th century. 10.5” long. Original paint with minor flaking and wear; lightly hit by shot.

(2,500 - 3,500)

197

198

Black bellied plover from Cobb Island, Virginia, last quarter 19th century. Carved eyes and relief wing tips. Bill is partially inlet into the head. Serifed ‘E’ carved into the underside. Measures 10 1/2” long. Older restored paint with minor wear; tip of bill was chipped off and reset.

(2,500 - 3,500)

198

117

John Tax 1894 - 1967 | Osakis, Minnesota

Minnesota is known as “The Land of Ten Thousand Lakes” and John Tax could have, comfortably, related to its nickname.

His hometown received its name for its location on the shore of large Lake Osakis, a water body known for its excellent fishing. Its location in the state meant it was also a prime duck hunting area with vast open fields of grains which attracted clouds of waterfowl in the fall. Tax was quick to capitalize on the recreational and food harvesting opportunities provided by these rich resources. He was a superb fisherman and he also produced decoys.

These were meant, primarily, for his own use and while his output was not large, he offered some of his lures for sale to local hunters and it is claimed that he made a “a full shooting rig” for a gun club in Osakis.

laminated body outlines which were then laboriously “hollowed out” by removing the inner sections with a coping saw. He apparently made no two of these decoys exactly alike and varied the head and neck positions to accurately mimic the appearance of a feeding flock of live birds. These were made in a lesser number of species, with Canada and snow geese predominating. He also made a small number of mallards. In 1970, an attempt was made to document his body of work. At that time, 84 decoys by his hand were known, 80 of which are pictured in the small booklet “The Last of the Prairie Carvers”. Of these 80, the booklet documented the location of six wooden standing field mallards (4 hens and 2 drakes). Apparently, at least 2 mallards (1 drake and 1 hen) remained in the family and these, seemingly, were not included in the booklet count. An additional upright mallard appears in a 2009 article by Gene and Linda Kangas, bringing the total number to 9 (5 hens and only 4 drakes). It would seem a fairly safe assumption to conclude that Tax made no more than one dozen field mallards. The Drake offered here is the exact decoy being held by Tax’s son, John Jr, pictured in the Jan/Feb 1995 issue of Decoy Magazine.

To the best of our knowledge, there are only three known standing mallards in this upright pose.

Decoys of this type were not produced by very many carvers regardless of the hunting region and they are, vastly outnumbered by their floating counterparts.

Of the few sportsman/artists that did produce these full-bodied attractors, Tax’s geese, and especially his mallards, have been universally applauded as being among the finest of their kind to emerge from anywhere in North America.

Tax as young man (middle) in harness shop

He worked in a variety of occupations, one of which was as a harness maker. Access to, and proficiency with this trade’s tools, enabled him to easily make a number of canvas-covered decoys. He also carved a smaller number of wooden floating decoys of various species, including a number of teal and a handful of wood ducks. His lasting fame, however, rests squarely on his magnificent standing, full bodied, hollow, field decoys. These were constructed in a small workroom off the kitchen in his home on the shore of the Lake. Due to his frugality and the availability of materials, these were constructed of vertically (or seldom horizontally)

118

John Tax Jr. with a pair of his father’s decoys

199

Important mallard drake, John Tax, Osakis, Minnesota, 2nd quarter 20th century. Hollow carved, vertical laminate construction is the same used on the famous field geese that Tax made. Field mallards by Tax are much more rare than the geese. Glass eyes with an inlet neck. Carved curly tail. Hole in the bottom for use as a field decoy. Head is raised and alert. Measures 20” long. Strong original paint; with a pleasing amount of crazing; slight separation at neck seam; a couple scratches on head; original bill was broken and professionally resecured.

(30,000 - 40,000)

119

200

201

200

Rare hollow carved bluewing teal drake, Paul Lipke, Whiting, Indiana. “PL” stamped in weight.

201

Rare rigmate pair of bluebills, Paul Lipke, Whiting, Indiana. Both are hollow carved and

Slightly turned and lifted head. 12” long. Original

have “PL” stamped in the weight. Hen is 14.25”

paint with minor wear; very small dent in one side.

long. Drake is in very rare preening pose. Both have

(3,000 - 4,000)

fine bill carving detail. Original paint with minor discoloration and wear; slight separation at hen’s body seam.

Provenance: Drake is on cover of the Nov/Dec 1985 issue of Decoy Hunter Magazine. Ex collection of Bernie Giacoletti. Purchased by Bernie from Gary Guyette at the 1985 Midwest Decoy Collectors Show.

(3,000 - 4,000)

120

202

Pair of low head bluebills, Paul Lipke, Whiting, Indiana. Hollow carved with tucked heads and wide bill carving. “PL” stamped in the lead weights. Measure 13.25” long. Original paint; with minor flaking and wear; very minor separation at body seam.

(2,000 - 3,000)

202

203

Very rare low head model redhead hen, Paul Lipke, Whiting, Indiana. Hollow carved with tucked heads and wide bill carving. “PL” stamped in the lead weights. 13” long. Original paint with a few small rubs; structurally very good.

(3,000 - 4,000)

203

204

Rare black duck, Bernard Ohnmacht, Lafayette, Indiana. Ohnmacht’s rig consisted of mallards, pintails, black ducks, and geese. Black ducks are the rarest of the puddle ducks from this important Indiana hunters rig. With head that is made to swivel. Measures 16 1/2” long. Thick, original coat of varnish has smuged at each speculum, otherwise excellent condition.

(3,000 - 5,000)

204

121

Illinois River

205

206

205

Bluebill drake, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved

206

Bluebill hen, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved with

with comb feather paint on back. Slightly turned

slightly turned head. Retains Perdew weight on

head. Retains Perdew weight. Measures 11.75”

underside. Measures 11.75” long. Original paint

long. Original paint protected under a thin coat

with moderate wear; thin coat of varnish taken

of varnish; a crack in bill was reset and the bill

off much of the decoy; minor separation at body

repainted at some point; hairline crack in each eye.

seam and neck seat; tight crack in neck; minor

Provenance: Carl Nemec collection. (4,000 - 6,000)

roughness on tip of tail.

Provenance: Carl Nemec collection. (3,000 - 5,000)

122

207

208

207

Bluebill, Robert Elliston, Bureau, Illinois, last quarter 19th century. Hollow carved with fine

208

Mallard drake, Charles Perdew, Henry, Illinois, circa 1940. Rare raised wing model

comb feather paint detail. Retains the Elliston

with very good paint by Charlie. Two piece hollow

weight on underside. Measures 13” long. Strong

body with Perdew’s weight on underside. 16”

original paint under a thin coat of varnish; a few

long. Excellent original paint; with a nice mellow

small dents and shot marks; otherwise excellent

patina; two small holes in one side with a smudge

structurally.

of paint on one side.

(4,000 - 6,000)

(4,000 - 6,000)

123

Charles Walker 1873 - 1953 | Princeton, Illinois

209

Mallard hen, Charles Walker, Princeton, Illinois, 2nd quarter 20th century. Hollow carved. “FD” painted on underside. Measures 16.5” long. Original paint with minor wear; paint rubs on sides and back appear to be from when the decoy was freshly painted and pressed against other decoys in the rig; very good structurally.

Provenance: Purchased from Alan Haid.

(6,000 - 9,000)

124

210

211

210

Mallard drake, Charles, Walker, Princeton, Illinois, 2nd quarter 20th century. Hollow carved with slightly turned head and relief carved wings.

Very rare and possibly unique canvasback drake, Charles Walker, Princeton, Illinois, 2nd quarter 20th century. Alert, slightly turned

Retains original Walker weight with number 25

head with two piece hollow body. Measures 16”

painted on underside. Scratch painting on back.

long. Overpaint has been removed to expose a

Measures 17” long. Original paint with a protective

mostly original paint surface; some areas of paint

coat of varnish that has darkening, wing patch and

have been taken down to bare wood; tight crack in

head have a second coat of paint; several shot

neck; several shot scars.

scars to head; small rubs.

Provenance: Carl Nemec collection. (3,000 - 5,000)

211

Provenance: Carl Nemec collection. Made for D.D. Trimble of Princeton Club. Ex collection of Joe Tonelli.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid, p. 162, exact decoy pictured.

(4,000 - 6,000)

125

212

Bluebill, Fred Allen, Monmouth, Illinois, last quarter 19th century. Hollow carved with comb feather paint detail. Measures 12.75” long. Original paint with minor to moderate flaking and wear, mostly on top and back of head; very good structurally.

(2,000 - 3,000)

212 213

Rigmate pair of mallards, Robert Elliston, Bureau, Illinois, circa 1900. Both are branded “JH Milner”.

Two piece hollow bodies with scratch painting. Weight has been removed from hen. 17” long. Hen has original paint with moderate wear, flaking at back, some paint restoration around neck seam; drake is original paint that has darkened with several shot scars, a couple of which have been repaired a long time ago.

Provenance: Trent Spolar collection.

213

(3,000 - 5,000) 214

Pair of mallards, Chris Powers, Liverpool, Illinois, 2nd quarter 20th century. Hollow carved with slightly turned heads. “CP” painted on underside of each head. Measure 16.5” and 17.5” long. Both are in a second coat of paint

by Powers with moderate crazing and flaking; minor separation at drakes neck seat.

(3,000 - 4,000)

214

215

Canvasback, Bert Graves, Peoria, Illinois, circa 1930s. Hollow carved.

Retains the Graves weight on the underside. Measures 16.5” long. Original paint with minor wear; under an old coat of varnish that has yellowed somewhat; small spots of touchup to flaking, mostly to head and breast; very minor roughness on edge of bill.

215

126

(1,500 - 2,500)

216

Pair of mallards, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved. Drake with slightly turned head.

Both retain Perdew weights. Measure 15.75” long. Original paint with very minor flaking and wear; spot on top of drake’s head worn to bare wood; both are very good structurally.

(6,000 - 9,000)

127

Lake Chautauqua Fish Decoys 217

Important trout fish decoy, Harry Seymour, Lake Chautauqua, New York, last quarter 19th century. One of the finest painted examples we have seen, with tiny individual

217

scales painted probably with the use of a single horse hair, carved gill and carved mouth. Tack eyes with classic line through back and leather tail. 7.5” long. Excellent original paint; small dent at top of mouth; and a few small spear marks at rear of body.

Provenance: Alicia and Norman Volk collection. (8,000 - 12,000)

218

Large and important fish decoy, Lake Chautauqua, New York, last quarter 19th century. Probably a bass. One of the largest Lake Chautauqua fish decoys we have ever offered. Metal eyes and carved mouth with leather tail. Measures 10.5” long. Very thin paint, much of which appears to be original has lightly crazed and worn; a white layer along underside may have been

218

cleaned; two fins are possibly later replacements.

Provenance: Alicia and Norman Volk collection.

Literature: “Beneath the Ice,” Steven Michaan, p. 60, exact decoy pictured.

(8,000 - 12,000)

219

Large fish decoy, Lake Chautauqua, New York, last quarter 19th century. Probably a perch. With yellow, black, white, and red design. Classic leather tail. Measures an impressive 11” long. Retains original line tie. Carved mouth, eyes, and gills. Good original paint; some tiny rubs; leather tail has been torn and reglued.

Provenance: David Fannon collection.

(8,000 - 12,000)

219

128

217

218

219

129

220

Fish decoy, Lake Chautauqua, New York, last quarter 19th century. Tack eyes.

Carved mouth and gills. Measures 7” long.

Copper fins with leather tail. Line tie drilled through back. White coat on underside may have been added at a later time, otherwise original paint.

Provenance: David Fannon collection.

(1,500 - 2,500)

220

221

Fish decoy, Lake Chautauqua, New York, last quarter 19th century. Trout with tack eyes and carved mouth and gill. Line tie drilled through back of body and leather tail.

Measures 7.75” long. Strong original paint with some nicks and scratches from light wear.

(2,000 - 4,000)

221

222

Fish decoy, Lake Chautauqua, New York, last quarter 19th century. Trout with tack eye and carved mouth and gills. Line tie through top of back with leather tail. With red, black, and yellow spots along both sides.

Measures 8” long. Strong original paint; some light wear and small scratches.

Provenance: David Fannon collection.

222

(2,000 - 3,000)

223

Fish decoy, Lake Chautauqua, New York, last quarter 19th century. Trout with carved eyes, mouth, and gill. Line tie through back of body. Leather tail. Measures 7” long. Original paint that has darkened with a few smudges and rubs.

Provenance: David Fannon collection.

(1,500 - 2,500)

223

224

Fish decoy, Harry Seymour, Lake Chautauqua, New York, last quarter 19th century. Trout with finely decorated sides comprised of dots of yellow, black, and red. Tack eyes with carved gill and mouth.

Line tie drilled through back with leather tail.

Measures 6.5” long. Leather tail is cracked in a few places; rough area around line tie mark; original paint; blunted tip near face;

224

some small scratches on body. (1,500 - 2,500)

130

225

226

227

225

Excellent early trout fish decoy, Lake Chautauqua, New York, last quarter 19th century. Leather tail and metal fins. Gill and mouth

Leather tail. Retains the original jig stick. Is thicker than

carving and tack eyes. Measures 7.5” long. Dry

to be replaced.

most fish we have offered. 8.5” long. Strong original paint with light in use wear; the front two fins appear

original paint with very minor wear; mostly on

Provenance: David Fannon collection. (4,000 - 6,000)

underside where fish likely sat in water; retains much of the original paint and wax on leather tail; fins on one side have come out from body somewhat.

(6,000 - 9,000) 226

Appealing fish decoy, Lake Chautauqua, New York, last quarter 19th century. A scaled, possibly musky, with carved gill, carved mouth, and tack eyes.

227

Fish decoy, Harry Seymour, Lake Chautauqua, New York, last quarter 19th century. Trout with classic line tie hole in back, carved gill, mouth, and tack eyes. Measures 7” long. Very good and original.

Provenance: Alicia and Norman Volk collection.

Literature: “Beneath the Ice,” Steven Michaan, p.53, exact decoy pictured.

(4,000 - 6,000)

131

228

229

230

228

Long fish decoy, Lake Chautauqua, New York, last quarter 19th century. Trout with tack eyes,

original paint that shows great age; light wear.

Provenance: Alicia and Norman Volk collection.

carved mouth, and gills. Quite long for Chautauqua fish. Measures 12” long. Excellent original paint; little

Literature: “Beneath the Ice,” Steven Michaan, p. 59,

flaking at tail and a few small rubs form light wear.

exact decoy pictured.

(3,000 - 5,000) 230 229

Fish decoy, Lake Chautauqua, New York, last quarter 19th century. Perch with tack eyes, carved

(3,000 - 5,000)

Fish decoy, Lake Chautauqua, New York, last quarter 19th century. Trout with greyish paint decorated with yellow, black, and red spots along

mouth and gill, and leather tail. A well painted fish

sides. Line tie through back with leather tail. Measures

with wet on wet blending. Measures 6.5” long. Strong

7” long. Strong original paint with very light wear.

Provenance: David Fannon collection. (2,000 - 3,000)

132

231

231

Relief carved tuna plaque, similar to the work of Leander Plummer II. Carved waves in backboard. Relief carved gills and mouth. Incised scale carving. Measures 26” x 13.25”. Natural finish with a mellow patina; chip in dorsal fin; tight drying cracks in backboard.

(2,000 - 3,000)

234

232

233

232

235

Bull trout, Mike Borrett, Oregon, Wisconsin. Detailed

together to create a three dimensional hanging sign.

mouth and gill carving and nice paint detail. Signed and

Measures 15” long. Minor flaking and wear otherwise

dated 2006 on back. Trout measures 22” long, plaque

very good.

measures 25”. Excellent and original.

(500 - 800)

Carved brook trout, Mike Borrett, Wisconsin. Fine

One of the most unique fish decoys we have ever seen. Found by Rob Loucal, an early picker from

detail carving with glass eye and open mouth. Measures

western Michigan. This wooden motorized fish decoy

18” long. Very good and original.

appears to have been made circa 1950. It has a carved,

235 233

(1,000 - 1,400)

(500 - 700)

hollow body with applied brass fins. A propeller tail, all 234

Pressed tin Allcocks Tackle tin advertising sign. Allcocks was the larges tackle factory in the

wired to an electrical switch. Fish measures 16” long and

world at one point. Two pieces of pressed metal joined

piece has been retained.

is approximately 4” wide. One propeller is broken, but

Provenance: Steven Michaan collection. (1,000 - 2,000)

133

Sporting Art

236

Robert K Abbett (1926-2015), oil on board. Setter on a twisted point. On back of painting in marker reads “Jill Oil 20 x 30, 1984. The artist retains all reproduction rights to this painting.” Signed lower left.

Linen matt with fancy artist frame. Image measures 20” x 30”. Excellent and original.

Provenance: Charlie Hunter, III collection.

(10,000 - 15,000)

134

237

Oil on canvas, Richard Bishop (1887-1975). Depicts five flying canvasbacks against a ‘Bishop blue’ sky. Unsigned but with the ink stamp from the estate of Richard Bishop on the back of canvas.

Measures 23 1/2” by 29 1/2”. Very good and original.

Provenance: From the estate of Richard Bishop and so stamped on the back of canvas.

(5,000 - 8,000)

237 reverse

135

238

238

Alexander Pope (1849-1924), oil on canvas. Image measures 19” x 14”. Titled “Hunters Bounty”. Signed lower right. As viewed under black light a patch was added to the back of canvas to repair a tear about 1.5” x .5” to the left side of the songbird; some inpainting was made to craquelure at head and breast of mallard; guilded period frame has some cracking.

(3,000 - 4,000)

239

239

Very early and well executed charcoal on paper. Measures 25.5” x 28.5”. Spaniel flushing puddle duck. Signed lower right. As viewed under black light condition appears to be excellent and original.

(1,800 - 2,200)

136

239a

Edmund Henry Osthaus (1858-1928), oil on canvas. Portrait of a single retriever. Signed lower right. Framed in a gesso and gilt frame. Image measures 13 1/2” by 19 1/2”. As viewed under UV light a very small spot of touch on lower right area of the grass, otherwise excellent.

(5,000 - 8,000)

137

239b

239c

239b

Espar Lair Watkins (1892-1942), oil on canvas. After a painting by Alexander Pope

239c

Oil on canvas after Carl Rungius (18691959). Early 20th century painting after on image

Jr. that was used in the Winchester bear dogs

painted by Carl Rungius that was used for a 1913

advertising piece. Signed lower left. Measures 25

calender published for the Remington Arms/

3/4” by 35”. Small puncture in lower left and a few

Union Metallic Cartridge Co. Measures 23 3/4” by

minor rubs, otherwise good.

37 1/2”. Small amount of inpainting; some crazing

(1,200 - 1,800)

and flaking top left portion of image with two small punctures in that same area. (1,500 - 2,500)

138

240

240

241

Harry Lyman (1856-1933), oil on canvas. Family of Boston terriers with female displaying decorative collar. Measures 19.5” x 16”. As viewed under black light very few spots of inpainting restoration, one near the puppy on lefthand side and a few spot specs above the mother and at her back; frame has several nicks and scratches.

(2,500 - 3,500)

241

Michelangelo Meucci (Italy, 1840 1890), oil on canvas. 38.5” x 14.75”.

Dead game hanging of hare, pigeon, and songbird. Signed lower right, “Meucci, 1891”. Trompe l’oeil style. Professionally framed. As viewed under blacklight a few tiny specs of inpainting; possibly one small tear canvas has been relined.

(2,500 - 3,500)

139

242

Gustav Muss-Arnolt (1858-1927), oil on canvas. Depicting an alert wood duck drake. This is the exact illustration used for the game bird series published by Arm and Hammer consumer products company as inserts in their product. Part of a series of waterfowl, the wood duck is number 27.

Beautifully painted in a period or Victorian style frame. Image measures 8.5” x 10.75”.

Original card is included. Small area of paint

Original card included

loss on left side against frame otherwise original and good.

Provenance: Ex Jim and Diane Cook collection.

140

(6,000 - 9,000)

243

Solon Francis Montecello Badger (1873-1919), oil on canvas. Portrait of three masted schooner named Donna T. Briggs off of the New England coast.

Schooner flies the American flag and flag with “AG”. Signed “SFM Badger” lower left. And dated 98. 19 x 29.25” frame measures 24.25” x 34.5” Painting has been professionally cleaned with scattered throughout; no repairs to canvas.

(6,000 - 9,000)

141

244 244

Early ship portrait of the schooner ‘Aaron Brown’, early 19th century. Depicts a ship heading into the River Themes with London in the background. Measures 16 3/4” by 25 3/4”. Tight crazing throughout with minor flaking; stretcher marks on edges of image; scattered in painting near frame; two tears in left side of image.

Provenance: Gary and Dale Guyette collection. Purchased from a home in New Brunswick.

William Harden Foster (18861941), oil on canvas laid on board. 20” x 35.5”. Illustration

245

(900 - 1,200)

245

piece with American Indian in wooded backdrop and arrow shot pilgrim and turkey laying in foreground. Signed lower left “Will Foster, 06”. As viewed under black light small amounts of inpainting were applied when canvas was laid to board; no significant tears, just small spots around left edge center sky, and area above turkey.

Provenance: Charlie Hunter, III collection.

246

(1,500 - 2,500)

246

Joel Barber (1876-1952 ), watercolor on paper. Decoy illustration of a Shang Wheeler black duck. Image measures 13.5” x 21”. Signed lower right. Sticker on back says “1951 Best mature black duck North American decoy makers contest. Grand Central Place New York New York.” Matting has aged with some shading. Excellent and original.

Provenance: Charlie Hunter, III collection.

142

(1,500 - 2,000)

247

247

Aiden Lassell Ripley (1896-1969),

watercolor on paper. Hunter flushing black ducks at marshes edge. Signed lower right. Image measures 9.75” x 13.5”. Image is excellent and original; professionally framed and matted.

Provenance: Charlie Hunter, III collection.

248

248

(2,000 - 3,000)

William Herman Schmedtgen (1862-1936), oil on canvas. Flight of mallards. Likely a scene from the Princeton Game & Fish Club where the artist stayed for a month in 1911. Signed lower left. Image measures 23.5” x 29.5”. Small spots of inpainting; larger part of sky on left side with in painting; tight crazing throughout; minor stretcher mark across top.

249

249

(1,200 - 1,800)

Aiden Lassell Ripley (18961969), watercolor and pencil on paper. Measures 6” x 8.5”. A gunner and guide shooting flushing turkeys from a roadside bridge in southern woods. A study that is unsigned.

Professionally matted and framed.

(1,500 - 2,500)

143

250 250

Milt Weiler, (1910-1974), watercolor on paper. 7.5” x 10.25”. “Mallard hen, Charles Perdew 1950, Henry Illinois”. Signed under decoy. Professionally matted and framed. Excellent and original.

Provenance: Dr. Lloyd Griffith collection.

251

251

(600 - 800)

Milt Weiler, (1910-1974), watercolor on paper. 7.5” x 10.25”. “Black duck 1920 Shang Wheeler Stratford, Connecticut”.

Professionally matted and framed.

Slight staining around edges, otherwise very good and original.

Provenance: Dr. Lloyd Griffith collection.

252

252

(600 - 800)

Brett Smith, (b.1958), watercolor on paper. Hunters shooting divers from marsh point.

Image measures 14” x 21”. Signed lower left. Linen matt with gold gilt frame. Western Wildlife Gallery sticker on back. Excellent and original.

144

(1,500 - 2,000)

253

253

Aiden Lassell Ripley (1896-1969) watercolor and pencil on artist board. Image measures 7.75” x 13”. A study of two men hunting from a sand blind at waters edge. At bottom is written “Sketch - A Lassell Ripley”. Some slight darkening where image was exposed in a previous frame.

Provenance: Charlie Hunter, III collection.

254

254

(1,500 - 2,500)

David Hagerbaumer (1921-2014), watercolor on paper. Image measures 13” x 18”. Pintails landing in protected water. Signed lower right, dated 1997. Professionally matted and framed. Excellent and original.

(1,500 - 2,500)

255

255

David Hagerbaumer (19212014), watercolor on paper. Bluewing teal setting in to group of mallard decoys. Signed lower left. Image measures 14.5” x 21”. Professionally matted and framed. Excellent and original with a few small scratches which appear white where glass broke and scratched the surface, this painting does not sell with protective cover of glass.

