North American Decoys at Auction | April 24 & 25, 2025
Decoys and Sporting Art at Auction April 24 & 25, 2025
Featuring Session I of the Ted and Judy Harmon Collection
Harmon Collection
Lot 368 - Oliver Kemp (1887-1934), oil on canvas. 29.5” x 23.5”
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Decoys and Sporting Art at Auction
The live auction will be held at the
The Westin Chicago-Lombard
70 Yorktown Shopping Center Lombard, Illinois 60148
Held in Partnership with the North American Vintage Decoy & Sporting Collectibles Show
Wednesday, April 23, 2025
Cocktail Reception and Preview 5:00 PM - 7:00 PM
Thursday, April 24, 2025
Preview 8:00 AM - 9:30AM Auction 10:00 AM
Friday, April 25, 2025
Preview 8:00 AM - 9:30AM
Auction 10:00 AM
For questions during the auction call 410-745-0485
If you are interested in viewing a particular piece at the office, please call to be sure it will be available there at the time you plan to visit. We may also be in your area, and so a private viewing may be available. Please contact us for our schedule.
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
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 timel y 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. To participate, please contact our office ahead of time to discuss details.
■ Free appraisals are available with no obligation to consign and any correspondence is strictly confidential.
■ Pick up hours are 1pm – 5pm beginning April 30, or by appointment. Please call ahead so we can have your items ready.
Future Auctions
July 25 & 26, 2025
Decoys, Sporting Art & Americana
The Country School Easton, Maryland
September 12 & 13, 2025
Fine Sporting Arms Chesapeake Bay Maritime Museum
St. Michaels, Maryland
November 15 & 16, 2025
Decoys, Sporting Art & Americana
The Country School Easton, Maryland
In conjunction with the Easton Waterfowl Festival
Josh Loewenstein er
F ine Sporting Arms Division Head
J. Wesley Dillon
Fir earms consultant
Jon & Leigh Ann Deeter
1210 S Talbot St, Unit A
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
Graphic Designer
St. Michaels, Maryland
Tel: 410-745-0485
michael@guyetteanddeeter.com
Stormi Lind
Auction Manager
St. Michaels, Maryland
Tel: 410-745-0485
auction@guyetteanddeeter.com
Mike Roberts Shipping
St. Michaels, Maryland
Tel: 410-745-0485
Ed Kenney
Merchandise Manager & Shipping
St. Michaels, Maryland Tel: 410-745-0485
shipping@guyetteanddeeter.com
Cooper Rossner
Weekly Auction Manager
St. Michaels, Maryland
Tel: 609-560-8028
cooper@guyetteanddeeter.com
Allie Harris
Office Assistant
St. Michaels, Maryland
Tel: 410-745-0485 admin@guyetteanddeeter.com
Noah Christopher
Photography
St. Michaels, Maryland
Tel: 410-745-0485
photography@guyetteanddeeter.com
Michael Geleta Finance Manager
St. Michaels, Maryland Tel: 410-745-0485
billing@guyetteanddeeter.com
Bill Lapointe
Decoy Consultant and Essayist
Swansea, Massachusetts
Tel: 774-644-9426
Weekly Online Auctions Ending Every Thursday Night at 7pm est
Guaranteed condition reports, multiple photos,
Box turkey call, Walter Winterbottom, Eminence, Missouri. SOLD! $960
Group of yelper calls, Billy Buice. SOLD! $15,600
R.W. Loveless, Riverside, California SOLD! $3,960
Ruffed grouse, George Strunk. SOLD! $4680World record for the maker
Pair of wood ducks, David Nichols, Smiths Falls, Ontario SOLD! $7,200
Duck call, HA Mansker, St. Louis, Missouri. SOLD! $2,160
“The Eastern Shoreman” goose call, Sean Mann, Trappe, Maryland. SOLD! $7,920
The J. DEALLY fishing reel, No 10. Sold! $8,050
William “Bill” Lapointe Decoy Consultant, Essayist
William “Bill” Lapointe joined the Guyette and Deeter team in 2017. Since that time, Bill has advanced our auction catalog into a highly informative publication. Most recently, Bill authored The Ted and Judy Harmon Collection Exhibit catalog featuring Ted’s Massachusetts decoys. Because this work is so important, and comprehensive, we would like to share with you what brought Bill to this point and why we are proud to have him on our team.
Bill grew up in the rural town of Swansea, Massachusetts, where he spent many hours outdoors. He fished and hunted rabbits and waterfowl in his teenage years with his best friend, Tom, throughout Southeastern Massachusetts and Rhode Island, and even built their own duck boats.
Bill attended the University of Massachusetts, Amherst where he graduated with honors. He then went on to Yale where he graduated cum laude with a Masters in Forestry. Following his formal education, Bill was a teacher for 35 years at the Bristol County Agricultural High School where he served as Division Head for the Plant Science Department. He was the driving force in creating and curating the Bristol County Natural History Museum on the school campus, which was open to the public for tours. He took courses in museum lighting and climate control to ensure a high quality result. Bill was also a Registered Landscape Architect and operated his own design and build firm, Coastal Landscape Designs.
Bill married his wife Janet in 1973 and on their honeymoon he acquired his first decoy. That ignited a passion for decoys that continues to this day. He attended the well-known Bourne Auctions and Craigville Motel Swap and Trade on Cape Cod. In 2006, just three weeks after he retired from teaching, Bill was invited to work for Ted and Judy Harmon’s Decoys Unlimited. He remained with them until they downsized in 2017 and was immediately recruited by Guyette and Deeter.
Bill and Janet have four accomplished daughters (one a book binder, restorer/preservationist of books and historic papers, another an occupational therapist, and two school teachers). They have been blessed with eleven grandchildren. Bill instilled his love for nature and history into his family. A wall in their Swansea home was filled with bird dioramas by Arthur Peltier to teach his daughters and grandkids songbird identification. Bill and Jan enjoyed searching for stone points and other artifacts and have acquired a nice collection. Bill still found time to volunteer with the
Bristol County Ducks Unlimited Chapter and served as co-chair for many years with his decoy mentor, Tony Waring.
First and foremost, Bill has always been an outdoorsman. Some of his best times were hiking and ice climbing the White Mountain summits in New Hampshire and the mountains in Acadia, Maine. Bill enjoys fly fishing and is self-taught in tying flies.
Bill has carved miniature birds and has always loved woodworking. He collects a variety of vintage items associated with New England and the North Woods.
Those who know Bill best, know that books are his other passion. His library is full of diverse subject matter including history, the sporting life, natural history, plants, cooking, decoy references and other interests. Bill is a voracious reader who rarely leaves a decoy show without a book or two to add to his voluminous library. He never waits until he returns home to begin reading his latest find. Needless to say, Bill’s hunt for more information is unimaginable. One example was at the 2023 Midwest Decoy Collectors Show where he found a book on dueling pistols, which he used in a write up in our subsequent September 2023 fine firearms auction catalog.
Bill’s childhood, family life, professions, and interests have earned him a reputation as being unparalleled in knowledge and experience of the outdoors, history, and nature, along with his unwavering quest to continue learning. We at Guyette and Deeter are fortunate to have such an exemplary student of literature whose devotion to the sporting, outdoor and natural life allows collectors to learn from such an accomplished teacher.
Guyette and Deeter celebrates its 40th year in partnership with the North American Decoy Collectors Association.
We at Guyette and Deeter would like to thank Rick Sandstrom and the entire NADCA board for four decades of partnership between our organizations and we look forward to many more years to come. The NADCA show, the “Granddaddy of them all”, has been a must-attend for decoy and sporting collectibles enthusiasts from around the country. From room to room trading and selling, to educational seminars, carving demonstrations, vintage decoy competitions, and of course a major two-day decoy and sporting art auction, the NADCA show offers a magnitude of opportunity to those who make the pilgrimage every April. We at Guyette and Deeter work tirelessly to offer collections that have possibly been away for decades or maybe never offered before, and we feel that our annual April auction in conjunction with the NADCA show is the perfect venue to do so. Over the last four decades Guyette and Deeter has presented and sold many storied collections at this show. 2025 is no exception, and we are proud to be offering decoys, sporting art, and folk art, from many important long-time collections. Many of these items have never been offered for public sale before, once again making the NADCA show a must attend for new and old collectors alike.
This year’s auction features decoys and sporting art from the collections of:
Ted and Judy Harmon
Jim and Patti Aikin
Peter and Diana Bennett
Len Carnaghi
Dave Fannon
Gene and Linda Kangas
Tom Karras
James and Lyda Madden
Al Marzorini
Mike and Ginger Raffia
Jim Richards
Don and Mary Elizabeth Snyder
On behalf of Jon Deeter, Zac Cote, and the entire Guyette and Deeter crew, we look forward to seeing all of you in Lombard, Illinois and celebrating in our shared passion.
Session One
Thursday, April 24, 2025
10:00 am
Lots 1 - 298
Session Two
Friday, April 25, 2025
10:00 am
Lots 299 - 618 Please read conditions
The Ted and Judy Harmon Collection
Massachusetts native and lifelong resident Ted Harmon began collecting old waterfowl decoys after finding a derelict old Mason Factory decoy on a hunting trip to the Great Marshes of Barnstable as a young man. That chance discovery sparked a passion for carved wooden decoys that Ted and his wife Judy would build a life around.
By 1970 Ted had already begun traversing his native Bay State, buying, selling, and trading decoys. His collecting bug would take him to decoy shows and auctions around the country where he got to know and deal with collectors from other states. Judy Harmon recounts that she knew Ted had the bug when, with two babies in diapers, she asked Ted to go to Sears and buy a clothes dryer with a new credit card they had received. When Ted returned home, he did not have a dryer but instead had bought two large boxes of decoys for resale at the local Richard Bourne auction. He did eventually sell those decoys for profit and bought Judy the clothes dryer.
In 1986 Ted and Judy, along with auctioneer Donald Moore of Delaware, held their first decoy auction leading up to the Easton Waterfowl Festival in Easton,
Maryland. The partnership of Harmon and Moore did not last but Ted and Judy would go on to found and operate Decoys Unlimited, their own auction firm, for over 30 years. The auction company’s summer sales on Cape Cod were attended by collectors from around the country who would be treated to an annual lobster bake and an excellent offering of collectible decoys.
Over the years, the Harmon’s personal collection steadily grew into the most comprehensive grouping of decoys from Massachusetts that has ever been assembled. From Newburyport and the North Shore, through Cape Cod and the Islands, down to Westport and the South Coast, examples by many of the most sought-after carvers are represented in the Harmon collection. The histories of the decoys and the men who carved them, the rigs they were made for, or hunting stands they were used at, was always as important to Ted as the condition.
Though some decoys and shorebirds from the Harmon’s collection were periodically included in museum exhibits, various collector club displays, and decoy reference books over the years, the collection as a whole was never displayed together. The Harmon’s lived in the same Cape style home for 52 years and never had adequate space to display such a large collection. Many stories abound about Ted’s safe deposit boxes and bank vaults that housed many of the Harmon’s best birds. Those stories are true.
When Judy and family began talks with Guyette and Deeter about offering the Harmon collection at auction, a public exhibition of the collection along with a printed exhibition catalog was a must. Rather than offering the collection in different auctions and only seeing a bit of the collection at a time, it was imperative to display the whole collection at once to really appreciate the scope of Ted’s life work. After many phone calls and emails to the different museums, starting in Massachusetts and working out from there, and faced with equal amounts of responses in the negative, Mike Tarquini, president of the Havre de Grace Decoy Museum in Havre de Grace, Maryland, said “absolutely we can dedicate that amount of space in that timeframe.” “The museum has been outstanding to work with and with such great leadership, we know there are many wonderful things to come for that institution,” says Jon Deeter.
The Ted and Judy Harmon collection was displayed together for the first time anywhere, at the Havre de Grace Decoy Museum from September of 2024 until
May of 2025. The corresponding exhibition book, produced by Bill Lapointe and Mike Stevenson of Guyette and Deeter, is one of the most comprehensive histories of water fowling in Massachusetts and the carvers and decoys from that state ever published.
Guyette and Deeter is honored to have been chosen to offer the lifetime collection of Ted and Judy Harmon. Session I of the Harmon collection will be offered at Guyette and Deeter’s April 24th and 25th auction, held in conjunction with the National Decoy Collectors Association Show, at the Westin Lombard in Lombard, Illinois.
Highlights of the sale include an excellent selection of rare and important decoys and shorebirds by Elmer Crowell of East Harwich, as well as exquisite shorebirds by Melvin Gardner Lawrence, Elisha Burr, and Lothrop Holmes. Decoys by other Massachusetts carvers including Keyes Chadwick, Charles Hart, Joseph Lincoln, and James Look are also included in the first offering of the Harmon Collection.
Scan to view the Harmon Exhibit Catalog Harmon Collection
Session One • Thursday, April 24, 2025 • 10:00am
The Ted and Judy Harmon Collection
The Wood Duck in Massachusetts
Arguably one of the most beautiful of all the waterfowl species, the “woody” also has the distinction of being one of the very few of its kind to nest in tree cavities. Its preferred habitat is freshwater swamps or waterways where it feeds, primarily, on seeds, nuts and other forest mast. Unfortunately, it is these three very things that, by the late 1800’s, had led the bird dangerously close to the edge of extinction.
The birds’ diet made them highly desirable as table fare and their colorful plumage made them attractive to the natural history collector, millinery agent, and those seeking the finest in fly tying materials. As one author so aptly noted, however, it was not merely shot and powder that led to their demise.
When Massachusetts was first settled, the colonists faced a land that was approximately 90% forested. This was viewed as both a blessing and a curse. The wood was a valuable commodity to be sent back to Europe and, locally, was a welcome source of fuel and building material. The Native American form of agriculture, however, was not suited to European farming practices and, almost immediately after settlement, land clearing began with the forest being cut and burned. This deforestation continued unabated to the point where, about 1880, 70% of the land statewide had been cleared, with some towns seeing a 90% or more reduction in forest cover. Similarly, many of the local red maple and Atlantic cedar swamps were easily drained and this gave the colonists access to additional farmlands. Needless to say, this
Dr. John Henry Cunningham 1877 – 1960 | Brookline and Wareham, MA.
PHYSICIAN - SPORTSMAN
Massachusetts has a long history of fish and game laws dating back to the colonial period, and the birds’ decline did not go unnoticed in Boston. In 1865, the State’s “Commis sioners on Fisheries” passed a law “prohibiting the killing or sale of wood ducks be tween April 15th and Sep tember 1st”. By 1906, the decline of the wood duck had become so great that the (now named) “Commissioners of Fisheries and Game” chose to eliminate the season on the birds entirely until 1911, later extending the closure to 1916. All spring shooting nationwide was outlawed in 1913 and, in 1918, the Migratory Bird Treaty Act closed the season on wood ducks across the country until 1941, with Massachusetts going even further, closing the season until 1951. Slowly, the wood duck began to recover.
By the end of the 19th Century, the Cunningham’s were one of Boston’s oldest, wealthiest, and most influential families. Their fortune was hard earned, beginning when the patriarch arrived in the city and operated, among other businesses, large, successful ironworks and a fleet of clipper ships transporting goods to and from Boston and beyond.
In 1932, the beaver, once extripated from Massachusetts, was reintroduced into some western counties. Their population thrived with the added, but probably unexpected, benefit of providing some ideal wood duck habitat. On a negative note, the widely devasting 1938 hurricane blew down literally millions and millions of trees that had begun to regrow throughout New England, just as they were beginning to reach a size suitable for adequate nesting cavities. Beginning in 1925, the State ornithologist was recommending the installation of artificial nest boxes “to mimic natural tree cavities”. This was eventually attempted by the state on a trial basis in 1943 and greatly expanded upon between the years 1949 and 1953 when approximately 7500 nest boxes were erected statewide by both the (now named) “Division of Fish and Game”, as well as private sportsman’s clubs and concerned individuals.
With the government’s protection, and the bird’s ready acceptance of the nest boxes, today, the return of the wood duck is considered one of the major wildlife management success stories of the 20th and 21st centuries.
When John Cunningham was only 13, his father gave him a small book titled “Athletics and Manly Sports”. While focused primarily on boxing, it must have made a lasting impression on the young man. By 1884, at age 16 he had become extremely interested in hunting and fishing, and family photos picture him with childhood friend John C Phillips (1876 – 1938), shooting at a back country lodge at Lac (Lake) Megantic in Canada. This early interest in the outdoors would only intensify in Cunningham throughout his life. Likewise, his association with Phillips progressively became stronger and the two remained very close friends for many years. While both men were at Harvard studying medicine, they would continue to hunt and fish together at numerous locations throughout New England, especially on Cape Cod. When Cunningham wed Theresa Van Den Heuvel in 1914, Phillips was his best man. Cunningham family maintained a summer home in Wareham, MA at the head of Buzzards Bay where he was also a founding member of the Tihonet Club. His father had named the retreat “Sandham” after the family’s ancestral home in Scotland. Here, John would often fly fish at the Agawam River. Early photos depict him in the stream c1899 and, as an older man, he returned to the exact spot on the river to replicate the scene about 40 years later c1939. His interest in fishing was not confined to trout and he became a member of the prestigious Cuttyhunk (Island) Bass Club, and he and Phillips would occasionally shoot there as well.
Barnstable Great Marsh, 1896
At the age of 23, Cunningham first met Anthony Elmer Crowell while the two gunned at Phillips’ shooting stand at Wenham Lake in Beverly, MA. Crowell remained with Phillips as his head gunner from 1900 through 1905 and Cunningham and Phillips would continue to gun together at Wenham from 1900 through at least 1918. The friendship between Cunningham and Crowell would last a lifetime. In 1947, even as a man of advanced age and now seldom carving, Crowell would often write Cunningham, referring to him as “My Dear Doc” and reminiscing on their friendship with comments such as “How often I think of the good times we had in the day gone by. (No) one can take them from us now”.
Both Cunningham and Phillips became staunch patrons of Crowell and both would purchase, or be gifted, some of Elmer’s very finest carvings. They, in turn, would refer their m affluent friends to the Cape Cod artist and were instrumental in propelling Crowell on his well-earned path to becoming the Father of American Bird Carving.
All images courtesy the Cunningham family and Heritage Museums and Gardens
1 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Outstanding wood duck drake from the collection of Dr. John Cunningham, as indicated by the three small holes drilled into the underside. Extended crest, raised crossed wingtips, and relief tail feather carving. Beautiful paint detail. Maker’s oval brand on the underside, also identified in pencil. This is the exact decoy used on the 2004 Massachusetts Waterfowl Stamp. Measures 13.25” long. Original paint with almost no wear; some rubs on edge of tail; professional repair to a crack through the neck and a tiny paint flake was touched up on one side of the bill tip.
Provenance: Ted and Judy Harmon collection.
Literature: “The Songless Aviary” by Brian Cullity, page 50 and 67, exact decoy pictured. “American Decoy: The Invention”, Peoria Riverfront Museum Exhibition book, page 53 , exact decoy pictured.
(175,000 - 225,000)
James “Jim” Look
1862 – 1926 | West Tisbury, Massachusetts
Jim Look was born in Holmes Hole (now Vineyard Haven), on the north shore of Martha’s Vineyard. His father was a prosperous farmer, and Jim followed in his footsteps. By 1885, at age 23, he had moved to Chilmark on the opposite end of the Island where, working as a farmer, he wed 19-year-old local girl Prudence (“Prudie”) L Reed. Sadly, in 1888, they lost their 7-month-old daughter, Eliza, to meningitis and they would have no other children. By the turn of the century, the couple were living in West Tisbury with Jim working as a farm overseer. They must have been rather successful, for they employed at least one “servant”. Their property, directly on Tisbury Great Pond, was quite large, being bounded by Short Cove to the east and Pear Tree Cove to the west. Period photos of the farm depict a tidy setting with large numbers of sheep, goats and chickens. For approximately the next 20 years, Jim worked as a fisherman in the salt ponds, seining herring, perch, eels and bottom fish. What was well known on the Island, but not recorded in any formal record, was the fact that Look was also a very accomplished boat builder, and a number of very fine craft left his small shop on the shore of Tiah’s Cove.
Jim had always been an enthusiastic and accomplished hunter. In his later years, he turned this pastime into a very profitable sideline when, in addition to his own property, he leased adjoining lands and opened his home to visiting sport hunters. The guests were housed and fed in his spacious home and, in addition to his multiple individual blinds, he maintained one large gunning stand directly on the Great Pond. He and a manager, George Magnuson, maintained a sizable flock of tame geese for use as “flyers” and as members of the “beach team” at the stand. This was quite the involved operation, complete with an elevated watch tower to spot incoming flocks at a distance and pens for the flyers, the opening of which being triggered by the flick of an electric switch
at the stand. As noted in Murphy’s “Martha’s Vineyard Decoys”, an article at the time of his death reported “- - - he became one of the most skillful wild-fowlers that the Island ever had, and, it has been said of him that nowhere in the State could a man be found that was his equal at this sport” .
He is said to have used up to 600 wooden decoys at his blinds and stand but only about 200 of these were of his hand, the remainder often being primarily factory decoys supplied or gifted by the visiting hunters. The vast majority of his own decoys are for bluebills or redheads with other species being considered very rare or singular examples. His birds are usually in several coats of paint by Look since the species of the migrating fowl would often fluctuate with the years. Birds that were bluebills one year would become redheads the next, as the need arose.
The Look reputation on the Vineyard did not rest solely on Jim. In 1921, his wife, “Prudie”, along with eight other women, established the “Martha’s Vineyard Hospital Founding Auxiliary”. Prudence raised enough money to outfit the hospital and supplied bedding, hospital gowns, baby clothes, diapers, a clock for the operating room and kitchen equipment.
Today, the original Look farm is a part of the “Short Cove Preserve” and is under a conservation easement. We think Jim would have liked it this way.
Look Farm
Look property from Great Pond
Jim Look
2 James Look (1862-1926), Martha’s Vineyard, Massachusetts. Very rare and important canvasback. Solid body with slightly turned head and carved eyes. Measures 17.75” long. Original paint with very minor wear; crack through neck that has been tightened with three nails and filler added above nail holes; two tiny chips at back of neck seat; some minor roughness on edge of tail has been darkened.
Provenance: Ted and Judy Harmon collection.
Literature: “Massachusetts Masters – Decoys, Shorebirds, and Decoratives” curated by John Clayton, Ward Museum of Wildfowl Art, page 107, exact decoy pictured. (10,000 - 15,000)
3 Charles Hart (1862-1960), Gloucester, Massachusetts. Near mint greenwing teal drake with relief wing carving and incised tail carving. Never rigged or weighted. Measures 10.75” long. Excellent original paint with a few tiny rubs; small amount of old glue visible under UV light at neck seat.
Provenance: Ted and Judy Harmon collection.
Literature: “Massachusetts Masters – Decoys, Shorebirds, and Decoratives” curated by John Clayton, Ward Museum of Wildfowl Art, page 14, exact decoy pictured. (5,000 - 8,000)
4 Joseph Lincoln (1859-1938), Accord, Massachusetts. Merganser hen with extended crest. Branded “C.F. Spear” on the underside. Measures 18” long. Original paint with minor wear; surface has darkened slightly with age; moderate paint shrinkage and crazing throughout; typical drying split in the underside; x-ray shows a tiny screw on underside of bill tip to secure an unnoticeable hairline crack in tip of bill.
Provenance: Ted and Judy Harmon collection.
(15,000 - 25,000)
Elmer Crowell (1862 – 1952) began carving about 1876 when, at age 14, he made nine decoys for use on his father’s property on Pleasant Lake. Soon his work became more widely recognized and he began to carve a few rigs for others. With time and effort, the quality of the carving improved immensely, and, by the turn of the century, he was approaching the peak of his creative greatness. Although a cranberry grower by trade, he had been selling decoys for some time but, by 1905, he mused “Why not make some good ones and charge accordingly” . What resulted were some of the very finest black ducks he ever created and, arguably, some of the most extraordinary working decoys ever carved anywhere in North America. Only an extremely limited number of these exceptional (so-called) “chip carved” rigs ever left his shop. The term “chip carved” has been used by collectors when referencing a series of design traits on the birds, in particular, the plumage texture beneath the tails, which Crowell highlighted by purposely leaving visible, numerous, small, knife marks in that area. In addition, each decoy featured what would become Elmer’s trademark crossed wing tips, a design feature
very ill repair), and some students of Crowell have estimated that no more than five or six groups in this style, possibly even fewer, were ever made. These rigs were comprised of only a small number of birds, perhaps less than six, and each member of the group was designed to be in a different life like pose from its mates, with a few of the more elaborate examples boasting elevated wings. All sported better quality glass eyes than what Crowell had been using and, finally, each received his finest wet on wet blended paint. The labor involved in
Elmer Crowell’s “Chip Carved Black Ducks”
CRANBERRY HARVEST, HARWICH
5 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Early preening black duck with raised, crossed wingtips and relief tail feather carving. Feather gouging under tail area. Measures 16.5” long. Original paint with minor wear; hairline cracks along the wood grain on back; small nails added to each edge of tail to secure tight drying cracks; very minor flaking to filler at neck seat.
Provenance: Ted and Judy Harmon collection. (120,000 - 180,000)
Henry Keyes Chadwick
1865 – 1958 | Oak Bluffs, Massachusetts
Remarkably, one of the Island’s most famous decoy carvers did not consider this gift noteworthy and certainly not his greatest accomplishment. Rather, his first love was raising poultry.
In Chadwick’s day, the production of chickens was a necessity for meat and eggs, and poultry farms were a common sight throughout the region. Similarly, the raising of “fancy fowl” was a widespread popular hobby and business. After high school on the Island, Keyes attended New York State Agricultural College and returned to the Vineyard to begin his own flock. In 1893, he wed local Chilmark girl, Lydia Stephen Pease, while he worked in Oak Bluffs as a carpenter. He was always fond of chickens. About 1904, his dream seemed to be fulfilled when he was hired by the large Owen Poultry farm at Lamberts Cove in West Tisbury. Unfortunately, his efforts in this regard did not prove sufficiently lucrative and, other than a brief period around 1910 when he worked as a fisherman, for most of his life he relied on his skill as a carpenter and his ability to execute fine Spenserian penmanship to support his family. By 1940, at the age of 75, he was transitioning into retirement, and he listed his occupation as farmer, presumably with a few of his beloved chickens.
He made his first decoys about 1881 when he was sixteen. When he started to sell his wares, his early work showed the strong influence of his neighbor Ben Smith (1866 – 1946) however, being the perfectionist he was, Chadwick was constantly adapting his patterns to im -
prove the final product. It is estimated that his lifetime production numbered about 2000 pieces, but he may have done more. He and Lydia lived practically their entire wedded lives on Circuit Avenue, just on the outskirts of the religious “cottage city” and very near the ferry landing. His shop was in the basement of his home and when the weather permitted, he would carve under a grapevine in his rear yard.
Chadwick, like so many of the Vineyard men, did some waterfowl hunting but he much preferred following his small pack of beagles in pursuit of the abundant rabbits on the Island. Ham Luce (1905 –1998) hunted rabbits and fished with Chadwick and, like so many others who knew him, remembers him as saying: “ You know – I never wanted to be known as a master carver, I was an expert poultryman” . He and his wife had no children, and they are buried in her childhood town of West Tisbury.
Chadwick c1950
6 Keyes Chadwick (1865-1958), Oaks Bluff, Massachusetts. Outstanding red-breasted merganser with long body and slightly turned head. Measures 19.75” long. Original paint with minor flaking and wear; fine hairline cracks in body; a few shallow dents; short hairline crack on front of neck seat.
Provenance: Ted and Judy Harmon collection.
Literature: “Massachusetts Masterpieces – The Decoys as Art” by Gwladys Hopkins, Museum of American Bird Art, page 36-37, exact decoy pictured. “Great Book of Wildfowl Decoys”, Joe Engers, editor, page 61, exact decoy pictured. (15,000 - 25,000)
7 Joseph Lincoln (1859-1938), Accord, Massachusetts. Excellent immature scoter with tack eyes and original rigging. Only a few of this style are known to exist. Measures 16.25” long. Original paint with very minor wear; a few shot strikes; typical drying crack along the underside.
Provenance: Ted and Judy Harmon collection.
Literature: “Joseph W. Lincoln” by Cap Vinal, page 47, exact decoy pictured. (15,000 - 25,000)
8 Joseph Lincoln (1859-1938), Accord, Massachusetts. Classic self bailing brant. This is the exact decoy pictured on the 1989 Massachusetts waterfowl stamp. Measures 18.75” long. Original paint with minor wear; small dents and shot marks; small chip on one edge of tail.
Provenance: Ted and Judy Harmon collection.
Literature: “Great Book of Wildfowl Decoys”, Joe Engers, editor, page 51, exact decoy pictured. (6,000 - 8,000)
Few in the world of waterfowling have wider name recognition than Dr. Phillips. Born into wealth as a member of Boston society, he attended Harvard and received his medical degree from there in 1904, but never practiced medicine professionally. Instead, he enjoyed a leisurely sporting life, hunting and fishing with similarly minded affluent sportsmen at numerous locations throughout New England and beyond. He is well known for his numerous publications that document many of these exploits. He is probably best known for his love of “stand gunning”, not only at his own property at Wenham Lake but at numerous other locations statewide. Understandably, a review of the records clearly indicates that few shorebirds were actually shot at these stands. Beginning in his college years, however, he frequented the shorefront and marshes of Cape Cod, the Islands, and the north shore in active pursuit of shorebirds. It is the opinion of many that it was on one or more of these trips that he acquired the wonderfully carved decoys that, although by an unknown hand, are now collectively known as the “Phillips rig” birds. A rigmate to this very decoy sold in July of 1997 by Guyette and Schmidt for $335,500, establishing a world record for any decoy.
10 Unknown carver, North Shore, Massachusetts, last quarter 19th century. Important running yellowlegs from the rig of Dr. John C. Phillips. With relief wing and split tail carving. Carrying hole drilled in tail. Measures 12.75” long. Original paint with very minor flaking and wear; a few shallow dents; two dents in one side were filled and touched up; old repair to a chip in the tip of the bill.
Provenance: Ted and Judy Harmon collection. (25,000 - 35,000)
Dr. John C Phillips (1876 – 1938) Beverly, MA.
Unknown maker, North Shore, Massachusetts, last quarter 19th century. Very rare and important long billed curlew from the rig of Dr. John C. Phillips. Deep relief wing carving with raised separated wingtips. Carrying hole drilled through tail. A rigmate to this shorebird was sold at the Dr. James McCleery collection auction, Sotheby’s/Guyette & Schmidt, January 2000, lot 305. Measures 13.75” long. Original paint with very minor wear; lightly hit by shot; one raised wingtip is a professional replacement; bill appears original.
Provenance: Ted and Judy Harmon collection.
(60,000 - 90,000)
12 Unknown maker, North Shore, Massachusetts, last quarter 19th century. Rare feeding yellowlegs with relief wing carving from the rig of Dr. John C. Phillips. So called “minnow in throat” style. Measures 11.5” long. Original paint with very minor wear; hit by shot in one side; tiny chip and wear near stick hole; bill is a professional replacement with filler and touchup where bill meets face.
Provenance: Ted and Judy Harmon collection. (8,000 - 12,000)
13 Melvin Gardner Lawrence (18801930), Revere, Massachusetts. Excellent running willet with split tail carving and glass eyes. Measures 14” long. Original paint with minor gunning wear; area of feather detail has worn down to the white base coat on one side of breast; excellent structurally.
Provenance: Ted and Judy Harmon collection. (15,000 - 20,000)
14
Melvin Gardner Lawrence (1880-1930), Revere, Massachusetts. Extremely rare sleeping peep with split tail carving and glass eyes. Measures 5.25” long. Original paint with minor wear; some flaking on tip of tail; very shallow chip near stick hole on underside.
Provenance: Ted and Judy Harmon collection. (30,000 - 40,000)
15 Melvin Gardner Lawrence (18801930), Revere, Massachusetts.
Running plover in winter plumage. Relief wing and split tail carving. Measures 10” long. Original paint under an early coat of varnish that has darkened with age; hit by shot in one side; some faint spots of feather detail added to back at some point.