(1,500 - 2,000)

145

John James Audubon 1785 - 1851

255a

John James Audubon (1785-1851), R. Havell edition, Snow Goose. J Whatman watermark. Sheet size 25” x 37.75”. Discoloration line where image was matted previously; overall slightly darkened with a few imperfection spots; with a few small darkened spots scattered throughout; this piece will not mail with protective coat of glass.

Provenance: Charlie Hunter, III collection.

146

(3,000 - 5,000)

255b

John James Audubon (1785-1851), Great American Hen and Young. Watermark? 25” x 36 7/8”. Very little to no disoclroation; retains strong color.

Provenance: Charlie Hunter, III collection.

(4,000 - 6,000)

147

255c

John James Audubon (1785-1851), Hutchins Barnacle Goose, R. Havell 1836. J. Whatman1836 watermark. Full sheet measures 38 5/8” x 25”. Retains good color; a few small areas of discoloration and a few dark spots; professionally framed and matted.

Provenance: Charlie Hunter, III collection.

148

(8,000 - 12,000)

255d

John James Audubon (1785-1851), Tell-tale Godwit or Snipe (Plate CCCVII). 1836. Aquatint engraiving with original color. London Robert Havell, 1827-1838. Full margins. J Whatman watermaker Professionally framed and matted, 33.25” x 43.5”, exposed image measures 16.5” x 23”. Good (1,500 - 2,500)

149

Swans were commonly used as confidence decoys when attempting to lure other species to the rig and there is no doubt that swans were occasionally targeted and shot for their meat or feathers. Unlike decoy spreads for other types of waterfowl, decoys for swans were not needed in great numbers, many times a single example would suffice. They would be big, bulky and, in most cases, very heavy objects to transport and rig out. Since their use was somewhat limited, and only a small number would be required, most period examples were produced by local carvers for use in local waters. Dodge and Mason factory did offer swan decoys but very few were produced. It is believed that many of the Dodge Factory swans were used at the Swan Island Club in North Carolina.

256

Very rare swan decoy, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. A bold flowing body with a reared back neck and head.

Very few Dodge swans exist, most were shipped down to the Carolinas for use at the early and important clubs. 21” tall. Multiple coats of old paint that has mellowed into a pleasing surface with some stains; some areas of paint loss around neck seat and where head is joined to neck; one eye is missing; separation at both seems; small rough area at tail; rough area at one side of bill.

Provenance: Charlie Hunter, III collection.

150

(5,000 - 10,000)

Wisconsin

257

257c

257a

257d

257b

Pair of mallards, Francis Roch, Oshkosh, Wisconsin.

Similar to the work of Mason Decoy Factory. Hollow carved. Drake with slightly turned head. Measure 16” and

257b

17” long. Original paint; with moderate wear; lightly hit by shot; crack in one side of hen’s neck.

257

Pair of oversize mallards, Theodore Dorschner, Sr., Zittau, Wisconsin circa 1940. Oversized hollow

Provenance: Herb Desch collection.

(600 - 900)

rigmate pair. Each is stamped “Dorsters products Zittaue long. Excellent original paint; drake has tight crack in neck

Pair of canvasbacks, Frank Strey, Oshkosh, Wisconsin, 2nd quarter 20th century. Large bold

and a paint drip on one side of head.

canvasbacks with a rough texture. Hen has comb panting

Wisconsin.” Both have slightly turned heads. Measures 24”

257c

on back. 18” long. Original paint with light gunning wear Provenance: Herb Desch collection.

(600 - 800)

with a few shot marks on both decoys; tight crack above wing patch on drake.

257a

Rigmate pair of mallards, Julius Johann Worm, Milwaukee, Wisconsin, circa 1940. Both are branded

Provenance: Herb Desch collection.

(600 - 800)

“H.F. Voct” twice in underside. Hollow carved with a very stylistic paint pattern. Measure 19” long. Very light gunning

257d

Coot, Frank Strey, Oshkosh, Wisconsin, circa 1930.

wear; shot scar to hen’s bill; original paint with very light

Glass eyes. Measures 13” long. Excellent original paint with

wear; dowels securing the two body parts have pushed up

light gunning wear, mostly around tip of bill and edge of

slightly.

bottom.

Provenance: Herb Desch collection.

(800 - 1,200)

Provenance: Herb Desch collection.

(300 - 500)

151

Mason Decoy Factory 1896 - 1924 | Detroit, Michigan

152

258

Early pair of mallards, Mason Decoy Factory, Detroit, Michigan, circa 1900. Early challenge grade models from the so called “Backyard Period” of production. With slope breast and early head style.

Measure 15.5” long. Original paint with minor wear; under an old coat of varnish; minor roughness on tips of tails; two shot strikes were touched up on one side of drake’s head; very small amount of touchup to a tight crack on underside of drake’s tail.

Literature: “Detroit Decoy Dynasty” by Ron Sharp and Bill Dodge, page 268, exact decoys pictured.

(17,500 - 22,500)

153

259

260

259

Greenwing teal hen, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Hollow carved premier grade with relief bill

Bluewing teal, Mason Decoy Factory, Detroit, Michigan. Hollow carved premier grade. Hillman collection ink stamp on underside. Measures 12”

carving and glass eyes. “Taylor” branded in to the

long. Original paint with very minor wear; small dent

underside. Measures 12.75” long. Original paint with

in one side of tail; crack in one side of neck seat; small

minor wear; minor flaking and separation on one side

paint flake on other side of neck seat.

of body seam; hairline cracks in neck and one side of head; minor flaking around neck seat.

154

260

(4,000 - 6,000)

(4,000 - 6,000)

262

Pair of bluewing teal, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Standard grade glass eye models. Measure 12.5” long. Crisp original paint with very minor wear; mostly on drake’s back; drying cracks in underside of hen; flaking to drake’s original neck filler; much of hen’s neck filler is missing.

(2,000 - 3,000)

262 263

Pair of bluewing teal, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Late standard grade glass eye models. Measure 12.25” long. Original paint with minor wear; drying cracks in underside; tight in factory filled crack in one side of hen; tight crack and small chip in hen’s original neck filler; drake’s neck filer was professionally restored; cracks in one of drake’s eyes; minor roughness on tip of drake’s bill.

(1,800 - 2,200)

264

263

Bluebill hen, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade with extra wide bill carving. Measures 14” long. Dry original paint with minor wear; dent in one side of bill; filler restoration around neck seat; hairline drying cracks in back; area of touchup on underside.

Provenance: Trent Spolar collection.

(1,200 - 1,800) 264

265

Canvasback drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade Seneca Lake model. Measures 16.5” long. Original paint with minor wear; tight crack at neck seat; flaking and a small chip at dowel at top of head; tight crack and some flaking under tail.

Provenance: Trent Spolar collection.

(1,800 - 2,200) 265

155

266

Important mallard drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Hollow carved premier grade, with relief bill carving and glass eyes.

“GK Schmidt” branded twice in the underside. Thick swirl paint detail on body. Measures 17.5” long. Original paint with very minor wear; newspaper print on the body from being wrapped in storage; minor flaking at an in factory filled crack in back; a few minor dents.

156

(12,500 - 17,500)

Sometime in the late 1960s a small group of decoys began showing up at sales in Illinois and Michigan.

All of the decoys were in mint condition and all were branded G.K. Schmidt. The condition of many were so perfect, that some seasoned collectors in Michigan passed them up as being copies. They were of course genuine, but it would take almost forty more years until the owner of the G.K. Schmidt rig would finally be identified. Joe and Donna Tonelli can be credited with solving the mystery, but it took the help of Dave Galliher, who had purchased Charles Perdew’s order log at a Guyette & Schmidt auction. In the order log, Perdew had detailed an order from a G.K. Schmidt in 1928 for a dozen decoys which included a Chicago address. Armed with this information, the Tonelli’s were on the trail. The exact details of the story can be found in a Decoy Magazine article from the November/ December 2007 issue. In summary, G.K. Schmidt was a banker and owner of a successful brewery in Chicago. His obituary in 1939 stated that he was a “true sportsman and during duck season, he spent many days afield.”

Brand from lot 266

The G. K. Schmidt branded decoys fall into three distinct groups. First there are the Robert Elliston’s, that were repainted by Edna Perdew. These are part of the earlier rig and were hunted enough that they needed to be reconditioned by Edna at some point.

There are also a dozen near-mint Mason Premier special-order mallards, eight drakes and four hens.

They were branded but never used. It is assumed that both the Ellistons and the Masons would have been purchased circa 1905. The third group is the set of decoys ordered from Charles Perdew in 1928 that never hit the water.

157

266a

267

266a

158

Brant, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade with incised bill carving. Thick swirl paint on back. Measures

Pair of hollow caved mallards, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Hollow carved challenge grade bodies with

19.75” long. Original paint with minor to moderate

early snakey head style. Measure 15.75” and 16.5”

flaking and wear; some darkening to the flaking on

long. Original paint; with minor flaking and wear;

head and neck; professional neck crack repair; small

each with a professional tail chip repair; both with filler

amount of filler and touchup around neck seat; filler

restoration and inpainting around neck seat; drake

was added to defects in wood on one side and breast

with losses to heartwood on underside; hairline cracks

when the decoy was made.

in hen’s back and one side of neck.

(4,000 - 6,000)

267

(3,000 - 4,000)

268

Excellent pair of mergansers, Mason Decoy Factory, Detroit, Michigan, circa 1900. Challenge grade with stylistic wing patch pattern on drake and feather loop painting on hen. 17” long. Both have wonderfully carved crests. Strong original paint with very slight wear; drake has mellowed slightly on white areas; tiny spot of filler missing, appears to be a blood stain and two rubs on side of body, small dent with paint loss in that area on head; hen has tight crack in body, tiny spots of neck filler missing, small amount of paint loss around edge of bill and tail, crack in underside.

(12,000 - 15,000)

159

269

270

269

160

Bluewing teal, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge

270

Bluewing teal, Mason Decoy Factory, Detroit, Michigan, circa 1900. Hollow carved premier

grade with snakey head. Measures 12” long. Original

grade, with early snakey head style. Measures 12”

paint with minor discoloration and wear; tight crack

long. Original paint with minor to moderate wear;

in the underside; drying crack along the back and

small dents and shot marks; large reglued chip in one

tail; minor separation at neck seat; one eye is a

side of neck; hairline crack in bill; minor roughness at

professional replacement.

neck seat.

(3,000 - 5,000)

(3,000 - 5,000)

271

Swan, Mason Decoy Factory, Detroit, Michigan, circa 1900. Solid body with two-piece head. The carved bill is made in the premier style with notches above the nostrils. Hat pin eyes. Swans from the Mason Decoy Factory are extremely rare, most of these were used at the gun clubs in North Carolina, particularly Currituck Gun Club and Swan Island Gun Club. 30” long. Multiple coats of paint reveal a very old surface with numerous, but even wear marks from heavy usage; flaking, rubs, and shot scars; this large body of wood, as expected, has cracked along underside; the original bill is slightly off centered and has chew marks at one end.

Provenance: Charlie Hunter, III collection.

(10,000 - 15,000)

161

Elmer Crowell 1862 - 1952 | East Harwich, Massachusetts

271a

272

274

273

275

271a

Full size decorative least tern, Elmer Crowell, East Harwich, Massachusetts. Split tail carving and raised

272

Early miniature killdeer, Elmer Crowell, East Harwich, Massachusetts. White painted underside. Measures 3”

wingtips. Identified and signed in ink on the underside.

long. Excellent and original; under uv inspection two layers

Also with the maker’s rectangular stamp. Measures 8”

of white feathering appear different but are original to the

long. Professional repair to a chip in the tip of bill; minor

maker.

(2,000 - 3,000)

rubbing to tip of raised wingtips otherwise very good and original.

(6,000 - 9,000)

273

Early miniature golden plover, Elmer Crowell, East Harwich, Massachusetts. Split tail carving. Unmarked underside. Measures 2 3/4” long. Very minor paint rubs,

162

otherwise excellent and original.

(2,000 - 3,000)

276

278

277

279

274

275

Early miniature upland plover, East Harwich, Massachusetts. White painted underside with specied

277

Fat miniature black bellied plover, Elmer Crowell, East Harwich, Massachusetts. Split tail carving. Maker’s

in pencil. Measures 3” long. Tiny paint flake in tip of bill,

rectangle stamp on the underside. Measures 3 1/4” long.

otherwise excellent and original.

Just over 1 1/4” wide. Excellent and original. (2,000 - 3,000)

(2,000 - 3,000)

Early miniature robin snipe, Elmer Crowell, East Harwich, Massachusetts. Split tail carving. White

278

Miniture sandpiper, Elmer Crowell, East Harwich, Massachusetts. Split tail carving. Maker’s rectangle

painted underside with species in pencil. Measures 2

stamp on the underside. Measures 3” long. Excellent and

3/4” long. Excellent and original; under uv inspection the

original.

(2,000 - 3,000)

brighter orange on breast appears different than the more muted orange and is original to the maker. (2,000 - 3,000) 276

279

Miniature semipalmated plover, Elmer Crowell, East Harwich, Massachusetts. Split tail carving. Maker’s

Early miniature piping plover, Elmer Crowell, East Harwich, Massachusetts. Split tail carving with white

rectangle stamp on the underside. ‘Semi’ carved into

painted underside with species in pencil. Measures 2 3/8”

of varnish; underside painted black with some showing on

long. Tiny paint rub on tip of bill, otherwise excellent and

lower edge of base; spot of white touch up on each side.

original.

(2,000 - 3,000)

the underside. Measures 2 1/2” long. Shine from a coat

(2,000 - 3,000)

163

280

282

284

281

283

285

280

Miniature old squaw drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp

283

Miniature American merganser drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s

in underside of base. 3.75” long. Original paint with very

rectangular stamp in underside of base. Just under 5”

minor wear; touchup to part of the tail; and very tip of bill;

long. Original paint with slight wear; touchup on the bill

touch up to flaking around base.

and around a tail chip repair; touch up to flaking around

(1,250 - 1,750)

base.

281

Miniature feeding canvasback drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s

(1,200 - 1,500)

rectangular stamp in underside of base. Written in pencil

Miniature hooded merganser drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular

“canvas back”. 5” long. Excellent original paint with a

stamp in underside of base. 3.5” long. Original paint; very

very minute area of touchup at the tip of wingtips.

slight wear; structurally good.

284

(1,500 - 2,500)

(1,500 - 2,000) 285 282

Miniature brant, Elmer Crowell, East Harwich, Massachusetts. In running pose. Maker’s rectangular

underside of base. 3” long. Original paint with minor wear;

stamp in underside of base. Carving is 5.75” long. Original

small amount of touchup at tip of bill; touch up to flaking

paint with very minor wear; tiny amount of touchup on

around base; structurally good.

one edge of bill also small amount of touchup under the tail; touch up to flaking around base.

164

Miniature lesser scaup drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp in

(1,250 - 1,750)

(1,250 - 1,750)

286

288

287

289

286

Miniature pair redheads, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp in

288

Pair of miniature mallards, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp

underside of base. Drake is 4.5” long. Original paint with

in underside of base. Hen is 5.4” long. Hen has small

minor wear; drake has small amount of touchup at tip of

amount on tip of underside of tail;each with touch up to

bill and under tail; small rough spot on one edge of tail;

flaking around base; structurally good.

(2,500 - 3,500)

hen has tiny amount of touchup on tip of bill and small amount under tail; each with touch up to flaking around base.

(2,500 - 3,500)

289

Pair of miniature canvasbacks, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp in underside of base. Drake is in feeding pose and is

287

Pair of miniature greenwing teal, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp

5” long. Original paint with minor wear; hen has a tiny

in underside of base. Drake is 4” long. Original paint with

drake has tiny amount of touchup on one edge of tail and

minor wear; hen has small amount of touchup on top of

small amount at end of bill; each with touch up to flaking

head, under the tip of tail, and at tip of bill; each with

around base.

touch up to flaking around base.

amount of touchup to the tip of the bill, also under the tail;

(2,500 - 3,500)

(3,000 - 4,000)

165

290

292

294

291

293

295

290

Red breasted merganser drake, Elmer Crowell, East Harwich, Massachusetts, 2nd quarter 20th century.

293

Miniature goldeneye drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp

Superb paint detail. 6” long. Excellent original paint;

in underside of base. 4.25” long. Original paint with minor

structurally good.

wear; small amount of touchup under the tail and on most

(2,000 - 3,000)

of the bill and under the chin; touch up to flaking around 291

Miniature Canada goose, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp in underside of base. Measures 6”. Excellent original paint;

base.

294

area of crazing on breast and near wing tips.

(1,500 - 2,000)

(1,000 - 1,500)

Miniature Canada goose, Elmer Crowell, East Harwich, Massachusetts. Number 25 and maker’s rectangular stamp on underside. Measures 6” long. Repair to a crack at base of neck with touchup in that area;

292

Miniature bufflehead, drake, Elmer Crowell, East Harwich, Massachusetts. Maker’s rectangular stamp in

minor paint rub on tip of bill; touch up to flaking around base.

(800 - 1,200)

underside of base. 2.75” long. Original paint with minor wear; small amount of touchup to flaking around base; small amount of touchup on back; structurally good.

(1,200 - 1,500)

295

Miniature pair of mergansers, Elmer Crowell, East Harwich, Massachusetts. Both have Maker’s rectangular stamp in underside of base. Drake is just under 6” long. Original paint with minor wear; drake has touchup on the sides of the head, most of the bill, and under the tail; hen has touchup under the tail; each with touch up to flaking around base.

166

(2,000 - 3,000)

Items of Interest 296

A collection of hunting and fishing licenses from the state of Tennessee. 33 pins. Several duplicate years. Years range from 1933-1937. Many of these pins were used in Howard Harlan’s book on duck calls. Range from excellent and original to water damage and staining.

Provenance: Jimmy Thompson collection.

Literature: Several licenses from the Thompson collection were photographed in “The Legacy of the American Duck Call,” Howard Harlan and James Fleming.

(800 - 1,200)

297

296

A collection of hunting and fishing pins from the state of Tennessee. 33 pins. Years range from 1938-1949. Range from very good to slightly damaged with staining.

Provenance: Jimmy Thompson collection.

Literature: Several licenses from the Thompson collection were photographed in “The Legacy of the American Duck Call,” Howard Harlan and James Fleming.

(800 - 1,200)

297

298

Collection of 13 cloth hunting and fishing licenses from the state of Tennessee. Range from worn to very good.

Provenance: Jimmy Thompson collection.

Literature: Several licenses from the Thompson collection were photographed in “The Legacy of the American Duck Call,” Howard Harlan and James Fleming.

(800 - 1,200)

298

167

168

299

Exceedingly rare, special order, five barrel rifle, Smith, Rhodes, and Co., Richmond, Virginia, circa 1861. The

mounted with oak half stock. Barrels measure

only American made 5 barrel rifle known to

dents; chip in tip of one ramrod; the detent

exist. Brass barrels are configured in a two

that holds the cocked trigger guard in each

over three configuration with the top two

of the three positions over the selected nipple

smoothbore barrels being .50 caliber. Two

is non-functional; a rare piece of American

lower barrels on outsides are rifled and in .31

firearm history.

caliber. Lower center barrel is smoothbore in .38 caliber. Teardrop shaped percussion locks with ‘Smith, Rhodes, & Co’ engraving.

‘Richmond, VA’ engraved in script on barrel rib. Finely sculpted and detailed serpent hammers and equally detailed trigger guard/ underhammer. The design of a trigger guard doubling as an underhammer is very rare. Iron

25 ¼” and an overall length of 41”. Very good original condition with only minor rubs and

Literature: Exceptional Arms, (Celebrating 50 years of arms collecting excellence from the private collections of the member of the American Society of Arms Collectors) American Society of Arms Collectors. National Firearms Museum, 2003. See Extraordinary Arms chapter, page 12, exact rifle pictured.

(14,000 - 16,000)

169

300

301

302

170

302a

Very rare “hot air balloon” engraved powder horn. Belonged to John Howard and believed to be

300

302

Gun powder tin, DuPont. Golden Pheasant. Measures 5.5” tall. Very light wear.

(600 - 800)

from Brookfield, Maine. This is possibly the only powder pictured on page 12-13 in “A Collection of Powder Horns”

Gun powder tin, Austin Powder Company, Cleveland, Ohio. Ducking powder number 3. Red tin,

by Wayne McNeese. Extensive engravings depict a man

6.5” tall. Some flaking.

horn to depict a image of a hot air balloon. Exact horn

302a

(400 - 600)

on a horse, sea creatures, trees, and a hot air balloon with two flags attached to the basket. Measures 8” long. Fine

303

hairline cracks in tip, otherwise very good.

Provenance: Ex Jim Dresslar collection.

of elk on label. 4” tall. Small chipping to green paint on

(1,200 - 1,800)

Bowie knife, Randal Manufacturing, Orlando, Florida. Swoop blade with bone handle. Maker’s mark

301

stamped on blade. Original sheath with brown button

Gun powder tin, Giant Powder Company, San Francisco, California. Peerless rifle powder. With image can; label is good but has some staining and writing in pen.

304

(1,200 - 1,500)

Rare double barrel percussion market gun. Probably four gauge. Silver inlay on barrels. Decorative filigree on

securing a stone brown button says “Randal made

forend and stock. Double trigger with checkering on stock.

Orlando Florida.” Knife measures 16” from end of handle

Metal butt plate. Barrels measure 32”, overall 47.5”. Inset

to tip of blade. No pitting or rust on blade. (1,500 - 2,000)

brass patch box. One hammer is missing; heavy rust on barrels and all other metal parts.

Provenance: Charlie Hunter, III collection.

305

(1,000 - 2,000)

Market gun, percussion muzzle loader. With checkered stock, brass trigger guard, brass butt plate. No markings on barrel, which measures 49.5”. Overall length is 86”. Stock has been refinished and varnished; trigger and hammer are in working order; rust on barrel.

Provenance: Charlie Hunter, III collection.

(500 - 1,000)

303

304

305

171

Ontario John Reeves 1860 - 1896 | Toronto, Ontario

Membership St. Clair Flats Shooting Company Francis Mills 1879-1893 F. H. Walker 1890-1914 Arthur H. Buhl 1914-1933

172

John Cooper Reeves was the eldest son of Phineas Reeves (1833-1896) who was the patriarch of three generations of decoy carvers, boat builders, duck guides, and club managers. John Reeves was the first bookkeeper of the Long Point Company, which was established in 1866 as a prestigious hunting club on the North Shore of Lake Erie in Ontario, Canada. Working at Long Point with his father Phineas, the father-son team guided and made decoys for club members. They used the same patterns, and their decoys were very similar. John made teal, black, mallard, pintail, and goose decoys. In the late 1880s, John moved to the St. Clair Flats Shooting Company (established as a hunting club in 1874) as the club manager. The club is often referred to as The Canada Club and/or The Toronto Club.

306

Canada goose, John Reeves, Toronto, Ontario, circa 1900. This is the earliest style of John Reeves geese. Thought to be made right after he moved from Long Point Company to the St. Clair Flats shooting Company. This form maintains a heavy influence from decoys of Phineas, used at Long Point. Hollow carved, long body style. Tack eyes. Branded “AH Buhl”, “FH Walker”, and “Mills” for St. Clair Flats Shooting Company members. Measures 23” long. Original paint with moderate gunning wear; lightly hit by shot; bottom half 1” long body seam with early repaint around bottom edge to seal body seam.

Provenance: Preston Lowe collection.

(16,000 - 19,000)

173

Tom Chambers 1860 - 1948 | Toronto, Ontario

307

308

307

Canvasback, Tom Chambers, Toronto, Ontario, circa 1900. Hollow carved long body style. “PH Deming”

Canvasback drake, Thomas Chambers, Toronto, Ontario, circa 1900. Hollow carved short body style.

stenciled on underside “FHD” carved. Original paint with

Fine comb painting on the back. Feather painting on the

moderate wear; hairline crack along one side; reglued

side pockets. Strong original paint with shot scars; light

crack through neck; thin coat of varnish.

wear.

(2,500 - 3,500)

174

308

(3,000 - 5,000)

309

310

309

Hollow carved black duck, Ralph Smithers, Dunnville, Ontario, 2nd quarter 20th century. Three

310

Pair of bluebills, Robert Renardson, Ontario, last quarter 19th century. Thinly hollowed with .25” bottom

piece body with relief wing carving. Scratch feather

boards. Measure 14.5” long. Original paint with minor

paint detail on head. Decoy is weighted form the inside.

wear; small chips in sides of bill; minor roughness along

Measures 17.5” long. Original paint with very minor

edge of bottom board; small areas that were worn to

wear; very minor separations at body seams; very minor

bare wood have been darkened.

roughness on tip of tail.

(2,500 - 3,500)

Provenance: Preston Lowe collection.

(2,500 - 3,500)

175

311

Canada goose, George Warin, Toronto, Ontario, 2nd half 19th century. Hollow carved. “FH Walker” branded twice in underside.

Measures 22” long. Original paint with moderate discoloration and wear; hairline drying cracks; repair to the tack on the underside of tip of bill; large professional tail chip repair.

Provenance: Preston Lowe collection.

176

(12,000 - 18,000)

312

Rare and early pintail drake, Phineas Reeves, Long Point, Ontario, last quarter 19th century. Hollow with bottom board that is branded “A. Hemmingway” a member of the Long Point Company, 1883-1931. Painted eyes with raised neck seat and comb painting on back and sides. 16” long. Original paint with moderate gunning wear; a few shot scars; rough area around bill and tail; tiny flakes mostly on one side.

Provenance: Preston Lowe collection. Ex Crandall collection.

Literature: “Decoying St. Clair to the St. Lawrence,” Bernard Crandell, p. 77-83, exact decoy pictured. “Decoy Magazine,” May/ June 1992, “The Reeves Family, Three Generations of Decoy Makers,” Crandell, exact decoy front cover, top bird. “Traditions in Wood,” Fleming and Carpenter, p. 136-138.

(10,000 - 15,000)

177

313

Pair of mallards, Ken Anger, Dunnville, Ontario. Hollow carved with relief wing carving. Measure 16” long. Excellent and original. (2,000 - 3,000)

313

314

Bluebill from Ontario, circa 1900. Solid body with tucked head and tack eyes.

Comb feather paint detail on back.

“IH” carved in underside. Measures 13” long. Original paint with minor wear; a few small dents and shot marks; area of roughness on edge of tail.

Provenance: Preston Lowe collection.

(2,000 - 3,000)

314

315

Black duck, Harve Davern, Brighton, Ontario, 1st quarter 20th century. Long body style with slightly turned head. Scratch feather paint detail.

Measures 18.5” long. Original paint with minor wear; protected under a thin coat of varnish; lightly hit by shot; crack in neck was reglued with filler and touchup added on one side.

Provenance: Preston Lowe collection.

(1,800 - 2,200)

315

316

Canada goose, Henry “Spud” Norman, Kingston, Ontario, circa 1950. Hollow carved with round inlet bottom board. Relief wing carving and raised wingtips. Extensive incised feather carving on body. Measures 20.5” long. Original paint with minor wear; under a thin coat of original varnish; minor roughness on tip of bill; hairline drying cracks on breast and under tail.

(1,500 - 2,000)

316

178

317

Redhead hen from the Markham rig, Markham, Ontario, circa 1900. Thinly hollowed with .25” bottom board and detailed bill carving. Measures 16” long. Original paint that has darkened with age; very minor wear; a few small dents, otherwise excellent structurally.

(9,000 - 12,000)

179

318

319

318

Pair of goldeneye, Orel LeBeouf, Saint Anicet, Quebec, circa 1930s. Deep relief wing and tail feather

319

Canvasback drake, John R. Wells, Toronto, Ontario, 1st quarter 20th century. Hollow carved. “J.T.N.”

carving. Feather rasping on back of heads. Measures 13.5”

branded in underside. Measures 14.75” long. Original

long. Original paint with minor gunning wear; small dents

paint with minor wear; flaking to filler at a defect in wood

and shot marks; tight drying cracks in each. (3,000 - 4,000)

on back and at one side at body seam; paint on bill has worn down to some bare wood.

Provenance: Preston Lowe collection.

180

(4,000 - 6,000)

320

Rigmate pair of hooded mergansers, Harold Noland, Cache Bay, Lake Nippissing, Ontario. Drake is 12.5” long.

Drake has carved wooden crest. Both have fan tails and good paint detail. Original paint with minor wear; drake has tiny chip at center of tail, otherwise structurally good.

(6,000 - 8,000)

181

321

322

321

Canvasback, James Barr, Long Point, Ontario, 1st quarter 20th century. Hollow carved with .25” bottom

322

Widgeon, Charles Reeves, Toronto, Ontario, 1st quarter 20th century. Solid body with large glass eyes.

board. Measures 16.25” long. Original paint with minor

A rare species for this maker. Measures 14” long. Original

wear; lightly hit by shot; cork added to a hole on the

paint with moderate gunning wear; small dents and shot

underside.

marks; loss to filler at a defect in wood on one lower side;

Provenance: Preston Lowe collection.

(2,500 - 3,500)

minor roughness on edge of bill and tip of tail.

Provenance: Preston Lowe collection.

182

(2,500 - 3,500)

323

324

323

Sculpturesque black duck, William Chrysler, Bellville, Ontario, 1st quarter 20th century. High head model

324

Hollow carved black duck, William Chrysler, Bellville, Ontario, 1st quarter 20th century. Hollow

with raised neck seat. Two piece hollow construction

carved with reared back slightly turned head. Scratch

with bottom board. “C” in underside for Chrysler. Scratch

feather paint detail. “FA” carved in underside. Measures

loop feather painting and scratch paint on tail. 18”

17” long. Original paint; minor gunning wear; minor

long. Excellent original paint; with a few rubs on body,

roughness on edge of tail; small puppy chews on bill.

around edge of bill, tail, and underside; some line tie marks.

Provenance: Preston Lowe collection.

(3,500 - 4,500)

Provenance: Preston Lowe collection.

Literature: “Ontario Decoys,” Bernie Gates. (4,000 - 6,000)

183

325

Pair of goldeneye, Ken Anger, Dunnville, Ontario, 3rd quarter 20th century. Both have slightly turned heads.

Two-piece hollow construction. Fine rasp carving over surface. 15” long. Strong original paint; protected by a light coat of varnish; minimal rubs and wear form light use.

Provenance: Kirby Roberts collection.

(2,500 - 3,500)

325

326

Pair of hooded mergansers, Davey Nichol, Smiths Falls, Ontario. Carved, extended crest and relief wingtip carving.

Both branded “MA Todd”. Measure 14” long. Original paint with minor discoloration; minor separation around hen’s bottom board; otherwise very good and original.

(1,500 - 2,500)

326

327

Rigmate pair of bluebills, Robert Kerr/D.W. Nichol, Smiths Falls, Ontario, circa 1940s. From a rig carved jointly by both makers. 12.5” long. With good comb paint detail and raised neck seats. Original paint with very minor wear and good patina; structurally very good.

Literature: “Decoys of the Thousand Islands,” Larry Lundman.

(1,250 - 1,750)

327 328

Bluebill, Norm McDonald, West Lake, Ontario, circa 1930. Thinly hollowed quarter inch bottom board and hump back. Tack eyes. Measures 13.75” long. Original paint with moderate crazing and wear; lightly hit by shot; small chip in underside of bill; hairline drying cracks in breast.

Literature: “Decoys A North American Survey,” Gene and Linda Kangas, p. 148, exact decoy pictured.

328

184

(1,200 - 1,800)

329

332

330

333

331

334

329

Redhead hen, Abraham Rundle, Bloomfield, Ontario, last quarter 19th century. Very thinly hollowed. Mackey

332

collection ink stamp on underside. Measures 14.5”

slightly turned. Original paint with minor wear; several tiny

long. Original paint; minor crazing and wear; small dents

dents.

and shot marks; hairline crack in one eye.

(800 - 1,200)

(1,000 - 1,400) 333

330

Rigmate pair of bluebills, Ken Anger, Dunnville, Ontario. 14” long. Incised wing carving. Hen’s head is very

Rigmate pair of bluebills, Charles Buchanon, Gananoque, Ontario. 14” long. Hen has very slightly

Rare pintail drake, Robert Renardson, Toronto, Ontario, last quarter 19th century. Hollow carved with thin bottom board and slightly raised neck seat. Comb painting on back

turned head. Good feather paint detail with combing on

and sides. 17” long. A thick paint that appears to be original

drake’s back. Excellent and original.

is heavily worn to bare wood, mostly on sides of decoy; some

(800 - 1,200)

separation at neck seam; tight crack in one side of back.

331

Redhead hen from Toronto, Ontario, 1st quarter 20th century. Solid body with “HEM” painted and branded on underside. Also branded “HE Menmach, Ottawa Ontario”.

Measures 15” long. Original paint; minor gunning wear; a few shot strikes; minor roughness on edge of bill.

Provenance: Preston Lowe collection.

Provenance: Ron Gruber collection.

334

(800 - 1,000)

Greenwing teal from Ontario, circa 1900. Carved extended crest. Scratch feather paint detail. Measures 12.5” long. Original paint with moderate wear; small dents and

(800 - 1,200)

shot marks; drying crack in underside; minor flaking from an in the making filled crack in one side; approximately 1/2 bill is a professional replacement.

(600 - 900)

185

Etchings

335

336 335

Group of six Federal duck stamp prints. 1946 by Bob Hines, 1952 by Clayton Seagers, 1947 by Jack Murray, 1945

Group of 7 unframed etchings by Richard Bishop. “Scottish Grouse” full sheet measures 8.5” x

by Owen Gromme, 1944 by Walter Weber, and a different

13.75” original and good. “Rice Field Pintails,” full sheet

edition 1944 by Walter Weber. All signed lower right by

measures 13.5” x 16.75”, one tear along lower edge

artist. Professionally framed and matted. All framed with

otherwise very good. “Up and Out,” inscribed to Walter

uncanceled stamps. Excellent.

D Fuller, full sheet measures 11.5” x 16”, some staining

Provenance: Ex Richard Perkins collection. (2,000 - 4,000)

336

around margin, image is original and good. “Out the Bay,” full sheet measures 11” x 9”, very good and original.

“Honkers,” full sheet measures 13.5” x 16.75”, very light discoloration in margin otherwise very good and original.

Another with difficult to read title of pintail drake, 16” x

186

13”, very slightly darkened.

(1,000 - 1,500)

337 337

Group of four federal duck stamp prints. 1937, J.D. Knap, full sheet measures 8” x 11”, slightly darkened, comes with uncanceled stamp. 1938 Roland Clark, Full sheet measures 10.5” x 14” with uncanceled stamp shows color change where it was framed. Walter Buhl, 1943, full sheet measures 7” x 11.25” with stamp signed by Buhl, lightly darkened with color change showing where it was framed.

Maynard Reece, 9.25” x 12.5”, very slight color changed from where it was framed which also comes with uncanceled stamp.

(1,500 - 2,500)

338

338

Roland Clark, American (1874-1957), four professionally matted and framed etchings. Largest of Canada geese, image measures 12.5” x 15”. Bluebills measures 11.5” x 13.5”. Mallards measures 10” x 11”. Mallards chased by hawk 10.5” x 8.5”. All have mellowed slightly and signed lower right.

(800 - 1,200)

187

339

339

Very important duck stamp etching, Ding Darling. This is the design for the first duck stamp, 1934.

Image is signed by Darling lower right. Full sheet measures 10.5” x 13.5”. Accompanied by uncanceled stamp from the same year. Very good and original.

(3,000 - 4,000)

340

340

Richard Bishop, American (1887-1975), four framed etchings. Images include “In the Stocks,” visible image measures 11.25” x 13”, excellent and bright. “Through the Timber,” visible image measures 13.25” x 11”, very slightly darkened. “Evening” visible image measures 15” x 12.25”, slightly darkened.

“Bull Necks” visible image measures 12” x 14.5”, very slightly darkened. All professionally framed and matted.

(800 - 1,200)

341

341

Roland Clark, American (1874-1957), group of five etchings. All are unframed. All are signed lower right. “Brink O’ Day” full sheet measures 15.75” x 12”, slightly darkened. “Ducks in Dixie,” full sheet measures 19.25” x 16.5”, three spots of restoration, but not on image, good color.

“Southland Marsh,” full sheet measures 18” x 15”, slightly darkened. “Black ducks,” full sheet measures 10” x 7.5”, slightly darkened. “The First Flock,” full sheet measures 13.75” x 17”, tear with piece missing at lower left, slightly darkened.

(800 - 1,200)

Calls

342

342

343

Duck call, Claude Stone, Hornersville, Missouri. Four raised and checkered panels.

Important duck call, Doc Taylor, Gleason, Tennessee. A large call with both incised

343

7” long. All parts appear to be original; minor

carving and stippling. Retains original water

chipping at neck collar and three areas on

label. 7.5” long. All parts appear to be

barrel where checkering comes to a point;

original; light wear around mouth piece.

very small chip at mouth piece.

Provenance: Jimmy Thompson collection.

Provenance: Jimmy Thompson collection.

Literature: “The Legacy of the American Duck

(4,000 - 6,000)

Call,” Howard Harlan and James Fleming, p.

374, exact call pictured.

342

343

190

(5,000 - 8,000)

344

345

346

344

Four box turkey calls, Lynchs. Two are longer and have holes drilled in the paddle. One has a stamp reading

Four box turkey calls, Neil Cost, Greenville, South Carolina. All four are signed and dated with meticulous

“World Champion” on the side. The other side company

writing. All four have the turkey foot stamp and side box

stamp “Birmingham Alabama”. Smaller calls both are

and top carving. 9.5” long. Two appear to be lightly used.

marked model number 101. One shows manufacturing

346

(3,000 - 4,000)

location Liberty, Mississippi, and one shows manufacturing location Birmingham, Alabama. All have moderate wear; two longer calls have glue seems showing.

345

(1,500 - 2,500)

Four box turkey calls, Neil Cost, Greenville, South Carolina. All four are signed and dated with meticulous writing. All four have the turkey foot stamp and side box and top carving. 9.5” long. One call shows light use, others seem to be unused.

(3,000 - 4,000)

191

347

Duck call, Charles Perdew, Henry Perdew. Three ducks on barrel with banner and “FF” carved . Red mouth piece.

(3,000 - 4,000)

348

Rare duck call, Slinn Brothers. A Reelfoot style call with decoration of rabbits, ducks, and blue heron. Molded from hardwood and possibly gutta-percha. 4”. Wedge block has been replaced, otherwise very good and original.

Provenance: Jimmy Thompson collection.

(1,500 - 2,000)

347

348

349

349

Box turkey call, Tom Turpin, Reelfoot Lake, Tennessee. Cats eye visible on top of paddle. 10.75” long. Light wear with very good patina.

(1,500 - 2,500)

350

Duck call, New Beckhart, Henry Kenward. New Beckhart with three stars stamped at top of barrel. Smooth barrel lathe turned. 6”. All parts appear to be original; slight wear near mouth piece.

Provenance: Jimmy Thompson collection.

192

(1,500 - 2,000)

350

351

351

Duck call, Ben Reeves Garrison, Baton Rouge, Louisiana. “Garrison caller” and “Jimmy” on barrel.

Accompanied by a press photo dated 1961, of Mr. Garrison blowing one of his callers. Measures 4 7/8” long.

Very minor wear from use, otherwise excellent.

(1,200 - 1,800)

352

353 352

Very rare duck call, Tom Turpin, Reelfoot, Tennessee. With bakalite

Turpin duck calls; bakalite

Important duck call, Doc Taylor, Gleason, Tennessee. A large call

stopper number 5.

with both incised carving

stopper. Measures 6”. Very light wear; in box marked Tom

Provenance: Jimmy Thompson collection.

(2,000 - 4,000)

353

and stippling. Retains original water label. 6.5” long. All parts appear to be original; light wear around mouth piece.

Provenance: Jimmy Thompson collection.

Literature: “The Legacy of the American Duck Call,” Howard Harlan and James Fleming, p.

374, exact call pictured.

(2,000 - 3,000)

193

354

356

355

357

354

358

Duck call, A.M. Bowles. Maker’s info stamped at top

357

early models. Tallest has initials carved in barrel and on

reed are probably replacements; moderate wear with

stopper. Measures 5”. Smallest has two silver bands and

tarnishing to brass ring; reglued chip at stopper.

appears to be original.

(1,000 - 1,500) 355

Duck call, Sharpie Shaw, Samberg, Tennessee. “Sharpie Shaw” stamped on side of burled barrel. 7”. Very light wear; all parts appear to be original.

Provenance: Jimmy Thompson collection. (1,000 - 2,000)

356

Duck call, Ben Jon, Memphis, Tennessee. Near perfect water label. Metal ring around collar. Cedar stopper. Measures 6”. Minor scratching on stopper; otherwise very good and original.

194

Two duck calls, Charles Perdew, Henry, Illinois. Very

of barrel. Four checkered panels. 6.5”. Wedge black and

Provenance: Jimmy Thompson collection. (1,000 - 1,500)

Provenance: Jimmy Thompson collection.

358

(1,000 - 1,500)

Duck call, Charles Perdew, Henry, Illinois. VL&A model with “VL&A” carved into one of the four raised checkered panels. Measures 5.75”. All parts appear to be original; very good and original.

Provenance: Jimmy Thompson collection.

(1,000 - 1,500)

359

Duck call, John Sandy Morrow, Arkansas and Flint, Michigan. Arkansas style stopper. Measures 6.5”. Very good and original.

360

(1,200 - 1,500)

Duck call, John Sandy Morrow, Arkansas and Flint, Michigan. Arkansas stopper, bulbous barrel with several lines lathe turned into. Measures 5.5”. Very good and original.

Provenance: Formerly in the collection of Bob Hunkins, Flint Michigan. Hunkins was s sporting goods dealer and avid waterfowler.

He sold many Morrow calls in his business.

(1,200 - 1,800)

359

360

361

361

Three duck calls, Grubbs, Illinois. One ideal model which appears to have replaced wedge block. One that has “RWB” carved in the barrel has replaced wedge block. Another that has a replaced reed. Tallest is 6”. All have light wear.

Provenance: Jimmy Thompson collection.

362

(1,500 - 2,500)

Rare decorative duck call lamp, Fred Jolly, Memphis, Tennessee. “FW Jolly 14” stamped at top of call’s barrel. Four checkered panels, each embellished with a painted, flying duck of different species. Lamp is mounted on base that is meant to be a duck call display holder. It is wired as a lamp and functions. Call portion measures 13.5” tall, overall height 31”. Excellent and original.

362

(1,500 - 2,000)

195

363

365

364

366

363

367

368

Duck call, unknown maker, possibly Illinois. Similar

366

Duck call, Charles Perdew, Henry, Illinois. Unusual

to Newt Rule. Wedge block and reed appear to be

call with only one raised panel. Part of lanyard with

replaced. Smooth barrel with wood imperfections. A

a ring remains around barrel. 6”. Light wear around

nice worn patina. Measures 5.25”

mouth piece; little imperfection at tip of collar and tip of

Provenance: Jimmy Thompson collection.

stopper; parts appear to be original.

(500 - 800)

Provenance: Jimmy Thompson collection.

364

(800 - 1,200)

Duck call, John Jolly, Memphis, Tennessee. Smooth light wear around mouth piece with some varnish loss in

Two duck calls, Johnny Marsh, Reelfoot, Tennessee. One is checkered with three panels. Other

that area.

is smooth barrel. Both measures 6”. Both have light

barrel. Measures 6.25”. All parts appear to be original;

367

wear; all parts appear to be original.

Provenance: Jimmy Thompson collection. Note from Jim Thompson says this call, along with a second call by

Provenance: Jimmy Thompson collection.

(600 - 900)

Chick Majors belonged to Barry Brooks, famed Memphis companion. Purchased from Betty Brooks Larkin, niece of

Three duck calls and one predator call, Cub Creek. In the box. Three of four have Cub Creek

Barry Brooks February 2003.

water labels. Longest is 6”. All four are in very good to

Tennessee hunter, and Nash Buckingham’s hunting (500 - 1,000)

368

excellent condition.

365

Duck call, Tom Turpin, Reelfoot, Tennessee. Three ducks on barrel. Reed and stopper are both marked with the number 6. Measures 6.75”. All parts appear to be original; very light crack in stopper.

Provenance: Jimmy Thompson collection.

196

(800 - 1,000)

Provenance: Jimmy Thompson collection.

(800 - 1,000)

369

371

373

370

372

374

369

Three duck calls, Gene Parrish, Erin, Tennessee. Checkered call is stamped “Old Susie” at

stamped “McDuck” twice in top of barrel has checkered

Parrish” engraved in metal band. 5.5”. Very good and

panels, and McFarland’s duck band tied to it. Other call

original.

has carved snake on stopper and four raised decorative panels, also has McFarland’s banner. 6.5”. Near mint.

(500 - 1,000)

Four duck calls, Clarence Waldon, Memphis, Tennessee. Two smooth barrel and Arkansas style

(800 - 1,200) 373

duck call with mallard and labrador holding widgeon,

Longest is 6.5”. All parts appear to be original; very

fancy brass band and cocobolo stopper. 6” and is

good and original.

Provenance: Jimmy Thompson collection.

mint. In original box. Crow all has fancy brass band and (800 - 1,200)

two cross, one robbing a nest, also mint and in box, measures 5.5”.

Duck call, Ben Jon, Memphis, Tennessee. An unusual size. Retains water label. 5” long. Very good and original.

Provenance: Jimmy Thompson collection.

Two calls, Jack Wilson, Fleshing, Michigan. A carved crow call and a carved duck call. Carved

stoppers. One is marked “Duke” at the top of the barrel.

371

Two duck calls, Barry McFarland, Hornersville, Missouri. Both are in Beckhart style. Smaller call is

top of barrel. All are Arkansas style. Two have “Gene

Provenance: Jimmy Thompson collection.

370

372

(800 - 1,200)

374

(400 - 600)

Two duck calls, Warner Wyles, Jonesboro, Arkansas. Both calls have four raised checkered panels. Measures longest 5.5”. Both have light wear; all parts appear to be original.

Provenance: Jimmy Thompson collection.

(600 - 800)

197

375

377

378

376

375

376

Three duck calls, Fred Weeks, Savannah, Tennessee. All three have raised checkered panels

377

Three duck calls, Cub Creek, Rip Fanning, Lexington, Tennessee. All three are turned with fancy

and have “F.R.W.” carved in the barrel. Tallest measures

inlays. One has water label that shows minimal wear on

6.25”. All are near mint; a tight stress crack near collar in

stopper. Tallest is 5”. Light wear; one stopper has a small

one; otherwise mint.

chip; all appear to be original.

Provenance: Jimmy Thompson collection. (2,000 - 3,000)

Provenance: Jimmy Thompson collection.

(400 - 600)

Tennessee. Third call by an unknown maker with unusual

Two duck calls, unknown maker, probably Illinois. One has three raised checkered panels with

double stopper. Two calls by Walker are on stands, also

bulbous stopper and carved wedge block. Other is simple

made by Walker. One retains original water label. Walker

with carved markings, likely has replaced wedge block

calls measures 5.5”, other measures 6”.

and reed. Both were found together by Jim Thompson.

Three duck calls. Two by C.A. Walker, Memphis,

(800 - 1,200)

378

Tallest measures 6.75”. Has moderate wear; but no damage; other has nice patina and is structurally good.

Provenance: Jimmy Thompson collection.

198

(800 - 1,200)

379

380

381

379

signed and dated on underside. 9.5” long. All are very

Eight crow calls, Charles Perdew, Henry, Illinois. Various sizes. All have a silver metal band.

good and original.

Smallest has state Illinois spelled. Two are not marked.

Four unused box turkey calls, Lamar Williams. All are (800 - 1,200)

381

Tallest measures 5.5”. All have nice patina and wear.

380

Box turkey call. Stamped at the top of the paddle “Gibson Turkey call, Simons Hardware Company, St Louis, Missouri.” 10” long. Structurally good.