Provenance: Ted and Judy Harmon collection. (12,000 - 18,000)
16 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Rare widgeon drake with slightly turned, up-looking head. Maker’s oval brand on the underside. Measures 14.5” long. Original paint with very minor wear; surface has darkened slightly with age; one side of bill with a professional chip repair; hairline crack in one side of neck seat with small amount of touchup; small flake from filler at neck seat; brand was mostly gouged out at some point; drying crack along the underside.
Provenance: Ted and Judy Harmon collection.
Literature: “The Songless Aviary” by Brian Cullity, page 67, exact decoy pictured. “American Decoy: The Invention”, Peoria Riverfront Museum Exhibition book, page 53, exact decoy pictured. (30,000 - 50,000)
17
A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Early bluebill drake with slightly turned head and raised, crossed wingtips. Relief tail feather carving. Maker’s oval brand on the underside. Measures 14.25” long. Original paint with minor wear; old dent on one edge of tail; one side of neck with a tight crack repair; area of touchup on top of bill; tiny spots of touchup to flaking on top of head.
Provenance: Ted and Judy Harmon collection.
Literature: “American Decoy: The Invention”, Peoria Riverfront Museum Exhibition book, page 48, exact decoy pictured. (25,000 - 35,000)
18 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Very rare and important carved wing peep with slightly turned head and tack eyes. Extra relief feather carving on back, not usually seen on Crowell shorebirds. Measures 5.75” long. Original paint with minor gunning wear; small chip at wingtip; hairline drying crack extending from one eye; long chip at back of stick hole was filled and touched up; two small holes in underside where wire legs were added at some point have been filled and touched up; tight crack in neck was reset with thin line of touchup.
Provenance: Ted and Judy Harmon collection.
Literature: “The Songless Aviary” by Brian Cullity, page 49 and 58, exact shorebird pictured. “American Decoy: The Invention”, Peoria Riverfront Museum Exhibition book, page 56, exact decoy pictured. (40,000 - 60,000)
19 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Early turned head yellowlegs with relief wingtip and tail feather carving. Measures 11” long. Original paint with moderate flaking; slight separation at neck seat; otherwise very good structurally.
Provenance: Ted and Judy Harmon collection.
Literature: “The Songless Aviary” by Brian Cullity, page 60, one of a pair pictured. “American Decoy: The Invention”, Peoria Riverfront Museum Exhibition book, page 56, exact decoy pictured. (15,000 - 25,000)
Lothrop Turner Holmes
1824 – 1899 | Kingston, Massachusetts
Lothrop Holmes holds two very important distinctions. He is the earliest, well documented carver from Massachusetts and, he produced some of the most coveted decoys ever carved on the south shore. His mergansers are universally acclaimed as representing the finest examples of their kind from any region and, likewise, his canvas covered oldsquaws (long-tailed ducks) are recognized icons of design, utilizing this unique type of construction.
He was a simple, untrained, hardworking, individual from the rural seaside community of Kingston. The Holmes name is an early one in Town records. Originally known as the north section of Plymouth (of Mayflower fame), a petition was signed to have it cut off as a separate Town, which occurred in 1726. Two of the signers were Isaac and Joseph Holmes. In Lothrop’s time, the area was still steeped in the sights and memories of it’s early Pilgrim fathers.
Lothrop Holmes was born in Plympton, MA, about eight miles from coastal Kingston. As a young man, he worked in the local iron foundries. He married Elizabeth Howland Hunter in 1848 and, in 1854, the couple bought a small “half Cape” house on Main St. in Kingston. Their time here was brief and, in 1855, the couple moved to Providence, Rhode Island where Holmes spent the next decade living in the city and working in the nearby Phenix Iron Foundry. In 1870, Holmes’s mother died, and he inherited the 115-acre homestead farm in Plymouth. Over the years, the couple had four children, but all died young. With no children to inherit the family farm, the property was sold, and Holmes and his wife returned to the small Cape in Kingston. The property was located on Main St, adjacent to the Evergreen Cemetery and, at age sixty-two, Holmes was appointed to the position of trustee there. He served in that capacity for the next nine years and for one year (1893) he served as Evergreen’s superintendent. The house was within comfortable walking
distance to the Jones River, which bisects the Town. This gave Holmes ready access to the nearby marshes and tidal flats as well as an easy route to nearby Kingston Bay and its abundant waterfowl.
Holmes appears to have favored hunting sea ducks (mergansers, scoters, and old squaws) in the fall and winter and shooting a wide variety of shorebirds in the spring and late summer months. Yellowlegs, plovers, ruddy turnstones, and a plethora of other species would have been drawn to the prime habitats around late colonial Kingston. These would have been inviting targets, needing only the most rudimentary of decoys. Holmes, however, had a deep-seated artistic urge that compelled him to go far beyond what would have been necessary to merely attract the gullible birds. Surely, shorebirds were carved by others prior to Holmes, but it was he who elevated the form to its pinnacle. His paint was exceptional, and his smooth, flowing, designs resulted in a decoy far above the norm of the day. Most of his birds were carved in the traditional upright, standing pose. A very small fraction, however, were presented in a feeding or running posture which would have lent a remarkable sense of realism to the rig. These feeders must be considered among his best, as well as rarest, shorebird carvings. His exceptional shorebird decoys set the standard by which future Bay State carvers would be judged.
20
Lothrop Holmes (1824-1899), Kingston, Massachusetts. Very rare and important long-tail duck drake. Canvas over wood frame with wooden bottom board and tail. This is the exact decoy pictured on the 1980 Massachusetts Waterfowl Stamp. Measures 12.75” long. Original paint with moderate gunning wear; small dent in one side of head; minor chipping at tip of tail; some of the black appears to be a very early thin second coat.
Provenance: Ted and Judy Harmon collection. (60,000 - 90,000)
Rare photo of Lothrop Holmes.
21
George Boyd (1873-1941), Seabrook, New Hampshire. Extremely rare full-size green wing teal with extended crest and shoe button eyes. One of only two known to exist. Measures 11.5” long. Original paint with significant fine crazing over the entire decoy; tiny dent in back, otherwise excellent structurally.
Provenance: Ted and Judy Harmon collection.
Literature: “Finely Carved and Nicely Painted” by Jim Cullen, page 40, exact decoy pictured. (15,000 - 25,000)
22 George Boyd (1873-1941), Seabrook, New Hampshire. Canvas over wood slat Canada goose. 1” bottom board and tack eyes. Measures 26.25” long. Original paint with minor wear; an early coat of varnish has darkened with age; knot visible in breast; fine hairline crack around bill; gray paint on underside added at a later date.
Provenance: Ted and Judy Harmon collection. (5,000 - 8,000)
23
George Boyd (1873-1941), Seabrook, New Hampshire. Black bellied plover with split tail carving and shoe button eyes. Measures 11.25” long. Original paint with a few minor rubs; small amount of flaking on wingtip and hardwood bill; a second stick hole was drilled in the underside at some point.
Provenance: Ted and Judy Harmon collection. (5,000 - 8,000)
25 George Boyd (1873-1941), Seabrook, New Hampshire. Yellowlegs with split tail carving and shoe button eyes. Measures 11” long. Original paint with scattered rubs; some flaking on one side of bill; loss to filler above wooden dowel on top of head; small spot of black paint on one side of breast.
Provenance: Ted and Judy Harmon collection. (4,000 - 6,000)
24 George Boyd (1873-1941), Seabrook, New Hampshire. Black bellied plover in winter plumage with split tail carving and shoe button eyes. Measures 11.25” long. Original paint with very minor wear; slight discoloration to wood grain on breast; scattered discoloration marks on underside; tiny blunt and chip at tip of split tail.
Provenance: Ted and Judy Harmon collection. (5,000 - 8,000)
There is little argument that the vast majority of the finest ei der decoys ever made originated from the rocky coast of Maine. Almost universally, t hese were small, singular rigs that were simply passed down through the family until they had outlived their sporting life. Proud and frugal, the maker of this classic eide r chose a bold, rugged design that demonstrates his intimate knowledge of the birds th emselves. Few by this maker are known. Two are in the Donal O’Brien collection, one w as in the Dan Graff collection and the Harmon’s originally owned two examples, one of which was reportedly sold to Dr James McCleery. There was also at least one hen, but its location today is unknown. These six examples may have comprised the ent ire rig when it was originally carved. Fred Anderson once told Ted Harmon that he t hought Gus Wilson may have made the group as a special order for a Maine lighthou se keeper.
1977 Decoy Collectors Guide
Ted Harmon collection
26
Important oversized eider from Maine, circa 1900. Open bill clutching a carved mussel. Inlayed neck seat, carved eyes, and relief bill carving. “T” carved in the underside. From a rig of eiders purportedly made by Wilson as a special order. Fred Anderson and Ted Harmon always believed these eiders were carved by Wilson. The head, bill, and mussel carving are nearly identical to rocking head black ducks will mussels known to have been made by Wilson. Measures 21.5” long, 11.75 wide. Black areas are original with minor wear; old second coat to the white that has crazed; minor flaking on back; tight drying cracks in body; cracks and roughness in neck; rust staining from nails in neck area; some separation to body seam; small chip in bottom part of bill; repaired chip in top part of bill.
Provenance: Ted and Judy Harmon collection.
Literature: “Decoys” by Gene and Linda Kangas, page 168, rigmates pictured. “Bird Decoys of North America” by Robert Shaw, page 65, rigmates pictured. (40,000 - 60,000)
In the 1970’s, Ted Harmon became aware of a small rig of Elmer Crowell’s highly sought after chip carved black ducks, rumored to be located somewhere on the outer Cape. With persistance, he was able to track down decendants of Walter Mayo, the original owner of the decoys. Ultimately, he and Judy would own three members of the Mayo rig.
Walter Howard Mayo (1872 – 1951) East Orleans, Massachusetts
“Cape Cod at the turn of the century was a far different place than it is today. There were no paved roads, barely any electricity, no shopping centers, and possibly the most successful business on the entire Cape was a farm. Not just an ordinary farm, a duck farm (“A Duck Farm in Orleans You Never Knew About”).
As a young man, Walter worked briefly as a clerk at the local Cu mmings –Howes store in Orleans. In 1895, seeking a different career pat h, he began his fledgling poultry venture with a capital of 50 cents which h e used to purchase a dozen duck eggs. These, along with a few chickens, w ere raised on an old asparagus field across the street from his pare nts’ farm. The first few years were difficult but, by 1901, he made his way to B oston with 3000 ducks for sale and the business began to grow, becoming ex tremely prosperous. By 1905, his operation was one of the largest busin esses on the outer Cape and, by 1915, Walter had earned the title of “Duck King of New England” raising over 50,000 birds per year on his 54-acre property. Ultimately the farm would employ up to 28 workmen annually and would produce over 350,000 chicks and over 75,000 mature ducks per se ason for sale throughout New England and the Delmarva region of the mid Atlantic.
Walter’s farm was situated adjacent to the Nauset marshes, and it was here that we can safely assume that, probably shooting purely f or sport, his prized rig of Crowell decoys was deployed with care briefly each season. Most of these marshes are, today, protected as part of the Cape Cod National Seashore.
WALTER & BERTHA MAYO
MAYO’S DUCK FARM, ORLEANS
27 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Early tucked head black duck with raised, crossed wing tips and relief tail feather carving. Feather gouging on tail area. This decoy is the exact Elmer Crowell black duck pictured on the 2001 Massachusetts waterfowl stamp. Measures 17” long. Original paint with minor to moderate wear under a thin coat of varnish that has flaked in areas; minor roughness on edge of tail; tight drying crack along one side was filled and touched up at some point; larger crack in the other side with two old nails added to secure; flaking to filler at neck seat; restoration to a chip in the tip of the bill.
Provenance: Ted and Judy Harmon collection.
Literature: “American Decoy: The Invention”, Peoria Riverfront Museum Exhibition book, page 43, exact decoy pictured. (35,000 - 45,000)
28 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Rigmate pair of swimming mergansers with relief tail carving and painted tack eyes. Maker’s oval brand on the undersides. Measure 20” long. Original paint with minor wear; paint rub along the top of hen’s bill; minor flaking on top and one side of drake’s head; thin line of touchup to a hairline crack in drake’s neck.
Provenance: Alan and Elaine Haid collection. Guyette and Schmidt, April 2006. Ted and Judy Harmon collection.
Literature: “American Decoy: The Invention”, Peoria Riverfront Museum Exhibition book, page 46-47, exact decoys pictured. (50,000 - 70,000)
A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Canada goose with reared back head and extensive feather rasping on head, neck, and breast. Maker’s oval brand on the underside. Measures 23” long. Original paint with very minor wear; flaking to filler at neck seat, with some filler replaced on one side; large drying split along the underside that extends up tail and breast.
Provenance: Ted and Judy Harmon collection.
Literature: “American Decoy: The Invention”, Peoria Riverfront Museum Exhibition book, page 54, exact decoy pictured.
(25,000 - 35,000)
30 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Rare special order goldeneye hen. Hollow carved with .25” bottom board. Slightly turned head and deep relief crossed wingtip carving. From the Stanley rig, with compass brand on the underside. Measures 14” long. Original paint with minor gunning wear; lightly hit by shot; minor blunting on tip of bill; split in bottom board that was secured with four old screws; minor separation near bottom board at breast.
Provenance: Ted and Judy Harmon collection. (8,000 - 12,000)
31 Keyes Chadwick (1865-1958), Oaks Bluff, Massachusetts. Early redhead with slightly turned head. This exact decoy was used on the 1983 Massachusetts Waterfowl Stamp. Measures 16” long. Original paint with moderate flaking and gunning wear; very good structurally.
Provenance: Ted and Judy Harmon collection. (8,000 – 12,000)
32 Keyes Chadwick (1865-1958), Oaks Bluff, Massachusetts. Early redhead hen with tucked head and round inlayed weight on the underside. Donal C. O’Brien, Jr collection ink stamp on the underside. Measures 15” long. Original paint with moderate to significant flaking that has been touched up; hairline drying crack
33 Keyes Chadwick (1865-1958), Oaks Bluff, Massachusetts. The only known Barrow’s goldeneye by Chadwick known to exist. From the Foote rig with slightly turned head and round inlayed lead weight. “Foote” branded in underside. Measures 14.5” long. Original paint with very minor wear; some shallow dents in back; loss to a small knot in breast from when the decoy was made.
Provenance: Ted and Judy Harmon collection. (4,000 - 6,000)
34 Ben Pease (1866-1938), Martha’s Vineyard, Massachusetts. Black duck with slightly turned head and tack eyes. Measures 16.75” long. Original paint with moderate wear; chipping and roughness on edge of tail; minor loss to heart wood on the underside; slight separation at neck seat; a thin wash of varnish on head and neck.
Provenance: Ted and Judy Harmon collection. (3,000 - 4,000)
Unknown maker, Truro, Massachusetts, circa 1900.
Swimming merganser drake with folky crest carving.
Weighted wooden keel on the underside. Measures 17.25” long. Old in use repaint with moderate flaking and wear; small spots of touchup to some of the flaking; old chip in one side of tail.
Provenance: Ted and Judy Harmon collection.
(3,500 - 4,500)
36 Unknown maker, Truro, Massachusetts, circa 1900. Merganser hen with folky extended crest carving and two piece body. Measures 18.5” long. Original paint with moderate wear; areas down to bare wood on sides and breast; neck is made from a separate piece of wood and is likely an early repair; later thin coat of varnish added to neck and head.
Provenance: Ted and Judy Harmon collection. (3,500 - 4,500)
The “Pumpkin Farm “ rig. In the early 1980’s two hen whistlers and three black ducks that were previously unknown to the decoy community came up for sale at a small, weekly auction in Fall River, MA. A local collector purchased both whistlers and the best of the blacks. When he questioned the auctioneer about their origin, he was told that they “came from a picker in Westport (MA)”. Further digging indicated that they were found at “Pumpkin Farm”. Although long out of existence, this farm was located on the eastern shore of Allens Pond, a large salt pond, not in Westport, but in adjoining Dartmouth.
Unknown carver, Massachusetts. Hollow carved goldeneye hen from the Pumpkin Farm rig. Three piece body with uplooking head and relief bill carving. Measures 13.25” long. Original paint with moderate wear; slight separation at body seam; old crack through neck with small nails added; some old filler added to one side of neck seat.
Provenance: Ted and Judy Harmon collection.
(3,500 - 4,500)
38 Unknown maker, Martha’s Vineyard, circa 1900. Pair of goldeneye. Measure 15.5” and 16” long. Original paint with moderate flaking and wear; a few small dents and shot marks; tight crack through drake’s neck; small nail added to a fine crack in hen’s neck; drake’s tail and bill are professional replacements.
Provenance: Ted and Judy Harmon collection. (8,000 - 12,000)
39 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Black bellied plover with tack eyes and split tail carving. Muller collection ink stamp on underside. Measures 9.75” long. Original paint with very minor wear; small shot strike on one side of head; spot of staining on one side of tail.
Provenance: Dr. Peter Muller collection. Ted and Judy Harmon collection.
(10,000 - 14,000)
40
Feeding yellowlegs with deep relief wing carving and extended wingtips. Measures 13.5” long. Original paint with moderate flaking and wear; old chip at stick hole; some separation where bill meets face; some touchup around each eye.
Running black bellied plover with deep relief wing carving and extended wingtips. Measures 12” long. Original paint with minor wear; some flaking on top of head and at wingtips; small dents in one side of neck; area of touchup to black on one side; bill is a professional replacement.
Provenance: Ted and Judy Harmon collection. (8,000 - 12,000)
Elisha Burr (1839-1909), Hingham, Massachusetts.
42
Augustus Aaron Wilson (18641950), South Portland, Maine. Early back preening scoter with large inlayed neck seat and relief wing carving. Measures 16.5” long. Early in use repaint with moderate flaking and wear; many small dents; a few shot marks were filled long ago.
Provenance: Ted and Judy Harmon collection. (8,000 - 12,000)
43 Orlando “Os” Bibber (1882-1970), South Harpswell, Maine. Short body style long-tail duck hen with slightly turned head. Measures 13.25” long. Original paint with minor wear; tight paint crazing on much of the decoy; surface has darkened with age; head swivels slightly.
Provenance: Ted and Judy Harmon collection.
(4,000 - 6,000)
44 Joseph Lincoln (1859-1938), Accord, Massachusetts. Black duck with slight shoulder carving and glass eyes. Measures 16.75” long. Original paint on head and wing patches; black appears to be a thin second coat with moderate flaking and wear; hairline drying cracks in body, typical split along the underside.
Provenance: Ted and Judy Harmon collection. (1,200 - 1,800)
45 Unknown maker, Cape Cod, Massachusetts. Hollow carved goldeneye hen with slightly turned bulbous head. “S” branded on the underside for the rig of Stanley Smith. Measures 12.5” long. Early in use repaint by Elmer Crowell with moderate flaking and wear; small chip at tip of bill; crack in breast was secured at some point with two large nails and old filler that has flaked away above nail heads.
Provenance: Ted and Judy Harmon collection. (800 - 1,200)
46 Unknown maker, Cape Cod, Massachusetts. Hollow carved goldeneye drake with bulbous, slightly turned head. “S” branded on the underside for the rig of Stanley Smith. Measures 12” long. Original paint with significant flaking and wear; drying cracks in body; large chip with losses to wood on top of head; drying crack in back of neck; one eye is missing.
Provenance: Ted and Judy Harmon collection. (400 - 600)
47 Unknown maker, Cape Cod, Massachusetts, last quarter 19th century. Hollow carved goldeneye hen. “S” branded on the underside for the rig of Stanley Smith. Measures 12.5” long. Early in use repaint by Elmer Crowell with moderate flaking and wear; lightly hit by shot; one eye is missing.
Provenance: Ted and Judy Harmon collection. (800 - 1,200)
48 Joseph Lincoln (1859-1938), Accord, Massachusetts. Very rare pair of buffleheads. Measure 12.5” long. In use repaint with minor wear under a thin coat of varnish; lightly hit by shot; old chips on one edge of drake’s tail; wooden patch at loss of wood on drake’s back; hen’s head is an old replacement by Lincoln.
Provenance: Ted and Judy Harmon collection. (5,000 - 8,000)
49 Nickerson family, circa 1900. Goldeneye hen with relief wing carving. Measures 15.5” long. Original paint with moderate gunning wear; lightly hit by shot.
Provenance: Ted and Judy Harmon collection. (3,000 - 5,000)
Merganser hen with extended crest and high head pose. Two round inlayed lead weights in the underside. “S” carved in the underside. Measures 16” long. Original paint with minor flaking and wear; under an early coat of varnish; some flaking on back near tail and on one wing; darkened long ago; defect in wood on one lower edge.
Provenance: Ted and Judy Harmon collection. (8,000 - 12,000)
The Peter and Diana Bennett Collection
“Thanks, everyone, for 60 years of fun” - Peter and Diana Bennett
The Bennetts began collecting soon after their marriage in 1965. Initially, the focus was on early Americana, first as objects to furnish their 1681 home, but soon their interest broadened to include more decorative folkart pieces such as New England redware, Hingham woodenware, marine antiques and, eventually, decoys.
Peter grew up in Hingham (MA) and, as a young man, hunted over a rig of Lincoln decoys with his cousin, Roger Lincoln, a relative of the famous carver. Diana, too, was a native of nearby Marshfield Hills and grew up drawn to the waters and marshes of the North River. While they were still dating, Peter managed to talk her into accompanying him on a hunt but, as she recalls, a quick crawl through the mud almost caused the courtship to come to an early end.
Peter’s initial interest in decoys was one of practicality but, quickly, both he and Diana began to appreciate them for their history and beauty, Peter was drawn to the ducks and geese and Diana, the shorebirds. They were first exposed to the idea of actually collecting decoys on a trip to Vermont where they met Loy and Rae Harrell and remember wondering why anyone would want to own so many decoys. They left, however, owning their first Masons. Another trip north resulted in their meeting Russ and Karen Goldberger at the New Hampshire Antiques Show. Impressed by the breadth of Russ’s knowledge and expertise, a friendship quickly developed, and the Bennetts sought him out to help build their collection, purchasing most of their decoys either from him directly, or, at auction with Russ sometimes acting as their agent.
The collection quickly matured with a focus on the early, pre factory, work of William J. Mason and a further concentration on challenge grade pairs. With an emphasis on exceptional quality and rarity, the
collection grew to number over 100 examples of Mason’s finest and earliest handmade, high grade, decoys. Their quest for owning “the best” and “the rarest” has resulted in their assembling a collection that has given them many hours of enjoyment. It has also led to their developing many lasting friendships, not only the collectors and dealers listed here, but many others, such as Jim and Dailene Goodman and the late Jay Koetje, both recognized as possessing two of the very finest collections of Mason decoys in the country and both being formidable adversaries in an auction arena.
At this juncture in their lives, they have decided to downsize, in their words, “to a townhouse in the land of the Pilgrims’, with a desire to share some of their items with others who will, hopefully, appreciate them as much as they did.
Scan for a video of Peter Bennett introducing the collection.
Here is an abbreviated summary of the history of Mason Decoys with portions excerpted with permission from “Mason Decoys – A Complete Pictorial Guide” by Russ J. Goldberger and Alan Haid.
Early / Handmade Masons (1889 – 1902):
- 1850 – 1871 - William J. Mason developed his love for hunting & fishing and was a lifelong member of the “Old Club” located on Harsen’s Island in the St. Clair River Delta in Michigan where the river empties into lake St. Clair. He spent hours in the marshes hunting and carefully observing all kinds of waterfowl and was known in the Club as a “good shot.”
- 1872 – 1888 – William started working as a clerk at the John E. Long Sporting Goods Company in Detroit in 1872 and succeeded John Long as owner ten years later. He and his partner moved the business to a new location in 1888, but after quarreling, the business folded.
- 1889 – 1902 – It is believed that William J. Mason started making his own handmade decoys in 1889. His production is believed to have been quite limited, unlike Crowell to whom he was often compared at the time, and he probably sold primarily to his fellow members at the “Old Club.” By 1894, William was known to be a full-time decoy maker at his 49 Tuscola Street home in Detroit. He was using the labels “Premier” and “Challenge” for his highergrade decoys at that time, even though these trademarks were not issued by the U. S. Patent Office until 1907.
Later / Factory Made Masons (1903 – 1924):
- 1903 – 1905 - As a result of increasing mail order demand, William J. Mason relocated his operations from his tiny backyard shop to a two-story space at the Nicholson Lumber Company on Brooklyn Avenue in Detroit. It was at this time that lathes, bandsaws, and sanders were installed on the first floor and painting and packing were moved upstairs where William and his son Herbert shared an office.
- 1906 – 1918 - Sadly, William J. Mason died on November 29,1905 from pneumonia developed while lying in a cold marsh sketching ducks to further improve his product. Herbert, who was a duck hunter as well but more astute in business, took over from his father and began to market his products more aggressively. He began to advertise using catalogs, introduced the less expensive Standard Grade decoys to broaden the market and began to distribute through companies such as Sears and Roebuck. The business prospered.
- 1919 – 1924 - The business continued to do well, but was seasonal in nature, so in 1919, Herbert went into the paint business focusing on automotive paint. He kept the decoy business going until 1924, when the doors were finally closed.
William James Mason
1846 - 1905 |
“Before
Detroit, Michigan
the Lathes Turned”
To most interested in decoys, the term “Mason” instantly conjures up visions of machine-made decoys originating from facilities in Detroit, Michigan. This is certainly true, but these wellknown “factory birds” date specifically to the years1903 – 1926 and, during the bulk of this time, the operation was under the direct control and ownership of Herbert Mason, and his brother and silent partner, Frederick. However, the founder of what would become the “Mason Decoy Factory”, William J Mason, had been creating decoys by hand for many years prior to 1903.
William was born in Ireland to Edward Mason (1811 –1877) and Frances Wood Shaw (1818 – 1866). The family immigrated to the United States in 1852, with some records suggesting that they entered through Canada. Edward had been a Professor of Agriculture while in Ireland and, by 1860, he had become the Agricultural Editor for the Detroit Tribune. In the 1861 Detroit City Directory we find the first documentation of young William’s entry into the world of commerce when, at age 15, he is listed as a clerk for R.G. Dun and Co, a mercantile business that would ultimately become Dun and Bradstreet. He remained with that firm through at least 1865, undoubtedly acquiring a basic knowledge of business in the process. By 1867, he was employed as a clerk for the H.B. Baldwin Co, a wholesale dealer in shoes and boots. William’s exact occupation for the
next few years is a mystery other than the fact that he is listed in the various records as, simply, a “clerk”. In 1870 he married Helen (“Nellie”) Shaw Wright, and the couple began to raise their family, Frederick (1871 – 1948) and Herbert (1883 – 1952) (see note 1) . By 1872 he was working as a clerk at the John E. Long Sporting Goods Company at 133 Jefferson, Ave. He was well suited to this new position, having been an avid hunter and fisherman since childhood, as well as a member of the prestigious “Old Club” on Harsens Island. By 1882, with his interest in the outdoors, and now with 21 years of business experience, he bought out Long. Ultimately, with George Avery as a partner, the firm was expanded to include a wider selection of hunting and fishing equipment under the name W.J. Mason Company. By 1888, they had relocated to 72 Woodward Ave, slightly closer to downtown Detroit. Differences of opinion between Mason and Avery soon blossomed to the point where, shortly after the move, the company closed its doors.
The home of William James Mason. This photo, taken in 1951 shows the address to be 961 Tuscola Street. However, the number apparently was changed at some point during the years from its original 49.
“The Old Club”, Harsens Island
Exactly what Mason did for a living between the years of 1889 and 1896 is not clear (see note 2) . We do know, however, that from about 1871 through 1891, he and his family had lived at various addresses in Detroit, most recently (c1885 – c1890) at 124 High St. In 1892, William purchased a home at 49 Tuscola St, and it was here that Nellie, only 43 years old, died in childbirth that same year.
This appears to have been a pivotal period in William’s life. Almost assuredly, he had carved a few decoys for his own use prior to Nellie’s death, and it would be logical to assume that he had also produced some for friends or associates at “The Old Club”. Authors Goldberger and Haid suggest 1888, when William closed the W.J. Mason Co, as the probable beginning date of his carving on a limited or part time basis. Most authors credit 1896 as the beginning of William’s venture into the business as a full-time commercial undertaking. William’s son, Herbert, however, is said to have stated that the trademark “challenge” and “premier” designations (the only two grades produced by William) had been used by the business since 1894, implying that Mason began to carve commercially almost immediately upon his move to Tuscola St. Coincidentally, by 1894, the two prior decoy manufacturing firms in Detroit (Petersen and Dodge) had ceased to exist, creating a void in the decoy market which William, astutely, must have planned to fill.
Undoubtedly, the business began in a small way, as it is said that the production of the decoys occurred “in a small shop behind his home” . Based upon photos of the home and city maps, the space must have been very restricted but, despite this limitation, the business flourished, and orders began to flow in. In the 1901 Detroit City Directory, it appears that he may have moved some portions of the manufacturing process into the house at 57 Tuscola since he is listed as owning that property but boarding at 508 Fourth Avenue. Needing larger facilities, in 1903 William made the move and acquired a more spacious manufacturing space behind a lumber and coal yard on Brooklyn Avenue. At the same time, he must have sold the Tuscola St address and purchased another home at 66 Euclid Avenue. With these changes, he also made a concurrent upgrade to his production process to now include the
use of duplicating lathes. Until this point, William had been making decoys for many years, possibly beginning as early as 1888 and, for a period spanning about nine years (1894 – 1903), carving on a full-time commercial basis – a combined period of about 14 years. It is the studied opinion of many that, during this time, all of his decoys, both ducks and shorebirds, were, almost entirely, handmade products (see notes 3&4) .
Unfortunately, in 1905, a mere two years after the beginning of his true “factory period”, most references state that William contracted pneumonia after sketching waterfowl in a November marsh and died. His actual death record, however, does note that he died at his Euclid St address with pneumonia as the cause of his death, but that it was the result of “exhaustion following an operation”
During his early, so called “Back Yard Period”, William, like other pioneering producers of decoys, such as New York’s Harvey Stevens, should be recognized as the individual carver and artist that he was and remembered for his handiwork, well before the lathes began to turn.
Notes:
1. A third child, Hugh, was born in 1881 but, sadly, died in 1882).
2. The 1890 census record was destroyed and city directory records for those years list no occupations.
3. Goldberger and Haid picture multiple shorebirds which they date to the 1895 – 1900 period.
4. Some feel that when orders began to backlog, he may have received a few hand turned bodies from the ex Dodge company.
“The only known pair of Challenge wood ducks were purchased in 2001 at a Guyette and Schmidt auction. They were purchased as Petersen’s, but today we know these as some of Mason’s earliest work. Really special and wonderful examples!”
- Russ Goldberger
51 Mason Decoy Factory (1889-1924), Detroit, Michigan. The only known rigmate pair of challenge grade wood ducks. Early, handmade slope-breasted style with extended crests. This pair was the highest selling decoy lot of 2001 at $66,000. Measure 13.75” long. Original paint with minor to moderate flaking and wear, mostly on one side of drake’s body; some old chipping and roughness on edge of tails; lightly hit by shot; drying crack along drake’s back; minor roughness on tip of bills; hen’s neck filler has been professionally restored; drake has had approximately half of its neck filler restored.
“This Mason Challenge blue wing teal is the very best in existence.”
- Russ Goldberger
52 Mason Decoy Factory (1889-1924), Detroit, Michigan. Outstanding and early, handmade bluewing teal with slightly turned head and double blue paint pattern. Measures 12” long. Near mint original paint with very minor wear on tip of bill and tip of tail; neck filler was professionally restored.
Provenance: Peter and Diana Bennett collection.
Literature: “Mason Decoys – Extended Edition” by Russ J. Goldberger and Alan G. Haid, page 139, exact decoy pictured. (10,000 - 14,000)
53 Mason Decoy Factory (1889-1924), Detroit, Michigan. Exceedingly rare challenge grade greenwing teal with snakey head style. “Ed Jomba” stamped in the underside. Measures 12.25” long. Original paint with minor to moderate wear; minor roughness on edge of tail and tip of bill; hairline crack in one side of neck; most of the neck filler is missing.
Provenance: Peter and Diana Bennett collection.
Literature: “Mason Decoys – A complete Pictorial Guide” by Russ J. Goldberger and Alan G. Haid, page 61, exact decoy pictured. (8,000 - 12,000)
“This rigmate pair of Challenge mergansers, along with two other drakes, came from a furniture store in New Hampshire! An antique dealer/picker, and sometime Mason Standard grade customer, found these on display for decoration. They were unused and absolutely mint. He “borrowed” one drake, hoping he had hit the motherlode. Did he ever! He said there were two other drakes and one hen. I suggested he go back to the furniture store and keep raising his offer until they would sell them all to him. He ultimately came back with all four. I bought them all and he made a nice profit. Peter got the only pair. It shows you that good decoys will show up anywhere.”
- Russ Goldberger
54 Mason Decoy Factory (1889-1924), Detroit, Michigan. Outstanding rigmate pair of common mergansers. Challenge grade with extended crests. Screw holes in underside are likey from being screwed to the inside of a crate or barrel for shipping, as they do not appear to have ever been rigged or used. Measure 17.25” long. Outstanding original paint with essentially no wear and only small spots of flaking, mostly on hen; fine hairline crack along the underside of drake; drying crack along underside of hen, otherwise both excellent structurally.
Provenance: Peter and Diana Bennett collection.
Literature: “Mason Decoys – Extended Edition” by Russ J. Goldberger and Alan G. Haid, page 146, exact decoys pictured. (50,000 - 80,000)
“I’ve always felt this was one of Peter’s best Mason decoys for uniqueness. It’s twice the size of a normal Challenge redhead and with excellent form.”
- Russ Goldberger
55 Mason Decoy Factory (1889-1924), Detroit, Michigan. Very rare and important oversize redhead. Early handmade Challenge grade model with slightly upswept head style. Branded “C.F.W.”, “B.P.C.”, and “S&D” on the underside. Measures 16.75” long, and just under 9” tall. Original paint with minor to moderate gunning wear; moderately hit by shot in one side; with a small chip near eye; hairline cracks in lower part of neck; minor roughness on tip of tail and tip of bill.
Provenance: Dr. James McCleery collection. Peter and Diana Bennett collection.
Literature: “Mason Decoys – A complete Pictorial Guide” by Russ J. Goldberger and Alan G. Haid, exact decoy pictured in the forward by Dr. James McCleery (page 6) and page 44. (12,000 - 18,000)
56 Mason Decoy Factory (1889-1924), Detroit, Michigan. Exceedingly rare challenge grade red breasted merganser. Early handmade style with sloped breast and extended crest. Believe to be the only challenge grade red-breasted merganser in existence. Measures 17.5” long. Original paint with moderate wear; minor blunting on tip of bill; fine hairline crack along one side of head and along the back; drying cracks along the underside.
Provenance: Peter and Diana Bennett collection.
Literature: “Mason Decoys – Extended Edition” by Russ J. Goldberger and Alan G. Haid, page 156, exact decoy pictured. (20,000 - 30,000)
57 Mason Decoy Factory (1889-1924), Detroit, Michigan. Unique wood duck plaque made from a 3/4 size challenge grade wood duck drake with extended crest. Wood duck measures just under 10” long, plaque is 7” x 12”. Strong original paint protected under an early coat of varnish that has darkened slightly; spot of wear in center of body.
Provenance: This wood duck plaque, a black duck and two merganser plaques, are the only known items of their kind from the Mason Factory. They came from the estate of Duncan Sills (1883-1916) of Detroit. Sills was a painter at the Mason Factory and these plaques remained in the family until 2006. Peter and Diana Bennett collection. (20,000 - 30,000)
58 Mason Decoy Factory (1889-1924), Detroit, Michigan. Very rare rigmate pair of hollow carved mallards. Early challenge grade models with outstanding paint detail. Birds were never rigged or weighted. Measure 16.5” long. Near mint original paint with some tiny rubs and flakes; a few shallow dents on hen; each with a few small spots of neck filler restoration; hen with a small professional tail chip repair.
Provenance: Peter and Diana Bennett collection.
(12,000 - 18,000)
59 Mason Decoy Factory (1889-1924), Detroit, Michigan. Rare hollow carved bufflehead. Made with a premier grade body and challenge grade head with incised bill carving. Measures 12” long. Original paint with moderate wear; minor roughness on edge of tail and bill tip; neck filler has flaked away with a small chip at back of neck seat.
Provenance: Peter and Diana Bennett collection. (10,000 - 14,000)
Mason Decoy Factory (1889-1924), Detroit, Michigan. Outstanding and rare wooden billed black bellied plover from the rig of Quincy Adams Shaw Jr and so branded on the underside. Measures 10.25” long. Original paint with minor rubs; a few small shot marks and dents; some paint flaking where bill meets the face; with small amount of glue visible.
Provenance: Peter and Diana Bennett collection.
Literature: “Mason Decoys – Extended Edition” by Russ J. Goldberger and Alan G. Haid, page 152, exact decoy pictured. (12,000 - 18,000)
“Mason offered to reproduce any shorebird a hunter wished to copy. This Charles Thomas model Mason is a great example of that. The form and paint style are a simplified, but recognizable, version of the original. In this example, the copy may be better than the original!”
- Russ Goldberger
61 Mason Decoy Factory (1889-1924), Detroit, Michigan. Rare special order willet with glass eyes and iron bill. Modeled after those by Charles Thomas, with excellent paint detail on back and tail. Measures 14.75” long. Excellent original paint with almost no wear; lightly hit by shot; small knot in back had slightly risen and a small nail was added to secure causing a short crack in the knot; small chip on underside of where bill meets the face; small spot of iron staining on the top of where bill meets the face.
Provenance: Peter and Diana Bennett collection. (12,000 - 18,000)
62 Mason Decoy Factory (1889-1924), Detroit, Michigan. Early glass eye curlew with curved iron bill. Excellent paint detail. “CE Smith” in pencil on the underside. Measures 16.25” long. Strong original paint with almost no wear; some flaking at a small knot in back; dent in one side; drying crack and tiny chip where the original bill meets the face; professional neck filler restoration on sides and front of neck.
Provenance: Peter and Diana Bennett collection.
Literature: “Mason Decoys – Extended Edition” by Russ J. Goldberger and Alan G. Haid, page 152, exact decoy pictured. (15,000 - 25,000)
“Early on, Mason used wooden bills on his shorebirds until hunter feedback about breakage caused them to convert to iron bills around the time of his death in 1905.”
- Russ Goldberger
63 Mason Decoy Factory (1889-1924), Detroit, Michigan. Early split tail black bellied plover with glass eyes and wooden bill. Measures 10” long. Original paint with minor wear; lightly hit by shot; small chips on edge of tail that were touched up long ago; bill is a professional replacement.
Provenance: Peter and Diana Bennett collection.
Literature: “American Bird Decoys” by William J Mackey Jr., page 224, exact decoy pictured. (5,000 - 8,000)
64 Mason Decoy Factory (1889-1924), Detroit, Michigan. Early split tail dowitcher with glass eyes and wooden bill. Measures 10.25” long. Original paint with minor wear; some chipping on edge of raised wingtips; lightly hit by shot; spot of touchup on back near tail; bill appears to be original, but has been reset where it meets the face.
Provenance: Peter and Diana Bennett collection. (8,000 - 12,000)
65 Mason Decoy Factory (1889-1924), Detroit, Michigan. Early split tail yellowlegs with glass eyes and wooden bill. Measures 11.25” long. Original paint with very minor wear; minor roughness on edge of tail; bill appears original with some old glue visible where it meets face.
Provenance: Peter and Diana Bennett collection. (6,000 - 9,000)
66 Mason Decoy Factory (1889-1924), Detroit, Michigan. Glass eye model dove with iron bill. Measures 11” long. Excellent original paint with a few very minor rubs; two small dents in back; small amount of touchup near backside of stick hole; many small spots of varnish on back flouresces under UV light, but are mostly unnoticeable to the naked eye and are not paint touchup.
Provenance: Peter and Diana Bennett collection. (4,000 - 6,000)
The Len Carnaghi Collection
Len Carnaghi
A
Passionate
Michigan Collector
I first met Len Carnaghi in 2005 when he came to my house to pick up an old, hollow-carved, repainted Chris Smith canvasback decoy that he bought from me on eBay.
In addition to asking if I had any other old ducks to sell, he spent time telling me all about Chris Smith, his decoys and the Chris-Craft Boat Co. that he founded. I was new to collecting and was fascinated by his depth of his knowledge, and later learned that he was gathering photos and information that he hoped would someday become a book on Smith. Sadly, he
Len was a consummate outdoorsman who enjoyed hunting, fishing and boating every chance he got when he wasn’t busy running his successful construction business. But collecting decoys was perhaps his most passionate endeavor. He would share stories about his early collecting days heading out in the family station wagon with his wife Marilyn and their kids to search for decoys along the shore of Lake St. Clair. He would knock on the door of every home with a shed down by the water, inquiring about any old wooden decoys they might be willing to part with. It was not unusual for him to have to convince Marilyn that he “needed” to spend the $25 they had on decoys rather than using it to buy much needed gas for the car. He was proud that he was able to put all of his kids through college by repeatedly selling off parts of his collection, and then building it back up for the next one.
A savvy collector, Len had a great eye for good decoys, with specific interest in Mason factory, Ben Schmidt and other Michigan birds. His collection was large enough that pieces overflowed from his primary residence in suburban Detroit to a cottage on Harsen’s Island, a lodge in northern Michigan, and a winter retreat in Florida. Len simply never saw a decoy
In addition to collecting, Len was a world-class decoy maker, having learned the trade from noted maker and good friend Nick Purdo. His work won over 100 “Professional Class” blue ribbons and three “Bestin-Show” awards. He is deservedly included in Loy Harrell’s book, “Decoys: Sixty Living and Outstanding North American Decoy Carvers.” He even coached me on successfully replacing the neck filler on a couple of standard grade Mason mallards a number of years ago!
Always in the game, Len was seriously engaged in buying and selling on the decoy show circuit as well as being an active buyer at auction, always looking to acquire items worthy of adding to his collection, and others needing work that he could restore and re-sell for a profit.
Above all, Len was most passionate about his family, including Marilyn, five children, 20 grandchildren and five great-grandchildren. I was fortunate to have considered Len a mentor and a good friend.
- Jeff Seregny
Tom Schroeder 1886 - 1976 | Detroit, Michigan
“I do not choose to be a common man. It is my right to be uncommon – if I can”
- Tom Schroeder
Much of Schroeder’s life is pretty much an enigma. He was a private and proud individual who managed to shun most of the federal censuses and, in his old age, refused to even apply for social security. The first documentation that can be traced to him is a 1901 Detroit City Directory where the 16-year-old young man is listed as boarding at 1894 St Aubin Ave and employed as a “laborer”. Although there is no apparent record of his ever receiving any formal artistic training, by 1904, he lists his occupation as “artist” and, by 1905, he was employed by the Detroit Free Press as a cartoonist. He remained with the newspaper until about 1917 where he gained some recognition for his regular comic strip “Adam and Steve”. His career path took a dramatic turn beginning in 1918 when he begins to appear in the records as working as an “advertising agent”. In the interim, in 1916 he married Ethel Williamson but, in 1921, she filed for divorce which was granted on the basis of “extreme cruelty” . Apparently, he was quite successful as an advertising manager because one of his clients, the New Era Potato Chip Company, profited so heavily from his abilities that they built a rooftop studio at the company for him. When the business was sold to Frito Lay in 1951, Schroeder received a check for $175,000 for company stock he was given as partial payment for his services.
He began to duck hunt by the age of twelve and it is believed that he carved his first decoy shortly thereafter. The earliest decoys that can be positively identified as being produced by him date to between 1910 and 1920. This was the beginning of a hobby/ pastime that would stretch over a 50-year period. The turning point in his carving career occurred in 1948-49 when he became aware of the International Decoy Makers Contest held in New York City. He became infuriated when Joel Barber informed him that, in his opinion, the best decoys ever created came from the
knife of “Shang” Wheeler. He promptly sent off multiple entries for the 1949 New York competition and took a number of first, “Best Amateur” and, in later shows, “Best of Show”. He continued to compete through 1956.
As his carving career progressed, in addition to working duck and fish decoys, he began to produce some outstanding decoratives and folk art pieces such as the wonderful turkey, owl and fish plaque being offered here. Donna Tonelli notes that Schroeder probably made fewer than 500 pieces in his lifetime and describes them as “- - - some of the most collectible and desirable decoys ever made in Michigan”.
Tom Schroeder, 1951
67 Tom Schroeder (1886-1976), Detroit, Michigan. First half 20th century. Perhaps Tom’s pinnacle piece, a full size standing eastern American turkey. A gobler with a 6” beard, hollow carved body, and anatomically correct head. With wing and feather carving. Stands 29” tall. Mounted to base that has carved simulated grass, rocks, and a branch. Excellent original paint; protected by a very light coat of varnish; a very small crack or break which was reset to the spur on the right leg and the back toe on right leg, that is only visible under UV light.
Provenance: Len Carnaghi collection. (8,000 - 12,000)
Tom Schroeder (1886-1976), Detroit, Michigan. Very rare owl with relief wing carving and glass eyes. Stands 19” tall including base. A few fine hairline drying cracks, otherwise excellent.
Provenance: Len Carnaghi collection. (4,000 - 6,000)
69 Tom Schroeder (1886-1976), Detroit, Michigan. Pair of hollow carved decorative canvasbacks. Hen in sleeping pose with head turned and bill buried in to back feathers. Also with raised, crossed wingtips. Drake with tucked head and sleepy eyes. Black felt bottoms with paper labels. Measure 14” and 16.75” long. Original paint under the original coat of varnish that has darkened slightly; chip missing from each of hen’s raised wingtips; small chips missing at the tip of drake’s wingtips.
Provenance: Len Carnaghi collection. (2,000 - 3,000)
Tom Schroeder (1886-1976), Detroit, Michigan. Pair of decorative greenwing teal with slightly turned heads and relief wingtip carving. Slightly undersized at 10” long. Small paint flake at one of drake’s wingtips and on tip of hens tail, otherwise excellent and original.
Provenance: Len Carnaghi collection. (2,000 - 4,000)
71 Tom Schroeder (1886-1976), Detroit, Michigan. Hollow carved ruddy duck with relief wingtip and tail feather carving. Slightly turned head with applied mesh bottom. Measures 10.5” long. Original paint with minor flaking and wear mostly around neck seat; thin coat of varnish has darkened with age.
Provenance: Len Carnaghi collection. (1,500 - 2,500)
70
72 Tom Schroeder (1886-1976), Detroit, Michigan. Half size wood duck with tucked head and relief wingtip carving. Bottom board has maker’s name and 1960 branded on underside. Measures 9.25” long. Original paint protected under its original coat of varnish; reglued chip in tail with small amount of touchup.
Provenance: Len Carnaghi collection. (1,200 - 1,500)
73 Tom Schroeder (1886-1976), Detroit, Michigan. Hollow carved bluebill with tucked head and relief wingtip carving. Mesh bottom style. Measures 11.5” long. Original paint with multiple coats of thick varnish; paint flake on one side of breast was darkened.
Provenance: Len Carnaghi collection. (800 - 1,200)
74 Tom Schroeder (1886-1976), Detroit, Michigan. 3/4 size bluebill hen in preening pose with relief wingtip carving. Measures 9.75” long. Original paint with very minor flaking under a thin coat of varnish; small chip in one lower edge was darkened.
Provenance: Len Carnaghi collection. (600 - 900)
Larry Hayden
1934 - 2006 | Farmington, Michigan
The son of a city police officer, Larry was born in Detroit on the shore of Lake St Clair. His artistic talents emerged early. He began to carve as a hobby by “borrowing” one of his father’s razors to use for whittling his puppets and toy guns. In high school he made cartoons and illustrations for the school newspaper. Following graduation, he worked briefly as a grocery clerk and went on to become employed as an illustrator for Triad Studios in Detroit. From 1957 through 1959, he served in the Army, stationed in Korea working as an illustrator for the Army newspaper. He and his wife, Marguerite had four children, all boys. He thoroughly enjoyed hunting and fishing, especially when accompanied by his sons.
It is unclear when Larry began to carve decoys, but it is known that, in 1968, he took a carving class with John Zachmann. He entered his first large carving contest at the 1971 World Championship in Salisbury, MD where the four birds he entered all won blue ribbons as well as “Best Marsh Decoy” and “Best in Show”. He began to carve full time in 1979 and went on to become the first five time “Best of Show” winner in the World Championship. He entered and won at all the major contests across North America, including the U.S. National and the Canadian National. By 1985, he had won over 15 different decoy contests. Hayden is credited with ushering in the beginning of the widespread use of texturing
and fineness of detail in carving that has become commonplace today. His talents were not limited to carving, however. Between 1977 and 1995, he won ten different duck stamp contests across the country and produced a number of limited edition prints.
He credited most of his success to his mentors, Jim Foote and John Zackmann.
Numerous well known carvers of the period sang his praises:
“No one can beat him. The painting and texture are something we’ve never seen before – so realistic”. (1971 Nick Purdo)
“He may just be one of the finest decoy carvers this world has ever seen”. (1973 Len Carnaghi)
He is remembered for his exhaustive research prior to executing every carving. In addition to observations in the wild, he went so far as to raise various species of waterfowl in a private pond on his large rural property and to make numerous sketches, as well as utilize a variety of references and personal photographs. He was, truly, one of the best.
75 Larry Hayden (1934-2006), Farmington, Michigan. Excellent pair of wood ducks. Hollow carved with round inlayed bottom boards. Relief wing and detailed feather carving. Drake is signed and dated 1974, hen 1975. Measure 13.25”. Near mint.
Provenance: Len Carnaghi collection. (12,000 - 18,000)
76 Jim Foote (1925-2004), Gibraltar, Michigan. Excellent pair of decorative canvasbacks. Thinly hollowed with slightly turned heads and detailed feather carving. Each with inserted raised wingtips. Measure 13.5” long. Original paint with minor paint rubs on edge of tail feathers; tiny dent in one side of drake; small amount of glue visible where one of drake’s wingtips was reset at the body.
Provenance: Len Carnaghi collection. (5,000 - 8,000)
77 Jim Foote (1925-2004), Gibraltar, Michigan. Working wood duck made for the US National Decoy Show 1971. Hollow carved with tucked and slightly turned head. Raised wingtips with relief wing and tail feather carving. Measures 14.5” long. Original paint under an early coat of varnish; a tiny spot of touchup on tail and back; one wingtip with two chips that were reglued with small amount of touchup in that area.
Len Carnaghi collection. (3,000 - 5,000)
78 Jim Foote (1925-2004), Gibraltar, Michigan. Pair of ruddy ducks with exhibition stickers from the 1969 International Decoy Contest and the Atlantic Flyway Wildfowl Carving Exhibition Salisbury, Maryland on the underside. Pair won first place for species at the 1969 Davenport Show. Relief wingtip and tail feather carving. Measure 10” and 13” long. Excellent and original.
Provenance: Len Carnaghi collection. (2,000 - 3,000)
Provenance:
79
duck with slightly turned head and relief wingtip carving. Signed and dated 1978. Measures 13.75” long. Excellent and original.
Provenance: Len Carnaghi collection. (1,000 - 1,500)
80
Michigan. Pair of greenwing teal. Hollow carved with slightly turned heads. Hen with inserted crossed wingtips. Measure 10.75” and 11.25” long. Excellent and original.
Provenance: Len Carnaghi collection. (1,500 - 2,500)
Jim Foote (1925-2004), Gibraltar, Michigan. Hollow carved harlequin
Jim Foote (1925-2004), Gibraltar,
81 Jim Foote (1925-2004), Gibraltar, Michigan. Hollow carved gadwall with detailed feather carving and tucked head. Signed and dated 1972 on the underside. Wooden keel was removed at some point. Measures 14.5” long. Original paint with very minor wear; very good structurally.
Provenance: Len Carnaghi collection. (1,000 - 1,500)
82 Jim Foote (1925-2004), Gibraltar, Michigan. Pair of buffleheads with slightly turned heads and relief wing and tail feather carving. Signed on the undersides. Exhibition stickers on the undersides. Measure 9.75” and 10.25” long. Reglued chip in underside of drake’s tail, otherwise very good and original.
Provenance: Len Carnaghi collection. (1,500 - 2,500)
83 Larry Hayden (1934-2006), Farmington, Michigan. Brook trout fish decoy with glass eyes. In a curved swimming position, with detailed fin carving and textured body. Carved mouth and gills. Larry Hayden fish are extremely rare. Measures 8” long. Excellent and original.
Provenance: Len Carnaghi collection.
(2,000 - 3,000)
84 Jim Foote (1925-2004), Gibraltar, Michigan. Large brook trout with relief gill carving and open mouth. Signed and dated 1994. Measures 13.5” long. Tiny paint flake on tip of one fin; small chip on top of tail; otherwise excellent.
Provenance: Len Carnaghi collection.
(1,200 - 1,800)
gill carving. Signed on the underside. Measures 10” long. Very good and original.
10.25” long. Hairline crack in underside, otherwise excellent.
Provenance: Len Carnaghi collection. (800 - 1,200)
Provenance: Len Carnaghi collection. (400 - 600)
Provenance: Len Carnaghi collection. (800 - 1,200)
85 Jim Foote (1925-2004), Gibraltar, Michigan. Brown trout with curved body and relief gill carving. Maker’s name carved in the lead weight on underside. Measures
86 Jim Foote (1925-2004), Gibraltar, Michigan. Carved wooden perch fishing lure with articulated tail and relief
87 Jim Foote (1925-2004), Gibraltar, Michigan. Brook trout fish decoy. Carved eyes, gills, and scale detail. Measures 8” long. Excellent and original.
Nate Quillin
1839 - 1908 | Rockwood, Michigan
The formal origin of the Point Mouillee Shooting Club can be tr aced to 1879 when a group of smaller holdings were reorganized as the new Club. Additional properties were acquired and, eventually, a central clubhouse, member’s cabins, and a nu mber of boathouses and support facilities were built on the shore of Lake Erie. Eventu ally, the club’s holdings would include 2,608 acres. To say that the club was exclusive would b e an understatement. Memberships were limited to no more than ten at any one time an d these were held by some of the wealthiest, powerful and influential men from acr oss the country. Most members hailed from the Michigan or Ohio area, but Boston and o ther eastern cities were well represented. Memberships could pass by sale or inheritance and, over the course of its existence, the club only had 50 different members. It was d isbanded in 1945 when the grounds and buildings were sold to the State of Michigan for a State Game Area.
Henry Howard Fay (the “HHFAY” brand) 1848 – 1920 Boston, MA.
Membership 1 had been owned by wealthy members of the Fay family, one of Boston’s Brahmin society families, since it was first acquired in 1881 by Richard S Fay as the third owner. The membership had passed through the family with #4 belonging to Joseph S Fay Jr, Henry’s brother. Henry purchased his brother’s membership in 1894 and sold it in 1897. He lived on prestigious Beacon St in Boston with a fine summer home in Falmouth on Cape Cod. He was involved in the family businesses, listing his occupation as “own income” for many years.
Dr Samuel Jason Mixter (the “SJM” brand) 1855 – 1926 Boston, MA.
Samuel, a Harvard graduate and neurosurgeon at Mass General Hospital, became the seventh owner of membership 1 when he inherited it from his brother, George, in 1910. He and his wife would travel to the club each year for a prolonged 4 to 6 week stay. An avid sportsman, he was also a member of the famed Delta Duck Club in Louisiana, and he maintained a comfortable fishing camp on remote Grand Lake in Maine.
Jay Collins Morse (the “JCM” brand) 1838 – 1906
Cleveland, Ohio
Morse was the third owner of Membership 3 which he purchased from the then wealthiest man in Boston (Dr John Bryant) in 1893 for the sum of $2,000, roughly equivalent to $70,000 today. His membership was acquired in 1900 by Yale graduate, D. Mark Cummings. His wedding announcement (2nd marriage) describes him as “- - - an iron and steel magnate, many times a millionaire” whose wife was a widow with ” - - - a fortune of several millions”.
88 Nate Quillin (1839-1908), Rockwood, Michigan.
Very rare hollow carved redhead. Quillin classic “helmet head” style, with inlet neck seat. Branded “HH FAY” and “SJM”. This decoy was judged best 19th century Michigan decoy in the 1990 Ohio Decoy Show. Measures 13.5” long. Original paint with moderate flaking and wear under a thin coat of varnish; hit by shot; hairline cracks in breast and under tail; tight crack in one side of bill; minor roughness on one side of tail and bill.
Provenance: Len Carnaghi collection. (5,000 - 8,000)
89 Nate Quillin (1839-1908), Rockwood, Michigan.
Very rare mallard hen. Hollow carved with .25” bottom board and inlayed neck seat. “J.C.M.” branded on the underside for the rig of J.C. Morse a Point Moullie Shooting Club member, 1894. Measures 14.5” long. Original paint with moderate shrinkage and wear under an early coat of varnish; crack through neck; slightly hit by shot.
Provenance: Len Carnaghi collection. (4,000 - 6,000)
88
90 John Schweikart (1870-1954), Strawberry Island, Michigan. Pair of canvasbacks with applied metal wings. Both hollow carved with .25” bottom boards and hollow carved heads. Hen with folding copper keel. Measure 16” and 17” long. Original paint with moderate wear; flaking around bottom boards; lightly hit by shot; drake with an early second coat to black on bill and breast; hen with small amount of glue visible at neck seat with some filler replaced at neck seat.
Provenance: Len Carnaghi collection. (8,000 - 12,000)
91 John Schweikart (1870-1954), Strawberry Island, Michigan. Hollow carved goldeneye hen with wide body style and large head this is also hollowed.
Measures 17” long. Original paint with moderate wear; lightly hit by shot with a few having been filled.
Provenance: Len Carnaghi collection. (4,000 - 6,000)
92 Benjamin Schmidt (1884-1968), Detroit, Michigan. Hollow carved widgeon with slightly turned head and raised wingtips. Detailed feather stamping. Signed and dated 1946 on the unpainted underside. Measures 14.25” long. Excellent original paint; slight separation at bottom board; otherwise very good structurally.
Provenance: Jim and Patti Aikin collection. (800 - 1,200)
93 Benjamin Schmidt (1884-1968), Detroit, Michigan. Sleeping canvasback hen. Branded “ALS” on the underside. Measures 14” long. Original paint with minor wear; reglued chips in bill with touchup in that area.
Provenance: Len Carnaghi collection. (1,200 - 1,800)
94 Benjamin Schmidt (1884-1968), Detroit, Michigan. Pintail with relief wingtip carving and applied metal tail. Measures 19.5” long. Original paint with minor wear under an early coat of varnish; flaking to metal tail sprig; fine hairline crack in bill.
Provenance: Len Carnaghi collection. (1,200 - 1,800)
95 Benjamin Schmidt (1884-1968), Detroit, Michigan. Bluebill hen with slightly turned head and relief wingtip carving. Feather stamping on body. Signed on the underside. Measures 13.25” long. Tiny paint flake on one edge of bill and a tight drying crack in back; otherwise excellent.
Provenance: Len Carnaghi collection. (600 - 900)
96 Benjamin Schmidt (1884-1968), Detroit, Michigan. Sleeping redhead with relief wingtip carving. Keel was removed at some point. Measures 13.25” long. Original paint with minor to moderate wear; small tail chip repair.
Provenance: Len Carnaghi collection. (1,200 - 1,800)
97 Benjamin Schmidt (1884-1968), Detroit, Michigan. Early pair of widgeon with relief wing feather carving. Hen is hollow carved with .25” bottom board. Measure 15.5” long. Original paint with moderate wear; hairline drying cracks in bodies; some strengthening to wing patches; some chipping on hen’s tail.
Provenance: Len Carnaghi collection. (2,000 - 3,000)
98 Benjamin Schmidt (1884-1968), Detroit, Michigan. Hollow carved Canada goose with removable head. Relief wingtip carving and incised feather detail. Hollowed from the underside. Wooden keel with “FWL” painted on it. Measures 24.5” long. Original paint with very minor wear; hairline cracks in body; significant rust staining on breast; some touchup to wear on edge of bill.
Provenance: Len Carnaghi collection. (1,500 - 2,500)
99 Benjamin Schmidt (1884-1968), Detroit, Michigan. Bufflehead with slightly turned head and relief wingtip carving. Measures 13.5” long. Original paint with moderate discoloration and very minor wear; excellent structurally.
Provenance: Len Carnaghi collection. (1,200 - 1,800)
100 Benjamin Schmidt (1884-1968), Detroit, Michigan. Early hollow carved mallard. Measures 18.5” long. Original paint with very minor wear; slight separation at body seam; hairline crack in each eye; drip of brown paint on back.
Provenance: Len Carnaghi collection. (800 - 1,200)
101 Otto Misch, Weale, Michigan. Very rare bufflehead hen. Hollow carved .5” bottom board and raised neck seat. Measures 11.5” long. Original paint with minor wear; a few small dents; slight separation at body seam; very thin wash of white on breast and where bill meets face likely done at a later date.
Provenance: Len Carnaghi collection. (1,500 - 2,500)
102 Christie Brothers, Saginaw Bay, Michigan. Rigmate pair of canvasbacks. Measure 17.5” long. Original paint with minor wear; a few shot strikes; minor roughness on edge of bills; loss to wood on one lower edge of hen.
Provenance: Len Carnaghi collection. (1,200 - 1,800)
103 Zeke McDonald (1844-1938), McDonald Island, Michigan. Rare rigmate pair of redheads. Thinly hollowed with .25” bottom boards. Measure 16” long. Original paint with moderate wear; some filler and touchup added to drake’s neck seat and a spot on back; repair to a chip on top of hen’s head; hen was lightly hit by shot with minor roughness on edge of bill.
Provenance: Len Carnaghi collection. (1,200 - 1,800)
104 Ralph Reghi (1910-1995), Detroit, Michigan. Excellent rigmate pair of canvasbacks with feather rasping and weighted wooden keels. Measure 16” and 17” long. Original paint with very minor wear; a few tiny chew marks on hen’s bill, otherwise excellent.
Provenance: Len Carnaghi collection. (800 - 1,200)
105 Ralph Reghi (1910-1995), Detroit, Michigan. Rare Canada goose with partially inlayed neck seat and long wooden keel. Measures 23” long. Original paint with minor to moderate wear drying crack along back was filled in the making; crack through neck with small amount of glue visible.
Provenance: Len Carnaghi collection. (1,200 - 1,800)
106 Ralph Reghi (1910-1995), Detroit, Michigan. Pair of high head canvasbacks. Branded “Laurie” on the underside. Measure 17” long. Hen in original paint with minor wear under a thin coat of varnish, lightly hit by shot; drake in an early second coat of paint, some of which has been taken down, heavily hit by shot, filled dent in top of bill.
Provenance: Len Carnaghi collection. (800 - 1,200)
107 Chris Smith (1861-1938), Algonac, Michigan. Exceedingly rare pintail drake. Hollow carved with .25” bottom board and raised neck seat. Retains the original lead weight that is stamped “CC Smith”. Believed to be the only known pintail by the maker. Measures 16.5” long. Early in use repaint with moderate wear; under a thin coat of varnish; hairline crack at neck seat; minor roughness on edge of bill.
Provenance: Len Carnaghi collection. (600 - 900)
108 Ed “One Arm” Kellie (18831955), Monroe, Michigan. Pair of canvasbacks. Drake with slightly turned head and is branded “Hy Dahlka” on underside. Measure 14.5” long. Original paint with minor wear; thin coat of varnish has darkened with age; small dents and hairline cracks in body; hen with minor roughness on edge of bill and some replaced neck filler with touchup.
Provenance: Len Carnaghi collection. (1,000 - 1,400)
109 Jim Kelson (1888-1968), Mount Clemens, Michigan. Early pair of mallards with relief wing carving and feather stamping. Each with a angled wooden keel with inlayed lead weight. Measure 18.5” long. Original paint with moderate gunning wear; small dents and shot marks; crack in drake’s bill was reset; both heads swiveled slightly.