Provenance: Jimmy Thompson collection.

(800 - 1,200)

(800 - 1,200)

End of session one

199

SESSION TWO Saturday, April 30, 2022 | 10:00 am

Decoratives

382

Excellent decorative widgeon drake, Ward Brothers, Crisfield, Maryland. “American widgeon, Bald pate, bald crown, Crisfield, MD” is written on underside. Carved from a single piece of wood, the head is reared back and side preening. Front area of both wing tips are raised, separated, tail is dropped and extended.

Highly detailed paint feathering on back and sides. Rasp style carving to back of head. 12” long. Strong original paint; small spot of crazing at breast; some mild discoloration and spotting to white areas.

200

(7,000 - 10,000)

383

Pair of pintail flyers, Ira Hudson, Chincoteague, Virginia, 2nd quarter 20th century. Both have spread wings, fluted tails, and turned and reaching heads. Both retain Charlie Hunter collection tag, and Oliver Auction stickers from July 1985. 22” long. Both have fine scratch painting over body and wings. Original

where neck is attached; hen has original paint protected by a coat of varnish; restoration to most of the underside; several spots on back near tail and where wings are applied, including a small area on top of head; one foot on drake is a replacement.

paint on drake protected by a coat of varnish;

Provenance: Charlie Hunter, III collection. Richard Oliver

some professional restoration to reset wings,

July 1985 auction.

where they are applied to body; small separation

(10,000 - 15,000)

201

384

385

384

Decorative red knots, Shang Wheeler, Stratford, Connecticut. One in spring plumage and one in fall

385

Rare flying redhead, Doug Jester, Chincoteague, Virginia. Applied wings and glass eyes. Only a few fly-

plumage. Both with raised wingtips and metal legs. Carved

ers by this maker are known to exist. Measures 22” long,

for display at the 1946 New York City Sportsman Show. Birds

with a 14” wing span. Thick original paint; minor discol-

measure 9” and 9.5” long. Base of diorama measures 19”

oration and wear; tight paint crazing on bill and neck;

across. One piece of grass on back of diorama is missing;

hairline crack in back; tight seam in one wing where it was

a few tiny chips in tips of others; knots are excellent and

cracked and reset, appears to have been done before

original.

the decoy was painted; small puppy chews in one wingtip.

(6,000 - 9,000)

Provenance: Charlie Hunter, III collection.

202

(3,000 - 5,000)

386

386

Decorative oldsquaw, 2nd quarter 20th century. Relief wing carving and raised wing tips.

Alert, slightly turned head with painted tack eyes. Made by the same hand as the eider in this sale.

Measures 12 3/4” long. Original paint with minor flaking and wear; chip in underside of bill; applied hardwood tail sprig is mostly missing; hairline crack and small chip in one raised wing.

Provenance: Found in an estate sale in Oregon.

(4,000 - 6,000)

387

387

Decorative eider, 2nd quarter 20th century. Relief wing carving with carved wing and tail feathers.

19” long. Original paint with crazing to the white areas; black on back and tail was taken down; chipping aound edge of tail; chips in tips of dropped wing feathers; crack in one

386

side of head; bubbling and loss to paint from heat on one side.

Provenance: Charlie Hunter III collection.

(2,000 - 3,000)

203

388

Pair of shovelers, Jimmie Vizier, Galiano, Louisiana. Slightly turned heads and wide spoon bill carving.

Raised, crossed wingtips. Signed and dated 2000. Measure 12.5” and 14” long. Excellent and original.

(1,200 - 1,800)

388

389

Pair of harlequin ducks, Jimmie Vizier, Galiano, Louisiana. Slightly turned heads and relief carved crossed wingtips. Signed on the underside. Measure 13” and 14” long. Excellent and original.

(1,200 - 1,800)

389

390

Pair of black ducks, Jimmie Vizier, Galiano, Louisiana. Slightly turned heads with raised, crossed wingtips.

Signed and dated 2001. Measure 16.5” long. Excellent and original.

(1,200 - 1,800)

390

391

Pair of widgeon, Jimmie Vizier, Galiano, Louisiana. Both with slightly turned heads. Hen with painted, sleepy eyes. Raised, crossed wingtips.

Signed and dated 2006. Measures 13” and 14.5” long. A few very minor paint rubs; otherwise excellent and original.

(1,200 - 1,800)

391

204

392

393

392

Excellent pair of full size quail, Frank Finney, Cape Charles, Virginia. Both with slightly turned heads, and

393

Life size pheasant, Frank Finney, Cape Charles, Virginia. In walking pose with relief feather carving.

one with open mouth. Relief wingtip and tail feather

Maker’s initials carved in to base. Measures 31.75” long,

carving. Maker’s initials carved in to the underside. Birds

stands 15.5” tall. Two jesso toes reset; two small rubs on

measures 8.5” tall including base, base measures 12”

head, tightly reset chip in tip of tail.

wide. Excellent and original.

(4,000 - 6,000)

(4,000 - 6,000)

205

394

Pair of quail, Bob Kerr, Smiths Falls, Ontario. Hen with tucked head. Both signed and dated 1971 on the underside. JB French collection ink stamp on underside. Minor paint rub on hen’s bill; some spots of white paint on one side of male and same side of base.

(1,500 - 2,000)

394

395

Large pair of Canada goose bookends, Ward Brothers, Crisfield, Maryland. Open bills with carved tongues. Thick stipple paint on necks and heads. Measure 14.25” long and stand 9.75” tall. Some minor pain rubs to the stippling on necks, otherwise excellent.

(1,500 - 2,500)

395 396

Important standing full size hooded merganser drake, John McLoughlin, Bordentown, New Jersey, circa 1960. A well-executed carving with slightly turned head, carved tail feathers, and raised wing tips. Mounted to a chip carved base with “DSC” for Dave Campbell, Miller collection stamp, Roberts Collection stamp and signed “John McLoughlin”.

13” tall. Excellent and original.

Provenance: Kirby Roberts collection.

(1,000 - 1,500)

396

397

Puddle duck bookends, Ward Brothers, Crisfield, Maryland. Mallard hen and black duck with slightly turned heads. Old paper label on back of each reads “Presented by Cedar Hurst Gun Club” and dated 1948. Mort Kramer ink stamp on back. Measures 7.5” long. Dry original paint with minor crazing; each with bill chip repairs

397

with touchup in that area.

(1,000 - 1,500)

206

398

399

398

400

Pair of standing canvasbacks, Charles Wargo, Florence, New Jersey. Raised wingtips and relief wing

tail feather carving. Measures 17.5” long, stands 16”

and tail feather carving. Slightly turned heads. Hen with

at a horizontal body seam; a few shallow dents.

tall. Original paint with a few minor rubs; minor separation (1,500 - 2,500)

open bill. Signed and dated 1969 on underside. Measure 15” and 16” long. Minor paint rubs along edge of tails; tiny chip on edge of tail of hen.

399

(1,500 - 2,500)

Standing decorative Canada goose, Charles Wargo, Florence, New Jersey. Head turned, preening under one wing. Raised wingtips. Relief wing and

400

Full size carving of a falcon on a rock, Ron Tepley. Signed and dated 1985. Very good feather carving detail. Rock is carved from wood. Carving is 15.5” tall. Excellent and original.

Provenance: Herrington collection.

(1,250 - 1,750)

207

Illinois River Robert Elliston 1847 - 1911 | Bureau, Illinois

401

Preening mallard hen, Robert Elliston, Bureau, Illinois, last quarter 19th century. Hollow carved with head turned in preening pose. “CFT” painted on underside. Retains the Elliston weight on underside. Measures 14” long. Original paint; with moderate crazing and wear; flaking to bare wood on lower side; small dents and shot marks.

Provenance: Carl Nemec collection.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid.

208

(30,000 - 40,000)

209

402

Pair of canvasbacks, Bert Graves, Peoria, Illinois, circa 1930. Hollow carved with comb feather paint detail. Hen retains the original Graves weight. Measure 17” long. Hen with slightly turned head. Original paint with minor to moderate gunning wear; hairline cracks in drake’s neck otherwise very good structurally.

(6,000 - 8,000)

403

Pair of pintails, Hector Whittington, Oglesby, Illinois. Hollow carved with slightly turned heads. Comb feather paint detail on drake. Signed and dated 1964 on undersides. Measure 17.5” and 19.5” long. Repair to the tip of drake’s tail, with touchup in that area; otherwise very good and original.

Provenance: Trent Spolar collection.

Literature: “Decoys and Decoy Carvers of Illiniois,” Parmalee & Loomis, page 184, exact decoys.

210

(3,000 - 5,000)

404

Early mallard hen, Charles Perdew, Henry, Illinois. Three piece hollow carved body with excellent form and paint by Edna Perdew. Maker’s stamp faintly legible on underside. Measures 16.5” long. Original paint with minor wear; small chips in tip of tail; cracks in neck with some chips having been reset long ago.

Provenance: Trent Spolar collection. Ex David Galliher collection.

(10,000 - 14,000)

211

405

Pair of pintails, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved. Both retain Perdew weights. 16” long. Original paint with very minor wear; under an uneven coat of varnish; very minor flaking and separation at hen’s neck seat, otherwise excellent structurally.

Provenance: Trent Spolar collection.

(10,000 - 15,000)

212

405a

Pair of canvasbacks, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved with comb feather paint detail. Both retain Perdew weights on underside. Measure 15.5” long. Minor paint rubs, otherwise excellent and original.

Provenance: Trent Spolar collection. Ex David Galliher collection.

(8,000 - 12,000)

213

406

407

406

Rigmate pair of mallards, Fred Allen, Monmouth, Illinois, last quarter 19th century. Two-piece hol-

407

Rare pair of swimming mallards, Bert Graves, Peoria, Illinois. Hollow carved with heads forward

low construction. Glass eyes. Fine feather painting on

in rare swimming pose. “LBC” branded in under-

bodies of both. 15” long. Original paint; both have an

side. Retain original Graves weights. Measure 17”

even amount of mild gunning wear; a few shot scars

long. Each has had some overpaint taken down

in both; glue residue that has darkened around tail of

to the original surface; small dents and shot marks;

hen.

hen’s bill was cracked down and professionally reset

(5,000 - 8,000)

with the bill repainted.

214

(3,000 - 5,000)

408

Oversize mallard hen, Bert Graves, Peoria, Illinois, 1st quarter 20th century. Hollow carved oversize model with rare, slightly turned head.

Excellent paint detail. Measures 22” long. Very strong original paint with very minor paint rubs; tight crazing on wing patches; a few tiny dents; decoy was never varnish and doesn’t appear to have ever been used.

(8,000 - 12,000)

215

409

Rare pair of wood ducks, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Two piece bodies with raised wingtips, slightly turned heads, and carved extended crests. Measure 12” long. Strong original paint protected under an original coat of varnish; hairline crack in hen’s neck; minor separation on one side of hen’s body seam; areas of stable sap bleed on lower parts of bodies. (25,000 - 30,000)

216

217

410

411

413

412

414

410

Pintail, Charles Perdew, Henry, Illinois. Hollow carved with comb feather paint detail. Perdew’s early style

Redhead drake, Fred Allen Monmouth, Illinois, 1st quarter 20th century. Two-piece hollow construction.

weight on underside. Measures 16.5” long. Original paint

Slightly turned head. Glass eyes. 13” long. Very thin origi-

with significant crazing and minor wear; a few small dents

nal paint; rubs evenly spread on body and head; a few

and shot marks; professional repair to a crack in neck.

scratches; paint flakes, and shot scars; eyes appear to

412

have been reglued.

(3,000 - 5,000) 411

Mallard hen, Fred Allen, Monmouth, Illinois, 1st quarter 20th century. Two-piece hollow construction.

413

(800 - 1,200)

Bluebill drake, Fred Allen, Monmouth, Illinois, 1st quarter 20th century. Two-piece hollow construction

Glass eyes. Weight that is stamped “Burkhard St. Paul”.

with glass eyes. Weight on underside is stamped “Burkhard

Detailed feather painting on breast and back of body.

St. Paul.” 13” long. Moderate to heavy gunning wear; a

15” long. Excellent original paint with light gunning wear;

few rubs to the original paint.

(800 - 1,200)

rub near top of head; crack runs below eye of one side of head; large sliver missing from underside of bill.

(1,500 - 2,500)

414

Crow decoy, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Glass eyes with turned head and flocked body. Hunter collection written on underside. 15” long. Near mint.

Provenance: Charlie Hunter, III collection.

218

(1,200 - 1,500)

415

Mallard hen, Charles Walker, Princeton, Illinois, 2nd quarter 20th century. Smooth body with round wings. Retains Walker’s original weight with number 25 painted on underside for shareholder Zearing at the Princeton Gun Club. Hollow. Measures 17” long. Excellent original paint protected by a coat of varnish; paint has been added at both wing patches, the tail, top of head, and tip of bill; light gunning wear.

Provenance: Carl Nemec collection.

(6,000 - 8,000)

415

416

Mallard drake, Charles Perdew Henry, Illinois. Hollow carved. Retains Perdew weight on underside. Measures 16.5” long. Original paint with minor flaking and wear; under an early coat of varnish; a few small dents and shot marks, otherwise very good structurally.

Provenance: Carl Nemec collection.

(6,000 - 9,000)

416 416

415

219

Massachusetts Elmer Crowell 1862 - 1952 | East Harwich, Massachusetts

220

417

Rigmate pair of mallards, Elmer Crowell, East Harwich, Massachusetts. Both bare Crowell’s oval brand. Hen’s head is turned with rasp carving at back. Drake’s is turned.

18” long. Both are in strong original paint; hen has a few minor nicks and rubs, wood imperfection at underside and tight crack.

Elmer Crowell outside his workshop, circa 1930s.

(15,000 - 20,000)

221

418

419

418

Pintail drake, Elmer Crowell, East Harwich, Massachusetts, circa 1920. Retains Crowell’s

Black duck, Elmer Crowell, East Harwich, Massachusetts. Maker’s oval brand in the

oval brand. Mackey collection stamp on under-

underside. Slightly turned head. Measures 17.25”

side, with words written, “Not for sale”, prob-

long. Original paint with minor wear; moderately

ably written by Mackey. Also stamped “CR” for

hit by shot; nail added to each side of neck seat;

Carolyn Rowland collection. 18” long. Original

drying cracks in head and tail; minor roughness

paint with moderate gunning wear; crack in

at edge of tail; small amount of touchup to the

neck; a few shot scars; small rough edge at tip

underside of tip of bill.

of bill.

222

419

(4,000 - 6,000)

(3,000 - 4,000)

420

Very rare swimming merganser drake, Cleon Crowell, East Harwich, Massachusetts. Elmer Crowell’s oval stamp is in the underside. Crowell had made a merganser hen for a customer, after he had stopped carving in the 1940s Cleon Crowell made this drake so the customer would have a pair. 17.5” long with slightly turned head and fluted tail. Near mint original paint; structurally excellent.

Literature: “New England Decoys,” John and Shirley Delph, p. 111, exact decoy pictured.

(6,000 - 9,000)

420

223

421

Redhead drake, Keyes Chadwick, Martha’s Vineyard, Massachusetts, 2nd quarter 20th century. Turned head with inset round weight. Roberts collection sticker on underside. 14” long. Excellent original paint with some tight crazing, which is common on Chadwick decoys; a scratch at the top of the bill has been darkened.

Provenance: Kirby Roberts collection.

(1,500 - 2,500)

421

422

Redhead drake, William Dugan, Vineyard Haven, Massachusetts. “WE Dugan” branded in underside. Typical round-inlayed lead weight on underside. 14.75” long. Original paint with moderate gunning wear; lightly hit by shot; hairline crack in back.

Provenance: Kirby Roberts collection.

(1,000 - 1,400)

422

423

Redhead hen, Elmer Crowell, East Harwich, Massachusetts. Slightly turned head and relief carved, crossed wingtips. Makers oval brand In underside. “JDD” branded in underside.

Measures 15” long. Original paint with moderate wear; surface has darkened with age; moderately hit by shot; head is slightly loose; filler was added to defect in wood on one side; an old layer of varnish has mostly worn off; professional bill chip repair by Ken

423

Delong on one side of bill.

(1,800 - 2,200) 424

3/4 size mallard, Elmer Crowell, East Harwich, Massachusetts. Slightly turned head with feather rasping. Maker’s rectangular stamp twice in underside.

Measures 13” long. A few very minor paint rubs; otherwise near mint.

(2,000 - 3,000)

424

224

425

Stylish merganser hen from Massachusetts, circa 1900. Measures 14.75” long with long neck and original crest. Original paint with very minor shrinkage and wear; crack in underside.

(4,000 - 6,000)

425

426

Oldsquaw drake, Stephen Badlam, Dorchester, Massachusetts, 3rd quarter 19th century. Tack eyes and inlayed lead weight. “SB” branded in underside. Original paint with minor to moderate flaking and wear; slightly darkened from an old coat of varnish; some spots of touchup to flaking on neck; old filler at spots on underside from before the decoy was varnished.

(4,500 - 5,500)

426

225

Charles Safford 1877 - 1957 | Newburyport, Massachusetts

427

Canada goose, Charles Safford, Newburyport, Massachusetts, last quarter 19th century. Carved in underside “II VII” possibly indicating a rig number.

Inletted weight in underside. A large solid body goose.

Glass eyes. 27” long. Strong original paint shows an even amount of gunning wear; with some rubs; small areas of flaking and discoloration; a crack that appears to have been repaired in the making runs from the neck seat rough the tail.

Provenance: Found at an estate sale in Carmel California.

226

(20,000 - 30,000)

227

Harold Haertel 1904 - 1995 | Dundee, Illinois The son of a stonecutter, Harold attended Dundee Community High School where his yearbook picture is accompanied with the descriptive; “The sort of man you like to meet. Any time or any place” . He worked for his father in the multigenerational “Walter Haertel & Co” Monument Works, first as a clerical worker and then as a stonecutter, specializing in the carving of the flowers on the monuments.

Haertel a self-proclaimed “duck nut” was inspired by a 1915 article in National Geographic magazine. He began to carve decoys as a boy, for his own use on the Fox River near his home. His early birds were of solid construction for use on the river. An avid hunter and sportsman, he carved his first rig of hollow decoys in 1922 and a second rig of dense balsa in 1930. All of his initial efforts were meant solely as gunning birds, and all were for his personal use. In 1946, His father sold the monument business and Harold went into a partnership with his brother and brother-in-law to operate a combination Firestone dealership and gas station.

Haertel would constantly strive to improve his carving, he took a taxidermy course to learn more about avian anatomy, and studied the workings of great decoy makers from the past. In the mid 1940’s, he contacted well known collector Bill Mackey and the resulting friendship between the two men led Haertel to begin entering carving competitions. He must have been familiar with Joel Barber’s early reference, as he used sets of similar architectural drawings to create his birds.

He is particularly well known for his carvings of doves and passenger pigeons. He carved in every moment of his spare time, and his carvings improved to the point where he began to win carving competitions. He would serve as judge at these same contests ranging

Harold Haertel

from Iowa, Michigan, California, and Maryland. His fame began to spread far beyond Dundee. By age 60, he had gained enough recognition that he left the gas station and began to carve full time at his desk overlooking his beloved Fox River .

The outstanding quality of his work has been applauded by inclusion in numerous exhibitions at important institutions throughout the country including: • • • • •

Smithsonian Museum, Washington, DC Wendell Gilley Museum, Southwest Harbor, ME The Art Institute of Chicago, Chicago, IL Lakeview Museum of Arts and Sciences, Peoria, IL The Field Museum, Chicago, IL

Just as they were by some of the early students of bird carving, his decoys are keenly sought today to grace the shelves in some of the finest collections in North America. As stated as early as 1965 by noted collector Ralph Loeff “. . . A Haertel decoy is a special prize in any collection”.

Dave Haverkamp and Haertel (R) turkey hunting in Wisconsin c.1940

228

“His perfection to detail and adherence to species conformation and plumage patterns are second to none, and his present work is incomparable” - William Mackey, 1965

427a

Important breast preening hooded merganser hen, Harold Haertel, Dundee, Illinois. Signed and dated 1963. 13” long. Raised, carved wingtips. Near mint original paint with good detail; very small dent in one side.

Provenance: Jonathan & Virginia Chua collection. Ex Gene Konopasak collection.

(5,000 - 7,000)

229

427b

Rare western grebe, Harold Haertel, Dundee, Illinois. Signed “Carved and painted for Ben Shostak

by Harold Haertel 1971.” Measures 13.5” long. Just under 8” tall. Head is turned very slightly to one side. Relief wing carving with carved, layered wingtips. Very good and original.

Provenance: Jonathan & Virginia Chua collection.

(1,500 - 2,000)

427b

428

Swimming pied bill grebe, Harold Haertel, Dundee, Illinois. Signed.

Measures 9.5” long. With slightly turned and reaching head. Very good and original.

Provenance: Jonathan & Virginia Chua collection.

(1,000 - 1,500)

428

429

Swimming pied bill grebe, Harold Haertel, Dundee, Illinois. Signed and dated 1968. Measures 8.5” long.

With very slightly turned head. Relief wing carving. Very good and original.

Provenance: Jonathan & Virginia Chua collection.

(1,000 - 1,500)

429

430

Hudsonian godwit, Harold Haertel, Dundee, Illinois. Signed “For Bill Brauer by Harold Haertel 1984.”

Measures 10.5” long with turned head and raised and finely carved wingtips. Very good and original.

Provenance: Jonathan & Virginia Chua collection. Ex Bill Brauer collection

430

230

(1,000 - 1,500)

431

Bluebill hen and drake, Harold Haertel, Dundee, Illinois. Both are signed “This is a mate to the decoys I made in the early 20s and used on the Fox River. Harold Haertel 1987.” Drake is 11.5” long with turned head and carved crossed wingtips. Hen is hollow carved. Very good and original.

Provenance: Jonathan & Virginia Chua collection.

(1,500 - 2,000) 431

432

Finely carved pair of redheads, Harold Haertel, Dundee, Illinois. Signed “Redhead made for the Dan Slagle collection by Harold Haertel, 1982”. Drake is 14” long with slightly turned head. Both have raised carved wingtips. With layered feather carving. Small amount of touchup at one of drake’s eyes.

Provenance: Jonathan & Virginia Chua collection. Ex Dan Slagle collection.

(3,000 - 5,000)

433

432

Hollow carved canvasback drake, Harold Haertel, Dundee, Illinois. Signed “Made for the Dan Slagle collection Harold Haertel, 1983.”

Measures 15.5” long with raised carved wingtips and fluted tail. Touchup on one side of head otherwise very good and original.

Provenance: Jonathan & Virginia Chua collection. Ex Dan Slagle collection.

(1,200 - 1,500)

434

433

Two phalaropes, Harold Haertel, Dundee, Illinois. Signed and dated 1984. A Wilsons phalarope and a red phalarope. Red inscribed “Made for Lavern Brauer”. Measure 7.5” and 7.25”.

Both have raised carved wingtips. Tip of red bill has been blunted slightly otherwise very good and original.

Provenance: Jonathan & Virginia Chua collection.

(1,200 - 1,600)

434

231

Items of Interest

435

436

438

437 435

Early and well preserved two sided trade sign. “Centredale Rod & Gun Assn.” Black and white with 2” trim frame. Retains original metal hangers with four sided bolt. Measures 16” x 62”. Dry original paint with some crazing and flaking; minor rubs and areas of discoloration; a great early piece.

436

(3,500 - 4,500)

Early duck boat model or salesman’s sample, last quarter 19th century. Exquisite construction at 32” with every detail considered. Dry surface with a duck boat gray paint. Structurally excellent with slight staining at few small areas on top.

437

(2,500 - 3,500)

Impressive relief carved wooden panel of three hounds. Each appears to be collared. Very similar to advertising used by Winchester, 1st quarter 20th century.

Board measures 15” x 33”. Deep relief carving is approximately 2”. A few small marks on frame otherwise very good and original.

Provenance: Charlie Hunter, III collection.