Provenance: Len Carnaghi collection. (800 - 1,200)
Frank Finney
B. 1947 | Cape Charles, Virginia
Frank Finney has earned the well-deserved reputation as one of America’s foremost living folk artists. His father, Herman, was of Native American descent and his mother was Dutch, hailing from South Africa. Herman served in the Navy during WWII and was one of the first to explore the decorative culinary arts, fashioning a variety of fanciful table settings of fruit and flowers for the naval officers. Frank attributes his artistic leanings to his father’s tutelage.
Frank was born Royland Frank Smith Finney in Cornwall, England and the family moved to the United States, settling in Virginia, in 1954. As a boy, he was drawn to the outdoors, hunting, fishing, and trapping. By age thirteen he was hunting and carving his own set of decoys. While he no longer hunts, he continues to be an enthusiastic angler, plying his home waters at the southern tip of Virginia’s Eastern Shore, and enjoys pursuing a wide variety of species both summer and winter. He describes himself to this day as, “a waterman”.
Frank proudly served in the Army during the Vietnam War and fought in the infamous 1968 Tet Offensive where he was wounded. His service earned him the V-Valor Battalion Award, The United States Army Commendation Award and The Purple Heart. Following his recovery after a lengthy hospital stay, he returned to Virginia where he worked as an engineer for five years on the revitalization of the Cavalier Hotel in Virginia Beach. He also worked as a commercial fisherman before turning to his art full time.
Frank is accomplished in a wide variety of mediums including wood, stone, bone, shell, and metal. He has also executed a number of exceptional pieces of flat art. His work adorns the interiors of some of our Country’s most historic landmarks including the Old Ebbitt Grill in Washington.
Finney creations grace some of the most prestigious collections of celebrities, politicians, writers, and individuals in America. Kirk Douglas, Nicole Kidman, Mrs. Colin Powell, Mary Margret and Jack Valenti and Jacqueline Kennedy, among others, have prominently displayed his work in their homes, and numerous shows and exhibitions across the country have focused on his art.
He credits two individuals, in particular, as playing pivotal roles in his life. His close friend and inspiration, socialite and notable New York folk art collector, Martha Bartlett, has had a profound effect on him and his work. Today he works in conjunction with his wife, Mary, whom he describes as “extremely talented” and his “creative partner”. Frank is devoutly religious and considers himself philosophical about this world and his role in life. He continues to work today, alongside his wife, in his studio overlooking the mouth of the Chesapeake Bay.
110 Frank Finney (b.1947), Cape Charles, Virginia. Large hollow carved beaver holding a frog. Both with open mouths. This special piece can be used as a piggy bank, as the underside has a small access piece to empty the bank. Maker’s initials carved on underside of tail, also titled “Best Friends Raised in the Same Pond” on the underside. Stands 20.5” tall. Excellent and original. (10,000 - 15,000)
111 Frank Finney (b.1947), Cape Charles, Virginia. Hollow carved blue whale weathervane. Custom stand with inlayed bone bannerette of maker’s full initials “RFSF”, for Royland Frank Smith Finney. Measures 30” long. Excellent and original. (10,000 - 14,000)
112 * Frank Finney (b.1947), Cape Charles, Virginia. Excellent bird tree featuring 18 different songbirds. Maker’s ink stamp on the underside. Stands 18.5” tall, birds measure from 3” to 4” long. Excellent and original.
(8,000 - 12,000)
113A Frank Finney (b.1947), Cape Charles, Virginia. “Two in the bush” carving of bluebirds in a bush, birds come out and can be handled as a pair carved from one piece of wood. Makers ink stamp on underside, stands 11.5” tall. Excellent and original.
(3,500 - 5,500)
(3,500 - 4,500)
113 Frank Finney (b.1947), Cape Charles, Virginia. Trout plaque with relief gill carving and open mouth. Backboard with carved river stones. Maker’s initials on back. Plaque measures 29.5” across. Excellent and original.
114 Frank Finney (b.1947), Cape Charles, Virginia. Carved keepsake box with carved boxing mouse defending a piece of cheese. titled “Just Try Me!” on top of lid. Mouse with up-looking head and open mouth. Maker’s initials and ink stamp on underside. Measures 7.5” tall including base. Excellent and original.
(2,000 - 3,000)
115 Frank Finney (b.1947), Cape Charles, Virginia. Round keepsake box with carved frog titled “Kiss Me”. Turned and up-looking head with carved crown. Maker’s initials on underside. Measures 6.5” tall including box. Excellent and original. (2,250 - 2,750)
116 Frank Finney (b.1947), Cape Charles, Virginia. Round keepsake box. With standing owl. Head is turned and up-looking. Wings are carved off of body with relief feather carving. Maker’s initials carved on the underside. Measures 7.5” tall including box. Excellent and original. (1,750 - 2,250)
117 Frank Finney (b.1947), Cape Charles, Virginia. Wonderfully stylized flying hummingbird on floral base. Outstretched wings with relief feather carving. Curved and separated tail feathers. Measures 10” tall. Hairline separation to pieces of base and one of the flower pedals was cracked and tightly reset, otherwise excellent. (4,000 - 6,000)
118 Frank Finney (b.1947), Cape Charles, Virginia. Pair of full size standing quail. One with open beak, and both with relief wingtip carving. Applied metal leaves on base. Maker’s initials carved on the underside. Stands 8.5” tall, base measures 11.5” wide. Fine hairline separation at jesso thighs of one quail.
(6,000 - 9,000)
119 Frank Finney (b.1947), Cape Charles, Virginia. 8” tall owl with deep relief wing carving and extended ear tufts. Maker’s initials on the underside. One ear tuft was restored by the maker, otherwise excellent. (600 - 900)
120 Frank Finney (b.1947), Cape Charles, Virginia. Miniature ruffed grouse with outstretched wings and fanned out tail. Maker’s ink stamp and carved initials on the underside. Stands 5.25” tall. Excellent and original. (1,200 - 1,800)
121 Marty Hanson (b. 1965), Hayward, Wisconsin. Pair of hollow carved mallards. Drake with slightly turned head and open bill. Hen in preening pose. Excellent scratch feather paint detail. Maker’s ink stamp on the undersides. Measure 16” long. Excellent and original. (3,000 - 4,000)
122 Marty Hanson (b. 1965), Hayward, Wisconsin. Excellent pike spearing decoy with deep relief gill carving and scratch feather paint detail. Maker’s initials carved in belly weight. Measures 7.75” long. Minor paint rubs on tip of tail; otherwise excellent.
Provenance: Len Carnaghi collection. (800 - 1,200)
123 Steve Weaver (b.1950), Cape Cod, Massachusetts. Excellent full size sawwhet owl with head turned 90 degrees and relief wing and tail feather carving. Initialed on one side of perch, also with a carved feather on perch. Titled “Ever Vigilant” and signed by the maker on back. Currently sits on a hardwood base, but made to also be hung from a wall. Owl stands 6” tall, 14” with base. Excellent and original. (3,500 - 4,500)
124 Steve Weaver (b.1950), Cape Cod, Massachusetts. Miniature woodcock with relief wing carving. Titled “Nestled Beneath the Birches” on the underside. Also signed and dated 2011. Woodcock measures 4.5” long. Excellent and original. (1,200 - 1,800)
123
125 Eddie Wozny (b.1959), Cambridge, Maryland.
Pair of miniature peafowl. Male with fanned out tail, hen in feeding pose approaching a ladybug. Identified and signed on the underside. Stands 9” tall including base, male’s tail is 10.5” wide. Excellent and original. (2,000 - 3,000)
126 Eddie Wozny (b.1959), Cambridge, Maryland. Small bald eagle with outstretched wings. Relief wing and tail feather carving. Identified, signed, and dated 2005 on the underside. Stands 16.5” tall with a 16” wingspan. Excellent and original. (2,500 - 3,500)
127 Eddie Wozny (b.1959), Cambridge, Maryland. Miniature loggerhead turtle. Swimming turtle with pink coral. Identified and signed on the underside. Turtle measures 5.5” long, 7” tall including base. Excellent and original. (1,200 - 1,800)
128 Mark McNair (b.1950), Craddockville, Virginia. Incredible wood duck hen. Back preening or sleeping position. Hollow carved with relief wing carving and raised wing tips. Signed “MS McNair” on underside. Measures 12” long. Excellent in all repsects.
129 Mark McNair (b.1950), Craddockville, Virginia. Fantastic hollow carved great blue heron with original base. Excellent carved crest and bill. Removable head with square mortise and tenon where neck slides into body. ‘McNair’ carved on tenon at lower neck. Textured carving between the bill and back of neck. Mounted on a decorative base that is excellent and original. Heron stands 47” tall on base. Wonderful, aged surface; near mint.
Provenance: Dixon Merkt collection.
(8,000 - 10,000)
Mark and I had just arrived at a collectors gathering when Mark answered “yes” to my question “did you bring anything?”. We went to his car and as he opened the trunk, I saw the four parts of what was a phenomenal great blue heron. When I told Mark I would like to acquire the carving he said he had talked to another interested party. Mark knew me well. We have been friends since 1974. He could see I really had to have the piece. As he always had in the past, Mark honored my wish, and the heron was transferred to my vehicle.
- Dixon Merkt
130 Mark McNair (b.1950), Craddockville, Virginia. Ruddy turnstone with shoe button eyes, raised wingtips. “MM” stamped near stick hole with “McNair” carved in underside. On original McNair base, stands 12.5” tall. Excellent in all respects.
Josh Brewer, Little Deer Isle, Maine. Outstanding full body green wing teal with outstretched wings. Perched on a carved rock base that is signed “Brewer ‘25”. Slightly turned and up looking head with open bill. Wings are stretched as if to be drying from water’s edge or perhaps recently landed. Detailed relief wing and tail feather carving. An excellent example of Josh’s recent work. Measures 10.5” tall. Mint in all respects. (4,500 - 6,500)
132 * Dick Bonner, New Orleans, Louisiana. Highly decorative and impressive pair of mallards. Both are dated 2002 on the underside. Drake is mounted, standing on wooden base with highly detailed feet and inserted legs. This decoy is made at the highest level of competition at all respects. Measures 13” tall. Drake remains in near mint to excellent condition; approximately 1/3” of crossed wingtip was broken and reset. Hen with turned head, raised, ruffled feathers. Strong original paint; near excellent; approximately 1” repair was made to the two edge tail feathers.
(6,000 - 9,000)
133 Al Jordan, Rochester, New York. Snowy owl perched on remnants of broken fence, complete with barbwire and hinge.
132
133
John Tax
1894 - 1967 | Osakis, Minnesota
John Tax’s early life was not an easy one. His mother, Helen (Helene) died when he was only 5 years old. His father, Anton, a harness maker by trade, then married Susan (Suzie) Hentges to assist with the children. Unfortunately, Anton died from a massive stroke 5 years later when John was 10. Tax did not attend high school and, out of necessity, quickly entered the work force. By age 16, he was living as a “boarder” in the home of Samuel E. Erwin who had taken over the Tax harness shop after his father’s death. Erwin was fond of the Tax family and had moved into their home with Susan to help with the children after Anton’s death. With the onset of WWI, Tax joined the navy serving as a cook, 2nd class (1917 – 1919) and when he returned to Osakis, he found employment as a “second miller” in a local flour mill. In 1922, his life began to improve when he married Ada Luella McJunkin, a 21-year-old widow who had lost her husband two years earlier. John and Ada would begin to raise their own family, but money was tight in rural Minnesota, and both had to work to make ends meet. John began his 25-year career as a harness maker and cobbler with Ada working at his side, first as an apprentice and, eventually, full-time. In 1947, the Tax harness shop burned down, and John went to work for the Osakis hatchery and Ada began to work out of their home as a tailor.
Samuel Erwin (John’s caretaker) was an amateur artist, and it is believed that he was instrumental in introducing Tax to drawing. It was his maternal grandfather, Andrew Konczak, a woodworker and sportsman, who taught Tax how to work with wood as well as how to hunt and fish.
John Tax is best known for his outstanding full bodied field decoys for both ducks and geese. He also made a line of canvas decoys that found widespread acceptance. The canvas birds were a natural extension of his experience with the sewing of harnesses and shoes. In 1939, Tax applied for a patent for a new canvas decoy design and the request was granted on Dec 16, 1941. He made these cedar or cork filled decoys in a variety of species but a few, such as his coot, are considered very rare with only a few known examples surviving.
Less well known, but of equal artistic merit, are the wide array of fish decoys and decorative objects that sprang from his inventive mind and talented hands. Tax was an excellent hunter and fisherman, and this love of the outdoors is clearly reflected in these objects. All possess a certain folk art appeal and give us a glimpse into the creative genius of this self-taught artisan. Miniature duck decoys, working fish decoys, whimsical door knockers and whirligigs, decorative fish plaques of various sizes and, most certainly, his extraordinary and distinctive fish shaped bird houses and mailboxes all demonstrate the wide range of his creative talents. One of his proudest moments was when he presented a decoy to astronaut frank Borman This was one of the last photographs of Tax and what may be some of his work can be seen on the wall behind the two men.
Tax (l) c1910 and Samuel Erwin
134 John Tax (1894-1967), Osakis, Minnesota. Rare feeding Canada goose. Laminate construction, made for use as a stickup decoy. Measures 27.5” long. Original paint with minor flaking and wear; some filler and paint restoration at laminate seems on each side of neck.
Provenance: Gene and Linda Kangas collection. (50,000 - 80,000)
135 John Tax (1894-1967), Osakis, Minnesota. Cork body Canada goose with wooden bottom board and slightly turned head. The piece of wood used for head and neck was not wide enough for neck seat, and two pieces of wood were added in the making. Measures 20.75” long. Two cracks in body on one side, otherwise very good and original. (4,000 - 6,000)
136 John Tax (1894-1967), Osakis, Minnesota. Cork body Canada goose. Scratch feather paint detail and slightly turned head. Measures 22” long. Original paint with minor wear; slight separation at seams in neck; small chip and roughness on edge of tail; separation at bottom board along one side; two cracks in body. (4,000 - 6,000)
137 John Tax (1894-1967), Osakis, Minnesota. Hollow carved bluewing teal hen with relief wingtip carving and carved eyes. Measures 12.5” long. Original paint with very minor wear; minor blunting on wing tip with separation to original filler used in that area. (1,500 - 2,500)
138 John Tax (1894-1967), Osakis, Minnesota. Very rare bluewing teal hen. Two piece body and brass tack eyes. Comb feather paint detail. Measures 12.25” long. Original paint with minor flaking on head and bill; slight separation at body seam. (1,500 - 2,500)
139 John Tax (1894-1967), Osakis, Minnesota. One of only a few known canvas coot by Tax. Measures 11.5” long. Original paint with very minor wear; very good structurally. (1,500 - 2,500)
140 John Tax (1894-1967), Osakis, Minnesota. Canvas bluebill with tack eyes and comb feather paint detail. Maker’s ink stamp on the underside. Also with Joe French
inventory number “252” painted on underside. Measures 12.75” long. Original paint with minor wear, mostly on tail area; good structurally. (600 - 900)
141 John Tax (1894-1967), Osakis, Minnesota. Canvas mallard with tack eyes. Measures 14” long. Original paint with moderate wear; dent in one side of bill tip; some creasing to canvas on one side of neck seat. (400 - 600)
142 John Tax (1894-1967), Osakis, Minnesota. Rare bird house in the form of a leaping rainbow trout with tack eyes, metal fins. Metal brackets that elevates this fish, which measures 19” long, and 8” tall. Original paint with some crazing, a few small rubs, and approximately 1/5 of the top of the tail is missing; to our knowledge this is only the second Tax fish birdhouse ever to come to market. (5,000 - 8,000)
143 John Tax (1894-1967), Osakis, Minnesota. Bird house in the shape of a shoe. Signed “J.F. Tax, 1965” on underside. Tax was known for making creative bird houses that hung in his yard and throughout the town. Very few remain. Measures 6.25” tall and 9.5” long. Original paint; structurally good. (1,500 - 2,500)
143A John Tax (1894-1967), Osakis, Minnesota. Swimming miniature mallard drake with “Tax” stamped on underside. Comb painting on back with carved eyes. Measures 8.25” long. Original paint with some flaking on the bill and around
Joe Marr, a professional barber from Sioux Falls spent the hunting seasons at Heron Lake. He also made his own decoys, and they can quite often be recognized by their characteristics of painted tack eyes, deep weighted keels, and long flowing heads with squared off bills. He even went a step further when filling out his rigs — he added juvenile painted canvasback drakes.
144 Joe Marr (1879-1954), Heron Lake, Minnesota. Rare immature canvasback with original wooden keel and painted tack eyes. Measures 12.5” long. Original paint with minor wear; under an old coat of varnish that has darkened with age; hairline crack through neck; otherwise very good structurally. (3,000 - 5,000)
145 Joe Marr (1879-1954), Heron Lake, Minnesota. Rare mallard drake used at Heron Lake, Minnesota. With tack eyes and slightly turned head. Measures 12.5” long. Original paint with minor wear; and significant crazing; slight separation at neck seat, wooden keel is a modern replacement. (5,000 - 8,000)
146 Joe Marr (1879-1954), Heron Lake, Minnesota. Rare mallard hen used at Heron Lake, Minnesota. With large glass eyes and slightly turned head. Measures 12.5” long. Early thin second coat on much of the decoy; shows minor wear; significant crazing on much of the decoy; wooden keel is a modern replacement. (2,000 - 3,000)
147 Joe Marr (1879-1954), Heron Lake, Minnesota. Canvasback used at Heron Lake, Minnesota. With painted tack eyes and slightly turned head. Measures 12” long. Original paint with moderate to significant wear; hairline cracks in body; roughness and loss to wood on tip of bill; head is loose; wooden keel is a recent replacement. (2,000 - 3,000)
148 Unknown maker, Heron Lake, Minnesota. Canvasback. “DS” painted on the underside. Original weighted wooden keel on underside. Measures 12.25” long. Original paint with moderate wear; initials that were painted on the underside caused paint drips up one side that has mostly worn down to the original paint. (800 - 1,200)
149 Unknown maker, Heron Lake, Minnesota. Canvasback with wooden keel in slightly high head pose. Measures 13.25” long. Worn original paint down to much bare wood; many drying cracks in body and one along the back of neck. (600 - 900)
The Fish Decoy Collection of James F (“Jim”) Richards Jr.
1939 – 2024 | Callaway, Minnesota
Jim was born in Detroit Lakes, Minnesota, an area known for its abundant forests, waters and wildlife. As a young man, armed with a degree in geology from Dartmouth College, he worked for his father in heavy construction and sitework in Texas. He joined the Army in 1962 and upon the completion of his service he returned to Minnesota.
In 1965, along with his brother, Fred, they began their business, “Boom…Potholes”, developing ponds and wetlands using Jim’s knowledge of explosives he had learned from his time working in Texas. He married Mary Gotta in 1966, and in 1973, the family moved from Edina to a 56 acre piece of property that they, along with his brother and two other couples, had purchased on the shore of Little Sugarbush Lake. Here, he became engrossed in the production of maple syrup, becoming one of the largest producers in the State and Jim was awarded the “Outstanding Tree Farmer of the Year” in 1982. In 1974, another sugar bush owner offered to rent their sugar house as
a place to stay while cross country skiing. This soon grew into the Richards’ family 660-acre destination resort and conference center which they named “Maplelag”. Here, one could enjoy the outdoors while staying in a variety of comfortable accommodations ranging from the traditional main lodge to Jim’s eclectic collection of old railroad cars and log cabins he had transplanted to the grounds.
Jim and Mary at Maplelag
Jim Richards truly loved the Minnesota north woods, its people, stories and, especially, its sporting heritage. By the 1970’s, his urge to collect anything old and “honest” (his words) that he found interesting led him to scour local flea markets and auctions in search of items to include in his ever-growing collection. Objects with an outdoor theme were particular favorites. Duck and fish decoys as well as handmade cross country and bog skis, quickly became a focus in his search. He was also drawn to almost anything of quality suggestive of the local Norwegian folk culture. The stories behind an item and the people who made or used it were of equal importance to Jim as the item itself and added immensely to the enjoyment of his collection.
Much of his collection adorned the walls and tables of his beloved “Maplelag” but, regrettably, many of these items were lost in a succession of fires that swept the main lodge. Jim had kept his favorite pieces, especially his better fish decoys, in his home and these, luckily, escaped the flames. It is the family’s hope that his treasured decoys will go to those who will enjoy them as much as Jim did.
Earnest Aamodt
1915 - 2005 | Crosby, Minnesota
Born in 1915 in Rose County, Minnesota, later moving to the town of Crosby. Earnest farmed, served as a guide and worked underground in the mines. His spearing decoys were made of cedar. Ernest has made a wide variety of decoys including northerns, perch, dog fish and sunfish. His decoys have the characteristic of being abstractly, rather than realistically, painted. The eyes of his decoys were always round in shape and painted black. He made both wooden and metal tails for his
fish, and the fins for his decoys, always four in number, were made from metal from an old Chevrolet. Aamodt was fond of using glitter and several of his surviving decoys bear that sub-stance. Mr. Aamodt is properly considered one of the finest decoy makers and painters in Minnesota.
Information provided by Donald Peterson in his book, Folk Art Fish Decoys.
150 Ernest Aamodt (1915-2005), Crosby, Minnesota. Panfish decoy with slightly curved body. Dot design with green vertical bars and stripe decorated metal fins. Measures 6.5” long. Strong original paint with light wear.
Literature “The Fish Decoy Volume two, Art, Brad and Scott Kimball, p. 83. (1,000 - 2,000)
151 Ernest Aamodt (1915-2005), Crosby, Minnesota. Pan fish decoy with multi colored scale pattern and vertical bars of glitter. Painted eyes with decorated tiger stripe fins. Measures 7.5” long. Excellent original paint with very light wear.
Literature “The Fish Decoy Volume two, Art, Brad and Scott Kimball, p. 83. (1,000 - 2,000)
152 Ernest Aamodt (1915-2005), Crosby, Minnesota. Fish decoy, 1st half 20th century. Multi colored dot decoration with painted metal fins and a serrated edge tail. Measures 8.5” long. Strong original paint with light wear, mostly visible on the head.
Literature “The Fish Decoy Volume two, Art, Brad and Scott Kimball, p. 92. (1,000 - 2,000)
153 Ernest Aamodt (1915-2005), Crosby, Minnesota. Fish decoy, 1st half 20th century. Red and white zebra stripe with black painted eyes, metal fins. With two fish hooks uniquely inserted near mid-body. Measures 8.5” long. Excellent original paint; very light wear. (1,200 - 1,500)
154 Ernest Aamodt (1915-2005), Crosby, Minnesota. Panfish decoy with white vertical bars and paint decorated metal fins. Measures 6” long. Excellent original paint with light wear. (1,000 - 2,000)
155 Ernest Aamodt (1915-2005), Crosby, Minnesota. Fish decoy with dense dot decoration and four vertical bars. Metal inserted fins, including tail which is serrated on all edges as an additional detail. Measures 6” long. Excellent original paint with light wear. (1,000 - 2,000)
156 Ernest Aamodt (1915-2005), Crosby, Minnesota. Multi colored pan fish. With pink tiger stripes and red gills. Metal fins with painted eyes. Measures 4.75” long. Original paint that has mellowed and slightly darkened. (1,000 - 1,500)
William Faue (1878-1950), Minnesota
Otto Faue (1881-1954), Minnesota
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.
Hanover, Minnesota. decoy. So called “clown fish” style. 7” long. Original paint with some crazing; has darkened from use; small ares of paint loss around tail. (1,000 - 1,500)
158 William Faue (1878-1950), Hanover, Minnesota. Fish decoy, 1st half 20th century. Metal fins with glass eyes. Unusual blended and angled paint pattern with the so called “clown fish” face. Measures 7.5” long. Shows light to moderate wear. (1,000 - 1,500)
159 William Faue (1878-1950), Hanover, Minnesota. Fish decoy with metal fins and painted eyes. Measures 8” long. Original paint with light wear; small areas of paint flaking at metal fins; a few dark rubs on body. (1,000 - 1,500)
160 Otto Faue (1881-1954), Hanover, Minnesota. Musky fish decoy. Metal fins. Measures 10.5” long. Strong original paint that has crazed and discolored slightly in some areas from use; some loss to paint at fins and area of dark stain on underside near anal fin. (1,000 - 1,500)
161 William Faue (1878-1950), Hanover, Minnesota. Fish decoy with tack eyes and metal fins. Measures 7” long. Original paint with areas of loss at fins; one gouge in the wood on one side of body; light in use wear. (1,000 - 1,500)
162 Raymond Stotz (1897-1976), Scotch Lake, Minnesota. Pike fish decoy, 1st half 20th century. Brass tack eyes with detailed gill carving. Slightly opened mouth and curved tail. A single line tie in the back. With applied metal fins. This fish is not weighted. Measures 16” long. Strong original paint protected by a very light coat of varnish; small amounts of flaking at tack eyes and a few areas of fins; small sliver of wood missing lower jaw of mouth.
Literature: Folk Art fish Decoys,” Donald Peterson, p. 101, exact fish pictured. (4,000 - 6,000)
163 Chuck Hall (1908-1995), Barnum, Minnesota. Large trout fish decoy with carved eyes, open mouth, and carved gills extending in to the underside of the fish. Applied metal fins with wooden tail. Measures 12” long. Original orange, green, and off white paint that has crazed slightly; some spots of discoloration and rust areas on fins; small chip at tip of lower jaw of mouth. (400 - 600)
164 Charles Slechta (1872-1965), Spring Park, Minnesota. Two headed copper spearing decoy. Tail piece measures 6” long. Nice patina; structurally excellent. (800 - 1,200)
165 Charles Slechta (1872-1965), Spring Park, Minnesota. Rare double headed fish decoy with brass eyes. Body made from copper and is hollow. Each section measures 6”. Very good and original. (1,000 - 2,000)
166 Charles Slechta (1872-1965), Spring Park, Minnesota. Rare mud puppy with brass eyes and tin underside. Part of a dorsal fin may be missing. Measures 10.5” long. Some rubs and wear patterns on copper body. (1,000 - 2,000)
167 Charles Slechta (1872-1965), Spring Park, Minnesota. Rare copper construction hollow fish decoy. With brass and copper eyes. Superb craftsmanship by one of the best copper fish makers. Measures 10.5” long. (1,000 - 2,000)
168 Unknown maker, Minnesota, 1st half 20th century. Copper fish decoy. Hollow copper body with unusual detailed dot pattern on fins, face, and around gills. Measures 8.5” long. (500 - 1,000)
169 Charles Slechta (1872-1965), Spring Park, Minnesota. Sletcha’s original lead mold for his copper fish decoy form. Detailed scale pattern, eyes, and gills. Weighs approximately 5 lb. Measures 10.5” long. (500 - 1,000)
170 Unknown maker, Minnesota, 1st half 20th century. Fish decoy. A rare floater with glass eyes and metal fins. Two eye hooks in top of back and one in underside. Probably a walleye. Carved mouth and gills. Measures 24” long. Original paint protected by a coat of varnish that has darkened; rough area to lower jaw; a few small rubs and dents.
(800 - 1,200)
171 Fred Gibbon (1937-2016),, Saulk Rapids, Minnesota. Four fish decoys. Longest, red and white measures 8.5” long. All in good to excellent condition.
(800 - 1,200)
172 Frank Mizera (1898-1969), Ely, Minnesota. Three fish decoys, 1st half 20th century. All black, orange, and yellow. Longest measures 9.5” long. All show in use wear and are in original paint; all have small tail chips, small areas of paint loss at fin; medium size fish is missing a side fin.
(400 - 600)
173 Frank Mizera (1898-1969), Ely, Minnesota. Two fish decoys, 1st half 20th century. A natural side with painted tail and underbelly and a black, orange, and blue decorated fish that has a tail that has been broken and reattached. One eye is missing and has paint loss at fins, but is in original paint. Natural fish has piece of tail that has been broken and reattached with tape and shows some wear. Longest measures 8”.
(300 - 500)
174 Unknown makers, Minnesota, 1st half 20th century. Two fish decoys. Both panfish have tack eyes and metal fins. Longest measures 8”. Both are in worn original paint; with moderate wear. (300 - 500)
175 Unknown makers, Minnesota. Three frog spearing decoys, 2nd or 3rd quarter 20th century. Longest measures 4.25” long. All show in use wear, but are structurally good. (300 - 500)
176 Unknown maker. Group of three red frogs from Minnesota. Each is weighted, has a wooden body, and metal fins. Longest measures 8”. All show moderate wear. (300 - 500)
177 Unknown makers, Minnesota, circa 1950. Three frog spearing decoys. Longest measures 7” long. All show in use wear; frog with red eyes has a broken and reattached foot with some of it missing; smallest frog is missing metal inserts at feet. (300 - 500)
178 Clinton Nelson, Minnesota. Two fish decoys. One is a pike. Each has maker’s name on underside, dated 1978. Applied metal side fins with inserted metal tail. Eyes are made of buttons. Each is made from a carved wooden body, but then wrapped in a synthetic material and decorated with multi colored tape. Very unusual and quite modernistic. Measure 18.5” and 13.5” long. Some separation near belly weight on small fish; small areas of discoloration from age.
(400 - 600)
179 Frank Mizera (1898-1969), Ely, Minnesota. Red and white fish decoy. An early example. Measures an unusual 12” in length. Strong original paint that has mostly flaked away from the metal fins; light wear with some scratches and nicks to wood.
(200 - 400)
180 Frank Mizera (1898-1969), Ely, Minnesota. Two fish decoys, 1st half 20th century. Two red and white fish decoys. Measure 9” long. Both are in original paint; one in near excellent and one that shows rubs to paint near mouth and tail and some paint loss on underside and fins. (600 - 800)
181 Oscar Peterson (1887-1951), Cadillac, Michigan. Fish decoy. Sucker with carved eyes. Measures 9” x 1.75” tall x 1.25” wide. A heavy and thick earlier fish with white spearing spots along back. Original paint protected by a coat of varnish; under uv light you can see that some of the varnish has worn off in three separate areas along the back and tail.
(2,000 - 2,500)
182 Oscar Peterson (1887-1951), Cadillac, Michigan. Fish decoy. Sucker with tack eyes. Measures 7” x 1.75” x .75” wide. Original paint protected by a coat of varnish; small amount of paint loss at fins and underside. (800 - 1,200)
183 Oscar Peterson (1887-1951), Cadillac, Michigan. Fish decoy, 2nd quarter 20th century. Rainbow trout with tack eyes. Measures 7” x 1.25” tall x .6” wide. Original paint protected by a coat of varnish; some paint loss at fins. (1,000 - 1,500)
184 Oscar Peterson (1887-1951), Cadillac, Michigan. Pike fish decoy with tack eyes. Measures 7” x .75” x .5”. Original paint protected by a coat of varnish; some paint loss at underside with a little dark staining around fins.
(1,500 - 2,000)
Ray Thompson
1887 - 1966 | Park Rapids, Minnesota.
Ray was born in Long Prairie, Minnesota to Hayden Thompson and Theckla Szuszitzky. By 1895, the family had moved to Park Rapids but apparently, shortly thereafter, his parents had separated, and, by 1900, he was living with his mother and her parents at a hotel they operated in Wadena. Ray had only received an 8th grade education but, as a young man, he worked for a casket maker and the skills he acquired there would become apparent in his work later in life. He remained in Wadena where, in 1908, he married Lena Iverson. The couple relocated to Park Rapids where, by 1910, Ray began his 30-year career as a barber, and they soon began to raise their family, Harley (b1914) and Wesley (b1917).
His WWI draft registration records him as having “effected ears – deaf” and, seemingly, he also had a speech impediment which gave him his less than complimentary nickname of “hair-lip”. Unfortunately, for whatever the reason(s), Thompson seems to have developed a drinking problem which would ultimately lead to a divorce from Lena sometime between 1920 and 1930. Apparently, by the early 1940’s the problem had progressed to the point where he was no longer working as a barber but
subsisting on whatever little he made from his carvings or trading them for food or drink at the local watering holes. Eventually, he was basically relying on his hunting and fishing skills to live off the land. He seems to have had minimal regard for the game laws but escaped apprehension except when he needed a hot meal or a warm place to sleep when he would allow himself “to get pinched”.