(800 - 1,000)

438

Impressive 11’ long rifle trade sign, possibly 2nd half 19th century. Made in the shape of a rifle with mounted sights and copper revolving style magazine. Meticulously applied metal, both iron and copper strapping at butt of gun, trigger guard, sights, and ramrod (indicating it may be a transitional piece created while black powder use with ramrod was still popular). Original paint that has worn with scuff marks and rubs, mostly on edges; copper has a fine aged patina; iron shows aged, pitted natural rust and deterioration.

Provenance: Consignor purchased directly from Pennsylvania dealer, Fred Kramer.

232

(2,500 - 3,500)

439

Jovial carved wooden cigar store figure, circa 1900. 42” tall, positioned on a professionally mounted base made for this exact item. Figure is holding a bundle of cigars in his right hand lifted above his head. A top coat vest and bowtie is part of his decorated attire. Structural repairs have been made to the left arm; repairs to right arm; paint appears to be old, but not original; heavy crazing over red area of pants; flaking and rubs evenly dispersed with cracks to wood and some discoloration to white and blue areas.

(15,000 - 25,000)

233

440 442

443

444

445

441 440

18th century French Indian mission embordered pouch. Attributed to the great lakes region. Embordered

frame. A couple of small areas of damage to picture.

(800 - 1,200)

floral design with lions at the top. 16” long. Embrodery and insect damage; small spots and holes; silk fabric on

Eskimo scrimshaw walrus tusk cribbage board. Early 20th century game board with scrimshaw

edges heavily worn.

animals. Including a herd of caribou, bear, salmon, and

work remains in very good condition; fabric shows fading

443

(2,000 - 3,000)

walrus. Measures 11” long. Fine with mellow surface.

441

Excellent Black Forest shaving mirror, late 19th century. Early hand carved vanity or shaving mirror with

(800 - 1,200)

yolk-type stand with base that opens to reveal a drawer.

Early center hole creel and trappers basket, last quarter 19th century. Indian made woven ash creel

Measures 31” tall and 14 1/2” across. Very nice patina

with woven splint hinges and ring handle on lid. Measures

with very minor scattered rubs; a few cracks in mirror

14” across. Trapper’s pack basket from the Adirondack

frame with small amount of old glue visible; uprights are

region with bentwood top opening. Measures 20 1/2”

mortised into base with small amount of glue visible on

tall. Natural surface with a nice patina; very minor breaks

underside when drawer is removed.

and chipping to splints; fine white paint drips on creel.

deep relief carved leaves and vines. Mirror frame on a

444

(1,200 - 1,800)

(600 - 900) 442

234

A large professional framed image taken at the Winous Point Shooting Club, Sandusky Ohio in 1864. Members of the club are pictured with decoys, punt boats, and dressed in the attire of the day. The origi-

Wooden patriotic eagle, made by the Artistic Design Company, Boston, Massachusetts, 2nd half 20th century. With talons clutching shield and arrows.

nal photo was taken as a digarotype. Professionally mat-

Wingspan measures 6’. Some wear with small amount of

ted and framed. The original was signed with 15 mem-

paint loss around eagles beak; paint drippings along top

bers pictured and identified. Measures 42.5” x 47” with

edge.

445

(1,500 - 2,500)

Lloyd Cargile was born in Atlanta, Georgia in 1938, and became interested in whittling canes as a young man during his summers on his grandfather’s farm in Tennessee. It was there he was taught all about sticks, how to pick them, straighten them, cure them, and how to sharpen a blade. In pursuit of the arts Cargile would go on to study painting, portrait painting, and sculpting at the Maryland Institute College of Art, graduating in 1960.

started to show up in auctions, described as mid-19th and early 20th century folk art with the title of maker unknown. He then would begin to sign his canes with a “C” then later “LC”, on all that he carved. Cargile on his work:

Subsequently, Cargile driven by the creative process, would turn the arts into a full-time career. He started by doing restoration work in 1968 on canes, folk art, stoneware, and oil paintings.

While designing Bi-centennial history rooms for HEW and SSA, he worked with the Smithsonian staff to learn more about artifact and document preservation in displays.

“I’m driven by the whole creative process, my work and of course the creative process of restoring our history in the form of folk art.

Every piece is different and requires a different approach. Some call it naive art, I beg to differ, they have every bit the urge to create as I have but see things in pure form. Modern artist spend their entire career trying to achieve this goal, majority don’t. Ask people who collect Folk and Modern Art, why do you choose one piece over another? The carvers ability to communicate and you to know that something is good.”

In 1975 Cargile would begin to carve canes for his own enjoyment, and collectors wanted to purchase these. Shortly after the canes

Lloyd Cargile resides in Essex, Maryland, and continues to paint in the American post-impressionist style.

446

Wonderfully carved walking stick, Lloyd Cargile, Baltimore, Maryland, last quarter 20th century. A peaceful carving of a woman with shaved head and eyes closed with head tilted upward. Lips are slightly tinted red. The face has been painted but the patina is rubbed to appear as if it is just wood.

There is a similar figure in the book “American Vernacular” by Rico Amerisca. “C” for Cargile carved near the base. Measures 41”. Very good and original.

447

(2,500 - 3,500)

Carved walking stick, Lloyd Cargile, Baltimore, Maryland, last quarter 20th century. Portraying a woman with an afro.

Startled eyes and exaggerated facial figures.

Rubbed painted patina creates the image that the cane is older than it truly is. Measures 35”. Very good and original.

448

(2,000 - 3,000)

Well carved walking stick, Lloyd Cargile, Baltimore, Maryland, last quarter 20th century. Carved and painted figure of a man smoking a cigar wearing a stylish hat.

Natural bark staff with metal cap at base.

Measures 35”. Very good and original.

(2,000 - 3,000)

446

446

447

448

447

448

New England Shorebirds Elmer Crowell 1862 - 1952 | East Harwich, Massachusetts

Harvard educated, Parker “Buck” Whittemore quickly became successful in the business world, ultimately serving as director of the Laconia Car Company in Boston. He amassed enough wealth to comfortably retire by the early 1920’s, allowing him and his wife to travel extensively and for Parker to enjoy his passions, golf, sailing and hunting. In addition to a trendy address in Boston’s Back Bay, complete with a domestic staff, he maintained vacation homes on Boston’s north shore at Cape Ann and another in Wareham at the base of Cape Cod. He desired only the very best in sporting equipment, and, like Elmer Crowell’s other early patrons, he sought out the master to obtain a rig of finely crafted shorebird decoys. These were carved shortly before the passing of the Migratory Bird Act and their quality is rivaled only by Crowell’s famous “dust jacket” birds.

236

449

Black bellied plover, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Fat body with split tail carving and glass bead eyes.

“PWW” branded in the underside for the rig of Parker Whittemore. Original paint with very minor wear, mostly on wingtip and hardwood bill; minor discoloration on underside near brand from where something dripped on it; structurally excellent.

Literature: Cranbrook Academy of Art, January 27, 1987, included in exhibit and pictured on page 16 of exhibition catalog.

(25,000 - 35,000)

237

450

Golden plover, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Split tail carving and tack eyes.

Measures 9.75” long. Original paint with minor gunning wear; a few shot marks; small flake where bill meets face.

(12,000 - 16,000)

451

Running yellowlegs, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Split tail carving and tack eyes.

Measures 14” long. Dry original paint with very minor crazing and wear; very minor flaking where bill meets face, otherwise very good and original.

238

(12,000 - 16,000)

451

450

239

Elisha Burr 1839 - 1909 | Hingham, Massachusetts The home of Elisha Burr dates to the earliest settlement of what would become the United States. In 1633 European settlers first arrived in the area just south of Boston, MA naming it “Bare Cove” (modern day Hingham, MA). In 1665 the Massachusetts Indians granted the land “from the beginning of the world” to the colonists, thus the settlement was incorporated as the twelfth town in the infant, Massachusetts Bay Colony.

By 1776, the population had grown to 2000 and 600 men from Hingham served in the Revolutionary War. Among these early settlers and soldiers were members of the Burr family – many with the surname of Elisha or Eliza. The first Elisha credited as a carver of shorebirds (although there may be earlier family members who carved) lived in the family homestead that had been occupied by eight generations of Burrs, having been built in 1670. This home and the small shop behind it would ultimately pass to his son, Russell Pratt Burr, who became well known for his contributions to the decoy world through his miniatures and decoys.

While very little has been documented about Elisha (of decoy fame), it is known that he was the son of David and Matilda Burr. As a young man, he, like many others in the Hingham/Rockland area, worked as a “shoemaker”. The family’s primary occupations, however, were farming and coopering. Elisha , having inherited his father’s land and coopering tools, continued in this family tradition for his entire life. He married his wife, Mary Jane, in 1860 and together they had eleven children, a number of which, sadly, died at an early age. Based on the value of his land and goods compared to that of his neighbors, he must have been considered rather prosperous.

Hingham quickly gained a well-earned reputation for its woodenware including buckets, firkins, pantry boxes, and canteens, accordingly the Burr family name is present on many of these items in collections today.

Elisha and his predecessors made these items and consequently, their skills easily translated into his making

240

decoys. The late, highly-respected, and early-collector, Winsor White once owned an egret attributed to Elisha and that bird is now in a Cape Cod collection. Both of Elisha’s decoy carving sons, Russ and Carl, are said to have fashioned their shorebird decoys from their father’s patterns making it difficult to distinguish the work of one family member from another. Early decoy historians and authors, Dr George Starr and Adele Earnest, proclaimed the early work of the family as coming from the hand of Elisha, attributing the later work to his sons. Family diaries exist that state that Russ was hunting by the time he was nine and shooting shorebirds in neighboring Scituate in 1908. Records show that Carl “carved sticks for his shorebirds” while he gunned on Cape Cod. Elisha, however, apparently kept no such written record. Accordingly oral and family history can become cloudy with the passage of time, Carl’s widow has said that Russ made all the decoys and Elisha and Carl stamped the ones they owned. Carl’s son, Alston, however, is the one who has said that both Russ and Carl carved the decoys using their father’s patterns. Local Burr authority and carver Bob Mosher, in discussing this controversy of which family member carved which bird, sums it up nicely by stating “ - - - maybe collectors should just be practical and admit they don’t know. Enjoy them as Burr family birds and be happy at that. Russ Burr who took the secret to the grave in 1955 sure isn’t losing any sleep over it.” (see article in Decoy

Magazine, May/June 2004).

452

Black bellied plover, Elijah Burr, Hingham, Massachusetts, last quarter 19th century. Measures 10.5”

453

Yellowlegs, Elijah Burr, Hingham, Massachusetts, last quarter 19th century. Feeding position. 13”

long. Original paint with minor discol-

long. Original paint; minor wear; some

oration and wear; some darkening

old filler added where bill meets face;

to flakes on black area; minor flaking

filler and touchup at a spot on each

where bill meets face; hairline crack in

side of face.

one side of neck.

Literature: Cranbrook Academy of Art,

Literature: Cranbrook Academy of Art,

January 27, 1987, included in exhibit

January 27, 1987, included in exhibit

and pictured on page 16 of exhibition

and pictured on page 16 of exhibition

catalog.

catalog.

(6,000 - 9,000)

(5,000 - 7,000)

452

453

241

454

Four golden plover from Martha’s Vineyard Massachusetts, last quarter 19th century. Measure 9” long. Original paint with minor wear; two with replaced bills; other with a tight crack in bill; one is lightly hit by shot.

Provenance: Virginia and Jonathan Chua collection.

(4,000 - 6,000)

242

455

Black bellied plover from the Fox rig, Duxbury, Massachusetts. Split tail carving and painted eyes. “Fox” stamped on underside of tail. Measures 10.25” long. Strong original paint with very minor wear, mostly on edge of tail and wingtip; a second stick hole was drilled a long time ago, otherwise structurally excellent.

Literature: “Massachusetts Masterpieces,” Gigi Hopkins, p.

98-99, exact decoy pictured.

(6,000 - 9,000)

243

456

Pair of sanderling from Massachusetts, circa 1900. Split tail carving and painted eyes. Measure 6” and 6.5” long. Original paint with minor flaking and wear; very good structurally.

(2,000 - 3,000)

456

457

Golden plover, Nantucket, Massachusetts, last quarter 19th century. Split tail carving. Measures 11” long. Original paint with two rubs on one side from when the paint was still wet; minor chipping at tip of tail; bill is a professional replacement.

(2,500 - 3,500)

457 458

Hollow carved yellowlegs from Massachusetts, last quarter 19th century. Body is hinged and head fits inside body. Removable bill. Body halves are attached with a small metal clasp and screws. Shoe button eyes. 11.5” long when assembled. Original paint with minor wear, mostly on the breast and neck; small chip missing where bill joins head; bill appears to be an old replacement.

Provenance: Ex Mackey collection. Mackey collection stamp on underside.

458

Literature: “American Bird Decoys,” William J. Mackey, Jr., p. 72, exact decoy pictured.

(1,200 - 1,800)

459

Early gunning box from Massachusetts, possibly owned by Joseph Lincoln. Inlayed brass hinges. Metal handle and latch. The initials “J.L.” in brass tacks on lid. This, along with lot 460, in this sale came from the same Massachusetts area. Old paint appears original with moderate discoloration and crazing; wear to edges; hairline cracks around nails.

459

244

(800 - 1,200)

459

460

Black bellied plover, Joseph Lincoln, Accord, Massachusetts. This, along with lot 459, in this sale came from the same Massachusetts area.

Split tail carving and tack eyes. Measures 10” long. Excellent original paint; with very minor crazing and almost no wear; a few shot strikes otherwise excellent structurally.

Literature: “Top of the Line Collectibles,” Donna Tonelli, page 90 for similar example. (4,000 - 7,000)

245

Lothrop Holmes 1824 - 1899 | Kingston, Massachusetts

461

Yellowlegs, Lothrop Holmes, Kingston, Massachusetts, last quarter 19th century. Split tail carving and tack eyes. Two piece laminate construction. Measures 11.5” long. Original paint with minor flaking and wear; shot strike on top of head; otherwise very good structurally.

Literature: Cranbrook Academy of Art, January 27, 1987, included in exhibit and pictured on page 16 of exhibition catalog.

(18,000 - 22,000)

246

247

Melvin Gardner Lawrence 1880 - 1930 | Revere, Massachusetts Son of a physician, Lawrence spent his youth in Boston and, as a young man, found employment as a clerk in a number of local stores. In 1900 he was able to secure a position as manager at the State (beach) bath house in Hull, immediately south of Boston. In 1903 he married Maine born Josephine Izzard but the couple apparently never had any children. He must have prospered in his managerial position at the beach for, in 1908, he was transferred to the large and newly designed Revere Beach and its bathhouse, where he would spend the remainder of his working career. The couple never owned their own home and chose to board with various family members and/or residents of Revere. He had three brothers who were successfully employed as a stockbroker, electrician, and musician. The four boys and their physician father were able to enjoy hunts to the north in both Maine and New Hampshire and to establish a family camp on a bluff overlooking a pond in the Punkhorn section of Brewster on Cape Cod. These days afield could not have presented a more dramatically different environment in which to experience the outdoors than what Melvin faced every day in Revere. Revere was a popular suburb of the rapidly expanding Boston with its associated sprawl and development. Open space was a rarity and the crowds, especially in the summer, were overwhelming. The open beaches, marshes and meadows of the Cape must have been a welcome respite for men who enjoyed the out of doors.

The presence of a small number of exceptional shorebirds now credited to him, has been known by the decoy community for a number of years. At some point in the 1940’s, pioneering collector Dr George R Starr became aware of a rig of 7 that had been discovered in Truro on Cape Cod. Two of these are pictured in fig 33 of his “Decoys of the Atlantic Flyway”. The maker was unknown but their exceptional form and paint was erroneously attribted, by many, to the work of Elmer Crowell – high praise indeed.

Eventually, a fortuitous tip and meeting by Ted Harmon c1997 established the maker and his story began to emerge.

Lawrence’s construction technique and painting was phenomenal for its day. He had a degree of artistic ability as evidenced by a small number of pastels that he executed in 1904, and this talent was not wasted on his shorebirds.

Hardwood is not as easily worked as is the more common choice of pine or cedar found in a gunning rig but, due to its resistance to breakage, this was the material he chose for his birds. The construction and alignment of the bills, both on his uprights and sleepers, as well as the stout but accurate carving of the tails, also lent a degree of indestructability to his creations. It has been estimated that about 2/3rds of his carvings were sleepers and the remainder were posed as uprights or runners. He is known to have made very few decoys, perhaps just a single rig, and these were for his personal use. When these were deployed on the beach or moor, they would have presented a superb and convincingly lifelike and content attraction to incoming live birds.

Advanced collectors have always sought out the few of his carvings that have rarely become available. Dr. Starr has declared them “. . . a fine example of imaginative design . . . “.

Respected Cape Cod authority Ted Harmon has written that Lawrence “Unwittingly, due to pride of craft and tremendous

artistic ability, . . . left a legacy of beautifully sculptured bird decoys”. Gigi Hopkins, when writing for the Museum of

American Bird Art at Massachusetts Audubon, describes his work as “beautifully crafted” and presenting “brilliant design”.

Fortunate today are those who can enjoy examples in their personal collections.

Melvin Gardner Lawrence is buried, along with his wife, in her family’s plot in Pine Grove Cemetery in Dresden Mills, Maine.

462

463

248

462

Rare sleeping yellowlegs, Melvin Gardner Lawrence, Revere, Massachusetts, 1st quarter 20th century. Split tail and relief wingtip carv-

463

Very rare running sanderling, Melvin Gardner Lawrence, Revere, Massachusetts, 1st quarter 20th century. In running pose with split tail and

ing. Head is turned and resting on back. Most of

relief wingtip carving. A rare species for this maker.

the sleeping shorebirds by this maker are plover.

Measures 7.75” long. Original paint with very minor

Measures 9.5” long. Original paint with very minor

wear; tiny shot marks in each side; the original bill is

wear; minor discoloration on underside; very good

very slightly loose.

structurally.

(10,000 - 14,000)

Provenance: Decoys Unlimited, July 2012, lot 291, exact decoy.

(10,000 - 14,000)

463

462

249

Marty Hanson b. 1965 | Hayward, Wisconsin

When it comes to traditional decoy carving, Marty Hanson of Hayward, Wisconsin is committed to the authenticity of the art form. He brings 46 years of experience as a professional carver of quality gunning decoys, and folk-art items. Over his long career, he has drawn his inspiration from his love of nature, hunting, and his unwavering respect for quality construction. Marty Hanson on his work: “Handmade one at a time with hand tools, oil paints, and wood harvested by the maker.”

250

This Pacific Black Brant decoy is one of the twelve made for the documentary on Marty Hanson as a decoy maker called “The Craft”. Over the almost two-year production of this remarkable documentary, it is the main brant used while filming the carving and painting segments. This particular decoy is weighted and balanced, with its head and neck fit with a splined-hardwood bill made in the traditional fashion.

The body is carved from white cedar, and finished in oil, and is the only one out of the twelve that has glass eyes.

The twelve brant were rigged and hunted over on Samish Bay in Washington state December 2021. This is the only one available for sale.

“A portion of the proceeds of this sale will be donated to the Washington Brant Foundation to further their research on the pacific Black Brant.”

464

Black brant, Marty Hanson, Hayward, Wisconsin. Hollow carved with slightly turned, forward head pose. Relief wingtip carving. Bill is splined through to back of head. Maker’s ink stamp on the underside, the number 1 cold stamped into the underside. This decoy is one of 12 made for YouTube Documentary of the maker and the only one with glass eyes. Measures 18” long. Excellent and original.

(3,000 - 4,000)

251

465

Excellent pair of mallards, Marty Hanson, Hayward, Wisconsin. Hollow carved with relief wingtip carving. Drake’s head is slightly turned with open bill. Hen in preening pose. Both with pinch breast. Drake with comb feather paint detail. Maker’s ink stamp on underside. Measure 16” long. Excellent and original.

(3,000 - 4,000)

465

465a

Miniature black duck, Marty Hanson, Hayward, Wisconsin. Raised wingtips and slightly turned head. Maker’s ink stamp on underside. Also signed on base. Measures 6” long and stands 4.5” tall. Excellent and original.

Provenance: Dick and Lynn Gove collection.

(400 - 600)

465a

252

466

Pair of sleeping mallards, Marty Hanson, Hayward, Wisconsin. Hollow carved in sleeping pose with bills buried in feathers.

Relief wing and tail feather carving. Maker’s ink stamp and signature on undersides. 15.5” long. Original paint; with very minor discoloration; excellent structurally.

Provenance: Preston Lowe collection.

(1,200 - 1,800) 466

467

Impressive black duck, Marty Hanson, Hayward, Wisconsin. One of a set of three made for Patrick O’Neill. Head is contently resting on a bulbous well fed crop filled breast. With space carved between the face and breast. Head is slightly turned.

Breast is pinched and separated. Strong scratch feather painting with some carving along side pocket and back of head.

Two piece hollow body with bottom board.

Wingtips are raised and separated. “MH” carved in underside. “MH” scratched under tail. 18” long. Excellent.

468

(1,500 - 2,000)

467

Impressive black duck, Marty Hanson, Hayward, Wisconsin. One of a set of three made for Patrick O’Neill. Head is alert, turned, and elevated. Breast is pinched and separated. Strong scratch feather painting with some carving along side pocket and back of head.

Two piece hollow body with bottom board.

Wingtips are raised and separated. “MH” carved in underside. “MH” scratched under tail. 18” long. Excellent.

(1,500 - 2,000) 468

469

Impressive black duck, Marty Hanson, Hayward, Wisconsin. One of a set of three made for Patrick O’Neill, “MH” carved in underside. “MH” scratched under raised wingtips. Head is slightly turned. Breast is pinched and separated. Strong scratch feather painting with some carving along side pocket and back of head. Two piece hollow body with bottom board. Wingtips are raised and separated. 18” long. Excellent and original.

(1,500 - 2,000)

469

253

470

473

471

474

472

475

470

Hollow carved curlew, Marty Hanson, Hayward, Wisconsin. Relief wing carving and raised wingtips.

Phillips rig curlew sold by Guyette & Deeter in the 1990’s.

Slightly turned head with long iron bill. “MH” carved on the

“McNair” is carved in underside. 23” long. Original paint

underside of tail. Measures 18.5” long. Excellent and origi-

that has been stressed to create appearance of age.

nal.

471

Relief carved shoulder, split tail. Several shot marks.

(1,200 - 1,800)

Preening yellowlegs, George Strunk, Glendora, New Jersey. Standing on wooden clam shell base, with relief

Provenance: Kirby Roberts collection.

474

wing carving and raised wingtips. One wing raised off of

472

carving. Glass bead eyes. Measures 10” long. Aged to

(1,000 - 1,400)

Egret and curlew, Lloyd Cargile, Baltimore, Maryland. Egret is signed and dated 1979. Curlew is

Hollow carved ruddy turnstone, Mark McNair, Craddockville, Virginia. Thinly hollowed with inlet bone escutcheon around stick hole. Relief wing and split tail

the body. Signed on the underside. Measures 8.5” long stands 9” tall. Excellent and original.

(1,500 - 2,000)

look older; excellent and original.

Provenance: Kirby Roberts collection.

(1,000 - 1,400)

Egret 22” long. Both have had surfaced stressed to create

Ruddy turnstone, Mark McNair, Craddockville, Virginia. Raised and split wingtips. Head is turned approxi-

the appearance of age.

mately 45 degrees. Glass eyes. “McNair” is carved in

stamped “Lloyd Cargile”. Made in a North Carolina style.

(1,000 - 1,500)

475

underside. Measures 9” long.

473

254

Long billed curlew, Mark McNair, Craddockville, Virginia. Influenced by the world record setting Dr.

Provenance: Kirby Roberts collection.

(800 - 1,200)

476

Back preening curlew, Mark McNair, Craddockville, Virginia. Elegant form with relief wing carving, glass eyes, and a split tail. “McNair” is carved in underside.

At one time this exact shorebird set the world record for a Mark McNair carving.

10” long. Original paint has been stressed to create appearance of age; a few tight natural cracks in wood.

Provenance: Kirby Roberts collection.

Mark McNair made this decoy for his father, Roger, as a gift. Upon Roger’s death, Mark sold this decoy through a Guyette & Schmidt sale. It brought a world record for a McNair decoy, and is still the highest price ever sold.