Regardless of the personal problems he may have had in his life, he is remembered by those who knew him as “a great guy who loved the outdoors and made some great things - - - (he) was happiest when puttering around his workshop” . He was a multifaceted artist who excelled at producing a variety of useful and beautifully crafted articles for the sportsman. His talents ranged from producing fine gunstocks to intricate fly rods. He
was particularly drawn to items of interest for the fisherman, producing a full range of lures, ice fishing decoys, gaffs, nets, and other implements, as well as cribbage sets and watch fobs. Many of these items were proudly advertised for purchase in a large display case in the barbershop while he worked there. Many would consider his full-size carvings of a walleye and various trout as his crowning achievements.
Ray Thompson’s work would have been sought out and appreciated by the many folks who visited the numerous large lakes near Park Rapids, notably, Fishhook and Long Lakes, both summer and winter. Unfortunately, since his work was produced basically as a sideline to his job as a barber or simply as an enjoyable hobby, the remaining examples of his craft are extremely limited, and he probably produced fewer than 100 decoys. He should be remembered as the stellar Minnesota folk artist that he was.
Guyette and Deeter would like to acknowledge the fine article on Thompson by Donna Tonelli in the Sept/Oct 92 issue of Decoy Magazine.
185 Ray Thompson (1887-1966), Park Rapids, Minnesota. One of three known exceptional and important life size carved fish by Thompson. With inserted wire cut teeth. Inserted metal fins. Carved detailing around gill. This fish replica of a walleye measures 36” long. An exceptional piece of Minnesota folk art. Has excellent original paint; white areas have slightly crazed; one side fin is missing near gill; paint surface has been disturbed slightly on one side of body where it looks like it was touched or moved while the paint was still wet; some loss of paint at fins. (5,000 - 10,000)
186 Ray Thompson (1887-1966), Park Rapids, Minnesota. One of three known full size fish carvings by Thompson. With inserted metal teeth. This brook trout measures 26” in length. Has inserted metal fins. Carved gill. Is in original paint with some areas of discoloration and flaking, mostly on one side of head; small areas of flaking at fins; otherwise a few rubs at body. (5,000 - 10,000)
187 Ray Thompson (1887-1966), Park Rapids, Minnesota. One of three known full body fish carvings by Thompson. 1st half 20th century. Inserted metal fins and inserted cut wire teeth. This rainbow trout measures 28” in length. Caved gills and open mouth. Strong original paint with some loss at fins and other small rubs and scratches; crazing mostly to white areas near belly; some loss near mouth.
(5,000 - 10,000)
188 John Tax (1894-1967), Osakis, Minnesota. Fish decoy, 2nd half 20th century. Carved eyes. Measures 5.5” long. Original paint shows very little wear. (1,000 - 1,500)
189 John Tax (1894-1967), Osakis, Minnesota. Fish decoy with carved eyes and metal fins. Measures 4.5” long. Original paint with light flaking.
(500 - 800)
190 John Tax (1894-1967), Osakis, Minnesota. Fish decoy with carved eyes. Measures 3” long. Original paint with light wear and some small rubs to exposed bare wood. (400 - 600)
191 John Tax (1894-1967), Osakis, Minnesota. Fish decoy, 2nd half 20th century. Carved eyes and metal fins. Measures 4.5” long. Original paint with small area of loss near mouth and one eye. (1,000 - 1,500)
John Tax (1900-1967), Osakis, Minnesota. Fish plaque with bluegill or pumpkin seed. Carved of wood with metal fins and wood tail. Mounted on leaf, stamped “John Tax” on back. Leaf is 6.5” long. Very good and original.
(500 - 800)
193 John Vavra (1883-1965), LeChenter, Minnesota. A pair of nearly identical copper fish decoys. Both are hollow and have red and green paint decoration. Both show light wear and measure 5.5” long. (500 - 800)
194 Sonny Bashore, Ohio. Two contemporary fish decoys. A perch with glass eyes, signed on underside. Measures 7” long. Excellent and original. A brook trout with glass eyes. “SB” in carved in the underside. Measures 6”. Very good and original. (500 - 800)
196 A.J. Downey (1944-2016), Newberry, Michigan. Contemporary fish decoy. Maker’s stamp on lead weight on underside. Articulated tail. Measures 10” long. Excellent and original. (300 - 500)
Robert Elliston
1849 - 1915 | Bureau, Illinois
Recognized as the originator of the “Illinois River Style”, Robert Elliston was born in Ballard County, Kentucky. The family moved to the Midwest in 1852, settling near Indianapolis, Illinois where Robert gained a reputation as an expert rifle shot. His creative and woodworking talents began to emerge when, at age 18, he was residing in South Bend, Indiana, working as a buggy and carriage maker for Studebaker. He must have been very accomplished for he changed location several times, moving to positions in New York, Philadelphia and St Louis, Missouri where he became the hearse designer for the McLaren Hearse and Coach Manufacturing Co.
In 1875, while in St Louis, he married Margaret Cummiskey and one year later the couple had a son, James. Robert then moved the family to Lacon, IL to work for the Brereton Buggy Shop. Tragically, in 1876, Margaret died unexpectedly and her younger sister, Catherine, moved in with Robert to help raise the young boy. This living arrangement would have been deemed socially inappropriate at the time and, as a result, Robert married Catherine in 1879. Heartbreak struck again, however, when, in 1880, young James too passed away. The union of Robert and Catherine resulted in the couple initially having three children, all of whom died in infancy (they would later have three sons and a daughter that survived into adulthood). Robert and Catherine moved again, this time to Lacon to take up residence at the Undercliff Hotel located on Lake Senachwine in Bureau County, Il. The hotel was a major drawing card for wellheeled sportsmen of the Midwest. These individuals would, undoubtedly, have sought out Elliston for their decoys. Robert’s experience in the buggy and carriage trade enabled him to also produce a number of fine boats for the same sports and other visiting guests at the hotel. In late 1889, the family had outgrown the accommodations at the Undercliff and Robert was successful in renting a plot of land on a bluff overlooking the Lake where he built a home and workshop, surrounded by a sizable plum orchard and a large apiary.
It is unclear exactly when Robert began to produce decoys, but an advertisement dated 1880/3(?) notes that by that date, he had a “factory” in Henry, IL and prior to that, in Putnam, IL. When the Hotel Underwood opened in 1882, it was noted that “R.A. Elliston, a decoy carver of some fame attended the opening ceremonies”. He was clearly in full time production when he appears in the 1900 Federal census listed as a “Decoy maker”.
The decoy production was a family affair, Robert crafted the decoys and Catherine was responsible for the exquisite wet on wet painted plumage. The quality of the Elliston decoys set the standard by which all other lures of the time and region were judged. Two of the most famous Illinois River carvers to succeed Elliston, Charles Perdew and George Bert Graves, were strongly influenced by the man considered their mentor.
Upon Elliston’s unexpected death by a heart attack while pumping water for the family cow, Catherine sold their remaining inventory to Graves, but she agreed to continue to paint for him for a period while teaching Grave’s sister “Nellie” to assume that responsibility on her own.
Now considered the founding father of the Illinois River style, his influence on the region’s decoys cannot be overstated. He is, today, rightfully considered to be among the premier carvers of the golden age of hunting and decoy carving in America.
Note: This history is basically a summary of the fine research done by Donna Tonelli that appeared in the Jan/Feb 2020 edition of Decoy Magazine.
197 Robert Elliston (1849-1915), Bureau, Illinois. Rare preening mallard hen. Hollow carved deep body style. Retains the original Elliston lead weight. Measures 14.25” long. Original paint with moderate flaking and wear; thin line of touchup at neck seat; touchup to much of the bill; later gray paint on underside has worn to much of the original surface. (14,000 - 18,000)
Charles Perdew
1874 - 1963 | Henry, Illinois
Every region of the country has its iconic decoy carvers, men and women who represent the very pinnacle of perfection for that area’s accepted carving tradition. The Illinois River school is well represented by Charlie and Edna Perdew. The son of a farmer, Charlie was born in Magnolia Township and as a young man is reported to have hunted for the market and found work as a carpenter in the construction of the 1893 Columbian Exposition in Chicago. By 1900, he was residing in Henry as a boarder in the home of Miss Emma Masterson and listing his occupation as “machinist – general repair” Henry would become his home for the remainder of his life, and he would capitalize on his many talents involving working with his hands. He built his own home on a high bluff overlooking the Illinois River, hauling tons of stone from the river by hand to construct its massive foundation and fireplace. In 1902 he brought his young bride, the former Edna Haddon, into the home where they would remain until Charlie’s death. In the wedding announcement in the Henry newspaper, it appears that the couple had been “in a courtship for quite a long time” and Charlie is described as “ - - of an inventive and mechanical turn, of industrious, steady habits -(and)- qualified for a successful career - - “ . He would utilize these “mechanical turnings” for the remainder of his life. He was widely recognized for his ability to build or repair almost anything from bicycles to gunsmithing, even to, in 1955, making his own set of false teeth after being told by the local dentist that a pair would cost $100.
Of his many skills, he settled on producing items for the sportsmen of his day. Other than a brief period during WWI where he opened
a broom making facility, decoys, duck calls and a few other associated items required by hunters would become his livelihood. His decoys were inspired by the work of earlier successful style setters, Henry Ruggles (1830 – 1897) and Robert Elliston (1847 – 1915). He hand carved his hollow creations and they were then painted by Edna - it was truly a joint artistic venture. Their superb craftsmanship soon gained them an enviable reputation for the quality of their decoys and calls, first among the local hunters and prestigious clubs such as the Hennepin, Princeton, Senachwine, and Swan Lake, but soon spreading to his achieving National acclaim. Charlie sent a pair of mallards to be judged in the 1924 “Exhibition of Wild-Fowl Decoys’ in New York. They were erroneously placed in the machine-made category where they won a second place which infuriated him. He placed advertisements in the widely read sporting journals of the day and printed a number of his own promotional items. His mail order business flourished, and his decoys were soon also being sold by large national outlets such as Eddie Bauer and VL&A.
His efforts set the standard by which all future carvers of the region would be judged, and he is now considered a leading member of the elite Illinois River carving triumvirate of Elliston, Perdew and Graves. In summarizing his work, noted author and collector Alan Haid wrote: “Charles and Edna Perdew’s early hunting decoys are benchmarks for comparison with the finest decoys of other classic makers from all parts of North America”.
This exact decoy was found by Joe Tonelli and sold to Alan Haid in the 1980’s. Only two or three sleeping pintail hens painted by Edna are known to exist.
198 Charles Perdew (1874-1963), Henry, Illinois. Very rare preening pintail hen. Retains the original Perdew weight. Hollow carved, two piece body. Measures 14.25” long. In use repaint was taken down to mostly original, showing moderate wear; some shallow dents on back, otherwise excellent structurally.
Provenance: James and Lyda Madden collection. (10,000 - 15,000)
199 Unknown maker, Illinois River, 1st quarter 20th century. A very fine carving that has been attributed to Charles Perdew. Two piece hollow body with inset rectangle weight in underside. Tack eyes. Measures 16” long. Original paint protected by a coat of varnish that has pooled and crazed in some areas; a few rubs; small dent at one side; area of black paint sits on top of the varnish at rear of decoy.
Provenance: Gene and Linda Kangas collection.
Literature: “Bird Decoys of North America – Nature, History, and Art” by Robert Shaw, page 243, exact decoy pictured. (12,000 - 18,000)
199A Bert Graves (1880-1956), Peoria, Illinois. Pair of mallards, 1st quarter 20th century. These decoys illustrate Nellie Graves’ paint at its finest. Flat back style. Weight on hen has been removed. Both are in excellent original paint; protected by a coat of vanish; some nicks and scratches in back of drake; hen shows very little wear; both are structurally good. (8,000 - 12,000)
200 Charles Perdew (1874-1963), Henry, Illinois. Rare three-piece Canada goose. Hollow carved with raised wingtips and high head. One of a rig of six made for Heinie Kuffel for use at the West End Duck Club, Spring Valley, Illinois. This is the only rig of geese made by Perdew. Measures 20” long. Original paint by Charlie with moderate flaking and wear; under an early coat of varnish; chip on one wing that has been darkened; slight separation at a seam in neck; hairline crack in neck was tightly reglued; one lower edge of bill with small amount of touchup.
201 Charles Perdew (1874-1963), Henry, Illinois. Early rigmate pair of mallards. Hollow carved with comb feather paint detail on drake. Both retain the original unmarked lead weights. Excellent paint feather detail by Edna Perdew. Measure 16.75” long. Original paint with minor gunning wear under a thin coat of original varnish; tight crack in one side of hen’s neck; minor roughness on edge of drake’s bill and tip of hen’s bill; shallow dent in one side of drake.
Provenance: David Galliher collection. Purchased at Guyette & Schmidt 2009. The Russ and Karen Goldberger collection.
Literature: “Perdew, An Illinois River Tradition”, Ann Tandy Lacy, pg. 132, exact pair pictured. (25,000 - 35,000)
202 Robert Elliston (1849-1915), Bureau, Illinois. Hollow carved bluewing teal hen. Retains the original Elliston weight. Measures 12.75” long. Original paint with minor to moderate wear; thin coat of varnish has darkened slightly; minor roughness on tip of tail and edge of bill; filler has flaked at three nails in body seam. (8,000 - 12,000)
203 Charles Perdew (1874-1963), Henry, Illinois. Excellent pair of mallards. Hollow carved with slightly turned heads. “RES” branded on the undersides. Weights were removed at some point. Measure 15.5” long. Excellent original paint with a few tiny flakes on drake’s head and tip of tail; hen with two tight cracks in neck with two small paint flakes on back of neck; minor blunting on tip of hen’s bill. (6,000 - 9,000)
204 Bert Graves (1880-1956),
Illinois. Hollow carved mallard with upswept tail and scratch feather paint detail. Retains the original Graves weight. “GFS” painted on underside. Measures 17” long. Original paint with minor wear; under an early coat of varnish that has darkened slightly; a few small shot marks; minor roughness on tip of tail. (2,500 - 3,500)
205 Bert Graves (1880-1956), Peoria, Illinois. Hollow carved mallard hen. Measures 17” long. Original paint with minor to moderate flaking, mostly on one side; fine hairline crack in neck; weight was removed at some point. (2,500 - 3,500)
Peoria,
206 Charles Walker (1873-1954), Princeton, Illinois.
Hollow carved mallard with relief wing carving and comb feather paint detail. “34” painted on the underside. Measures 17” long. Original paint with moderate gunning wear; lightly hit by shot; crack in each side of neck seat; roughness on one side of bill; green on head and neck appear to be a very early second coat. (3,000 - 4,000)
carved pintail drake with comb feather paint detail. Retains the original Graves weight on the underside. “GSO” branded in underside. Measures 17.5” long. Original paint with moderate flaking and wear, mostly on back; early coat of varnish with scattered flaking; very good structurally. (3,000 - 5,000)
208 Charles Perdew (1874-1963), Henry, Illinois. Hollow carved mallard drake with comb feather paint detail. Measures 16” long. Original paint with moderate wear; under a thick coat of varnish that has darkened; lightly hit by shot; tight crack through neck; weight was removed at some point.
Provenance: Tom Karras collection. (4,000 - 6,000)
209 Robert Elliston (1849-1915), Bureau, Illinois. Hollow carved redhead with fine comb feather paint detail. Measures 14.5” long. Original paint with minor to moderate wear; thick coat of varnish has darkened with age and has flaked off of parts of the decoy; old chip in bill was re-secured with multiple small nails. (4,000 - 6,000)
Robert Elliston (1849-1915), Bureau, Illinois. Hollow
mallard with comb feather paint detail. Measures 17.5” long. Original paint with moderate wear; some spots of touchup to flaking on back; thick coat of varnish has darkened with age; lightly hit by shot; hairline crack in bill.
Provenance: Tom Karras collection. (2,500 - 3,500)
Robert Elliston (1849-1915), Bureau, Illinois. Hollow carved pintail with comb feather paint detail. “MEINE” painted on underside. Measures 17.5” long. Original paint with moderate wear; coat of varnish has darkened with age; hit by shot, including one that caused a small chip at neck seat; minor roughness on edge of bill; professional repair to a chip at tip of tail.
Provenance: Tom Karras collection. (3,000 - 4,000)
210
carved
211
212 George Sibley (19th century), Hennepin, Illinois and Whitehall, Michigan. Outstanding and extremely rare, hollow carved green wing teal with slightly turned head and inlet hardwood bill typical of the maker. Remnants of the maker’s patent ink stamp on one lower side. Measures 9.25” long. Original paint with minor flaking and wear under a very thin coat of varnish; very good structurally.
Provenance: Mike and Ginger Raffia collection. (12,000 - 18,000)
213 George Sibley (19th century), Hennepin, Illinois and Whitehall, Michigan. Rare and outstanding rigmate pair of bluebills. Hollow carved with slightly turned heads and typical inlayed bills. Each retain the patent applied for ink stamp on side. Measure 11.75” and 11.25” long. Excellent original paint with minor rubs and wear; structurally excellent.
Provenance: Mike and Ginger Raffia collection. (6,000 - 9,000)
214 William Shaw (1849-1927), Lacon, Illinois. Hollow carved pintail. Joe French’s inventory number 380 on underside. Measures 15.25” long. Mix of original paint with moderate flaking and wear; and areas of later paint restoration; much of the bill is a professional replacement; minor roughness on edge of tail.
Provenance: Tom Karras collection. (2,000 - 3,000)
William Shaw (1849-1927), Lacon, Illinois. Hollow carved bluewing teal hen. Joe French’s inventory number 549 painted on the underside, which indicates that French purchased it at the Cameron estate sale in 1958. Measures 11.25” long. Mix of original and early in use touchup with minor wear; thick coat of varnish has darkened with age; hairline crack in one side of neck.
Provenance: Tom Karras collection. (1,200 - 1,800)
216 Charles Perdew (1874-1963), Henry, Illinois. Pair of crows and early owl attributed to Perdew. Old paper label indicates the owl was made by Perdew for Roy Pook. A folky carving with plastic button eyes. Made to sit on a pole. Owl stands 13” tall, crows measure 15” long. Crows in original flocked paint with minor wear; some separation and flaking to body seam of one; hairline crack in one eye of the other; owl in original paint with minor flaking; vertical drying cracks; small chip on lower edge.
Provenance: Ken Miles collection. (1,200 - 1,800)
217 Charles Perdew (1874-1963), Henry, Illinois. Crow with three piece body and slightly turned head. Measures 15.5” long. Flocked paint on body, appears to be original with very minor wear; small spot of touchup on top of tail and where a hanging staple was added to the back; hairline crack in one eye.
Provenance: Ken Miles collection. (800 - 1,200)
218 Isaac Bush (1878-1957), Pekin, Illinois. Hollow carved mallard with slightly turned head. Measures 16.5” long. Original paint with minor to moderate gunning wear; a few small dents and minor wear on edge of tail. (600 - 900)
219 Unknown maker, Illinois, 1st quarter 20th century. Hollow carved mallard with slightly turned head. “Drew Orton” in ink on underside. Measures 17.25” long. Original paint with moderate discoloration and wear; early touchup to the white on wing patches and end of tail; old neck crack repair; significant fine crazing throughout.
Provenance: Tom Karras collection. (800 - 1,200)
George Warin
1830 - 1904 | Toronto, Ontario
George was a young man in his twenty’s when his family immigrated to Canada from England. The group, including George’s brother, James, and his wife Sarah, settled in Toronto where they found ample employment opportunities on the city’s thriving waterfront. By 1868, George was listed in the city directory, as a “boat builder”, a trade that would sustain him for the remainder of his life. In 1876, he and his brother bought out the Renardson boat building company where they had previously been employed and entered business under the name of “G&J Boatbuilders”. In 1884, James died and, three years later, George, a bachelor, married his widow. He was 57 and she, just 33. Including the five children that she brought to the marriage, they would have an additional five of their own which George provided for in a large, lovely home at 116 Seaton St in Toronto.
George was an avid duck hunter and, apparently, a very good one. He became one of the principal founding members of The Saint Clair Flats Shooting Company in 1874 and the St Annes’s Club in 1882, both on Walpole Island. In 1901, he was selected to guide, and supply the decoys for, the Prince of Wales and his party on a trip to Lake Manitoba. Unfortunately, one of his hunting trips involved an accidental gun discharge resulting in the loss of his left hand and portion of his lower forearm. In his later years, he maintained a retreat home at Harlans Point on Toronto Island which he named “Fort Warin”. It was here that he passed away.
Being a master woodworker and boatbuilder, Warin obviously possessed the skills, tools, and materials necessary to carve his own decoys. He sold a few of his birds locally, but most found their way into the rigs of wealthy sportsmen at the prestigious clubs of the day, such as the Saint Clair Flats Club and the Long Point Club. His birds closely adhered to the accepted local standard, both in form and construction but his, with their outstanding craftsmanship and finely applied painted surfaces, are considered among the very best of their kind.
(L) George Warin
(R) Warin home with children
“The best Canada goose decoy I have ever seen.”
- Cameron McIntyre
Edward William Harris (1832 – 1925), a successful lawyer and businessman from London, Ontario was a 29-year member of the Long Point Company (see note 1) , and his personal rig contained only two goose decoys, both by Warin. The decoy being offered here, with Harris’ rig mark, is one of these very decoys. The two are the only known examples of the earliest form of geese by Warin and represent a matched pair (goose and gander) a distinction which is very rare if not otherwise unknown. In C.B. Sisson’s book, “My Dearest Sophie”, Egerton Ryerson relates that, in 1873, these very decoys were borrowed by two Long Point Punters, Harry Woodward and Morris (“Monte”) Fitzmorris to hunt over. This date is one year earlier than Warin’s involvement in the St Clair Flats Shooting Company, three years prior to his purchase of the Renardson Boat Building Co, and four years earlier than Harris’ initial membership in the Long Point Club. It has been suggested that the pair may have been originally ordered by Ryerson who was to become Harris’s father-in-law and this is how Harris acquired the decoys.
Certainly, this is one of the earliest, rarest, and finest decoys to ever emerge from Canada.
Notes: 1.Long Point member 1877 – 1906, president 1886 - 1898
Harris (seated & above r) with punter “Monte “
220 George Warin (1830-1904), Toronto, Ontario. Early and important hollow carved Canada goose. One of two known earliest style Warin geese from the rig of Ed Harris. Branded “EH” on breast. Measures 26” long. Original paint with very appealing crazed surface; moderate flaking to bare wood on back; old nail added to back of neck seat that has caused a crack on back of neck; two small tail chips were professionally repaired by Cameron McIntyre and are almost unnoticeable.
Provenance: Egerton Ryerson rig (attributed). Edward William Harris Rig, London, Ontario. Bruce Malcolm collection. Ron Swanson Collection. Paul Brisco collection.
Literature: “The Decoy as Folk Sculpture”, Cranbrook Academy of Art Museum, page 36, exact decoy pictured. “Bird Decoys of North America – Nature, History, and Art” by Robert Shaw, page 232, exact decoy and mate pictured. (40,000 - 60,000)
Ivar Fernlund
1881 - 1933 | Hamilton, Ontario
Born in Sweden, the Fernlund family immigrated to the United States, arriving in New York aboard the SS Hekla in 1887. They soon found their way to Grand Rapids, Michigan where, by 1902, twenty-year-old Ivar found employment in the pattern shop of Perkins and Co, a manufacturer of woodworking equipment. This would be his livelihood for the remainder of his life. Pattern making is an extremely exacting task where a wooden form of an object is handcrafted to the exact standards and measurements specified in the designer’s blueprints. This, in turn, is used to produce the mold by which the actual part is then cast. It requires a very high level of woodworking skill, and all of this occurs at the heart of any large manufacturing plant. Ultimately, Fernlund would be listed in the various official records as “Superintendent – Pattern shop” or “Superintendent –Pattern – Foundry”.
From Perkins and Co, Ivar moved to the Westinghouse Co in Pittsburg, PA. He was offered a promotion in 1906 to either Hawaii or Canada – he chose Canada. Upon arrival he made the acquaintance of Ada Margaret Griffith, who he quickly married, and their only child, a son, Carl, was born the following year. Initially the young family lived one short block from the shore of Lake Ontario, but soon they moved to Bay St on the narrow spit of land that separates Hamilton/Burlington Bay from the main lake, a neighborhood known locally as “the beach”. This was an area long favored by duck hunters where the practice of “screening” was a popular style of hunting. To be effective, this method required that the decoys be very realistic and convincing to the live birds. Firmly against factory produced birds, calling them “Buffalo rollers”, Fernlund’s exceptional
woodworking skill allowed him to produce his own, thinly hollowed, lures that possessed the exact profile of their live counterparts. He made these in a wide variety of life-like poses, with varying head heights and positions that rode the water well. The decoys were then accurately finished with true to life applications of fine, artist oil paint. His rig was carved over an extended period of time, and Ivar, ever the meticulous perfectionist, constantly strove to improve each batch of birds he added to the flock.
He befriended a number of local hunters and he, along with neighbor and fellow Westinghouse employee Bill Hazel, would often guide hunters, including Westinghouse executives, on the Bay.
Fernlund made a number of species but his total production is estimated to be no more than a little over 150 decoys. When discussing his work, regional authority Paul Brisco succinctly notes: “When form, paint, age, and pedigree are taken into account, Ivar’s decoys are indeed among the truly great works” . As if to cap his point, he selected a trio of Ferlund cans as the cover photo for his book, ‘Wildfowl Decoys of Southwestern Ontario’ .
221 Ivar Fernlund (1881-1933), Hamilton, Ontario. Important pair of canvasbacks. Thinly hollowed with comb feather paint detail. Hen with slightly turned head. Measure 14.5” long.
Original paint with minor wear; lightly hit by shot, including one across drake’s bill tip; two filled, but unpainted shot marks on one side of drake. (20,000 - 30,000)
James Harper (1857-1948), Hamilton, Ontario. Exceedingly rare greenwing teal. Hollow carved with .25” bottom board, raised neck seat, and slightly extended crest carving. “H” stamped in breast and under tail. Believed to be the only teal by Harper known. Measures 11.25” long. Original paint with moderate to significant flaking and wear.
(12,000 - 18,000)
Regretably, we know relatively little about Mr. Harper. He was born in England, but it is unclear when the family immigrated to North America. As a young man he is said to have been a carriage and sign painter, and the 1881 Canadian census suggests that he may have also worked as a plumber. In 1883, he married Margaret (“Maggie”) Rolston in Hamilton. The following year, he was appointed to the position of “Transfer Agent” for the Canadian Post Office Department - Toronto Division. Based on the fact that he listed “agent” as his job when he married, we can assume he worked for that agency for at least a brief period prior to that date. Harper continued to work for the Postal Service, retiring in 1907. Interestingly, at one-point c1901, he and his wife must have also been operating a boarding house of some sort, as they are listed in the census as having 8 “lodgers” living at their home. By the time of the 1911 census, they were back living their lives sans boarders. Unfortunately, Maggie died in 1929, and James spent the remainder of his life as a widower. Having retired early (he would have only been 50), he had the time to devote to his leisure activities and, reportedly, summered in Coboconk in the popular Kawartha Lakes Region and may have hunted there as well. Harper was extremely active in the Canadian Orange Order and devoted much of his time to that fraternal organization, serving as District Manager in 1900 and advancing to the position of Grand Treasurer by the time of his death.
Harper’s decoys remained almost unknown until they were tracked down by Paul Brisco in the late 1990’s after following nebulous leads
from some old-time hunters who told him “- - - you should have seen Jim Harpers decoys - - “. After Harper’s death, his grandson, who had inherited the rig, shot over them at various locations throughout Ontario. One of these locations was a hunting and fishing resort whose owner, once the facility went bankrupt, moved to Ohio and took what was left of the rig with him. Since then, a few examples have appeared one or two at a time, from five or six different locations. Harper’s decoys followed in the Hamilton tradition where the hunters enjoyed a shooting method known as “screening”. In this technique, decoys were set well off the beach and when the birds alighted in the rig, the gunners would skull out to them. Attention to detail was paramount. He is known to have made only one small rig of decoys, all for his personal use. He possessed a certain artistic talent and greatly admired the work of the American artist, Alexander Pope. Pope’s influence can be seen in Harper’s sketches and the finely applied painted plumage on his decoys. His personal rig contained a variety of species, but only two lone teal, one bluewinged and the exceptionally rare, singular, green-winged being offered here. The fact that many of the birds in his rig were carved slightly differently suggests that his was a labor of love, and the decoys may have been constructed over a number of years.
James Harper died at the home of his daughter at age 90. His work was admired in its day, and he is considered to be the inspiration or mentor for talented carvers to follow, such as Ivar Fernlund.
Ken
Ontario. Pair of widgeon with slight relief wing carving and incised wingtips. Decoys were never rigged or weighted. Measure 13.5” long. Very good and original.
Provenance: Peter Brown collection. Private Ohio collection. (4,000 - 5,000)
Ontario. Highly detailed relief wing carving with crossed wingtips. Slightly turned and reared back head. Detailed feather rasping throughout. Measures 14.5” long. Near mint original paint; structural excellent.
Provenance: Tom O’Key collection. Private New England collection. (4,000 - 6,000)
223
Anger (1905-1961), Dunnville,
224 Bud Tully (1918-1973), Peterborough,
225 Unknown maker, from eastern Canada. Sleeping Canada goose with body that was hollow carved from the underside. Measures 20.5” long. Original paint worn to much bare wood; cracks and defects in body; lightly hit by shot; drying split and old chipping on underside. (1,200 - 1,800)
226 John R. Wells (1861-1955), Toronto, Ontario. Very rare mallard. Branded “JRW Maker” on underside. Hollow carved with .25” bottom board. Measures 17” long. Thin original paint; shot scars mostly one side of body; areas of exposed wood at top and back of head; small chip in one side of tail. (1,200 - 1,800)
227 Angus Lake (1872-1957), Westlake, Ontario. Black duck with slightly turned head. Hollowed with multiple bore holes on underside that were filled with cork. Appealing scratch feather paint detail. Measures 17” long. Original paint with very minor wear; under an early coat of varnish; small dents and shot marks; small chip in one side of bill tip was shaved down; small spot of filler above a knot in back; spot worn down to bare wood on one side of neck seat.
(2,000 - 3,000)
228 Ralph Weese (1884-1965), Belleville, Ontario. Very rare bluewing teal hen from the rig of Charlie Weaver. Branded “CW” on the underside. Comb feather paint detail on body. Measures 12.75” long. Original paint with minor to moderate wear; lightly hit by shot; professional neck crack and small tail chip repair.
(1,500 - 2,500)
229 Thomas Chambers (1860-1948), Toronto, Ontario. Hollow carved canvasback hen with .25” bottom board. Detailed bill carving and raised neck seat. Subtle feather paint detail on sides. Measures 17” long. Original paint with minor to moderate wear; hit by shot, mostly on one side; rubs to bare wood at head and near tail area. (3,000 - 4,000)
230 Unknown maker, Quebec, 2nd quarter 20th century. Folky mallard with deep feather carving, upswept tail, and slightly turned head. Inlayed lead weight on the underside. Measures 14.5” long. Original paint with moderate flaking, mostly around neck; an old coat of varnish has darkened with age and has caused a tightly crazed surface; very slight seperation at body seam. (600 - 900)
Dave “Umbrella” Watson
1851 - 1939 | Chincoteague, Virginia
All references to Watson allude to the fact that he had some rather peculiar habits such as his penchant for always carrying an umbrella, having shavings knee deep throughout his workshop, and his preference for wearing hip boots. Seemingly, these traits did not bother him, as those that knew the man remember him as being a loner who pretty much “kept to himself”. Born in Willis Wharf, as a young man, he, like his father, worked as an oysterman. When he was 20, he married 19-year-old local girl, Alexine Winkham. They had 4 children together while David worked as an oysterman in Willis Wharf. Alexine died in 1909, and David lived with his daughter and her family until relocating to Chincoteague where, at age 62, he remarried, this time to 46-year-old widow, Nancy Carpenter. From this time onward he began to list his occupation as “carpenter”. His life was not an easy one. Various census records indicate that he could neither read nor write and he never owned his own home, always residing with his extended family until the time of the 1920 census, when he and Nancy and her daughters from the first marriage were, finally, renting their own home. He died in 1932 and is buried in Chincoteague.