476

477

477

(5,000 - 7,000)

477a

Full size heron, Eddie Wozny, Cambridge, Maryland. ‘W’ carved into the underside. Signed and

477a

Impressive full size great horned owl, Frank Finney, Cape Charles, Virginia. Owl is mounted on a dead

dated 1989. Heron measures 31 1/2”. Stands 40 3/4” tall

crow, whose wing is outstretched and mouth is open. Owl

with base. Scattered paint shrinkage from sap, otherwise

is elaborately carved with negative space between wings

excellent and original.

and tail. Carved wing and tail detail. “FF” is carved in

(2,000 - 3,000)

underside of crow which is used as the base. Measures 21” tall. Mint in all respects.

(5,000 - 8,000)

255

Virginia Nathan Cobb, Jr. 1825 - 1905 | Cobb Island, Virginia In 1820, Nathan Cobb (1797 – 1881) married Nancy Doane in Eastham, MA, a town on the outer beach of Cape Cod and this is where all their children were born.

He traveled to the eastern shore of Virginia c. 1837 with his son, Nathan Jr, and returned to the Cape, c. 1839, to bring the remainder of his family to their new home.

He would make trips back to Massachusetts between these two dates for lumber and various goods for his new residence and store in the south.

The Cobbs were, among their other endeavors, gunners, first for food, then for the financial gain to be had from the wildfowl market in game and guiding. With the establishment of their various operations on Cobb Island,

256

notably the hotel and guide services, large numbers of decoys would have been a necessity and, the more realistic and lasting the stool, the greater their efficacy.

Quality decoys were a necessity to ensure the success of their operation. Since he was newly arrived, and not a native of Virginia, one could logically presume that he brought his carving ideas and habits with him from his home in New England.

While certainly not unknown in other parts of North America, decoys in animated poses utilizing the natural forms seen in curved plant limbs are particularly commonplace in the Massachusetts/New England area and on Long Island. Certain species such as egrets,

herons, and shorebirds lent themselves particularly well to a “root head” style of construction. While no one can accurately predict how early this tradition began, it conceivably has its roots dating back to the earliest days of European settlement and Joel Barber, among others, hypothesized that practically all types of the very earliest American decoys utilized this method of construction. This lively and dynamic style of presentation would evolve, the carving would mature, and reach an artistic peak, with the work of well-known late 1800 – early 1900’s carvers such as Lincoln (1859 – 1938), Crowell (1862 – 1952), Boyd (1873 – 1941), Safford (1877 – 1957) and others. These men were presumably emulating the exemplary work of their predecessors, individuals such as Samuel Fabens (1814 – 1899) and Charles Osgood (1820 – 1886).

Undoubtedly, the Cobbs, being familiar with the North Atlantic habit of altering the posture of the decoy, and utilizing the advantageous forms seen in natural materials, adopted this fluid and life-like presentation to

their carvings, for use on the island. The wind-swept sand and salt environment of their new home was responsible for the many twisted forms seen in the native seaside vegetation. This is especially true of the local myrtle, which would become the Cobbs favored material for the heads and necks of their goose and brant decoys.

Conveniently, this type of construction had a number of significant advantages. It allowed for easy representation of complex, and compound curves. It permitted the carver to remove only small amounts of wood, using simple tools while, almost always, working with the grain and minimizing cross grain situations. This working with the grain greatly increased the strength of the head and neck, resulting in minimal breakage from rough handling.

Regardless of where the practice originated, it was mastered by the Cobbs who, many would argue, produced some of the finest examples of its type from any region of North America.

257

478

Swimming Canada goose, Nathan Cobb, Jr., Cobb Island, Virginia, last quarter 19th century. Hollow carved with inlet neck seat and raised V wing carving. Serifed “N” carved on the underside. George Thompson collection ink stamp on underside. Measures 30.5” long. Very early in use repaint with moderate flaking and wear; minor separation at body seam; flaking to filler at neck seat; minor roughness on tip of bill.

Provenance: Charlie Hunter, III collection.

258

(60,000 - 90,000)

259

479

480

479

Rigmate pair of bluebills, Captain Ike Phillips, Hog Island, Virginia, circa 1900. Both are solid body. 13”

Rigmate pair of bufflehead attributed to Robert Andrews, Smith Island, Virginia. Both have an “A”

long. Thin original paint; tight crack in neck of drake;

carved under the tail. Hen has Roy Bull brand in under-

couple small rubs and scratch on one side; hen has

side. Both have carved eyes. Drake’s head is inlet. 12”

wood imperfection on one side and crack in neck.

long. Both are in old working repaint with traces of

Literature: “Wings of Wonder,” Dr. Lloyd Newberry, p.

195.

260

480

(3,000 - 5,000)

original paint; some areas worn to bare wood.

Provenance: Charlie Hunter, III collection. (3,000 - 5,000)

481

Bufflehead drake from Cobb Island, Virginia, last quarter 19th century. Inlet head and split tail carving.

Measures 9 3/4” long. Early in use repaint with moderate flaking and wear; tight crack in back; head sits forward in the neck seat; some added nails and roughness at neck seat; chipping and roughness on top of head; hardwood bill is likely an early replacement.

Provenance: Charlie Hunter III collection. (6,000 - 9,000)

261

Ira Hudson 1873 - 1949 | Chincoteague, Virginia

262

482

Extremely rare crook necked Canada goose, Ira Hudson, Chincoteague, Virginia, 2nd quarter 20th century. Measures 21.5” long. Head and neck

Provenance: Ex William Purnell collection, Ocean

are in preening pose and turned back approximately

Headly’s cold stamp is in the underside four times.

50 degrees. Appealing old in use repaint believed to be by Delbert Hudson; age split in underside; small chip at tip of tail and one side of bill.

City, New Jersey, “WHP” brand in underside. Ex Somers G. Headly collection, Newark Delaware,

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

(20,000 - 25,000)

263

483

484

483

Rare bufflehead hen, Ira Hudson, Chincoteague, Virginia, 2nd quarter 20th century. Full football

Rigmate pair of bluebills, Ira Hudson, Chincoteague, Virginia, circa 1920s. Flat bottom style

body style with thin extended tail. Tack eyes. Carved

with deep ice groove behind neck. Good scratch

draw marks are still visible on lower portion of body

paint detail. 14” long. Original paint with minor to

creating a nice texture. 13” long. Thin original paint;

moderate wear on drake; even wear on hen, with

probably a rodent chew near tail; some separation

probably 40% paint loss to expose bare wood tight

at neck seam; paint rub at top of head; light gunning

crack in one side of head has been resecured with a

wear; portion of bill has been professionally replaced.

nail; several cracks in hen’s body.

(3,500 - 4,500)

264

484

Provenance: Ex Sam Dyke collection.

(2,750 - 3,750)

485

Hollow carved black duck, Dave “Umbrella” Watson, Chincoteague, Virginia, 1st quarter 20th century. Raised “V” wing carving. Large “Gooseville Gun Club” brand in underside. 17” long. Original paint with moderate wear; small mouse chew at one edge of tail; speculums appear to be old repaint.

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

(1,500 - 2,000) 485

486

Rare mallard drake, Doug Jester, Chincoteague, Virginia., 2nd quarter 20th century. Branded “W.H.P. Jr” for Bill Purnell. Retains Oliver sales sticker from Oct. 1993. Tack eyes. Made from cotton wood.

15” long. Thin original paint has worn mostly away around body behind wing patches.

Provenance: Charlie Hunter, III collection.

(1,500 - 2,500)

486 487

Rare crooked neck hissing Canada goose, Miles Hancock, Chincoteague, Virginia, 3rd quarter 20th century. Retains Charlie Hunter brass tag and Oliver sales sticker. 27” long. Paint appears to be a second working coat; neck crack with rubs and areas of flaking from moderate use.

Provenance: Charlie Hunter, III collection.

(1,500 - 2,000) 487

488

Rare back preening black duck, Miles Hancock, Chincoteague, Virginia. Retains Oliver sales tag from October 2, 1993. Scratch feather painting.

16.5” long. Original paint with mild gunning wear; paint loss to some areas; a nail was driven through side of head, probably by Hancock and there is some wood cracking in that area.

Provenance: Charlie Hunter, III collection.

(1,000 - 1,500)

488

265

489

Pair of pintails, Norman Hudson, Chincoteague, Virginia. Raised neck seat and tack eyes. Measure 15” and 18” long. Original paint with moderate flaking and wear; cracks and splits in bodies; touchup along split on drake.

Literature: “Ira Hudson and Family,” Henry Stansbury, page 125 exact decoys.

(3,000 - 5,000)

489

490

Black duck, Captain Ike Phillips, Hog Island, Virginia, last quarter 19th century. Long inlet neck seat. Measures 14 3/4” long. Thin original paint with moderate wear; small chip and roughness on tail; crack through neck; two wooden patches in breast with one that has separated slightly; minor roughness on edges at top of head.

Provenance: Ex John Delph collection. Guyette & Schmidt November 1995 sale, lot 337. Charlie Hunter, III collection.

(2,000 - 3,000)

490

491

Rare rigmate pair of hooded mergansers, Miles Hancock, Chincoteague, Virginia. Both are signed by Hancock on underside, retain Bourne auction sticker from Aug 1987, and retain Charlie Hunter collection tags. 15” long. Both are in excellent original paint with light gunning wear and small rubs.

Provenance: Charlie Hunter, III collection.

491

266

(2,500 - 3,500)

492

Very rare Canada goose attributed to Phineaus Upshur, Northampton County, Virginia, 1st quarter 20th century. Raised neck seat and crooked neck. Measures 23 1/2” long. Old in use repaint with significant flaking exposing some of the original surface; two cracks through neck; small dents and shot marks; minor roughness on edge of tail; drying crack in underside.

Provenance: Charlie Hunter III collection.

(6,000 - 9,000)

267

493

494

493

Heron decoy, Chincoteague, Virginia. Shows good age. Made from two pieces of wood, probably

Canada goose, Charles Birch, Willis Wharf, Virginia, 1st quarter 20th century. Hollow carved

a branch. Most of the paint has worn away, only leav-

with raised neck seat and tack eyes. Measures 23

ing traces of color. Purchased in 1969 from famed

1/2” long. Original paint with moderate to significant

decoy dealer Miller Jones in Chincoteague, Virginia.

wear under a thin coat of wax; vertical cracks in neck;

Stands 35” high on stand, and 34” long. Original paint

reglued crack through head.

with numerous natural age cracks.

Provenance: Charlie Hunter III collection.

Provenance: Charlie Hunter, III collection. Sold in a 1992 Guyette & Schmidt sale, lot 421 February. Ex collection Bobby Richardson.

268

494

(4,000 - 6,000)

(2,000 - 3,000)

North Carolina 495

Very rare pintail drake, made by an unknown Long Island, New York carver for the Swan Island Gun Club, last quarter 19th century. Just over 16” long with wide body style and ridged tail. Made for club members and branded “WTBRAMHALL” and “DLPICMMAN”. White paint on body may be a second coat, the rest is original with moderate wear; thin crack runs the full length of the back; crack in neck.

Literature: “Gunnin’ Birds,” Kroghie Andresen.

495

(1,250 - 1,750)

496

Redhead drake, Alvirah Wright, Duck, North Carolina. Large battery decoy with original iron weight. Measures 16 1/2” long. Old in use repaint with significant flaking and wear; small dents and shot marks; drying cracks; crack through neck; bill is a professional replacement.

Provenance: Charlie Hunter III collection.

Literature: “Gunnin’ Birds,” Kroghie Andresen.

(2,500 - 3,500)

497

496

Rare redhead drake, Ivy Stevens, Knotts Island, Virginia, last quarter 19th century. 14” long. Smaller size than typical with flat bottom. Made for the Ben Etheridge rig.

Weight is attached with square nails. Old in use repaint; crack through neck; minor roughness on lower breast.

Literature: “Gunnin’ Birds,” Kroghie Andresen.

(1,750 - 2,250)

497 498

Early brant in swimming pose, from Portsmouth Island, North Carolina, last quarter 19th century. 20” long. Square nail construction. Accomack Gun Club brand in underside. Appealing old in use repaint with moderate wear; a coat of wax, numerous cracks and dents.

(1,750 - 2,250)

498

269

Ward Brothers Crisfield, Maryland

499

Rigmate pair of 1936 model mallards, Ward Brothers, Crisfield, Maryland. 1936 style with slightly turned heads. Measure 17 1/2” long. Dry original paint with very minor wear; tight drying crack on the underside with filler added by the Wards when the decoys were made; some very small drips of white paint on drake; small dent in one side of hen’s bill; small chips on drake’s bill tip and a fine hairline crack near drake’s nostril.

Provenance: Recently found at a Dallas, Texas estate sale.

(25,000 - 35,000)

270

271

500

501

500

Rigmate pair of widgeon, Ward Brothers, Crisfield, Maryland. Both are dated 1958. Written on underside

Rigmate pair of pintails, Ward Brothers, Crisfield, Maryland. Both are signed and dated 1955. Balsa bod-

“Extra Grade $12.50”. Both have turned heads, balsa

ies with hardwood inset tails. Stippling on back of drake.

bodies with hardwood inset tails. Extra feather detailing

Excellent detail feather painting on hen. 17” long. Both

on bodies and especially near wing patches. Carved

are structurally good; original paint; a few small rubs.

shoulder and wing separation. 18” long. Strong original paint that has mellowed to an appealing patina.

Provenance: Beans Weatherly collection.

272

501

(4,000 - 6,000)

Provenance: Beans Weatherly collection.

(4,000 - 6,000)

501a

Early and important canvasback hen, Ward Brothers, Crisfield, Maryland. Raised, carved wings which is something the Ward Brothers did on their earliest model decoys. Extended paddle tail. Pictured in plate 3 of “Ward Brothers Decoys,” and listed there as a 1925 model. 17” long. Strong original paint with crazing, mostly on the breast and wingtips; small chip at one side of tail; some flaked areas that expose primer; small areas of inpainting to flaked areas on side of head and areas on back.

Literature: “Ward Brothers Decoys,” Ron Gard, p.14, exact decoy pictured. “North America’s 100 Greatest,” Loy Harrel, p.

44, similar example.

(12,000 - 17,000)

273

502

Excellent black duck, Ward Brothers, Crisfield, Maryland. 1936 model.

Head is slightly tilted and turned. Extra fine detailed paint feathering on body.

Slightly protruding rump under tail. 17.5” long. Excellent original paint; small flake to filler on top of head; minor roughness on tip of bill and one side of head; crack in neck; an excellent example of a working black duck from this period.

Literature: “Ward Brother Decoys,” Ron Gard and Brian McGrath, page 71 and 73, exact decoy.

274

(20,000 - 30,000)

Exact decoy pictured on chapter of Black Ducks Chapter Eight in “Ward Brother Decoys”

275

503

504

503

276

Rigmate pair of greenwing teal, Ward Brothers, Crisfield, Maryland, circa 1950. Both have turned

504

Cedar pintail drake, Ward Brothers, Crisfield, Maryland, circa 1940s. “LT Ward and Bro” ink stamp

heads, Drake has nicely carved dropped crest. Balsa

is under the tail. Slightly turned head. Just under 18”

body with inset hardwood tails. 13” long. Both are in

long. Original paint with minor discoloration and wear;

strong original paint; couple of tiny dings, otherwise very

filled split in back and underside of tail with touchup in

good and original.

that area.

(6,000 - 8,000)

(3,000 - 4,000)

505

Important and early pintail drake, Ward Brothers, Crisfield, Maryland, circa 1921. Heavy stippling on body with scratch feather painting for wing outline and speculum. Head is turned and shaped similar to the desirable black ducks from this same period, with a scooped bill, low neck seat, and high rump. Only a few of the pintails from this rig exist. 18” long. Strong original paint has darkened; crack running through one side of body; paint is missing at edge of tail; crack in neck; spot at neck seat where rust has popped through; a few other small imperfections; one eye is a professional replacement.

Provenance: Beans Weatherly collection.

(15,000 - 25,000)

277

506

506

Rigmate pair of canvasbacks, Ward Brothers, Crisfield, Maryland. Balsa body. Both are dated 1958. Stipple painting on light areas of both. 15” long. Strong original paint has mellowed nicely; discoloration around lower edge of drake.

Provenance: Beans Weatherly collection.

507

507

(3,000 - 5,000)

508

High head canvasback pair, Milt Watson, Chesapeake City, Maryland. Angel wing pattern

508

Canada goose, Lloyd Tyler, Crisfield, Maryland, circa 1925. Turned head with long exaggerated

on both decoys. Stylish high heads with pleasing crest

paddle tail. 28” long. Strong original paint; some

at top of head. 17” long. Very good and original

imperfections in the wood and paint loss at some

paint; tight crack in neck of drake; hen has a single

edges including bill and tail; tiny chip out of neck.

shot mark in neck and a few areas of paint loss where the knots have pushed.

278

(1,500 - 2,500)

(1,500 - 2,000)

509

Black duck, Ward Brothers, Crisfield, Maryland. Hollow carved shooting stool model with head turned approximate 45 degrees. Signed and dated 1965 on underside.

Measures 14.5” long. Original paint; minor crazing and a few rubs; small drips of varnish on one lower side from when the underside was varnished; small hole in one side of back.

(2,000 - 3,000)

509 510

Canada goose. Hollow with bottom board and wooden keel. A brand of either “F” or “R” has been partially scratched out on underside.

Possibly from the Crisfield area, maybe Sterling Family. Was sold in an Oliver auction in 1996, cataloged as Travis Ward. 28” long. Rough unsanded body retains original paint; wear around tail with chip missing; break at neck is stable but separated; wear around top of head and bill; a crack in body where filler has separated.

Provenance: Charlie Hunter, III collection.

(3,000 - 5,000)

511

510

Swan, Madison Mitchell, Havre de Grace, Maryland. Signed and dated 1982. 30” long. Excellent and original with a few tiny spots of paint missing, mostly at tail and one at head.

(1,500 - 2,000)

511

512

Swan, Madison Mitchell, Havre de Grace, Maryland, circa 1950. Tack eyes with original barn door style keel. 30” long. Original paint with light gunning wear; small chip missing from tail; a few rubs to bare wood on both body and head; several shot scars; tight cracks in wood.

(2,000 - 3,000)

512

279

Stevens Brothers Weedsport, New York 514 513

513

514

280

513

A near perfect example of a bluebill drake, George Stevens, Weedsport, New York, 3rd4th quarter 19th century. “GW Stevens Standard Decoys” stenciled on underside. Head swivels as it should. Excellent comb painting on back and sides.

15.5” long. Excellent original paint; minor areas of flaking, largest at one spot on breast; likely that this decoy was never used.

(5,000 - 7,000)

514

Black duck, Harvey Stevens, Weedsport, New York, last quarter 19th century. Retains “Harvey Stevens” stencil on underside. 18” long. Original paint with very slight wear; very lightly hit by shot.

Provenance: Phil Mott collection. Ex Colodny collection, Purchased at the November 1993 Doyle auction.

(5,000 - 8,000)

281

Chauncey Wheeler 1888 - 1945 | Alexandria Bay, New York

515

Rare canvasback hen, Chauncey Wheeler, Alexandria Bay, New York, circa 1900. Two piece body with Wheelers reverse feather painting. Deep eye groove. 18” long. Very strong original paint; a few light rubs; paint loss around tail; seam separation between body halves due to shrinkage; knot at top of back has pushed slightly, paint loss in that area; a few other small tiny paint flakes.

Provenance: Trent Spolar collection. Ex Bill Towner collection.

(12,000 - 15,000)

515

282

516

Rare canvasback drake, Chauncey Wheeler, Alexandria Bay, New York, circa 1900. Stylish example with a high head, two piece body, and fine comb painting on back and sides.

Deep eye groove, which is standard on Wheelers classic decoys.

19” long. Very good original paint; tight neck crack; paint loss around tail with rough area at tip; original piece from bill was reattached with some inpainting in that area.

Provenance: Trent Spolar collection. Ex collection Bill Towner.

(8,000 - 10,000)

516

283

517

Root head brant from Long Island, New York. Hole drilled in underside for use as a floater or stickup. Measures 16.5” long. Very early second coat of paint; with minor wear; small area of roughness on top of back; cracks in base of neck; large chip out of the back neck seat; bill was replaced a long time ago.

Provenance: Dick Cowan collection.

(1,500 - 2,500)

517

518

Goldeneye, Roy Conklin, Alexandria Bay, New York. High head pose. Exact decoy pictured on page 93 of “The Great Book of Waterfowl Decoys”, Joe Engers, Editor.

Measures 14” long. Original paint with very minor wear; minor separation at a knot and in the making filled crack in back; crack through neck Literature: “The Great Book of Waterfowl Decoys”, Joe Engers, Editor.

518

Exact decoy pictured on page 93.

(1,200 - 1,800) 519

Rigmate pair of bluebills, Captain Charles Sammis, Huntington, New York, 1st quarter 20th century. 14.5” long. With tack eyes, carved bills, and inset circular weights. Drake is stamped “CG Sammis” twice in the underside. Original paint with minor wear; a few small dents. (1,000 - 1,500)

519

520

Sleeping black duck, Long Island, New York, last quarter 19th century. Branded “S Chase” twice in underside. Head is back preening with bill tucked over wing that is carved with a slightly raised tip. Grooved feathering on wings and tail. 14” long. Original paint protected by a light coat of varnish.

520

284

(1,000 - 1,500)

520a

521

520a

Early merganser drake from Stony Brook, Long Island, New York, last quarter 19th century. Long narrow body with an “A” carved in the unpainted

Merganser hen, William Southard, Bellmore, Long Island, New York, last quarter 19th century. Relief wing carving and tack eyes. Head

underside. Carved extended crest. Measures 18”

attached with a square wooden dowel. Measures

long. Original paint with moderate discoloration

15.5” long. Mix of original and early in use repair;

and wear; separations and losses to large knot along

moderate flaking and wear; cracks along tail and

back; chipping and cracks in neck with old touchup

breast; repair to a chip in each side of neck seat;

in that area.

square wooden dowel has been replaced.

Provenance: Dick Cowan collection.

(3,500 - 4,500)

521

Provenance: Dick Cowan collection.

(3,000 - 4,000)

285

522

Goldeneye hen, Frank Combs, Alexandria Bay, New York. Measures 14” long. Original paint with minor gunning wear; hairline drying cracks in breast; lightly hit by shot; tight crack in one side of neck seat.

(2,000 - 3,000)

522

523

523

522

Merganser hen, from Long Island, New York, circa 1900. Relief wing carving, carved eyes, and extended crest. Measures 16” long. Old paint has worn to much bare wood; drying cracks in breast and tail.

Provenance: Beans Weatherly collection. (2,000 - 3,000)

286

Ken Harris 1905 - 1981 | Woodville, New York An article that accompanied a 2012 exhibit of Ken Harris decoys at the Thousand Islands Museum in Clayton, NY. summarizes most of what is known about the respected upstate New York Craftsman.

“Ken Harris was born and raised in Watertown, NY. He was an ardent duck hunter and trout fisherman in his earlier years, and began carving hunting decoys in 1927, in part to disprove the statement that black ducks would not decoy.

As word of his decoys began to spread, Ken began to carve for his friends and then as a part time business. All of the decoys made in Watertown were produced in his basement workshop with the assistance of his wife and two sons.

In 1944/45 Ken moved to the Woodville area and began carving full time. By 1947 he had moved to his well-known location along Route 3, initially using the barn as both a workshop and display room. An article printed December 18, 1948 in the Watertown Daily Times stated that Ken and his son William produced over 4,600 duck decoys in the “last year”.

Around 1963, Ken discontinued the wholesale distribution of gunning decoys to various stores and concentrated on retail sales at his Route 3 show room. In 1981, Ken retired and sold his business to Tom Ferguson. Eight months later, Ken was stricken by a heart attack while checking his trap line”.

Less well known are some of the facts surrounding Ken’s early personal life. Born in Watertown to Sherman Rufus Harris and his wife Alda, the young man spent his early years on his father’s farm. It is unclear what happened but, by 1917, his father had remarried, this time to Arlene, and had moved to Kingsbury, NY. By 1920, young Ken was living in Watertown with his mother’s parents in the absence of either his biological mother or father. He was a good student and graduated from Watertown High School in the class of 1925. There, he was noted for his musical abilities, and he played in various school and dance orchestras (a talent which would serve him well for a number of years).

One year after his graduation, he married Evelyn Francis Murry of Watertown – he was 19 and she, 18 years of age at the time of their marriage. Ken was a violinist in the Avon Theater concert orchestra, and would remain a concert violinist and music teacher through the mid 1930’s. During these years, he and Evelyn had their two sons, William in 1928 and Donald in 1932. The growing family must have placed additional financial burdens on a musician’s salary and, in 1935 Ken is recorded as being “manager – North Street service station”.

In 1940 he appears in the census records as being a

Ken Harris painting wood duck. Courtesy Tom Eckert and Thousand Islands Museum

“game warden” and shortly thereafter he became an “investigator” and claims adjuster for an insurance company. For a brief period early in his career he supplemented his income by acting as a guide at the Lakeview Club.

As noted in the Thousand Islands Museum article, Ken had been carving decoys since soon after high school and his success allowed him to ultimately earn a good living doing so full time. His earliest decoys were predominantly cork bodied with carved heads and applied bottom boards. He eventually expanded his repertoire of materials to include Adirondack white pine which he would age himself, balsa, and tupelo gum.

He never owned a lathe and all his decoys were cut out and partially shaped on a bandsaw. Over the years he utilized a variety of stamps and brands to “sign” his decoys, but he also changed styles often, sometimes yearly. Knowledgeable collectors have coined terms for some of these designs such as “sock eye”,” long body” and “long tail” and these are considered a more accurate means of dating his carvings. His abilities improved with time, allowing him to gain widespread recognition and acclaim. He initially sold his gunning decoys through local sporting goods stores including the prestigious Abercrombie and Fitch in NY. He was an award winner in both the 1948 and 49 National Decoy Contests and was awarded the “Best of Show” in the factory class in 1964. As the demand for his birds spread to outdoorsmen and celebrities such as Clark Gable, he hired a number of workers to assist in the finishing and painting of the decoys, among them Leo McIntosh, Mike Wavercak, Don Ditch and others. He himself was said to be partially color-blind, a hindrance which was not apparent in his work.

A young Ken Harris (Right) after a successful hunt.

Courtesy Tom Eckert and Thousand Islands Museum

287

524

Early pintail drake, Ken Harris, Woodville, New York. Slightly turned head with deeply carved eye sockets.

Comb feather paint detail. Maker’s ink stamp on underside. Measures 16” long. Original paint; with very minor wear; minor separation at neck seat.

Provenance: Preston Lowe collection.

(1,200 - 1,800)

524

525

Early pair of mallards, Ken Harris, Woodville, New York. Both with slightly turned heads. Hen with extensive feather scratch detail. Maker’s ink stamp on underside. Measure 15.5” long. Original paint; with minor wear; tight crack in hen’s back; minor roughness on one edge of drake’s bill; hairline crack in back of drake’s head.

Provenance: Preston Lowe collection.

(1,200 - 1,800)

525

526

Early long body style black duck, Ken Harris, Woodville, New York. Deeply carved eye sockets and scratch feather paint detail. Maker’s ink stamp on underside Measures 18” long. Original paint that has darkened under an early coat of varnish; minor gunning wear; drying crack along underside.

Provenance: Preston Lowe collection.

(1,200 - 1,800)

526

527

Rare standing wood duck, Ken Harris, Woodville, New York. Carved, extended crest, comb feather paint detail on sides. Measures 12.5” long. A few tight cracks in neck, otherwise very good and original.

Provenance: Preston Lowe collection.

(1,200 - 1,800)

527

288

528

Rare preening black duck, Ken Harris, Woodville, New York. Early long body model with deeply carved eye sockets. Scratch feather paint detail. Measures 16.5” long. A few very minor dents, otherwise excellent and original.

Provenance: Preston Lowe collection.

(1,500 - 2,500)

528

529

Early canvasback, Ken Harris, Woodville, New York. Slightly turned head with deeply carved eye sockets.

Comb feather paint detail. Maker’s ink stamp on underside. Measures 18” long. A few very minor paint rubs, otherwise excellent and original.

Provenance: Preston Lowe collection.

(800 - 1,200) 529

530

Early greenwing teal, Ken Harris, Woodville, New York. Comb feather paint detail. Maker’s ink stamp on underside. Measures 14” long. Original paint with very minor wear; a few tiny dents; hairline crack in each side of neck seat.

Provenance: Preston Lowe collection.

(800 - 1,200)

530

531

Early long body redhead hen, Ken Harris, Woodville, New York. Slightly turned heads with deeply carved eye sockets. Maker’s ink stamp on underside. Measures 16” long. Original paint with minor wear; hairline crack in one eye; the other appears to be a replacement.

Provenance: Preston Lowe collection.

(600 - 900) 531

289

Ferd Homme 1901 - 1963 | Stoughton, Wisconsin

531a

Sleeping mallard hen, Ferd Homme, Stoughton, Wisconsin. Thinly hollowed with head turned and bill tucked into back feathers. Relief wing and raised crossed wingtips. “FL Homme” carved in the underside. Branded “AT Shearer” for the rig of Dr. Ansley Thomas Shearer. Measures 14” long. Original paint with minor flaking and wear; a few small dents; minor roughness on raised wingtips.

(30,000 - 40,000)

290

291

532

533

532

Rare and desirable bluewing teal hen, Otto Weinert, Oshkosh, Wisconsin, 1st quarter 20th century. Only

Canvas Canada goose, Enoch Reindahl, Stoughton, Wisconsin. Straw filled canvas body with nice paint

a small rig of these desirable bluewing teal exist. This hen

detail. Mechanical mechanism attaches head to body

displays a turned head with glass eyes and line tie that

and allows head to fold for storage. Measures 26”

has been attached to the side of the body which helps

long. Original paint with very minor discoloration and

the entire rig present an animated presence. Meticulous

wear; small amount of touchup at two short tears in can-

detail feather painting. 11” long. Original paint; light gun-

vas that were repaired; 2.5” round canvas patch on back

ning wear; a small stain at the back between the shoul-

appears to be from when the decoy was made with small

ders and back of neck about the size of a penny.

amount of touchup along one edge.

(4,000 - 6,000)

292

533

(4,000 - 5,000)

534

Canvasback drake, Mandt Homme, Stoughton, Wisconsin. Wide hollow carved decoy with relief wing and raised crossed wingtips.

Slightly turned head. Comb feather paint detail. Measures 15.75” long. Original paint with minor discoloration and wear; a few minor dents; short hairline crack near one eye.

(8,000 - 12,000)

293

535

Rigmate pair of mallards, from the Milwaukee School, circa 1930. Laminate construction with incised side pocket and wing carving.

Wingtips are raised, separated, with a space flowing openly to the tail. Heads are slightly tucked in a content position.

Measure 17” long. Decoys are unrigged with excellent original paint that has flaked evenly; slight dent in one side of

535

drake’s head.

Provenance: Herb Desch collection.

(2,500 - 2,750) 536

Pair of mallards, Walter Lowery, Lacrosse, Wisconsin, circa 1930. Both are hollow carved. Drake has slightly turned head. Collection information from Herb and Caroline Desch on underside. Lowery’s excellent detailed paint feathering and blending.

Measure 16” long. Strong original paint; light gunning wear and some rubs mostly on the head.

536 Provenance: Herb Desch collection.

(2,500 - 3,000) 537

Rare rigmate pair of mallards, Frank Resop, Berlin, Wisconsin, 2nd quarter 20th century. Both have raised carved wings. Scratch painting on hen.

18” long. Strong original paint; moderate wear; small areas of rubs; both have cracks at neck.

Provenance: Herb Desch collection.

(2,500 - 3,500)

537

538

Pair of redheads, DeWitt Wakefield, Fremont, Wisconsin. Tack eyes. Metal tags on undersides, drake’s reads “E Bacon”. Hens “G Billington”. Measure 13.5” long. Original paint; minor to moderate wear; hen’s bill was cracked off and reattached; with repaint on the bill; small dents and shot marks.

Provenance: Herb Desch collection.

(2,000 - 2,500)

538

294

539

Pair of canvasbacks, James Walton, Milwaukee, Wisconsin. Two piece bodies with relief wing carving. Drake with slightly turned head.

Measure 15.5” long. Original paint with very minor wear; short hairline crack in hen’s neck set otherwise very good structurally.

(1,800 - 2,200)

539

540

Hollow carved bluebill drake, from Milwaukee, Wisconsin. Hollow carved with relief wing and crossed wingtip. Slightly turned head with detailed bill carving. Similar to work of Bill Schultz. Measures 12” long. Original paint with minor paint rubs and wear; a few small dents; hairline crack in one side of neck.

(2,000 - 2,500)

540

541

Pair of bluebills, Edgar Shaw, Oshkosh, Wisconsin. Feather rasping on bodies. Hen with slightly turned head. Measure 12.75” long. Excellent original paint; very minor wear; a few shot marks; hairline crack in one side of drake’s neck.

Provenance: Herb Desch collection.

(1,500 - 2,500) 541

542

Very rare rigmate pair of mallards, Dewitt Wakefield, Freemont, Wisconsin, last quarter 19th century. Tack eyes with bold shoulder carving and raised neck seat. Measure 17” long. Both are in excellent original paint; some crazing mostly on drake; light rubs around bill and repaint to a crack in the hen’s neck with inpainting in that area.

Provenance: Herb Desch collection.

(1,500 - 2,500) 542

295

Augustus Moak 1852 - 1942 | Tustin, Wisconsin

543

Pair of canvasbacks, Gus Moak, Tustin, Wisconsin. Hollow carved with 1” bottom boards. Drake with slightly turned head.

Measure 18.25” long. Original paint with minor discoloration and wear; lightly hit by shot.

Provenance: Herb Desch collection.

296

(10,000 - 15,000)

544

Canvasback drake, Gus Moak, Tustin, Wisconsin. From the famous Valentine rig. Hollow carved with 1” bottom board. Measures 18” long. Original paint with minor discoloration and wear; lightly hit by shot; minor separation at body seam; some crazing to the bottom 2” of the decoy.

(8,000 - 12,000)

297

545

548

546

549

547

550

545

Bluebill, Gus Moak, Tustin, Wisconsin. Hollow carved with three quarter inch bottom board. Slightly

Rigmate pair of mallards Burton Lange, Horricon, Wisconsin, circa 1935. Fine scratch painting on hen.

turned head. “ETF” branded in underside. Measures 15”

Measure 17” long. Both exhibit light gunning wear and

long. Original paint with minor discoloration and wear;

inset rectangular weight; excellent original paint.

548

mouse chews with roughness on edge of tail; crack

Provenance: Herb Desch collection.

through neck with some old filler and glue visible; in the

Literature: “Decoys of the Winnebago Lakes,” Ronald M.

making filled crack along back has opened slightly.

Koch, p. 123, exact decoys pictured.

Provenance: Herb Desch collection.

(1,500 - 2,000) 549

546

Excellent Pair of canvasbacks, Ora Clough, Pekinstown, Wisconsin, circa 1940. 16”

Rigmate pair of bluebills, James Walton, Milwaukee, Wisconsin. Both have relief wing carving. Heads are in resting pose. Hen’s head is slightly turned. 11” long. Original paint with minor wear; several

long. Excellent; small dent in one side of drake’s head.

tiny dents.

Provenance: Herb Desch collection.

(1,250 - 1,750) 550

547

Pair of bluewing teal, Ed Mieske, Burnett, Wisconsin. “MEM” and “EM” stamped into the lead

(1,000 - 1,500)

(800 - 1,200)

Bluewing teal hen, James Walton, Milwaukee, Wisconsin. Relief wing carving. Scratch feather paint detail on head and back. Measures 11.75” long. Original

weights. Measure 12.25” long. Original paint with minor

paint with moderate flaking on one side of breast; other-

to moderate wear; hairline crack in hen’s tail and both of

wise very good and original.

drake’s eyes; filled drying crack in underside of hen has Provenance: Herb Desch collection.

opened slightly.

298

Provenance: Herb Desch collection.

(1,200 - 1,800)

(800 - 1,200)

Contemporary Carvings

551

551

554

552

556

553

557

Willet, Mark McNair, Craddockville, Virginia. Carved in the style of William Bowman. Strong wing relief with split

Ruddy turnstone, Mark McNair, Craddockville, Virginia. Carved in the style of Obediah Verity. Feeding

and raised tail, as well as wingtips. “McNair” is carved in

position. “McNair” carved in underside. A few shot scars.

underside. 13.5” long. Original paint has been stressed to

8” long. Original paint stressed to create appearance of

create appearance of age.

age.

Provenance: Kirby Roberts collection.

552

554

(800 - 1,200)

Long billed dowitcher, Mark McNair, Craddockville, Virginia. Shoulder carving with raised and split wing-tips

Provenance: Kirby Roberts collection.

556

and dropped tail. “McNair” is carved in underside. 12”

553

Sleeping mallard, Keith Mueller, Killingsworth, Connecticut. Hollow carved with comb feather paint detail. “Mueller” branded into the underside. Measures 15”

long. Excellent and original.

Provenance: Kirby Roberts collection.

(800 - 1,200)

long. Excellent and original.

(600 - 900)

(800 - 1,200)

Dunlin, Mark McNair, Craddockville, Virginia. Made

557

Full size barn owl, Keith Mueller, Killingsworth, Connecticut. Glass eyes with turned head. Branded

in the style of Obediah Verity. Carved eyes, shoulders and

“Mueller” inside of wing. 18” tall on original base. Surface

wingtips. “McNair” is carved in underside. Several shot

has been stressed to create appearance of age; crack in

scars. 8” long. Original paint has been stressed to create

one side of head.

the appearance of age.

Provenance: Kirby Roberts collection.

Provenance: Kirby Roberts collection.

(800 - 1,000)

(800 - 1,200)

299

Jim Schmiedlin 1945 - 2015 Bradfordwoods, Pennsylvania

558

559

558

Pair of working redheads Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with

559

Black-bellied tree duck, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with

relief wing carving. Dated 2003. “JAS” branded in under-

slightly turned head and relief wingtip carving. Signed

side. Also with Jim’s Reward for Return label. Measure 14”

and dated 1984. Inscription on underside indicates this

and 15” long. Excellent and original.

was Jim’s first black bellied tree duck. Measures 13.5”

(5,000 - 8,000)

long. Tight crack in tail; small amount of touchup on edge of tail.

300

(4,000 - 6,000)

560

561

560

Cinnamon teal, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with slightly turned

561

Preening goldeneye, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with

head and relief wingtip carving. Signed and dated

relief wing carving and one raised wingtip. Signed

1984. Also braded “JAS” on underside. Measures 13.5”

and dated 1985, “JAS” branded in underside. 14.25”

long. Excellent and original.

long. Small chip in tip of raised wing, shaved down and

(3,000 - 5,000)

touched up; otherwise very good and original.

(3,000 - 5,000)

301

Minnesota Fish Decoys Throughout recorded history, the challenges associated with gathering food have been primary to the survival of the human species. As time passes, innovations are developed to improve the efficacy and productivity of this pursuit. Gathering food during the frozen winter months posed especially difficult challenges and the introduction of the fish decoy was a major improvement in this area. When a wooden fish decoy is deployed beneath the ice, its visibility helps to bring game fish in from farther distances and improve the anglers rate of success. Gathering fish in this way was especially popular in the first half of the twentieth century. In this time, which was marked by a worldwide Depression and two world wars, fish decoy use was more widespread than at any other time in history. Many collectors refer to those decades as the golden area of the fish decoy where small, family run operations produced decoys on a local or regional basis. For many collectors, this era marks the “best of the best” in value, visual interest and style. Three of the best known makers were Leroy Howell, Ernest Newman and brothers William and Otto Faue.

562

Fish decoy, Frank Mizera, Minnesota. Pike with black body and yellow and orange so called fish on fish design.

Measures 9.5” long. Near mint.

(2,000 - 2,500)

562

563

Fish decoy, Leroy Howell, Hinkley, Minnesota. Flower fish with red and white and natural head. Measures 6.5”. Original paint with some staining to natural area on head and on rear fin.

(1,800 - 2,200)

563

564

Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. Flower fish. Silver and natural with decorative red and white dots.

Measures 6.5” long. Original paint protected by a light

564

coat of varnish; some paint loss around tail fins; otherwise very light wear.

302

(1,500 - 2,000)

565

Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd - 3rd quarter 20th century. Sucker fish with green and white body and red fins. 8.75” long. Excellent original paint protected by a coat of varnish that has darkened slightly; some paint loss at belly weight.

(1,800 - 2,200)

566

565

Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. Early wide bull nose model. Red and white. 6” long. Original paint; with considerable wear to fins and parts of body; paint is mostly missing on underside.

566

(1,200 - 1,500)

567

Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. Rare frog pattern. Green and white with yellow decorative dots.

Measures 7”. Strong original paint; some discoloration to white areas and edges of fins.

(1,500 - 2,000)

567

Leroy Howell-Minnesota 1898-1988 Leroy Howell is regarded as one of the finest fish decoy makers of all time. His prolific career spanned more than three decades and he produced a wide variety of sizes and style. His earliest work is extremely rare and is believed to have been produced in the late 1920s to about 1930. These decoys generally have an elegantly sloped nose and a taller body form. The 1930s were marked by the introduction of the “Bull Nose” style which is one of Mr. Howell’s most easily identified and collectible. These decoys were mostly always painted with a combination of colored dots in what has come to be known as a “flowered” design. Somewhere around 1940, Mr. Howell elongated the nose and generally evolved his design aesthetic into a more streamlined style. Many of these decoys still maintained the “flowered” motif. At some point, the design changed rather dramatically and decoys with large, sweeping, wooden tail decoys were born. The stylistic elegance of these decoys revealed a truly new and interesting take on the artform. The variety of colors, sizes, and species Mr. Howell produced over the years gives collectors unlimited options to consider.

303

Ernest Newman-Minnesota 1908-1976 Ernie Newman made some of the most elegant and artistically appealing fish decoys to ever come out of Minnesota. Over the years, his style became more refined while still maintaining loyalty to its original roots. Early decoys by Mr. Newman have a wonderful, folky appeal with several having been found with copper fins. The mouth on these early examples was painstakingly cut with a fine coping saw. The 1950s truly marked the height of production and also of the refinement of this carver’s style. During this time, the shape of the features became more rounded and the decoys were painted with a variety of design elements over a solid background. Ernie Newman decoys have significant visual appeal and let the form speak louder than the flash associated with intricate and outlandish paint schemes. From the beginning to the end, Mr. Newman used high quality glass eyes and his decoys can be found in a wide variety of colors.

The most frequently seen decoys represent either a pike or a sucker.

568

Fish decoy, William Faue, Hanover, Minnesota, 2nd quarter 20th century. Metal fins with painted mouth and eyes.

6” long. White and pink dots run along top of back. With yellow and brown along midline. Original paint; with even wear and small areas of loss mostly on fins.

568 569

(800 - 1,200)

Fish decoy, William Faue, Hanover, Minnesota, 2nd quarter 20th century. Painted eyes and metal fins. Original paint on most of body, white area along underside appears to be second coat; some of the fins are slightly bent; paint loss on fins and body.

569

(600 - 800)

570

Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. Tricolor with red, orange, and white.

Measures 7.5”. Excellent original paint; very small amount of paint loss at fins; light coat of varnish that has darkened slightly.

(1,000 - 1,500)

570 571

Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. Large bat wing yellow and orange. 9” long. Original paint with minimal wear.

(1,000 - 1,500)

571

304

572

Fish decoy, Ernie Newman, Carlton, Minnesota, 3rd quarter 20th century. Pike with glass eyes, green head, black and white fish scale along back, and dot decorated sides of red, yellow, black, and white. Metal fins. Measures 10” long. Strong original paint that has small crazed areas of flaking; an area on underside near belly

572

weight has been strengthened with paint.

(1,000 - 1,200) 573

Two fish decoys, Leroy Howell, Hinkley, Minnesota, 2nd - 3rd quarter 20th century. One red and white and other green and white. One has slightly bull nose.

Red fish measures 6.5”, green is 5”. Small amount of paint loss at belly weight of

573

green fish, otherwise both very good and original.

574

(800 - 1,000)

Fish decoy, Ernie Newman, Carlton, Minnesota. Northern pike with red head and white body. Metal fins and glass eyes.

Measures 9.5” long. Original paint protected by a coat of varnish and minor flaking and a few small nicks.

575

(800 - 1,000)

574

Fish decoy, Ernie Newman, Carlton, Minnesota. Pike with white pearlized head and glass eyes. Black and fluorescent orange body. Measures 8” long. Strong original paint with flaking on fins; light wear.

(800 - 1,000)

575

William Faue-Minnesota 1878-1950 Otto Faue-Minnesota 1881-1954 William and Otto Faue Fish decoys by brothers William and Otto Faue, rank as some of the finest and most collectible of all time. Even though the brothers made decoys in very distinct styles, it is believed that they often collaborated as well. Otto Faue’s work is most often seen with a set of two fins on each side of the body.

His painting style is much more subtle than that of his brother and he often incorporated earthy tones, hand drawn scales and other innovative accents.

William Faue, by comparison used the longer, and extremely elegant “angel wing” style fins on his decoys. His painting style was usually more colorful and elaborate. William Faue had an interesting way of adding human personality traits to his decoys which was quite revolutionary in the 1930s to 40s. Both brothers liked to add adipose and anal fins to their decoys, in what has been described as a nod to the Art Deco style which was popular during their working careers. Faue brother decoys are highly collectible and seldom seen.

305

576

580

577

581

578

582

583

579

576

Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd - 3rd quarter 20th century. Red and white sucker.

580

Fish decoy, William Faue, Hanover, Minnesota, 2nd quarter 20th century. Red, black, and grey stylistic pat-

Measures 8.5” long. Excellent original paint with varnish

tern over a peach color body. Measures 6.5”. Original

that has darkened slightly; one scratch at bottom of

paint with some loss on both body and fins.

(800 - 1,000)

mouth; paint loss at belly weight and at area were fin attaches to body.

(800 - 1,000)

581

Fish decoy, William Faue, Hanover, Minnesota.

Scaled paint pattern with painted eyes and gills. Measures

577

Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd - 3rd quarter 20th century. Sucker. Measures

6.5”. Original paint with some touchup at one side; flaking on both body and tail; one rear fin is a replacement.

8.75”. Excellent original paint; coat of varnish that has slightly darkened.

(800 - 1,200)

(800 - 1,200) 582

578

579

with glass eyes. Yellow and brown body, red and

ation. 10” long. Strong original paint; protected by a coat

long. Original paint with light wear; a few nicks; flaking

of varnish that is slightly darkened; small amount of paint

areas; and an area where yellow paint has worn off on

loss on fin and little around belly weight.

underside.

blue decorative dots, and metal fins. Measures 9”

(800 - 1,200)

Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd 3rd quarter 20th century. Sucker fish decoy. Red head

583

(800 - 1,000)

Fish decoy, Ernie Newman, Carlton, Minnesota, 3rd quarter 20th century. Glass eyes with white pearlized

and white body. 8.75” long. Excellent original paint pro-

head. Green white and yellow decorative dots. Metal

tected by a coat of varnish that has slightly darkened.

fins. Measures 8” long. Original paint with cracking; small

(800 - 1,000)

306

Fish decoy, Ernie Newman, Carlton, Minnesota. Pike

Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd 3rd quarter 20th century. Pike with red and white color-

areas of paint loss at top and on fins.

(700 - 900)

Louisiana

584

587

585

588

586

589

584

Rare dove, Reme Roussel, Raceland, Louisiana. Split tail with wing and feather painting. George Ross Starr col-

Stylish swimming mallard drake, unknown maker from Louisiana. Carved shoulders and wings. 15.5”

lection stamp on underside, as well as ‘Hunter Collection

long. Strong original paint that has mellowed nicely; a

11’ on underside of tail. Measures 9” long. A few small

few small nicks and dings with paint loss around the tail.

587

dents and shot marks, otherwise very good and original.

Provenance: Ex collection George Ross Starr. Bourne May 1986 auction, lot 347. Charlie Hunter, III collection.

(700 - 800) 588

(1,500 - 2,500) 585

and original.