As with so many men, now remembered for their outstanding decoys or guiding skills, little, if anything, appears about these aspects of their lives in the period literature or formal records. So it is with Umbrella Watson. Practically all that is known about his guiding, market gunning and decoy production is based on the recollections of aged Chincoteaguers as related to early authors, such as
Mackey, Fleckenstein and Berkey. He is remembered as an expert shot and voice caller, never relying on commercially produced duck or goose calls. While market hunting, he apparently preferred bushwacking and firelighting and, when guiding, housed his clients in his gunning shantyboat (houseboat). No one seems to be able to venture a guess as to how many decoys Watson carved but it is said that he could produce two per day and his favored species were black ducks and brant. Other species by him are far rarer. He was very particular when it came to securing what he considered the correct wood for his birds. He strayed from the local norm by carefully hollowing out each bird and lavished quite a bit of detail in the tail and bill carving. His birds were finished with quality glass eyes, again, unusual for the area. His birds were considered rather expensive in his day. One report states that he was charging $1.50 apiece by the 1930’s. For this reason, few of his birds were sold locally, with most going to affluent sporting clubs as far away as North Carolina and Long Island (NY). Many of his birds could have been sold to the clubs on nearby Assateague. A study done by the U/S. Department of the Interior when Assateague was becoming a National Seashore, identified 15 different clubs, hotels or camps that catered to hunters over the years. Strangely, one of the more important clubs on the Island escaped their scrutiny-- the Assateague Rod and Gun Club. Fortunately, an article published in 1929 in the Accomac Court House Peninsula Enterprise reveals quite a bit about the club. In March of 1929, a group of sportsmen, some from New York, were able to obtain a lease for a large section of property on the Island, apparently somewhat near the lighthouse. J.W. Atkinson was hired as superintendent of the club which, according to the article, included a “comfortable clubhouse”, kennels and outlying structures. The club fostered an array of sporting
Typical Assateague gunning shantyboat
“Any damn fool has brains enough to have one ready when it’s raining.” - David Watson.
options, stocking a wide array of game birds as well as deer and rabbits on the Island. The membership must have been rather large and financially comfortable. The article relates that up to 1800 decoys (both live and wooden) were in use at the club, and the manager would spread an average of 20 bushels of grain as bait each night during the season. The club is remembered today for its distinctive hot brand on it’s decoy s which resembles a cat’s paw. The club was very private, a trait that did not set well with the local population. Unfortunately, the timing could not have been worse, and many members suffered huge losses in the stock market crash of 1929 and the depression that followed. It is unknown when the club ceased to exist.
Guyette and Deeter would like to thank Grayson Chesser for his assistance.
231 Dave “Umbrella” Watson (1851-1939), Chincoteague, Virginia. Hollow carved pintail with raised “V” wingtip carving. Subtle feather paint detail. Cats Paw brand and Sam Dyke collection ink stamp on underside. Measures 17.5” long. Original paint with minor discoloration and wear, mostly on breast; several small shot scars on back; wear to brown on head with some professional darkening.
Provenance: Sam Dyke collection. Acquired as a gift in 1965 from Dave Watson, Willis Wharf, Virginia. Private California collection. (30,000 - 40,000)
Eli Doughty
1844 - 1923 | Hog Island, Virginia
In 1844 Martin and Mary Doughty (Douty) welcomed a son they named Eli into the population of approximately 300 residents that inhabited the tiny settlement of Broadwater, on Hog Island. Settled in 1692, this island lies across the bay from Willis Wharf, Virginia, and is one of the larger barrier islands running along the Atlantic coast of Virginia’s Eastern Shore. Little is known of Eli’s early years but it woul d be a logical assumption that, like most other ‘islanders’, his life would be tied to the water. In 1866 he married Margaret Elizabeth, and the couple would ultimately raise a large family of four sons and two daughters. The 1870 Census records indicate that he and his young family were living in Eastville, where he earned a living as a fisherman, oyster planter or oysterman. By 1880 the growing family had moved to Franktown, which remained Eli’s home until his death in 1923. He was buried in the Downing Cemetery in Willis Wharf, VA.
For many years, the Doughtys maintained a large and prominent presence on Hog Island. Men of the family were known to be watermen or lighthouse keepers, and hunting guides. Some of them probably served visiting sportsmen at the Broadwater Hunt Club on the Island during the years of 1895 until it ceased operation around 1915. Eli’s oldest son Henry lived to be 94, and had the distinction of serving as waterfowl guide to President Grover Cleveland when he came to Hog Island to hunt. As noted by an early writer:
“Hog Island is, at certain seasons of the year, ideal ground for the sportsman. Machipongo Inlet and its channels is a famous feeding ground for wild geese and that king of wildfowl, the brant, and the marshes abound with black duck. In the spring and summer, the curlew, willet and greybacks flock to the oyster shoals and ponds in the meadows. Fine bags can be made of these delicious birds that have all the flavor of the salt crustaceans on which they feed. The hotel, erected by Mrs. Stockton of Atlantic City is open all year for the accommodation of tourist, sportsmen and other visitors. Most of the prominent sportsmen of the north pay a visit to the island to shoot bay birds and waterfowl”.
We also know many Doughty men were avid waterfowl hunters, as this abundant harvest provided food and income for many local families. Their pursuit of waterfowl on the open waters surrounding the islands would have required the use of decoys with unique characteristics. For the most part, little is known about decoy carvers on Hog Island. However, those carved by the Doughty family are often described as being among the very finest representatives of what has become known as the “Hog Island Style”.
232 Eli Doughty (1844-1923), Hog Island, Virginia. In content pose with raised “V” wingtip carving. Measures 15” long. Strong original paint; only light gunning wear; mostly around the tail and tip of bill; slight discoloration.
Provenance: Acquired from William Mackey in 1970, Mackey collection stamp in underside. Sam Dyke collection, Sam Dyke collection stamp in underside. Private California collection. (25,000 - 35,000)
233 Nathan Cobb, Jr. (1825-1905), Cobb Island, Virginia. Hollow carved brant. Round body style. 18.75” long. Raised “V” wing carving and serifed “N” carved in underside. Measures 18.75” long. Worn repaint by Ira Hudson; bare wood is showing on much of the decoy; neck has lifted slightly; one eye was replaced; small dents. (10,000 - 15,000)
234 Unknown maker, Upper Chesapeake Bay, Maryland, late 19th century. Extremely rare hollow carved bluewing teal with slightly raised neck seat and tack eyes. “ED Hiesler” branded on the underside. Measures 11.75” long. Original paint with moderate wear that has darkened with age; paint was sanded from the brand on the underside; old filler added at nail holes of body seam; roughness on one edge of bill and a hairline crack through neck. (12,000 - 18,000)
235 John Vickers (1901-1974), Cambridge, Maryland. Rare drinking swan. Maker’s initials carved in underside. Measures 38” long. Original paint with moderate wear; drying cracks along back; slight separation at knots in body; minor roughness on edge of bill.
(2,000 - 4,000)
John Vickers in his shop on Glasgow Street in Cambridge. Lot 235 pictured.
236 John Vickers (1901-1974), Cambridge, Maryland. Classic swan. Measures 31” long. Original paint with minor gunning wear; thin second coat to black on bill and face; reglued chip in tip of bill.
(1,200 - 1,800)
237 Madison Mitchell (1901-2003), Havre de Grace, Maryland. Full size swan. Signed on one lower side in electro pen. Measures 33” long. Original paint with minor rubs; hairline separation on one side of neck seat; filled split on the underside.
(1,500 - 2,500)
238 Very rare cast iron sinkbox decoy from Connecticut. Made and used in Connecticut, which is an area not known for its sinkboxes, making this a rare example. With embossed eyes. Measures 14.5” long. Worn and pitted from age, otherwise excellent. (800 - 1,200)
239 Unknown maker, circa 1900. Very rare cast iron sinkbox decoy, modeled after a St Clair Flats redhead. Measures 14” long. Mix of original and very early in use repaint with significant flaking. (500 - 800)
240 Unknown maker, probably New York. Cast iron sinkbox decoy. Measures 15” long. Old paint that is possible original. (300 - 500)
241 Unknown maker, circa 1900. Cast iron sinkbox decoy. Measures 14” long. Paint has mostly worn away.
242 Unknown maker, circa 1900. Cast iron sinkbox decoy from Maryland. Measures 13.5” long. Most of the paint has worn away. (400 - 600)
243 Unknown maker, circa 1900. Canvasback cast iron sinkbox decoy from Maryland. Measures 13.5” long. Early in use repaint with moderate flaking.
(400 - 600)
(400 - 600)
Ward Brothers
Crisfield, Maryland
Lem and Steve admiring their favorite species, the pintail.
244 Ward Brothers, Crisfield, Maryland. Exceptional pintail with outstanding form. Slightly turned and raised head pose. Detailed feather paint on back. Two-piece body is slightly hollowed. Measures 17.5” long. Original paint with good patina and very slight wear; hairline crack partway down back; very slight separation at part of body seam; small cracks; professional tail chip repair.
(60,000 - 90,000)
245 Ward Brothers, Crisfield, Maryland. Excellent pair of mallards with slightly turned heads. Stipple paint on back of drake. Neither was ever rigged or weighted. Measure 17.5” long. Original paint with very minor flaking, mostly on drake’s back; very minor roughness on edge of hen’s bill; tight drying crack along the underside of hen. (30,000 - 40,000)
246 Ward Brothers, Crisfield, Maryland. Pinch breast style pintail drake with thick stipple paint detail. Made for and used at the White Mallard Club. Measures 17.75” long. Original paint with minor to moderate wear; thick coat of varnish has darkened with age; small tail chip repair with some filler added to a crack on top and underside of tail; tight drying crack along the underside.
Provenance: Tom Karras collection. (15,000 - 25,000)
247 Ward Brothers, Crisfield, Maryland. Early pinch breast pintail hen with outstanding form. Slightly turned and reared back head. Measures 16” long. Original paint with moderate to significant wear, mostly to one side; crack through neck and along one lower side of body; old chip in tail; crack through neck; old chip and roughness on edge of bill.
(15,000 - 25,000)
248 Ward Brothers, Crisfield, Maryland. Rare high head broadbill with slightly turned head. Signed at a later date by the makers on the underside. Also with the collection ink stamps of Bobby Richardson and Donal C. O’Brien, Jr. Measures 16” long. Mix of original and very early in use touchups; reglued chip in underside of tail; minor roughness on edge of bill; slight separation at neck seat.
Provenance: Bobby Richardson collection. Donal C. O’Brien Jr collection. Tom Karras collection. (12,000 - 15,000)
249 Ward Brothers, Crisfield, Maryland. 1936 style canvasback hen with slightly turned head. Signed by the Wards at a later date. Measures 16.25” long. Original paint with moderate gunning wear; hit by shot, mostly on one side of head; minor roughness on edge of bill tip.
Provenance: Tom Karras collection. (6,000 - 9,000)
250 Ward Brothers, Crisfield, Maryland. 1936 style canvasback with slightly turned head. Maker’s ink stamp on the underside of tail. Also signed and dated at a later date on the underside. Tape on the underside states that this was from the rig of Freddy Young, Pocomoke City, Maryland. Measures 16.75” long. Original paint with moderate wear; hairline crack along one side of head and bill; crack in one side of neck seat; drying crack along the underside.
Provenance: Tom Karras collection. (6,000 - 9,000)
251 Ward Brothers, Crisfield, Maryland. Pintail drake with slightly turned head and thick stipple paint. Measures 16.75” long. Original paint with moderate to significant wear, mostly on neck and breast area; early coat of varnish has darkened slightly with age; minor roughness on edge of tail and bill; drying crack along the underside; some flaking to neck filler and loss of filler above nail at back of head. (3,000 - 5,000)
252 Ward Brothers, Crisfield, Maryland. Early goldeneye hen. Wooden keel added. Measures 13.5” long. Original paint with moderate to significant gunning wear; slight separation and flaking to filler at neck seat; filler above nail on top of head has flaked away; minor roughness on edge of tail.
(3,000 - 5,000)
253 Ward Brothers, Crisfield, Maryland. Balsa body canvasback hen. Made in the 1936 style at a later date. Slighty turned head. Measures 15.75” long. Original paint with minor wear; some roughness on edge of tail; some chipping at tip of bill; slight separation at neck seat. (1,500 - 2,500)
255 Ward Brothers, Crisfield, Maryland. Hollow carved Canada goose with slightly turned head. Shooting stool model that is signed and dated 1966 on the underside. Bobby Richardson collection ink stamp on the underside. Measures 24.25” long. Original paint with minor wear; a few dents in back; slight separation at a knot near one side of tail; chip in bill was tightly reset.
(3,500 - 4,500)
254 Ward Brothers, Crisfield, Maryland. Canada goose with large slightly turned head and relief wingtip carving. Signed and dated 1948 on the underside. Measures 23.5” long. Mix of original and early in use repaint with moderate wear; small dents and shot marks; tight crack through neck; minor roughness on tip of bill; large tail chip repair likely done by the Wards.
(3,000 - 4,000)
256 Ward Brothers, Crisfield, Maryland. Canada goose with slightly turned head. Noyes Museum exhibition stamp on the underside. Measures 23” long. Early in use repaint with moderate wear; some over paint on white areas has been taken down; filled split along the back; drying cracks in body and breast; split along the underside.
(2,500 - 3,500)
257 Frank Finney (b.1947), Cape Charles, Virginia. Large hollow carved owl with open beak and relief wing carving. Feather gouging throughout. Maker’s initials carved on top of base. Measures 26” long. Painted to appear older with crazing and flaking; some paint loss at body seam on one side. (5,000 - 8,000)
258 Frank Finney (b.1947), Cape Charles, Virginia. Full size hollow carved hawk. Deep relief wing carving and slightly turned head. Comb feather paint detail on base. Maker’s ink stamp on the underside of base. Measures 22.5” long, stands 17.25” tall. Original paint under a dark coat of varnish; large chip in tail was professionally reset with touchup along the seam.
Provenance: Al Marzorini collection. (2,000 - 3,000)
259 Frank Finney (b.1947), Cape Charles, Virginia. Rig of nine shorebirds. Very thinly hollowed two piece bodies with tack eyes and wooden inserts at stick holes. Bills are removable. Custom oak stand with makers initials carved in the underside. Shorebirds measure from 6.5” to 10.5” long, stands measures 38” across. Excellent and original. (10,000 - 14,000)
260 Frank Finney (b.1947), Cape Charles, Virginia. Blackburnian warbler with berry in its beak. Relief wing and tail feather carving. Raised wingtips and slightly turned head. Identified and maker’s initials carved on the underside. Measures 7.5” long. Excellent and original. (1,500 - 2,500)
261 Frank Finney (b.1947), Cape Charles, Virginia. Full size decorative Carolina wren with open beak and dropped wing carving. Relief wing and tail feather carving. Identified and maker’s initials on the underside. Measures 4.5” long, stands 5” tall. Excellent and original. (800 - 1,200)
262 Frank Finney (b.1947), Cape Charles, Virginia. Pair of ruby-throated hummingbirds on a single perch. Relief wing and tail feather carving. Maker’s initials carved on the underside of base. Birds measures 3.75” long, 7” long including base. Excellent and original. (1,200 - 1,800)
263 Frank Finney (b.1947), Cape Charles, Virginia. Miniature painted bunting with raised wingtips and relief tail feather carving. Identified and maker’s initials on the underside. Measures 5” long. Excellent and original. (500 - 800)
264 Frank Finney (b.1947), Cape Charles, Virginia. Miniature red headed woodpecker with raised wingtips and relief tail feather carving. Identified and maker’s initials on the underside. Measures 5.5” long. Excellent and original. (500 - 800)
265 Frank Finney (b.1947), Cape Charles, Virginia. Miniature prothonotary warbler with raised wingtips and relief tail feather carving. Identified and maker’s initials on the underside. Measures 5.25” long. Excellent and original. (500 - 800)
266 Frank Finney (b.1947), Cape Charles, Virginia. Miniature eastern bluebird with raised wingtips and relief tail feather carving. Identified and maker’s initials on the underside. Measures 5” long. Excellent and original. (500 - 800)
267 Frank Finney (b.1947), Cape Charles, Virginia. Miniature northern cardinal. Raised wingtips and relief tail feather carving. Identified and maker’s initials on the underside. Measures 5” long. Excellent and original. (500 - 800)
268 William Gibian (b.1946), Onancock, Virginia. Pair of red-breasted mergansers. Hollow carved with slightly turned and reared back heads. Excellent bill carving and extended crest feathers. Relief wing and tail feather carving. “Gibian” carved on the underside. Measure 15.5” and 15.25” long. Excellent and original. (2,000 - 3,000)
269 William Gibian (b.1946), Onancock, Virginia. Large feeding curlew with deep relief wing carving. “Gibian” carved in underside. Measures 23.5” long. Excellent and original.
Provenance: James and Lyda Madden collection. (1,000 - 1,400)
270 William Gibian (b.1946), Onancock, Virginia. Large curlew with deep relief wing carving and raised wingtips. “Gibian” carved on the underside. Mesaures 19” long. Excellent and original.
Provenance: James and Lyda Madden collection. (1,000 - 1,400)
271 William Gibian (b.1946), Onancock, Virginia. Preening yellowlegs with deep relief wing carving and raised wingtips. “Gibian” carved in the underside. Measures 9” long. Minor discoloration on underside, otherwise excellent and original. (800 - 1,200)
272 Keith Mueller (b.1956), Killingsworth, Connecticut. Excellent pair of red breasted mergansers. Both with raised wingtips and relief tail feather carving. Drake’s head turned over back and hen’s turned across one side. Maker’s brand on the underside. Measure 16.5” long. Excellent and original.
(2,000 - 3,000)
273 Keith Mueller (b.1956), Killingsworth, Connecticut. Excellent sleeping black duck with bill tucked under back feathers. Hollow carved with tear drop shape inlayed bottom board. Scratch feather paint detail on head. Signed by the maker on the underside. Measures 16.5” long. Tiny dent in one lower side, otherwise near mint.
(1,500 - 2,500)
272
273
274 Jimmie Vizier (1933-2010), Galiano, Louisiana. Pintail hen with relief wing carving and raised, crossed wingtips. Wooden keel on the underside. Signed on the underside of bird and one side of keel. Measures 15.5” long. A few very minor paint rubs; otherwise excellent and original. (800 - 1,200)
275 Jimmie Vizier (1933-2010), Galiano, Louisiana. Excellent black duck with slightly turned head and raised crossed wingtips. Identified, signed, and dated 1996 on the underside. Also identified as a best of show bird from the Pt Moullie Competition. Measures 16.25” long. Minor paint rubs on tip of tail feathers and a tiny paint flake on tip of one raised wingtip. (1,200 - 1,800)
276 Ben Heinemann (b.1954), Durham, North Carolina. Pair of oversize mallards with slightly turned heads and raised wingtips. Comb feather paint detail on drake. Maker’s name branded on the underside and embossed on lead weights. From maker’s personal gunning rig 2007. Measure 17.25” long. Excellent and original. (800 - 1,200)
277 Reggie Birch (b.1953), Chincoteague, Virginia and Germany. Wood duck drake in the style of Hucks Caines. Signed “R Birch” on underside. With a sticker indicating that the decoy was displayed at the Havre de Grace Museum. Carved raised wings. Measures 13” long. Excellent and original. (500 - 800)
278 Harold Haertel (1904-1995), Dundee, Illinois. 3rd quarter 20th century. Two full size dove. Mounted in tree branch mounted to base. Lower dove is signed “HH” on underside. Both are finely carved. One has a slightly turned head. Each dove is 10.5” long. Tree stands 12” tall. Small scratch on tail of lower dove, otherwise excellent and original.
Provenance: Tom Karras collection. (1,500 - 2,000)
279 Harold Haertel (1904-1995), Dundee, Illinois. Pair of decorative redheads with raised wingtips and relief wing feather carving. Hen with tucked head and drake with slightly turned head. Both identified and signed on the underside. Drake dated 1982, hen 1984. Measure 14” and 13” long. Paint flake near drake’s tail, otherwise excellent. (2,000 - 3,000)
280 Manford Scheel. Dove hunting case with matching table stand. Carrying case made from oak is lift top construction. Inside of case are 12 well made dove decoys with glass eyes, raised wingtips. Each is signed “MKS” on underside. Several have balancing weights for hanging on a fence or wire. There is also a painting of two flying dove on the top inside fo the trunk.Trunk measures 28” tall x 22” wide. All are in very good condition; original paint; one has a broken and reset bill, other dove has some pitch bleed on back. (1,800 - 2,200)
281 George Kruth, Pittsburgh, Pennsylvania. Decorative wood duck with tucked head and raised wingtips. Detailed feather carving throughout. Excellent paint detail on head. Signed and dated ‘95 on underside. Measures 14.5” long. Excellent and original. (1,200 - 1,800)
Duck Calls
282 Eckart duck call, Illinois. Duck call. This call was made by Cotton Eckart’s dad. Passed down in the family and then used by Cotton. Both men managed the Senachwine Gun Club for their entire lives. Call measures 5.5” in length. Barrel, stopper, and reed appear to be original; reed block is a replacement; wear at mouth piece and on barrel.
Provenance: Ken Miles collection.
(1,000 - 2,000)
283 Slinn Brothers, Chillicothe, Illinois, last quarter 19th century. Duck call from the collection of Ken Miles who purchased it at the O.W. Boers Sale in Lacon, Illinois. Call is missing wedge block. Measures 4.5” long.
Provenance: Ken Miles collection.
(1,500 - 2,500)
284 Unknown maker, possibly Illinois. Duck call. Was given to Ken Miles by Sam Storm. Sam said it also belonged to his father. In the early 60s claimed it was 60 years old. Supposedly was used below Lacon, Illinois. Arkansas style stopper. Measures 4.5”.
Provenance: Ken Miles collection. (400 - 600)
285 Charles Perdew (1874-1963), Henry, Illinois. Four cedar duck calls. Two have detailed provenance. One owned by Peter Hank, who managed the Horse Shoe Gun Club for 34 years. Another owned by Jess Reinbeck, who was caretaker at the Sparland State Grounds. All were used quite heavily; one stopper is missing a portion of the top.
Provenance: Ken Miles collection. (600 - 800)
286 Charles Perdew (1874-1963), Henry, Illinois. Three duck calls. All with Ken Miles provenance. Largest was owned by Jim Woods, who worked at the Swan Lake Club and whose father was caretaker there before 1900. Another was owned by guide Les Rickey. Third owned by Walter Miller, caretaker of the Swan Lake Club for 30 years. One call is missing a reed, and all have been used heavily.
Provenance: Ken Miles collection. (600 - 800)
287 Charles Perdew (1874-1963), Henry, Illinois. Three cedar duck calls. All with detailed provenance by Ken Miles. One call is missing wedge block and reed. One has unusual red mouth piece for a cedar call. Call with red mouth piece was owned by Nort Brown, who worked at the Swan Lake Club from 1906-1924. And also Henry Club and the Rockford Club. Another call was owned by Bunk Devoss, who guided at Swan Lake and Fred Ford’s
Amrour Club. Largest call was owned by Lemons Carriers who was killed in a duck hunting accident.
Provenance: Ken Miles collection. (600 - 800)
288 Charles Perdew (1874-1963), Henry, Illinois. Cedar duck calls. Five barrels. All five are missing parts. One call has the unusual stamp with the word “Illinois” written out, and part of its silver band is missing.
Provenance: Ken Miles collection. (300 - 400)
289 A high quality duck call display box. Made of fancy wood. Has 14 individual cushion slots and a removable drawer. Key has been lost, but latches do lock in folding lid. Measures 15” wide x 8.5” deep x 4” tall. (300 - 400)
290 Various makers. Five calls by various makers, most with detailed provenance. The goose call was owned by Fred “Lemons” Carrier, who was killed in a hunting accident November, 29 1960 in the Mud Hole as a guide for the Ed Hall Hunting Grounds. Grubbs call with tape at mouth was owned by Frank Peterman who also made hunting skiffs. The other Grubbs call with tape on barrel was owned by Harry Woods, who was born at Swan Lake while his father was caretaker pre-1900. Harry pushed starting at age 12 at Swan Lake for 40 years. The unfinished call was made by Joe Martin of Henry, who also made duck decoys. The longest Grubbs call was owned by Cotton Eckard, manager of the Senachwine Gun Club. Call has previously belonged to a professor that was a member of the club in the early days.
Provenance: Ken Miles collection. (600 - 800)
291 Various makers. Six duck calls. Two Grubbs. One Duc-em. One Greenhead. One Stofer, Lone Jack, Missouri. One Stoffer, Kansas City, Missouri.
Provenance: Ken Miles collection. Used by Dan Morgan who owned the Morgan Hunting Club and the Grubbs was owned by Leon “Buster” Thompson who operated the Thompson Fisheries. Greenhead was owned by Bobby Hankans, a guide at the Lake Whitney club. (400 - 600)
292 Charles Perdew (1874-1963), Henry, Illinois. Two crow calls. One owned by Bill Peterman and one owned by Hank Peterman. Both show moderate use.
Provenance: Ken Miles collection. (300 - 400)
293 Various makers. Six duck calls by various makers. All used in Illinois. The FA Allen call was owned by Fred Ford, who managed the Amror Duck Club for 42 years and was mayor of Henry, Illinois from ‘35 - ‘64. A Louisiana call was owned by Dewey Wright, manager of Day Hunting Duck Grounds in 1925.
Provenance: Ken Miles collection. (250 - 350)
294 Archibald Rutledge, South Carolina. Box turkey call fastened with brass tacks. Underside says “Made by Archibald Rutledge, 1948, Hamptin Plantation, South Carolina.” Rutledge ran ads for his box calls in Field and Stream in the early 1940’s, his calls are rare today. Known as South Carolina’s poet laureate and author of 60 published books, many of which detail his hunting tales. He was once considered for both the Nobel and Pulitzer prizes. Call measures 8.5” long. Shows in use wear, but structurally good. (2,000 - 2,500)
295 Neil Cost, Greenwood, South Carolina. Box turkey call. Signed and dated 1989. With turkey foot stamp on underside. Measures 9”. Excellent and original. (800 - 1,200)
296 Neil Cost, Greenwood, South Carolina. Box turkey call. Signed and dated 1979. Has Gobbler Shot Stamp on underside. Measures 9.75” . Excellent and original. (800 - 1,200)
297 Neil Cost, Greenwood, South Carolina. Box turkey call. Signed and dated 1990. With turkey foot stamp. Measures 10” . Excellent and original. (800 - 1,200)
298 Neil Cost, Greenwood, South Carolina. Box turkey call. Signed and dated 1981. With Cost’s stamp on underside. Measures 9.5”. Excellent and original. (800 - 1,200)
End of Sesson One
Session Two • Friday, April 25, 2025 • 10:00am
The Don and Mary Elizabeth Snyder collection
Don Worthington Snyder was born May 7, 1931, and died November 10, 2021. Don was part of an early group who collected and studied decoys, shorebirds, and folk art laying the groundwork for future collectors.
Don started collecting in the mid-1960s when information was exchanged in letters, photographs and phone calls. This was a time of friendly rivalry, often measured in pride of being the source of information. Don, along with Bill Mackey, Jim McCleery, Ted Harmon, Michael Hall, John Hillman and Adele Earnst were leaders of the hunt.
Don procured early Kentucky fishing reels and baskets to use as trade with Bill Mackey for decoys and shorebirds. Don encouraged many new collectors, who he called “my students”. He was always ready to share his knowledge which was encyclopedic.
I had the good fortune to become one his students. In his earlier years Don was attracted to gamecocks and pigeons. Much to the chagrin of his neighbors he raised both in his back yard. His love for birds knew no bounds. Don was the proud owner of an African Grey parrot, Kuta, who he acquired through his friendship with the director of the Louisville Zoo. His home was filled with English and American pigeon and gamecock paintings, which were a coveted part of his collection.
Don was always quick to say that many great decoys passed through his hands. But deep down he got as much joy and excitement passing on great pieces to friends as he did in keeping them. The best example was the Caines mallard drake he found in Bowling Green, Kentucky. An antique dealer brought it to Don. He deemed it so special that he called his good friend, Jim McCleery in Houston and offered it to him for his collection. Don passed up the chance to add it in to his own collection – but that was Don. The same was true of a Lothrop Holmes shorebird Don found for Jim’s collection.
Don also found the great Cigar Store Indian “Princess”, which was purchased by his good friend Joe Davis. The “Princess” brought record prices both times it was sold by Guyette and Deeter. On too many occasions I got a call from Don who said, “Come over to the house, I just found something that belongs in your collection” or he told me where to go see it.
Finding a decoy, shorebird, a piece of folk art or painting was only the beginning. To Don’s way of thinking, it was who, where and how it was made that brought life to the piece. Don was passionate in his belief that each decoy, shorebird and piece of folk art had a life of its own. Each piece was a living personification of the maker and the era in which it was made.
Bill Mackey wrote an article “What’s in a Name” for the Decoy Collectors Guide Volume III No. 3 July –September 1965. Don and Bill discussed the article and it led to Don’s well-known follow up article, “Some Unknowns I Have Known”, North American
Decoys, Spring, 1972 where he wrote, “My philosophy in collecting is that a decoy must stand on its own merit. Its maker must be a secondary consideration. We’ve all collected decoys attributed to ‘Who’s Who in Decoydom’ that would actually take a back seat when compared to an unknown, possibly from the same locality.”
Don and I met in 1971 shortly after I found a wooden decoy for my hunting spread. I quicky learned a Pascagoula decoy was fine for hunting on the Ohio River but if I wanted to collect, I needed to turn my attention to Jersey and Illinois River decoys. This was the start of a friendship that went far beyond decoys and folk art. Don, his wife Mary Elizabeth, my wife Anna and I enjoyed many trips together in search of the next great decoy, piece of folk art or painting.
Recently I was bidding on a carved eagle and as the price went up, I was haunted by Don’s voice in my head saying: “Bid again ... don’t let anyone else get it”. Fortunately, my wife likes it as much as I do.
Louisville attorney Joe Davis was another one of Don’s Louisville “students”. The three of us often traveled to antique and decoy shows together. If you carpooled with Don, it was imperative to be on the road by 3:30 a.m. He wanted us to be the first ones in the parking lot waiting for the others to arrive. Part of the trip was friendly trading and selling to each other on the way.
On one occasion after leaving Louisville all three of us had owned the same Herters Crow by the time we arrived in Chicago.
Don, Mary Elizabeth and sons Daryl and Mark, along with a toy fox terrier named Jason traveled by car every summer to go to the Bourne auction in Hyannis, Massachusetts. They stayed with most of the other collectors at the Craigville Motel, where car trunks became makeshift stores for trading and selling.
The trip to Cape Cod and back home to Louisville was filled with stops at antique shops and homes of other collectors. It included visits with Donal O’Brien in New Canaan, Connecticut, Adele Earnst in Stony Point, New York and the legendary Ward Brothers in Crisfield, Maryland. Both men took a special liking to Mary Elizabeth as her maiden name was Ward.
If you come across a decoy stamped DWS on the bottom you will know it passed through Don’s hand and made it back to Louisville for the imprint. Like the Mackey and Hillman stamps you will know it has been around a long time.
Don was known to say, “You have to move the merchandise”. How many decoys, shorebirds, paintings and other artifacts were bought, then sold or traded at a show and didn’t make it back to Louisville we’ll never know. But it was not a small number.
Don, along with the early era of decoy and folkart collectors are gone. But we are forever grateful to those that led the way. Because of them, our collections are built on a solid foundation.
- Allan Weiss
Mary Elizabeth Snyder
pictured with folk artist
Edgar Tolsen
Don and Mary Elizabeth
Inside the Snyder’s home, 2024
Don and his two sons pictured with Adele Earnest (second from right)
Captian Samuel Fabens
1814-1899 | Marble Head
Born in Salem, the son of Captain William Fabens, Samuel made his first ocean voyage when, barely in his teens, he sailed aboard one of his father’s ships, The “Tarquin” as a cabin boy. On the very next voyage, he had advanced to the rank of “Mate” and would spend the remainder of his working life traveling the oceans of the world as a master mariner. In 1848 he married Mary Glover in Salem and the couple had seven children. Between 1834 and 1850 he made 16 voyages aboard the ship “Ariosto” owned by Samuel and F.H. Grey of New York. By 1851, he was part owner of the Bark “Wessacumcon” and in 1852, he supervised the building and outfitting of his ship “Golden Eagle”. In his later years, he commanded the clipper ships “Challenge” and “Ganges”. Beginning with the 1870 census until the time of his death, he is listed as a “retired master mariner”, active in Town affairs, and living on upscale Washington Square, overlooking the harbor, in Marblehead.
There is some discussion as to whether Fabens actually made the decoys attributed to him or were they carved by one of his ship’s carpenters or someone else? Fabens was a known waterfowler. He is documented as gunning during the mid to late 1800’s at the Ives camp in Rowley along with another notable early north shore sea Captain, hunter, and decoy carver, Charles C Osgood (1820 – 1886). We do have documented proof that Fabens was familiar with woodworking and, thus, the skills needed to produce decoys. As mentioned, he oversaw the construction of
the “Golden Eagle” and a period article in the Fitchburg (Massachusetts) Sentinel states that one Roby Fletcher, while serving with Captain Fabens aboard the “Golden Eagle”, made, among other items, “a pair of rosewood planes for the Captain”.
Like others of his time period on the North Shore and elsewhere, pertinent literature is scant. We may never know if the Captain actually carved the decoys that bear his brand and are attributed to his hand. However, until proven otherwise, we can rest on the long accepted oral tradition which credits Samuel Fabens with these exceptional carvings.
299 Captain Samuel Fabens (1814-1899), Marble Head, Massachusetts. Important hollow carved merganser hen. Retains a Marblehead style wooden keel. Measures 17.5” long. Original paint with moderate gunning wear; small dents and shot marks; slight separation at neck seat; inserted wooden crest is a later replacement.
Provenance: Don and Mary Elizabeth Snyder collection. (40,000 - 60,000)
Charles Birch
1867 - 1956 | Willis Wharf, Virginia
Charlie was only 13 when his family moved from Maryland to Chincoteague, Virginia. There, at age 24, he married 16-year-old Jennie Bloxom while he worked as an oysterman. By 1910, he moved his growing family to Willis Wharf where he continued to work in the oyster trade. By the time of the 1920 census, he began to list his occupation as a self-employed carpenter, either working in home construction or doing “piece work”.
There is no written document that indicates exactly when Birch started making decoys. Photos in Fleckenstein’s “Southern Decoys of Virginia and the Carolinas” depict him as a young man, perhaps in his late twenties to early thirties with a few geese, brant, and bluebills. Another photo depicts him with a bench or table containing about fifty black ducks. In the latter photo, he appears to be in his sixties or seventies. Among his rarest and most desirable decoys are his swans.
The swan being offered here is from the rig of Col. Charles Thomas (“Tom”) Lipscomb (1871 – 1964). He was born in Virginia and attended the prestigious Virginia Military Academy. After graduation he moved to South Carolina where he opened a cotton brokerage firm and served as the secretary / treasurer of the Standard Cotton Warehouse Co. Mr. Lipscomb descended from a wealthy family as did his bride, Miss Margret Kerr Cass of Tyrone, South Carolina. Their 1906 wedding announcement gives some insight into the family’s affluence. Her father was President of the Morrison and Case Paper Co in SC, Director of the West Virginia Pulp and Paper Co, and President of the First National Bank of Tyrone. Lipscomb’s father is described as
“possessing extensive plantations in South Carolina ”. Wedding gifts included a “new, fully furnished home in Columbia, SC” from her father, a “massive chest of flat silver from Tiffany’s” in NY from her mother, “a baby grand piano from her uncle ” as well as numerous pieces of fine artwork and jewelry from other guests. The wedding decorators and orchestra were brought in from Philadelphia and, after the ceremonies, the newlyweds left on a three-month honeymoon. Upon return, in 1910, the couple moved to Saint Michaels, MD where Charles became a gentleman farmer on his 680-acre estate, Kirkland Hall. His life was a comfortable one, allowing him, in 1920, the leisure time to take his wife and son on an extended vacation to France, Belgum, Switzerland and Italy simply “ for the education of their son”
Hunting for swans was outlawed by the terms of the Migratory Bird Treaty Act of 1918 so any swan decoys employed after that date would have, presumably, been used as confidence decoys while hunting for other species. Around 1920, Lipscomb ordered a small group of swan decoys from Charlie Birch. This rig included birds in a variety of poses including the decoy being offered here, what is believed to be the only turned head example ever carved by Charlie. This information is documented in a 1987 letter to the current owner of the swan from noted early authority, William (”Bill”) Purnell, as well as comments published by Purnell in an edition of the Maine Antique Digest of the same period. Fleckenstein states that the birds were for use on the Choptank River in Talbot County. Notations on the actual decoy simply infer that it was for use in Talbot County, MD and Purnell states that it was destined for use in the Easton, MD area (a town adjacent to Saint Michaels). Since Lipscomb’s residence, Kirkland Hall, was located directly on the Miles River in Saint Michaels, it is reasonable to believe that it was there that the decoys were actually used.
Kirkland Hall Miles River
Lipscomb 1920 passport
300 Charles Birch (1867-1956), Willis Wharf, Virginia. The only known preening swan by Charles Birch. Hollow carved with raised neck seat and tack eyes. Purchased from the gunning rig of Col. Tom Lipscomb. Measures 24.5” long. Old in use repaint with moderate gunning wear; some old filler restoration at body seam; tight drying crack in the underside.
Provenance: Hunting rig of Col. Tom Lipscomb. Thomas Winstel collection. Don and Mary Elizabeth Snyder collection. (30,000 - 50,000)
301 Daniel Lake Leeds, (1852-1922), Pleasantville, New Jersey. Extremely rare and important ruddy turnstone. “Colgate(?)” in pencil on underside. Also “M.H.” in invisible ink, visible under uv light on underside. Measures 9.25” long. Near mint original paint; with minor rubs on edge of tail and wingtips and tiny spots of flaking on head.
Provenance: Don and Mary Elizabeth Snyder collection. Acquired from Mort Hanson at the Craigville Motel decoy show in the mid 1970’s. Mort bought it and a few others from John Hillman who found them in Atlantic City. (20,000 - 30,000)
Over time, hunters have observed that the presence of certain other birds in a decoy spread lent an air of reassurance or safety to incoming ducks. Herons, egrets, and even swans have been employed as so-called “confidence birds”.
William Mackey, however, considered the gulls to be the only true confidence birds, those that “are not shot in (their) own right and (are) helpful in luring birds of another species within gunshot” . In his early and important “American Bird Decoys”, this exact gull is featured in plate 159 on page 203. In discussing the decoy, he notes that most gulls used as such ploys represented the Herring gull (Larus smithsonianus). This observation is substantiated by the fact that the vast majority of gull decoys that have surfaced from Long Island, New Jersey and other areas are herring gulls. Only occasionally, did other species find their way into the spread.
“When winter’s hand lay heavy on Cape Cod, Massachusetts, at least one Black Duck hunter noticed that the Great Black-backed gull kept the ducks company”. - William Mackey
The black backed gull (Larus marinus) is regularly seen along the majority of the Atlantic seaboard, and it is a particularly common visitor to Cape Cod. Being the largest gull of the many that frequent the area, it would be only logical that a hunter would have chosen it to replicate.
Normally only one or two decoys representing seagulls would have been used as confidence birds and, certainly, most rigs would not have employed them at all. Furthermore, Mackey suggests that their use dropped off dramatically from 1900 through the 1920’s. Any true, surviving, period example of a working gull confidence decoy must be considered rare.
302 Unknown maker, Cape Cod, Massachusetts, late 19th century. Large working gull decoy. Mackey collection ink stamp three times on the underside. Also stamped “DWS”. Measures 25” long. Old in use repaint with moderate flaking and paint shrinkage; drying cracks in back and one side with two old nails added to tighten on one side; head is very slightly loose.
Provenance: William J Mackey, Jr. collection. Richard Borne, July 17, 1973, lot 240. Don and Mary Elizabeth Snyder collection.
Literature: “American Bird Decoys: by William J. Mackey, Jr., page 203, exact decoy pictured. “American Decoys” by Quintina Colio, page 74, exact decoy pictured. “Decoys” by Gene and Linda Kangas, page 255, exact decoy pictured. (12,000 - 18,000)
Sun porch at William J. Mackey, Jr.’s house. Lot 302 pictured.
Al Ries
1899 - 1978 | Chicago, Illinois
Perhaps no other organization has accomplished more for the conservation of North American waterfowl than Ducks Unlimited. The idea for the group originated over drinks at a camp on a trout stream in upstate New York when Joseph Knapp, John Huntington, and Arthur Bartley, members of the “More Game Birds In America” Foundation, hatched the concept of protecting wetlands in Canada as breeding areas for ducks and geese. DU was formally incorporated in January of 1937 and, from its inception until the present, has raised literally billions of dollars from private sources, both large and small, to protect millions of acres of habitat across Canada, the United States, and Mexico.
DU’s success did not happen overnight, it was a grass roots organization that grew primarily through the unwavering efforts of hunters across the country. These men spanned the social gamut from local blue collar
sportsmen to wealthy and influential businessmen and professionals. Two of these individuals were Alfred (“Al”) Ries (1899 – 1978) and Louis H Barkhausen (1879 – 1962). Ries was a successful automotive salesman in Chicago who, as a sideline, had developed a successful line of decoys which he marketed under the name “Tru – Dux”. Barkhausen was a prominent businessman from Green Bay (WI) and Chicago who acquired his wealth through real estate and other investments. Both gentlemen were extremely active in the fledgling DU organization with Ries serving as its National Trustee from 1940 through 1964 and Barkhausen, serving as DU’s International President from 1940 to 41, then National Treasurer until retiring in 1956. “Tru-Dux”
A young Al and Val at Easter
303 Al Ries (1899-1978), Chicago, Illinois. Important rigmate pair of wood ducks. Made for one of the early officers of Ducks Unlimited, Louis Barkhousen. Balsa with relief wing feather carving and extended crests. “LHB” stamped twice on the undersides. Both are also stamped “Penn” and “DWS” on the undersides. Measure 13” long. Original paint with minor gunning wear under an early coat of varnish that has darkened slightly; some chipping on lower edge on rear part of drake otherwise very good structurally.
Provenance: Don and Mary Elizabeth Snyder collection. Purchased from Will Pennington. (8,000 - 12,000)
had made a few wood ducks, as they termed them, as window displays but, in 1940, Barkhausen commissioned Ries to make a rig of 18 wood ducks as true working decoys for use in a movie on duck hunting for a Ducks Unlimited program (see note 1) . This was at a time when the wood duck was beginning its excruciatingly slow recovery from years of population decline, and DU was actively urging sportsmen and women across the country to harness their energies to erect nest boxes to aid in the recovery. The pair being offered here represents two members of this very rare grouping. One other pair was acquired directly from Ries in the late 1950’s by pioneering Massachusetts decoy collector and DU supporter Anthony Waring, a founding member of the Providence (RI) and Bristol County (MA) chapters.
Ries donated another pair to the Shelburne Museum in Vermont where they reside today.
The pair of decoys being offered here are not only two of the rarest working decoys by Ries, but they are historically significant artifacts representing tangible mementos of the very early conservation efforts of Ducks Unlimited. Guyette and Deeter are proud to offer this important pair of decoys.
Notes: 1. A note on one of the pairs indicates that, ultimately, only 8 pairs were actually made.
304 William “Doc” Harris (1867-1949), Marblehead, Massachusetts. Hollow carved merganser. Rigmate exhibited at Peabody Museum in Salem in 1989. Very similar to the work of Captain Samuel Fabens of Marblehead. Retains the original inserted wooden crest. “DWS” stamped on the underside. Measures 18” long. Original paint with moderate flaking and wear; a few old nails added at neck seat with a tight crack at one side; minor roughness on top of wooden crest; eyes appear to be early replacements.
Provenance: Don and Mary Elizabeth Snyder collection. (4,000 - 6,000)
305 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Unused redhead with slightly turned head. Pre-brand model that was never rigged or weighted. Measures 15.25” long. Original paint with minor flaking and wear under a thick coat of varnish; crack in one side of neck seat; spots of touchup to flaking on head and tail area.
Provenance: Don and Mary Elizabeth Snyder collection. Purchased from John Lellos in 1975 for $300. Originally sold at a Richard Bourne auction. (6,000 - 9,000)
306 Clark Madera (1883-1953), Pitman, New Jersey. Pair of hollow carved pintails painted by the Ward Brothers, Crisfield, Maryland.
“DWS” stamped on the undersides. Measure 16.75” and 17.5” long. Very appealing in use repaint by the Ward Brothers, shows minor flaking and wear; mostly on hen’s head; crack through hen’s neck; minor roughness and chew marks on tip of drake’s bill.
Provenance: Don and Mary Elizabeth Snyder collection. (2,500 - 3,500)
307 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Early pre-brand model long-tail duck with slightly turned head. “DWS” stamped on the underside. Measures 12.75” long. Paint restored by Ken DeLong in 1991; bill was cracked down and reset before the bird was restored.
Provenance: Don and Mary Elizabeth Snyder collection. (1,500 - 2,500)
308 Cliff Van Zandt, Townsend Inlet, New Jersey, circa 1920s. Excellent hooded merganser with exaggerated crest and applied wooden bottom board. Measure 12” long. Original paint with almost no wear; early coat of varnish has darkened slightly; hairline separation where filler was used at neck seat.
Provenance: Thomas Eshenbaugh collection. Don and Mary Elizabeth Snyder collection. Purchased from Joe French in 1968. (4,000 - 6,000)
308A Attributed to Kannenburg, Milwaukee, Wisconsin. Hollow carved Hutchins goose with relief wing carving and tack eyes. Seven piece laminate construction and inlayed neck seat. “DWS” stamped twice on the underside. Measures 16” long. Original paint with moderate flaking and wear; hairline cracks in body; slight separation at top laminate piece.
Provenance: Don and Mary Elizabeth Snyder collection.
Literature: “Great Book of Waterfowl Decoys,” p. 255. (4,000 - 6,000)
309 Verne Cheeseman (1897-1956), Macomb, Illinois. Hollow carved bluebill with reared back head. Comb feather paint detail on back and sides. Measures 11.25” long. Original paint with minor wear; some discoloration on sides; small dents; 3/4 of the bill is a professional replacement.
Provenance: Don and Mary Elizabeth Snyder collection. (3,000 - 4,000)
310 Daniel Strickfaden, Pekin, Illinois.
Hollow carved bluewing teal hen with head turned 40 degrees. Scratch feather paint detail. Original Robert Elliston weight on the underside. Measures 12.25” long. Original paint with moderate wear; protected under a thin coat of varnish; drying crack in one side, otherwise very good structurally.
Provenance: Don and Mary Elizabeth Snyder collection. Purchased from John Fellos in 1970
Literature: “Decoys and Decoy Carvers of Illinois” by Parmalee and Loomis, page 461, exact decoy pictured. (1,500 - 2,500)
311 Judge Glen Cameron (1882-1958), Chillicothe, Illinois. Pair of hollow carved bluewing teal. Branded “G.J.C.” on the underside. “DWS” stamped twice on the undersides. Also with Joe French’s inventory numbers “550” and “551”. Measure 12.25” and 13” long. Paint appears to be very early and appealing second coat showing minor gunning wear; old chip in drake’s tail; crack through hen’s neck; narrow chip on one edge of drake’s bill.
Provenance: Don and Mary Elizabeth Snyder collection. Purchsed from Joe French in 1968. (5,000 - 8,000)
312 John Barnhart, Canton, Illinois. Hollow carved coot with raised neck seat. “DG” branded and “DWS” stamped on the underside. Measures 10.25” long. Very early second coat of paint with minor flaking and wear; small dents.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
313 Hector “Heck” Whittington (19071981), Oglesby, Illinois. Hollow carved pintail with slightly turned head and comb feather paint detail. Signed and dated 1936 on the underside. Stamped “DWS” on the underside. Measures 16.5” long. Original paint with minor flaking and wear; some discoloration at metal staples around body seam.
Provenance: Don and Mary Elizabeth Snyder collection. Purchased from Joe French in 1968. (1,200 - 1,800)
314 Augustus Aaron Wilson (1864-1950), South Portland, Maine. Very rare rocking head style merganser hen. Relief wing carving and extended crest. “DWS” stamped twice on the underside. Measures 21” long. Original paint with moderate wear; some defects in wood on one lower side; hit by shot on head; most of the bill is a professional replacement.
Provenance: Don and Mary Elizabeth Snyder collection. Purchased from Frank Schmidt in the early 1980’s. (4,000 - 6,000)
315 Augustus Aaron Wilson (1864-1950), South Portland, Maine. Eider drake with large inlayed neck seat and relief wing carving. Wilson’s short body V bottom style. “DWS” stamped twice on the underside. Measures 14.5” long. Old in use repaint with moderate flaking and wear; drying cracks in breast and underside; tight cracks in bill; roughness on top of head; glass eyes may have been added at one point and have since been removed and the holes filled.
Provenance: Don and Mary Elizabeth Snyder collection. (2,500 - 3,500)
315A George Huey (1866-1947), Friendship, Maine. Red-breasted merganser with inlayed lead weight and line tie staple recessed on the underside. Inlayed neck seat and carved eyes. “RAS” carved in the underside. “DWS” stamped twice on the underside. Measures 18.75” long. Thick original paint with moderate wear; old crack through neck; some over paint on top of head and bill.
Provenance: Don and Mary Elizabeth Snyder collection. (1,200 - 1,800)
316 Unknown maker, Brooklin, Maine, last quarter 19th century. Scoter with relief wing carving and raised, crossed wingtips. Inlayed neck seat with wooden dowels. “DWS” stamped five times on underside. Carved “directly from the woodpile,” no two from this maker are same, size-wise. Measures 16.5” long. Mix of original and early in use touchup under a thin coat of varnish; heavily hit by shot; old chips in tail; wooden patch added to a defect in wood on back; some loss to wood from dry rot on underside.
Provenance: Don and Mary Elizabeth Snyder collection. Purchased at a Mackey sale. (1,000 - 1,400)
317 Alexander Family, Harpswell, Maine. Rare gull, circa late 19th century, with relief wing carving and deep recess separating wingtips. “FA” deeply carved on the underside. Writing on underside indicates it was purchased from the Alexander Esate sale in Harpswell. Measures 16.75” long. Original paint on bill with fine crazing; the rest in early repaint with minor paint shrinkage; some filler added at neck seat before the gull was repainted.
Provenance: Don and Mary Elizabeth Snyder collection. (1,200 - 1,800) 316
315A
318 Caleb Ridgway “Reg” Marter (1893-1977), Burlington, New Jersey. Hollow carved bluewing teal with deep relief wing and tail feather carving. Maker’s metal rig tag on the underside. Also stamped “DWS”. Measures 12.5” long. Original paint with very minor gunning wear; bill was cracked down and tightly reset; a few small spots of touchup to flaking on one side of head.
Provenance: Don and Mary Elizabeth Snyder collection. Purchased from Bob White. (1,000 - 1,400)
319 Unknown maker, Philadelphia area, circa 1900. Pair of hollow carved mallards with tack eyes. “DWS” stamped on the undersides. Measure 14.5” long. Original paint with minor to moderate wear, under a thick coat of vanish that has darkened with age; 1” dent on one side of drake’s breast; crack through each neck with a chip missing on drake’s and two old nails added to hen’s; crazing and discoloration from glue residue around hen’s neck and one side of neck seat; old cracks and chip in hen’s bill secured with old nails on the underside.
Provenance: Don and Mary Elizabeth Snyder collection. Acquired from Bobby Richardson’s brother who was a game warden in MD. Found in Elkton, MD.
Literature: “New Jersey Decoys” by Henry Fleckenstein Jr., page 47, rigmate pictured. (2,500 - 3,500)
320 John McLoughlin (1911-1985), Bordentown, New Jersey. Early hollow carved widgeon with applied, crossed wingtips. “DWS” stamped on the underside. Measures 14.25” long. Mix of original and very early in use repaint with moderate flaking and wear; thin coat of varnish has darkened slightly; bill was cracked down and reglued at some point; small chip in tip of tail.
Provenance: Don and Mary Elizabeth Snyder collection. Acquired from Adele Earnest in a trade for a weathervane. Mail correspondence regarding the trade will accompany the decoy. (400 - 600)
321 John McLoughin (1911-1985), Bordentown, New Jersey. Very early high-head canvasback. From the Mackey collection, and so stamped on the underside. Hollow carved. “DWS” stamped twice on the underside. Measures 16.75” long. Early in use repaint with minor wear; crack in one side of lower part of neck, otherwise very good structurally.
Provenance: Don and Mary Elizabeth Snyder collection. Purchased at one of the Mackey sales. Pictured on a cover of True Magazine. (400 - 600)
Frank Finney
b. 1947 | Cape Charles, Virginia
322 Frank Finney (b.1947), Cape Charles, Virginia. Outstanding model of a Captain Jinks cigar store trade sign. Crossed arms and large bushy mustache. Smoking a cigar. Base with advertising for World’s Fair Cut Plug and the Boston Herald. Maker’s initials carved in underside of base. Measures 38” tall including base. Scattered flaking to red on jacket; minor rubs and flaking on base; slight separation at bottom board of base.
Provenance: Don and Mary Elizabeth Snyder collection. (12,000 - 18,000)
323 Frank Finney (b.1947), Cape Charles, Virginia. Full size pheasant with relief wing feather carving. Maker’s initials carved on the underside. Also stamped “EAC”. Measures 29” long, stands 12.25” tall. Chip at tip of tail is glued back and is slightly loose; small rub on one side of base.
Provenance: Don and Mary Elizabeth Snyder collection. (4,000 - 6,000)
324 George Huey (1866-1947), Friendship, Maine. Half size decorative pheasant with outstretched wings. “Hand carved designer G.R. Huey, Friendship, Maine” carved on underside of base. Measures 13.5” long, 13” wingspan. Original paint with moderate crazing and paint shrinkage; bill and front of face is doweled in through back of head; what appear to be old shoe laces wrapped around legs.
Provenance: Don and Mary Elizabeth Snyder collection. (3,000 - 4,000)
325 Charles Hart (1862-1960), Gloucester, Massachusetts. Very rare 3/4 size rooster with open beak and applied wooden tongue. Inset wooden crest and applied tin tail feathers. Stands 16” tall, measures 12” long. Original paint with minor flaking on tin feathers; early coat of varnish has darkened with age; excellent structurally.
Provenance: Don and Mary Elizabeth Snyder collection. (4,000 - 6,000)
326 Smokey Joe Jackson, Mt Pleasant, Michigan. Full size carved pheasant with glass eyes, 2nd half 20th century. Mounted on base. Jackson was an American Indian who lived on a reservation in Michigan and carved birds and other animals including fish to trade at a local pharmacy for alcohol. Many of his carvings are supposedly on display in a reservation casino in the Mt Pleasant area. Measures 18” tall. Strong original detailed paint; incised wing carving; head is ornately and accurately carved; tight crack extending from center of breast to underside of tail on one side only. (1,500 - 2,500)
327 Harold Sears, Jr., Grand Rapids, Michigan. Pair of 1/4 size pheasant with relief wing and tail feather carving. Cock’s base with fluted edges and maker’s paper label on the underside. Measure 14” and 15” long. Original paint under a thin coat of varnish; small chip on underside of male’s tail tip; one of hen’s jesso feet with some restoration.
Provenance: Don and Mary Elizabeth Snyder collection. (400 - 600)
328 Two roosters and two chickens. All on mounted base. All made of paper mache or some kind of composite materials. Roosters have inset tin and wood tail feathers. Original paint with some minor flaking and wear; some tight cracks in body of largest, which measures 19” tall.
Provenance: Don and Mary Elizabeth Snyder collection. (400 - 600)
329 Robert W. Means (1886-1971), Boston, Massachusetts. Carved wooden game cock. Glass eyes and with attached spurs. “War 1931 R.W. Means” written on underside. Measures 10.5” tall. Strong original paint; structurally good.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
330 A match pair of chalkware game cocks. 1st quarter 20th century. With attached spurs. Measure 8.5” tall. Original paint; structurally good.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
331 Carved wooden lamb’s head. Mounted on a vintage painted and carved base. Plaque measures 16” tall. Paint on the backboard appears to be new, but both lamb and surface on base show good age; lamb head is in original paint; small areas of chipping to bare wood on ears.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
Self standing barber pole trade sign, circa 1900. Measures 7.5’ tall. Original red, white, and blue paint; old coat of varnish that has darkened with age; pole has wood imperfections; numerous cracks, dents, chips, as would be expected for its age.
Provenance: Don and Mary Elizabeth Snyder collection from Tom Delach. (1,500 - 2,500)
Carved wooden whirligig, circa Measures 21” tall. Thick old paint which is crazed and weathered is possibly original paint; crazed surface which shows good age; some tight cracks, scratches, and rubs.
Provenance: Don and Mary Elizabeth Snyder collection. (5,000 - 8,000)
334 Edgar Tolson (1904-1984), Kentucky. Carving of a lady mounted to a small cedar base. Stands 11.5” tall. Unpainted; structurally good.
Provenance: Don and Mary Elizabeth Snyder collection. (700 - 1,000)
335 Maurice Decker (1871-1945), Dark Harbor, Maine. Carved wooden eagle with talons grasping freshly killed fish. Carved cross hatching on eagle with carved eyes and raised wings. Decker was known for making decoys and carved eagles. Measures 10” tall. Original paint that has darkened with age; structurally good.
Provenance: Don and Mary Elizabeth Snyder collection. (2,000 - 3,000)
336 Joe Jackson, Mt Pleasant, Michigan. Carved wooden eagle mounted on wooden branch. Eagle’s head is turned. Measures 12.5” tall. Strong original paint protected by a light coat of varnish; structurally good.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
337 Carved wooden eagle mounted on base with glass eyes. Circa 1960 or 70. Measures 19.5” tall. Heavy feather
carving with metal talons; one claw is missing; original paint; structurally good.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
338 Unknown maker, 2nd quarter 20th century. Folk art owl with incised feather carving and large glass eyes. Stands 13.5” tall. Original paint with minor wear; chip in one ear tuft was glued back; glue visible where the dowel that the owl is perched on was re-secured to the upright.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
339 Unknown maker. Owl decoy with glass eyes, carved impression around those eyes. Carved wing outline. Lead feet and talons. Mounted on base stands 20” tall. Original paint is crazed with some flaking in areas; one ear is a replacement; cracks in body on both wings.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
340 Seal skin kayak with figure and multiple whaling tools attached to top. Appears to be circa 1900. A carved and painted face from bone is set inside a hooded seal skin jacket complete with seal skin mittens. Measures 23” long. Paddle and other tools are tipped with bone. A few small holes in leather kayak; one tear approx .75” and wear to edges.
Provenance: Don and Mary Elizabeth Snyder collection. (1,000 - 2,000)
341 George Reinbold (1885-1946), Lansdowne, Pennsylvania. Two miniature flying quail with incised feather carving. Signed behind each lower wing. Measure 5” long. Original paint with very minor wear; minor chipping to a few wingtips with one larger chip being reglued; lower wing of one was reglued to body; chip in one side of tail.
Provenance: Don and Mary Elizabeth Snyder collection. (600 - 900)
342 S. McWilliams. Carved and painted full size grouse in a drumming pose. With tail feathers fanned. Body is carved from one piece of wood. Detailed feather and tail carving. Glass eyes. Mounted to wooden base. Signed on underside of base. Measures 14” tall. Strong original paint; structurally good; small amount of jesso missing at top of foot where it connects to the body.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
343 Relief carved wooden plaque with ducks and geese. Circa 1940 or 1950. Signed Longstreet lower left. With nice oxidized board and surface that shows good age. Measures 7.5” x 28.5”.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
344 Three carved wooden shoe form pin cushions, last quarter 19th century. Smallest is well carved, unfinished and made in to a pin cushion. Black and silver is also made into a pin cushion. Measures 5.5” and is in original paint with floral design on sides. Most elaborate is multi colored with diamond pattern above the shoe. Well carved with wooden bow. Original paint with a coat of varnish that has darkened. Heel has been broken and reattached. Measures 6”.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
345 Antique walking stick. Intricately carved folk art walking stick. Probably from an American hardwood. Dated 1910. Several medical references. A bunny, crossed guns, white tailed deer, snake, turtle, horse, giraffe, train, canon, and numerous other motifs, some of which are painted. A horn handle. Total length is 33”.
Provenance: Don and Mary Elizabeth Snyder collection. (1,000 - 1,500)
346 Antique walking stick. Patriotic walking stick with candy cane striped carving. Two blue snakes inside of a red and white decoration. At the top is a ball carved inside a cage. Measures 30.5” long. Original paint, circa 1900 or earlier.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
347 Antique walking stick. Carved and paint decorated walking stick, dated 1924. With patriotic motif, which includes a hunter with two dogs, a horse, and a couple of shotguns. Measures 36” long.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
348 Antique walking stick. Folk art carved and painted walking stick, dated 1897. A rattle snake crawling up the stick, with words “Presented to Alfred Randall January 1897”. Measures 35” long.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
349 Antique walking stick. Folk art carved waking stick. With two snakes that have bead eyes and a skunk also with bead eyes. All of which are painted. Appears to be a type of pine from North America, circa 1900. 33” in length.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
350 Artistic Design Company Boston, Massachusetts, circa 1950. Carved wood and painted eagle with gold guilding. 22” tall x 18” wide. Very good and original.
Provenance: Don and Mary Elizabeth Snyder collection. (600 - 900)
351 Artistic Design Company Boston, Massachusetts, 1st half 20th century. Carved wooden eagle with American shield and flag draped over wooden spires. Measures 55” in length. A mix of old and original paint; according to Don’s notes, strengthening was done in 1938.
Provenance: Don and Mary Elizabeth Snyder collection. Purchased at an Indiana antiques show in 1972. Originally found in a bar room in Baltimore, Maryland. (2,000 - 2,500)
352 Mortar and pestle, last quarter 19th century. Turned wooden mortar painted blue-ish green and orange. Stands 7” tall. Pestle is 9.5”. Excellent original paint with some cracks and small areas of paint loss with crazing.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
353 Carved wooden stinger of four trout, from Quebec, circa 1960. All are carved with mouth open. Largest trout measures 15”. All are in original paint; structurally good.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
354 Carved wooden double mount trophy fish, probably United Kingdom, circa 1900. White fish and a trout. The only double fish mount we have seen. Board measures 9.5” x 19”. Excellent original paint shows great age; protected by a coat of varnish that has slightly darkened.
Provenance: Don and Mary Elizabeth Snyder collection. (1,000 - 1,500)
355 Phillipe Sirois (1893-1980), Arrowsic, Maine. Very large carved brook trout with wooden fins. Mounted on partially painted plaque. Plaque measures 13” x 29”. Very good and original.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
356 John Hyatt, Pekin, Illinois. Carved red eared sunfish mounted on wood plaque. Fish measures 12” in length. Plaque is 15”. Strong original paint; good structurally.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
357 Lawrence Irvine (1918-1998), Winthrop, Maine. Circa 1960. Carved wooden large mouth bass on wooden backboard. Bass measures 24” in length, backboard is 34”. Excellent and original.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
358 Lawrence Irvine (1918-1998), Winthrop, Maine. Rainbow trout mounted to a painted birch backboard. Board measures 8.5” x 20”. Excellent and original.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
359 Lawrence Irvine (1918-1998), Winthrop, Maine. Carved wooden brook trout mounted to painted board. Board measures 6.5” x 12”. Excellent and original.