586

Domingo Campo, Shell Beach, Louisiana. Polished bamboo eyes, raised wings and applied feet. 11” long. Light

Bluewing teal hen, Xavier Bourg, Larose, Louisiana. 10” long. Very light gunning wear; scratch across back; a few very small rubs, otherwise very good (800 - 1,200)

Pintail drake, Alfred Hebert, Montegut, Louisiana. Slightly turned head. 16” long. White area on breast and head is a second coat applied in the making so that the white would be bold enough to cover the dark over coat.

Rare Louisiana standing and preening bluewing teal drake, 2nd half 20th century. Inspired by the work of

rubs with peg construction in body.

589

(500 - 1,000)

Mallard drake, Albert Comardelle, Bayou Des Allemends, Louisiana, 1st quarter 20th century. Relief wing tip carving and reared back head.

Measures 15 1/4” long. In use repaint with moderate flaking and wear; cracks along back; small dents and shot marks.

(500 - 800)

(800 - 1,000)

307

590

592

591

593

594

590

Black bellied plover, Captain Dan Showell, Absecon, New Jersey, last quarter 19th century. Wire

Unusual plover, probably from Massachusetts. Head is doweled and is meant to be removable. A very identifi-

bill. 13” long. Original paint with good patina and minor

able flat-top head with simple yet unique body carving.

wear under an old coat of varnish; old repair to a small

11” long. Original paint; shot scars; a few dents in back;

chip at the top of the head.

wear to bare wood on both body and head. (800 - 1,200)

Provenance: Bruce Williams collection. Formerly in the collection of Somers G. Headly. (1,500 - 2,500) 591

592

593

Black bellied plover, Sam Shute, Wildwood, New Jersey. Relief wing carving. Measures 9.75” long. Dry original paint with minor gunning wear; small amount of

Very folky yellowlegs, possibly Long Island, New York. Body is extended into a running or feeding posi-

filler and touchup where bill meets face.

tion. A stretched-out thin neck and bit of a bulbous

Provenance: Dick and Lynn Gove collection. (800 - 1,200)

head. 12” long. Old working paint; numerous shot scars; replaced bill.

(800 - 1,200)

594

Six ears of wooden corn. 8.5” long. Two appear to have age, four seem to be contemporary.

Provenance: Charlie Hunter, III collection.

308

(400 - 600)

595

596

597

598 595

Very rare working passenger pigeon, 3rd to 4th quarter 19th century. Carved eyes with bill splined

Swimming coot, possibly North Carolina. Root or branch head that is slightly tilted forward with inset raised

through to back of head. Part of a rig of working pas-

and separate wings. Small pad weight set to one side for

senger pigeons which are considered to be very rare. 13”

a perfect balance. 15” long. Original paint that is worn to

long. Original paint that has darkened and nearly worn

bare wood; crack at neck where nails have been used to

away; a piece that has cracked at side has been rese-

secure it to the body; small chip missing from underside of

cured with tiny wire nails; small rubs; a few tiny dents near

bill; light wear and some rubs on body and wingtips.

tail.

596

597

(1,500 - 2,500)

Yellowlegs, possibly from New Jersey. Relief carved

(800 - 1,200) 598

Rig of nine silhouette dove decoys. With original

shoulder with extended wingtips and slightly dropped tail.

wooden stakes. All mounted to board. Measure 9.5” long,

10.5” long. Original paint; knot imperfection in back; a

board measures 26.25” long. Minor paint rubs, otherwise

few very small shot scars.

very good and original.

(800 - 1,200)

End of session two

(500 - 800)

309

Index of Carvers Abbett, Robert.. .............................................................. 236 Allen, Fred...................................................212,406,411-413 Andrews, Robert............................................................. 480 Anger, Ken.........................................................313,325,332 Artistic Design Company .. ............................................. 445 Audubon, John James....................................... 255A-255D Austin Powder Company ...........................................302A Bach, Ferdinand............................................................... 65 Badger, SFM.. .................................................................. 243 Badlam, Stephen.. .......................................................... 426 Barber, Joel.. ................................................................... 246 Barnard, Charles.. ............................................................. 32 Barr, James..................................................................... 321 Bergman, Charles.. ........................................................... 56 Bicknell, Percy.. ....................................................... 58,61,64 Birch, Charles.................................................................. 494 Bishop, Gus..................................................................... 196 Bishop, Richard........................................................ 237,340 Blackstone, Jess.. ............................................................ 182 Blair, Sr., John.. ......................................................... 174-177 Borrett, Mike.. ........................................................... 232,233 Bourg, Xavier.................................................................. 585 Bowles, A.M... .................................................................. 354 Brayshaw, Thomas.......................................................... 122 Brown, Bill........................................................................ 136 Brunning, Ken.. .................................................................. 80 Buchanon, Charles......................................................... 330 Burr, Elijah.. ............................................................... 452,453 Cargile, Lloyd.. .................................................. 446-448,472 Chadwick, Keyes............................................................ 421 Chambers, Tom....................................................... 307,308 Chrysler, William.. ..................................................... 323,324 Clark, Charles................................................................. 197 Clark, Roland.....................................................113,338,341 Clough, Ora.................................................................... 546 Cobb, Jr., Nathan.. ......................................................... 478 Comardelle, Albert.. ....................................................... 589 Combs, Frank.. ................................................................ 522 Conklin, Roy............................................................. 180,518 Cost, Neil.. ................................................................ 345,346 Crandall, Horace.. ................................................... 178,179 Crowell, Cleon................................................................ 420 Crowell, Elmer..... 35-46,271A-295,417-419,423,424,449-451 Cub Creek, ............................................................ 368,377 Darling, Ding................................................................... 339 Davern, Harve.. ............................................................... 315 Dehate, Abraham....................................................... 76,79 Dilley, John .. .................................................................... 193 Dodge Decoy Factory, ................................................ 256 Dorschner, Theodore. . .................................................... 257 Dugan, William............................................................... 422 DuPont .......................................................................... 302 Dye, Ben.. .......................................................................... 27 Edward Gerrard & Son ................................................. 121 Elliston, Robert.............................................. 88,207,213,401 English, Dan........................................................... 137,138B English, John.......................................................... 132,138A

Evans Decoy Factory, ........................................... 163-173 Faue, William.............................................. 568,569,580,581 Finney, Frank....................................... 95-103,392,393,477A Foster, William Harden.................................................... 245 Garrison, Ben Reeves..................................................... 351 Gelston, Thomas............................................................. 188 Giant Powder Company .............................................. 303 Gibian, William............................................................... 7-10 Gilley, Wendell............................................................. 48,50 Graves, Bert........................................... 85,215,402,407,408 Grubbs .......................................................................... 361 Haertel, Harold......................................................427A-434 Hagerbaumer, David.................................105-108,254,255 Hall, Will........................................................................... 130 Hancock, Miles..................................................487,488,491 Hanson, Marty.......................................................... 464-470 Harris, Ken................................................................ 524-531 Hebert, Alfred................................................................. 586 Heisler, Jess......................................................... 138C,138D Heverin, William................................................................ 29 Holloway, Harry............................................................ 57,59 Holly, James T................................................................... 34 Holly, John “Daddy”...................................................... 26A Holmes, Lothrop.............................................................. 461 Homme, Ferd................................................................531A Homme, Mandt.............................................................. 534 Hotze, Hiram..................................................................... 93 Howell, Leroy......................... 563-567,570,571,579,576-579 Hudson, Ira........................................................ 383,482-484 Hudson, Noman.............................................................. 489 Hunt, Lynn Bouge..............................................109,111,114 Irvine, Lawrence...................................................... 123-127 Janner, Auggie................................................................. 81 Janner, Hans................................................................ 73-75 Janson, Richard........................................................... 53-55 Jester, Doug............................................................. 385,486 Joiner, Charlie.............................................................. 19-26 Jolly, Fred........................................................................ 362 Jolly, John....................................................................... 364 Jon, Ben................................................................... 356,371 Kent, Aubrey..................................................................... 63 Kenward, Henry.............................................................. 350 Kerr, Robert.............................................................. 327,394 Kilpatrick, Henry.............................................................. 138 King, Joe......................................................................... 133 Lange, Burton................................................................. 548 Lawrence, Melvin Gardner..................................... 462,463 LeBeouf, Orel.................................................................. 318 Lincoln, Joseph............................................................... 460 Lipke, Paul................................................................ 200-203 Lowery, Walter................................................................ 536 Luedtke, John................................................................ 59A Lyman, Harry................................................................... 240 Maass, David........................................................... 117,118 Malloch, P.D..................................................................121A Marsh, Johnny................................................................. 367 Marter, Reg..................................................................... 135

Mason Decoy Factory . . ......................................... 258-271 McDonald, Norm............................................................ 328 McFarland, Barry............................................................ 372 McGaw, Robert........................................................... 30,33 McGee, Jack.................................................................... 62 McIntyre, Cameron..................................................... 12-15 McLoughlin, John........................................................... 396 McNair, Mark..............................................473-476,551-554 Meldrum, Alex.. ................................................................. 77 Meucci, Michelangelo................................................... 241 Mieske, Ed....................................................................... 547 Mitchell, Madison.................................................... 511,512 Mizera, Frank.. ................................................................. 562 Moak, Gus.. .............................................................. 543-545 Morrow, John Sandy. . .............................................. 359,360 Mueller, Keith........................................................... 556,557 Muss-Arnolt, G... .............................................................. 242 Newman, Ernie.................................... 572,574,575,582,583 Nichol, Davey................................................................. 326 Noland, Harold............................................................... 320 Norman, Henry “Spud”. . ................................................. 316 Ohnmacht, Bernard....................................................... 204 Osthaus, Edmund Henry.. ...................................... 115,239A Parker, Lloyd................................................................... 129 Parrish, Gene.................................................................. 369 Pelkey, JD.. ........................................................................ 83 Perdew, Charles...................................................................

84,89,91,92,94,205,206,208,216,347,357,358,366,381,404405A,409,410,414,416 Peterson, Oscar..........................................119,120,140-161 Phillips, Ike................................................................ 479,490 Pice, Charles.. ......................................................... 59B,59C Pope, Alexander.. ........................................................... 238 Powers, Chris.. ................................................................. 214 Pryor, Leonard............................................................. 28,31 Randal Manufacturing ................................................. 301 Rathmell, Lou.................................................................... 47 Reeves, Charles.............................................................. 322 Reeves, John.................................................................. 306 Reeves, Phineas.. ............................................................ 312 Reindahl, Enoch............................................................. 533 Renardson, Robert.. ................................................. 310,333 Resop, Frank................................................................... 537 Rhodes, Levi.. .................................................................. 186 Ripley, Aiden Lassell................................... 116,247,249,253 Roberts, William............................................................192A Roch, Francis................................................................ 257B Rosseau, Percival Leonard.. ........................................... 112 Roussel, Reme.. ............................................................... 584 Rundle, Abraham........................................................... 329 Rungius, Carl................................................................ 239C Rupple, Walter.................................................................. 60 Safford, Charles.............................................................. 427 Sammis, Charles............................................................. 519 Schmedtgen, Willhem.................................................... 248 Schmidt, Ben.. .............................................................. 67-72 Schmiedlin, Jim.................................................. 1-6,558-561

Seymour, Harry...................................................217,224,227 Shaw, Edgar.................................................................... 541 Shaw, Sharpie................................................................. 355 Shourds, Harry M............................................................. 131 Shourds, Harry V.................................................128,184,185 Showell, Dan................................................................... 590 Shute, Sam...................................................................... 593 Slinn Brothers ................................................................. 348 Smith, Brett...................................................................... 252 Smith, Rhodes, and Co. ................................................ 299 Smithers, Ralph............................................................... 309 Southard, William............................................................ 521 Stevens, George............................................................. 513 Stevens, Harvey.............................................................. 514 Stevens, Ivey................................................................... 497 Stiles, John........................................................................ 90 Stone, Claude................................................................. 342 Strey, Frank.......................................................... 257C,257D Strunk, George................................................................ 471 Taylor, Doc............................................................... 343,353 Taz, John......................................................................... 199 Tepley, Ron..................................................................... 400 Trombley, Andy................................................................. 78 Turpin, Tom.........................................................349,352,365 Tyler, Lloyd...................................................................... 508 Upshur, Phineaus............................................................ 492 Vance, Arthur B.............................................................. 139 Verity, Obediah....................................................... 189,190 Vizier, Jimmie........................................................... 388-391 Wakefield, DeWitt.................................................... 538,542 Waldon, Clarence.......................................................... 370 Walker, Charles................................................. 209-211,415 Walton, James......................................................... 539-550 Ward Brothers .......................181,382,395,397,499-506,509 Wargo, Charles........................................................ 398,399 Warin, George................................................................ 311 Watkins, Espar Lair........................................................ 239B Watson, Dave “Umbrella”.............................................. 485 Watson, Henry Sumner................................................... 110 Watson, Milt.................................................................... 507 Weaver, Steve.................................................................. 98 Weeks, Fred.................................................................... 375 Weiler, Mile.............................................................. 250,251 Weinart, Otto.................................................................. 532 Welker, M........................................................................ 134 Wells, John R................................................................... 319 Wheeler, Chauncey................................................ 515,516 Wheeler, Shang.................................................... 51,52,384 White, Bob................................................................... 16-18 Whittington, Hector.............................................. 86,87,403 Williams, Lamar............................................................... 379 Wilson, Gus........................................................................ 49 Wilson, Jack.................................................................... 373 Worm, Julius Johann.....................................................257A Wozny, Eddie.................................................................. 477 Wright, Alvirah................................................................ 496 Wyles, Warner................................................................. 374

Additional information references Lot 19 1.Belinko, Donna. 1988. “Charlie “Speed” Joiner – Forty Years of Dedication to The Art of Decoy Making” Jan/Feb Decoy Magazine. Ocean City, MD. 2.Daley,Michael. 2021. ”Waterfowling on the Susquehanna Flats – Decoys, Decoy Makers and Duck Hunters of the Upper Chesapeake Bay”. Decoy Magazine Pub. Lewes, DE. 3.Hagan, David and Joan. 1990. “Upper Chesapeake Bay Decoys and Their Makers”. Schiffer Pub Ltd. West Chester, PA 4.Tragakis, Chad. 2008. “Charlie Joiner – The Chesapeake Bay’s Living Legend”. July/Aug Decoy Magazine. Lewes, DE. 5.Walsh, Roy E. 1960. “Gunning the Chesapeake – Duck and Goose Shooting on The Eastern Shore”. Tidewater Pub. Cambridge, MD.

Lot 27 1.Daley, Michael. 2021. “Waterfowling on the Susquehanna Flats – Decoys,

Decoy Makers and Duck Hunters of the Upper Chesapeake”. Decoy Magazine, Lewes, DE. 2.Pelayo, Jeffery T.2010. “The Dye Family of the Upper Chesapeake Bay”.

Decoy Magazine. Sept/Oct 2010.

3.Sullivan, C. John. 2013. “Decoy Reunions and History”. The Canvasback, Havre de Grace decoy museum. Winter Ed. Havre de Grace, MD. 4.Walsh, Harry M. 1971. “The Outlaw Gunner”. Tidewater Pub. Cambridge, MD.

Lot 33 1.Barber, Joel. 1937. “Wild Fowl Decoys”. Garden City Publishing, NY.

2.Daley, Michael. 2021. “Waterfowling on the Susquehanna Flats – Decoys, Decoy Makers and Duck Hunters of the Upper Chesapeake Bay”. Decoy Magazine Pub. Lewes, DE. 3.Trimble, James L. 2009. “Bob McGaw – Boat Mechanic and Decoy Maker”.

Decoy magazine, July/Aug. Lewes, DE. 4.Williams, Jeff. 1986. “A Slice of Decoy History – A Chronicle of Letters: Robert F McGaw Jr., Decoy Maker, 1879 – 1958 by C John Sullivan”. Decoy Magazine Summer issue. Ocean City, MD.

Lot 53 1.Lourdeaux, Wallace. 2019. “Richard “Fresh Air Dick” Janson”. Privately printed westcoastdecoys.com. CA.

Lot 66 1.Henderson, Dion. 1977. “Portrait of a Happy Man” Anderson Herald Newspaper, Jan 30. Anderson, Indiana.

2.Miller, Michael R and F.W. Hanson. 1989. “Wildfowl Decoys of the Pacific Coast – Carving Traditions of British Columbia, Washington, Oregon and California”. MBF Publishing. Davis CA. 3.Reuter, F. Turner Jr. 2008. 2008. “Animals and Sporting Artist in America”.

National Sporting Library. Middleburg, VA.

Lot 112 1.Reuter, F. Turner Jr. 2008. “Animals and Sporting Artist in America”. The National Sporting Library. Middleburg, VA.

Lot 163 1.Desch, Herb and John M. Freimuth. 1995. “The Decoy Mastery of Walter

Evans”. Decoy Magazine. Nov/Dec 1995. Burtonsville, MD. 2.Ludwig, Roger. 1977. “Evans Decoys – Manufactured by Evans Duck Decoy Company, Ladysmith, WI”. North American Decoy Magazine, No2, 1977.

Hillcrest Publications. Spanish Fork, UT. 3.Ries, Alfred E. 1964. “The Evans Decoy”. Decoy Collectors Guide. April/May/ June, 1964. Hal Sorenson Publisher. Burlington, IO. 4.Schoneich, Andy and Terry Smart. 2017. “Evans Decoys – Evans Duck Decoy, A Collector’s Comprehensive Pictorial Guide”. L&M Press. Minneapolis, MN. 5.Wojciechowski, Ed. 2002.” Evans Factory Decoys – Part 1”. Hunting and Fish-

ing Collectibles Magazine. Jan/Feb 2002. Lawsonville, NC.

Lot 174 1.Cullity, Brian. 1992. “The Songless Aviary – The World of A. E. Crowell & Son”.

Privately printed Heritage Plantation of Sandwich. Sandwich, MA. 2.Ellis, Joseph H. 2009. “Birds in Wood and Paint – American Miniature Bird Carvings and Their Carvers, 1900 – 1970”. Univ of New England Press. Hanover. MA and London.

Lot 199 1.Kangas, Gene and Linda. 2009. “The Field Decoys of John Tax”. Hunting

and Fishing Collectibles Magazine. Nov/Dec Vol 9:6. Lawsonville, NC. 2. Lodermeier, Doug. 2010. “Minnesota Duck Decoys -Yesterday’s and Today’s Folk Artist”. L&M Press. Minneapolis, MN. 3.Rucker, Lawrence. 1995. “Minnesota Memories – An Interview With John Tax Jr.”. Decoy Magazine, Jan/Feb 1995. Burtonsville, MD. 4.Tonelli, Donna. 1992. “John Tax – A Minnesota Whittler From Lake Osakis”.

Decoy Magazine, March/April 1992. Burtonsville, MD 5. 1970. “Last of The Prairie Carvers”. Privately Printed.

Lot 427 1.Hinckley, Sarah. 2019. “Haertal and Gilley: A Shared Passion for Carving” Mt Desert Islander Aug 7th (newspaper). Mt Desert, Maine.

2.Loeff, Ralph M. 1965. “Harold Haertel of the Fox River” Decoy Collectors Guide April/May/June. Hal Sorenson Pub. Burlington, IO. 3.Mackey, William J. 1965. “American Bird Decoys”. Bonanza Books. NY. 4.Saunders, Erin. 2015. “Decorative Decoys on Display in West Dundee”. Elgin Courier News, March 2. Chicago. IL. 5.Tonelli, Donna. “Carved With Line and Grace: Decoys by Harold Haertel”.

Lot 449 1.Kangas, Linda and Gene. 2010. “Connecting the Dots – Exploring the

Provenance of Elmer Crowell’s Decoys”. March/April 2010. Decoy Magazine, Lewes, DE. 2.Obrien, Stephen B and C.W. Olney. 2019. “Elmer Crowell – Father of American Bird Carving”. Privately Printed. Hingham, MA. 3. 1925. “To Good for Pros at Salem” Boston Herald, June 9. Boston, MA.

Lot 452 1.Mosher, Bob. 2004. “The Burr Family of Hingham – Did Russ Burr, the self

proclaimed “whittler” make all the decoys or was he simply carrying on in the tradition of his father Elisha?”. Decoy Magazine, May/June 2004. Lewes DE. 2. 2010. “Massachusetts Masters – Decoys, Shorebirds, and Decorative Carvings”. Ward Museum of Wildfowl Art (John Clayton exhibit curator). Privately printed. Salisbury, Maryland.

Lot 462 1.Harmon, Ted 1997. “Snipe Hunt – Identifying the Shorebirds of Melvin Gard-

ner Lawrence”. Decoy Magazine May/June. Lewes, DE. 2.Hopkins, Gwladys. 2016.“Massachusetts Masterpieces – The Decoy as Art”.

Museum of American Bird Art at Mass Audubon. Privately Printed. Massachusetts Audubon Society. Lincoln, MA. 3.Starr, George Ross Jr M.D. 1974, “Decoys of the Atlantic Flyway”. Winchester Press. New York, NY.

Lot 478 1.Barber, Joel. 1937. “Wildfowl Decoys”. Garden City Pub. Garden City, NY. Lot 524 1.Johnson, Earnestine. 1965. “Ken” Harris Decoys. Adapted from Jefferson

County Journal (Adams, N.Y.). Decoy Collectors Guide, Hal Sorenson Publisher. Burlington, IO. 2.www.wardmuseum.org/artists/ken-harris/ 3.12-30-21. Correspondence with Tom Eckart, Tom Humberstone and Eric Pitman. New York.

Collection Planning Program

Collect Today, Plan for Tomorrow While you continue to enjoy collecting today, you can rely on Guyette & Deeter to collaborate with you on your estate planning and collection management needs. Whether it’s for tax purposes, estate planning, gifting, charitable giving, or insurance, we can develop and periodically update a comprehensive written appraisal of your collection. We have extensive experience working closely with banks, attorneys, trustees, estate officers, probate court, private clients and family members responsible for the dispersal of collections as part of larger estates.

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Contact Jon or Zac to discuss our Legacy Planning Program today.

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55TH ANNUAL NORTH AMERICAN

Vintage Decoy & Sporting Collectibles Show

April 26-30, 2022

Don’t Miss the Collecting Experience of the Year!

The Westin Lombard – LOMBARD, IL –

• Room-to-Room Trading • Guyette & Deeter Auction • Ballroom Dealer Show • Elmer Crowell Seminar • Oscar Peterson Seminar • Hays Factory Decoy Display • Powder Tin/Keg Display • Jerry Cranwill Exhibit • Carver Demonstrations • Free Appraisals

Sponsored by the North American Decoy Collectors Assn.

For information on daily events, booking rooms, and reserving tables, go to nadecoycollectors.org or call 586-530-6586

2022 Clayton Decoy/Wildlife Art & Sporting Collectibles Show July 15th & 16th (Friday and Saturday) 9AM-6PM Friday, 9AM-4PM Saturday

TIDCA Display: Decoys and Carvings by Edward J. Sweet Magnum canvasbacks by Ed Sweet, Alexandria Bay, NY

TIDCA Decoy Contest - Friday, July 15th:

Ken Harris vintage diving duck decoy: pre 1970; any style or species of diving duck

Decoy by Gananoque, ON, maker: any area maker, species, or vintage

Vintage broadbill or bluebill decoy: pre 1970; any maker, style, or area

Decoy and Antique Auction - Friday, July 15th: For more information: www.timuseum.org

[ 2022 ] CHAMPIONSHIP WARD WORLD

HYBRID FESTIVAL APRIL 22-24

WARD MUSEUM OF WILDFOWL ART, SALISBURY UNIVERSITY

SALISBURY, MD

For more information visit wardmuseum.org.

SU is an Equal Opportunity/AA/Title IX university and provides reasonable accommodation given sufficient notice to the University office or staff sponsoring the event or program. For more information regarding SU’s policies and procedures, please visit www.salisbury.edu/equity

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 8% SALES TAX IN ILLINOIS. 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: Jon Deeter at (440) 610-1768, Zac Cote at (207) 321-8091, or Gary Guyette at (410) 745-0485. nd

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

OFFICE: OFFICE:

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

EMAIL

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

502

461

404

258

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