Provenance: Don and Mary Elizabeth Snyder collection. (600 - 900)
360 Cast iron door stop of a full size pigeon. Base shows official emblem of “G.O.F.P.O.P.” Pigeon is screwed to base and it is made from two pieces of painted cast iron. Stands 12”. Surface has mellowed with some areas of paint loss.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
361 Rife-loth Corporation, Bronze door stop. Dated 1938, Waynesboro, Virginia. Horse is king’s genius. Artist was CRK. Measures 11.5” x 12”. Original patina.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 400)
362 Rare cast iron doorstop. Rare ‘Duke of Wellington’ cast iron doorstop. Soldier stands 16.5” tall. Original paint with areas worn to exposed iron; some small chipping on edges.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
363 Cast iron toothpick or match holder. With small boy eating watermelon. 1st quarter 20th century. Measures 5” tall.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
364 Cast iron door stop figure. Hollow on the inside. African American woman with her hands on hips. Painted. Stands 10” tall. Paint missing on some spots; discoloration from age; spot of green paint on one side of her head.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
365 Cast iron doorstop of a rabbit. Made from two pieces of iron. Measures 12” tall. White and pink paint appears to be original; some discoloration, staining, and chips to exposed iron.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
367 Osborne Mayer (1883-1959), oil on canvas. Mayer was an illustrator who did a number of works for Field and Stream. This exact image was used on the cover of a November 1913 Field and Stream Magazine, a copy of the magazine is included. Signed lower left with monogram. Image measures 26.5” x 20.5”.
As visible on verso four punctures were repaired; two of which are visible from the front of the canvas in the area of the gentleman’s knees; stretcher lines are visible; even craquelure throughout painting; small inpainting area at side of bear; and also to gentleman’s leg that is still in the water.
Provenance: Don and Mary Elizabeth Snyder collection. (2,000 - 2,500)
368 Oliver Kemp (1887-1934), oil on canvas. Image of fly fisherman netting a trout. Kemp was considered one of America’s greatest fishing illustrators. This exact image was used for advertising calendars and a print of one of those calendars is included with this painting, however the calendar date has been cut off. Unsigned. Image measures 29.5” x 23.5”. As viewed under UV light there does not appear to be any restoration; image has a light craquelure throughout; has some paint loss exposing the canvas, mostly in the trees above the fisherman and along the bottom edge; another spot where paint loss in the fishing rod has been darkened by a green marker.
Provenance: Don and Mary Elizabeth Snyder collection. (8,000 - 12,000)
James Harold Click
1896 – 1978 | Elkin, North Carolina
“Harold” Click was raised on a small family farm in, what was then, rural Elkin. Chickens were an important part of the farm and Click enjoyed raising and breeding them. From an early age, he had an artistic urge, and he once told a reporter that, as a young man, “- - - when his friends were developing their skills at marbles and kite flying, he found that a crayon became much more at home between his fingers than did an agate, a pencil, more than a string” . He remained on the farm through high school and then attended North Carolina State College, majoring in Agriculture. While there, he became a member of the Agricultural Club, the Poultry Club and the Art Club, supplying much of the artwork for the yearbook and other school publications. His college career was cut short after his third year when, in 1918, he spent a year in the Army during WWI. His only formal training in art occurred shortly after his return from the war when he and a friend drove to New York to attend the Pratt Institute of Art. While there, he recalls that he and his associate, “steered clear of that Greenwich Village crowd --- they weren’t very serious. Trying too hard to be unique it seemed to me” . His art education was curtailed after only one year when he returned home following the death of his mother. He became the manager of an orchard company in Elkin and, in 1926,
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he married Ester Elizabeth Eads, with the wedding announcement describing him as having “large financial and business interest in Elkin” . He remained with the orchard company until sometime in the 1930’s and, by 1940, he was employed as a foreman at the Elkin Furniture Factory where he would remain for many years. His obituary records him as an “Artist”.
He had always enjoyed painting, both landscapes and poultry. Eventually, an article in a magazine exposed his art to an audience beyond Elkin and he became well known for his depiction of champion gamecocks. For much of his life, he painted as a sideline, albeit a serious one. By the late 1940’s he was executing between 20 and 25 pieces per year.
Cock fighting had long been popular. It was first recorded as occurring in North Carolina as early as 1737 and it remained legal in the State until at least 1881 when it was banned.
369 James Herald Click (1896-1978), oil on canvas. Image of a rooster and hen. Important information on back of this painting reads “By JH Click in 1950 for Frank L Gary who was the originator of the original game bantems in 9 varieties.” This is the silver duck wing color pattern. There is also an advertisement page taped to the back where Frank Gary used a copy of this painting as an illustration to sell his American game bantems. Signed and dated 1950. Image measures 17.75” x 25”. Painting remains in excellent condition with a very slight mellowing of the varnish.
Provenance: Don and Mary Elizabeth Snyder collection. (3,000 - 4,000)
370 James Herald Click (1896-1978), oil on canvas board. Image of a game cock with fighting spurs. Signed “JH Click” and dated “1944”. Image measures 19.5” x 15.5”. Painting remains in excellent condition.
Provenance: Don and Mary Elizabeth Snyder collection. (1,500 - 2,500)
371 James Herald Click (1896-1978), oil on canvas board. Signed “JL Click” and dated “1944”. Image measures 20” x 16”. Painting remains very good and original.
Provenance: Don and Mary Elizabeth Snyder collection. (1,500 - 2,500)
372 Unknown artist, oil on metal or tin. A wonderful folk art depiction of a cockfighting arena with high fashioned participants. Titled “Westminster Cock Pit in 1850, Before the Fight”. Image measures 22” x 28”. Original paint protected by a coat of varnish.
Provenance: Don and Mary Elizabeth Snyder collection. (1,500 - 2,500)
373 Courtenay Brandreth (1891-1947), Ossining, New York, circa 1920, oil on canvas. Image measures 19.5” x 23.5”. Brandreth studied with Louis A. Fuertes and exhibited at the Library of Congress and the American Museum of Natural History. He was known for his bird paintings. Rooster painted is a guilded ducking gamecock. Image remains excellent and original as viewed under UV lgiht; no tears to canvas.
Provenance: Don and Mary Elizabeth Snyder collection. (1,000 - 1,500)
374 W. Richard, oil on canvas. Image measures 23.5” x 19”. Signed. As viewed under UV light no flaws; frame has scratches and rubs.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 400)
375 Harry Lyman (1856-1933), Two oil on canvas. Paintings of game cocks. One measures 23” x 19” and signed on back of frame. Appears to be circa 1940. Excellent and original. Second game cock is in a matching identical size frame. Ginger Red is written lower left. It is also signed Harry Lyman on back of frame. Painting is structurally good, does show some slight wrinkling so canvas should be restretched.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
377 Carlos A. Finsterbusch, two watercolors on paper. Both dated 1923. Largest measures 9.75”x 7.25” smallest 8” x 7”. Finsterbusch was an author of the book “Cockfighting All Over The World”, as well as an artist. Both professionally framed and matted. Both are excellent and original.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 1,000)
378 P. Procter, watercolor on paper. Rooster and hen. Procter was an early illustrator of gamecock paintings. Image measures 6.5” x 8.5”. Signed. Remains very good and original.
Provenance: Don and Mary Elizabeth Snyder collection. (250 - 350)
379 L. VanTassel, oil on canvas board. Image measures 15.5” x 19.5”. Signed and dated 1975. A gentleman holding his gamecock prior to the fight. Painting remains very good and original; tiny stain on center of gentleman’s shirt.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 400)
380 A very rare signed print titled The Nassau Derby 1951. Image painted by Richard Stone Reeves. Published in limited edition of 175 copies by Frost and Reed Limited England 195 for the Sporting Gallery book shop in New York. Image measures 14.75” x 19”. A diagram accompanying the painting shows the names of all people seated in the background.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
381 Harris, oil on canvas. Image of gamecock. Measures 15.5” x 11.5”. Signed. Remains excellent and original.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 400)
382 Edwin Megargee (1883-1958), oil on canvas board. This painting by Edwin Megargee was done for Dr. Edgar Burke, it is illustrated in the book “The Pigeon” by Levi, 1941. The pigeon, owned by Burke, was winner of at least 8 pigeon competitions detailed on the back. Including winner of Scranton, PA show 1935, Redding, PA show 1936, Ideal Show Jersey City 1936 and Ideal Show Jersey 1935, Stanton Island show 1934 and 1936, Sringfield, MA 1937, Best bird of opposite sex Jersey City 1935. Image measures 11.5” x 15.5”. As viewed under UV light a small amount of restoration lower left; inpainting spots at small area above head and a few other areas to the left of birds breast.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
383 Andrew Beer (British 1862-1954), oil on canvas. Signed and titled “Wanderer”. Beer, from Bristol, was one of the top British racing artists, who worked from 1898-1930. Image measures 16” x 12”. Image appears to have been lightly cleaned; stretcher marks are fairly visible; as viewed under uv light image remains very good; no inpainting visible.
Provenance: Don and Mary Elizabeth Snyder collection. (600 - 900)
384 Unknown artist, match pair of racing pigeons. Canvas laid on board. Each image has been relined with wax canvas and are in matching frames. Each image measures 9.5” x 11.5”. As viewed under UV light no inpainting is visible; one small repair along the side of the frame to the bird looking right.
Provenance: Collection of Harry T. Peters, Jr. Don and Mary Elizabeth Snyder collection.
Literature: Pictured on p. 101 of America’s Small House by HL Williams. (400 - 600)
385 T.H. Edwards, 1938, oil on board. Image measures 21” x 23.5”. Portrait of champion Miss Allen. A prize pigeon who won many races, including Shrewsbury 69 miles, to Lerwick 600 mile winner of section. Having won over 40 races including Perth. More details are painted below the pigeon. A few small rubs and a very tiny puncture otherwise good and original.
Provenance: Don and Mary Elizabeth Snyder collection. (400 - 600)
386 A.M. Gauci (1848-1870), oil on canvas. Signed and dated. Image measures 19.5” x 20.5”. Image of prize bull. Painting has been cleaned and conserved; there are three patches or repairs visible from the back of canvas; at lower left there is a .25” puncture that has not been repaired; some small areas of craquelure as viewed under UV light no inpainting is visible on front of painting.
Provenance: Don and Mary Elizabeth Snyder collection. Includes a bill of sale from David Brucker Fine Art, 2005 amount of $3,940. (2,500 - 3,500)
387 Large and very early oil painting of a bull. Unsigned. Image measures 21.5” x 35.5”. Stretcher and canvas show good age; viewing back of canvas it appears as if one puncture near top of bull’s back about the size of a nickel was repaired; heavy coat of varnish has darkened and as viewed under UV light no tears or repaint visible on front of image.
Provenance: Found by Don Snyder at an antique show in new Albany, Tennessee. Don and Mary Elizabeth Snyder collection. (800 - 1,200)
388 B.J. Wengart, attributed. 1881, oil on canvas. Image measures 17.5” x 21.75”. Bull in country side landscape. Varnish has darkened slightly; small area of damage at corner of lower left otherwise very good and original.
Provenance: Don and Mary Elizabeth Snyder collection. (400 - 600)
389 Unknown artist, oil on cavnas. Image of a cow. Image measures 24.5” x 29.5”. A large patch is visible on the back of the canvas measures 10” x 19”; also another small patch lower left hand side; a thick varnish has mellowed with crazing, but not flaking at center area of cow; as viewed under uv light no inpainting visible on front of canvas.
Provenance: Don and Mary Elizabeth Snyder collection. (600 - 800)
390 Unknown artist, oil on canvas. Patriotic scene of a rooster on cathedral top with banner and shield dated 1896. Image measures 30.5” x 23.5”. There are four repairs visible from the back; the crazed varnish has darkened; appears to show good age in both the frame and canvas; no visible inpainting as viewed under UV light.
Provenance: Don and Mary Elizabeth Snyder collection. “Purchased from Muleskinner Antiques. Picture on canvas of a White Leghorn standing atop the capitol dome. This boldly executed painting is dated 1896. It was collected over 65 years ago after being retrieved from an old barn in Rush, NY. This picture originally hung in the Rush/Henriette Democratic headquarters.” (1,000 - 1,500)
391 Joseph Knowles (1869-1942), oil on board.
Measures 8” x 18.5”. Trout. Signed. Information about Knowles is taped to the back. Surface has darkened slightly with some small staining; but is otherwise very good and original.
Provenance: Don and Mary Elizabeth Snyder collection. (1,500 - 2,500)
392 D.H. Smith, oil on paper board. Small mouth bass taking a fly. Signed lower left and dated 1921. Image measures 16” x 24”. As viewed under UV light image appears without damage; early gold frame shows lots of age.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
393 Ernest Freigau, charcoal on paper. Titled “Simply Grand”. Earnest’s father Carl was also an artist who depicted prized livestock. Image measures 7” x 12”. Overall good condition; period frame with early lead glass; a few small pin hole size breaches to the paper.
Provenance: Clark Garrett collection, Ohio. Acquired from Mr. Garrett in 1978. Don and Mary Elizabeth Snyder collection. (800 - 1,200)
394 Frank Manville, oil on board. Horse and Sulkey. Signed and dated 1910. Image measures 17” x 23”. As viewed under UV light a few small spots of inpainting in upper right sky, otherwise very good; frame shows considerable age and slight separation.
Provenance: Found by Don Snyder in a Lexington, Kentucky antique shop. Don and Mary Elizabeth Snyder collection. (400 - 600)
395 Ray Harm (1926-2015), oil on canvas. Image of canvasbacks and bluebills landing in decoys. A letter from the author describes the painting as a work done when he was near the Mentor Marsh area or possible Pinmuting Reservoir in Ohio and Pennsylvania. Signed. Image measures 21.75” x 37.5”. Varnish has very slightly darkened otherwise excellent.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
396 Carl Plath (1886-1970), oil on canvas. Five hooded mergansers. Signed lower right. Image measures 21.5” x 25.5”. No visible tears on reverse; as viewed under uv light no inpainting is visible; painting appears to be unvarnished.
Provenance: Don and Mary Elizabeth Snyder collection. (400 - 600)
397
Paint decorated storage box maroon and black. Single lift top. Hinges at lift top lid have become disconnected. Box stands 17” tall x 14” deep x 42” long. Typical wear with scratches and dents expected of a 19th century piece.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
398 Paint decorated blanket box. With heart carved around lock. Three inset decorative panels on front and one each on sides. last quarter 19th century. Original paint with initials “EO” on top; surrounded by Floral design. Measures 23” tall x 18.5” wide x 39” long. Nicks, dings, and rubs, scratches to bare wood.
Provenance: Don and Mary Elizabeth Snyder collection. (400 - 600)
399 Ohio seed chest, circa 1820. 26 drawers with original honey mustard grain paint. 29” tall x 29.5” wide x 10” deep. Hardware appears to be replaced; normal amount of scratches and rubs for a piece of this age.
Provenance: From Garth Obensetter, founder of Garth’s auctions. Don and Mary Elizabeth Snyder collection. (1,200 - 1,500)
400 Paint decorated storage box. With the name “E. Ward”. Wrought iron handles on each side. Measures 30” x 17” x 13.5”. Original paint with wear and some discoloration mostly on top.
Provenance: Don and Mary Elizabeth Snyder collection. (300 - 500)
401 Early Ohio blanket chest. Pinwheel paint decorated with box over three drawers. Four turned decorated feet. Two drawers on inside. Maintains original key and lock still works. Paint surface is original. Box stands 30” tall, 22” deep x 45” wide.
Provenance: Don and Mary Elizabeth Snyder collection. (400 - 600)
402
Weathervane of a horse and jockey. Full body copper weathervan from an american factory, circa 1900. Mounted on wooden base. Figure was painted a very long time ago. Measures 32” long. Several bullet holes in cross bar; a patched hole in horse’s body; some slight separation at small areas along body seams; horse’s body has a few dents and small areas of paint missing.
Provenance: Don and Mary Elizabeth Snyder collection. (3,000 - 5,000)
401A True type of a Holstein Friesian. This early and interesting metal painted 1/4 life size bull is part of a small group that were commissioned by Fred Pabst of Pabst Brewing. They were placed in all of the leading colleges of animal husbandry as a perpetual loan. Sets were also presented to the foreign heard book societies of this breed and were sold at a cost to breeders. Design was created by Gozo Kawamura a Japanese sculptor and they were painted by Edwin Mgargee, 1st quarter 20th century. Base reads Holstein Friesian bull, copyright 1926. Made from cast heavy metal. Stands 19” tall x 29” long. Original paint with chips and some wear on both base and bull.
Provenance: Don and Mary Elizabeth Snyder collection. (1,500 - 2,500)
401B An iron painted pig with handle. Pig opens and is used as an instrument for medical supply companies to promote their products. Appears to be 1st quarter 20th century. Don Snyder took this piece to the antiques road show on their first visit to Louisville, Kentucky. All of the experts were interested but have never seen it before. They finally put an appraised value at $10,000. Inside one half indicates patent pending, property of Mormon Manufacturing Company Quincy Illinois. Original paint with a coat of varnish. Measures 15” long. 9.5” tall.
Provenance: Don and Mary Elizabeth Snyder collection. (2,000 - 3,000)
401B
403 Weathervane of a gamecock, 1st quarter 20th century. Full body copper. From cross bar measures 24” tall. Appears as if an old coat of white paint was removed; to expose a greenish surface; six bullet holes in body with damage to the cross bar by feet; comb on head is partially detached.
Provenance: Don and Mary Elizabeth Snyder collection. (500 - 800)
404 Game cock weathervane. 1st quarter 20th century. Full body copper. Measures 19” long. Four bullet holes; an old painted surface has been partially removed to expose bare copper; damage to tail; a few other small dents.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
405 Copper fish weathervane. 1st quarter 20th century. Two piece full body. Measures 25” in length. Surface has mellowed and aged nicely; soft solder lines across top of back and underside.
Provenance: Don and Mary Elizabeth Snyder collection. (800 - 1,200)
406 Cow Weathervane. Full body copper cow attributed to Cushing and Company Boston, Massachusetts. Zinc head. Horns have a unique feature, with balls at the tip. This was a patent made around 1870 in Boston to protect pedestrians from livestock in the streets. Very few cattle weathervanes have this attribute. Original verdigrised surface with traces of gold guilt; several bullet holes, some have been repaired with lead; a few dents; measures 29” long x 19” tall. (6,000 - 9,000)
407 Full body copper weathervane, circa 1900. So called Ethan Allen with zinc head. Unusual long size with bar measuring 43”. A painted white surface has partially aged away to expose an appealing green verdigris; several bullet holes have hit the side of body but not penetrated surface.
Provenance: Tom Karras collection. (1,250 - 1,750)
408 Julius Mechers (1829-1909) Detroit, Michigan or Thomas Brooks (18281895), New York City and Chicago. Excellent cigar store Indian tobacconist trade figure, circa 1870. Right hand is holding a bundle of cigars, right hand tobacco leaves. Figure measures 76” tall. The surface is a mix of old paint with some restoration; headdress has two tips that have been cracked but are original.
Provenance: Mark Goldman collection.
(40,000 - 60,000
409 Attributed to the shop of Thomas Brooks, New York City and Chicago. Large cigar store Indian tobacconist trade sign, circa 1875. Holds a box and roll of cigars in one hand and a knife in the other. Stands 85” tall including base. Surface has been restored to original colors; structurally good.
Provenance: Mark Goldman collection. (30,000 - 50,000)
410 King Gambrinus brewery or tavern bar trade sign, circa 1860-1875. Like the cigar store Indian trade sign, Gambrinus “King Lager” would stand outside a brewery or bar inviting all to join him for some beer. An extremely rare and desirable form, the king proudly displays all his medals for the finest beer. Figure measures 53” tall. Structurally good with blade of sword being replaced; wear spots, rubs, scrapes to bare wood as much of this figure appears to be in original paint; the surface is dry and tightly crazed.
Provenance: Mark Goldman collection. (25,000 - 35,000)
411
412
Attributed to the shop of Samuel Robb (18511928), New York City. Appealing cigar store Indian tobacconist trade sign, circa 1880. Princess is holding a box of cigars and some tobacco leaves. Stands 65” tall including base. Much of the surface is old and crazed; some like the headdress appears to be a more recent restoration paint; original factory base has been restored.
Provenance: Mark Goldman collection. (8,000 - 12,000)
A group of five carnival hammers for the “Ring the Bell” game. All appear to be 1st half 20th century. These would have been used by the workers to drive in circus tent stakes and then by circus goers to test their strength. Approximately 40” long. Various conditions.
Provenance: Mark Goldman collection. (500 - 700)
413 John Haley Bellamy (1836-1914), Portsmouth, New Hampshire. Carved wooden eagle. Painted white with classic “Don’t Give Up The Ship” script. Measures 26” in length. Remains very good and original.
Provenance: Tom Karras collection. (8,000 - 12,000)
414 * Spectacular wall hanging bird tree, possibly Pennsylvania, 1st quarter 20th century. The main twisted branch is partially carved. A total fo 13 full size birds. Four of the original birds were missing and have been replaced by master carver Frank Finney. The consignor purchased this item from seasoned folk artist collector Chuck White. Tree is meant to be mounted on wall and extends about 41” high. One of the birds has a broken wingtip. (4,000 - 6,000)
414A Robert Culver (1873-1958), Stratford, Connecticut. A rare, early wooden swordfish weathervane by decoy maker Reg Culver’s father. Probably made from pine. Measures 41” long. Paint remnants show an early coat of gray and white. This lot is accompanied by a Mark McNair paint decorated picnic basket with a scene on the lid that includes the swordfish that is for sale in this lot. Weathervane shows wear from exposure to the elements; appears as if part of the tail was broken and reattached; remains very good and original for a wooden weathervane from this time period.
Provenance: Dixon Merkt collection.
(6,000 - 8,000)
In about 1973, I found this tucked away in the cellar rafters in a relatively new house built for Reg Culver (1897-1975). This was one of a very few historical items that survived the move from his previous home and was made circa 1895 by his father, Robert Culver (1873 -1958). - Dixon Merkt
414B Full size carved rooster. 1st quarter 20th century. With nearly 2” spurs attached to carved wooden legs. Bill is made from carved bone. Glass eyes. Heavily carved body has been painted and then covered with some sort of gold guilding, which is flaking and worn away creating a surface that displays great age.
Provenance: Al Marzorini collection.
414C James Mead (19th century, Maine). Known for his fish paintings on board. Back of panel reads “Red Spot trout 2 lb Sabago Lake, Maine, May 83. J Mead Artist North Bridgeton, Maine”. A fine oxidized and aged board with a very well executed trout. Signed lower right “J Mead”. Fish measures 17” long, board is 14.5” x 33”. Fish has mellowed or darkened slightly but remains in untouched condition. (2,000 - 3,000)
414D John Tully (1862-1931), Fochabers, Scotland. Carved salmon trophy fish. Measuring 37” in length. As with most Tully’s, it displays carved accurate gill, mouth, and head details. Carved textured fins and scale detail done with lead paint. Strong original paint that has crazed and faded; crack to lower portion of tail has been reset.
414E Carved pair of lovebirds. Perched against a tree stump made from a single piece of wood. Mounted to a decorative base. Underside of base reads “With Love, April 21, 1933. PH & GH.” Very good and original. (800 - 1,200)
414B
414E
Guide boats and river skiffs can be found in many of the paintings done by many American landscapists, including A.F. Tait, Edward Hill, and others from the early to late 19th century; In the Victorian era these boats were glamorized and captured through much of the early photography work done in the resort and popular tourist lake areas of the country. The scarcity of these models is illustrated by the mere fact that proportionately many canvas covered model canoes have surfaced over the years, with only a handful of these model guide boats coming to auction. Perhaps the most famous of these models to surface was the rare 52” H.J. Rushton sample guide boat that was discovered in a yard sale in Clayton, N.Y. and sold in July of 2007 at a William Smith auction in New Hampshire, realized $41,250. A few of these rare models reside in the Adirondack Museum in Blue Mtn. Lake, with other known models housed in private collections.
415 Magnificent Adirondack guide boat model. Measures 30” in length. last quarter 19th century. All parts appear to be original. Original oars have been broken in front of the blade and reglued; entire boat retains very desirable and appealing surface from an original coat of varnish that has aged, mellowed, and crazed evenly; small rough area at bow and end of stern otherwise structurally very good. (15,000 - 25,000)
Oscar Peterson
1887 - 1951 | Cadillac, Michigan
416 Oscar Peterson (1887-1951), Cadillac, Michigan. One of the best known examples of Peterson’s plaques. Carved from one piece of wood. The relief carving is much deeper than a typical Peterson plaque. Two hard wood splines are dovetailed into the back of the plaque to keep it from warping and splitting. Highly detailed feather carving, also particularly fine detail on the pine needles. The plaque is 15” x 24” and 2” thick. Very strong and detailed original paint, with a very small amount of flaking and a few paint rubs missing; several short thin cracks in the back.
Provenance: David Fannon collection. (40,000 - 60,000)
417 Oscar Peterson (1887-1951), Cadillac, Michigan. 1st half 20th century. A spectacular glass eye rainbow trout on a 58” x 8.5” x 1.5” thick board. Highly detailed carving with fin detail, lifted tongue, open mouth, carved gills. A thick board has three metal straps to prevent warping. Strong original paint is protected by a coat of varnish that has slightly darkened and crazed to create a perfect patina; a few small knots in the natural piece of wood have bleed through with pitch.
Provenance: David Fannon collection. (25,000 - 35,000)
418 Oscar Peterson (1894-1951), Cadillac, Michigan. One of the most highly decorative vases ever offered at auction. A musky and brook trout with carved eyes. The base is adorned with five smaller relief carved fish and fluted bottom edge. Measures 7.5” tall. Original paint protected by a coat of varnish that is crazed to create a wonderful patina; a few small dents and scratches.
Provenance: David Fannon collection. (20,000 - 30,000)
419 Oscar Peterson (1887-1951), Cadillac, Michigan. Carved plaque of bird of paradise, first half 20th century. Perched in fruit bearing tree, with glass eye. Plaque measures 23.5” x 10.25”, .75” thick. Displays two metal bands on backside to keep board from warping. Original paint protected by a coat of varnish; a few small areas of paint flaking near top of tail and small area near one branch. (8,000 - 12,000)
420 Oscar Peterson (1887-1951), Cadillac, Michigan. Relief carved pike. Glass eye, metal strapping on back and sides. Written in pencil “Made by Oscar Peterson 223 Cadillac, Michigan, pike.” Plaque measures 2.75” x 6.75” x .5”. Original paint with crazing to the white area.
Provenance: David Fannon collection. (5,000 - 7,000)
420A
420C
420B
420D
420A Oscar Peterson (1887-1951), Cadillac, Michigan. 2nd half 20th century. Carved wooden sunfish with applied metal fins. Measures 15” long. Strong original paint with some small areas of flaking; couple scratches expose bare wood; some very tiny spots of inpainting where bare wood was exposed.
Provenance: Dave Fannon collection.
(2,000 - 2,500)
420B Oscar Peterson (1887-1951), Cadillac, Michigan. 1st half 20th century. Two sided carved wooden sunfish with applied metal fins. Measures 16” long. Strong original paint with a little bit of flaking; rough area at tip of lower jaw; some small spots of inpainting along edges where it was worn to bare wood.
Provenance: Dave Fannon collection.
(2,000 - 2,500)
420C Oscar Peterson (1887-1951), Cadillac, Michigan. 1st half 20th century. Two sided carved wooden perch with carved eye, applied side metal fins. Measures 18” long. Strong original paint; with some very minor amounts of inpainting at tip of both sides of tail; a few spots near head.
Provenance: Dave Fannon collection.
(2,000 - 2,500)
420D Oscar Peterson (1887-1951), Cadillac, Michigan. 1st half 20th century. Two sided carved wooden rock bass with carved eye, applied side metal fins. Measures 18” long. Original paint protected by a coat of varnish; inpainting at a few areas around the tail, one eye, and flaked spots on side of body.
Provenance: David Fannon collection.
(2,000 - 2,500)
420E Oscar Peterson (1887-1951), Cadillac, Michigan. Very rare early Canada goose with uplooking, removeable root head and brass tack eyes. Measures 25” long. Original paint with moderate flaking and very minor wear; most of the flaking on back and around neck seat; tight cracks and an old chip in bill; drying crack along the underside.
Provenance: Al Marzorini collection.
(3,000 - 5,000)
Caines Brothers
Georgetown, South Carolina
Until the 1980s, most collectors generally accepted the idea that there were no examples of handmade, quality decoys from South Carolina. This ultimately proved to be a myth when, in fact, it became known that a small group of exquisitely sculptured birds was known, and all of these seemed to have originated from an area in the vicinity of Georgetown. The existence of these birds was known to very few and was a closely guarded local secret. Eventually it became known that these decoys were made by a group of brothers who were raised in the marshes north of Georgetown – “Ball” (1849 – 1914), “Sawney” (1859 –1938), “Pluty” (1869 – 1911), “Hucks” (1876 – 1944) and “Bob” (1879 – 1923) – the Caines brothers.
They lived in an area that was originally settled by their grandparents, known as Caines Village, a locale fronting on Muddy Bay facing Pumpkinseed Island. They made their livelihood from the surrounding land and waters. They cultivated and harvested rice, worked as commercial fisherman, guided, and gunned for the market. These hunting ventures eventually led to their carving their own decoys.
In 1905, the coastal plantations, including Caines Village which had been a part of the Michaw plantation, were purchased by wealthy businessman and Statesman Bernard M. Baruch. The land on which the Caines lived became part of his famous 17,500 acre estate – Hobcaw Barony. As was the tradition, when Baruch purchased the plantations, the tenants and their settlements were included in the purchase. Suddenly, the land they had hunted for years was now posted and the brothers were forced to poach in order to continue to earn a living. In his autobiography, Baruch recalls apprehending Hucks Caines one morning with 166 black ducks and mallards in his possession. Hucks was quickly hired by Baruch to do what he had always done – hunt ducks. From this point on however, he was required to take Baruch’s guests out hunting with him. Eventually, Hucks became Baruch’s favorite guide. All of the Caines brothers, with the exception of Ball, eventually worked for Baruch.
A number of slight carving variations were created by the Caines but the most elegant style is most often credited to Hucks. The brothers probably only made a few hundred decoys but only 50 or so remain in existence today, the majority having fallen victims to fire, neglect, and insects. The brothers knew Hobcaw well, and all five are laid to rest with family members in a cemetery located on the Barony, not far from the bay itself.
421 Caines Brothers, Georgetown, South Carolina. Caines Brothers, Georgetown, South Carolina. Extremely rare mallard drake, last quarter 19th century. Most Caines decoys were repainted multiple times by the Caines Brothers due to the harsh conditions these decoys were hunted in (tidal salt and brackish water in Winyah Bay, just off the Atlantic Ocean). Hunted at Hobcaw Barony and likely used as well on nearby rice plantations in the South Carolina low country, as were other Caines Brothers decoys. Measures 17.25” long. Original paint that has darkened slightly with age; paint on the head with some tight crazing; rough area at tail has had a bit of filler added with some flaking in that area.
Provenance: Originally found in Georgetown, South Carolina by Dick McIntyre. Charlie Hunter collection. Ed Johnson collection. Tony Shank collection. Private North Carolina collection. Private Southern collection.
Literature: “Art to Capture Nature, The Southern Decoy as an Art Form” by Dick McIntyre, pg. 7 & back cover, exact decoy pictured. “Caines Brothers Decoys, Birds of Great Distinction,” Decoy Magazine, March/April 1989, article by Dick McIntyre, pages 8-13, similar examples pictured. “Southern Decoys of Virginia and The Carolinas” by Henry A. Fleckenstein Jr, page 247, similar example pictured. “North American Decoys Magazine”, Oct-Dec 1978, pages 6-10, related examples pictured. (40,000 - 60,000)
422 Lee Dudley (1860-1942), Knotts Island, North Carolina. Exceptionally well sculpted bluebill. “L.D.” brand on underside was partially removed long ago. Measures 17” long. Only traces of paint remain; bill is all original which is very unusual for Dudley decoys; small cracks; professional neck crack repair.
Literature: “Gunnin’ Birds,” Kroghie Andresen, p. 82. (18,000 - 22,000)
423 James Best, (1866-1933) Kitty Hawk, North Carolina. High head redhead drake. A sharp carved crown at top of head with slightly elevated neck seat, which is slightly slanted. Hard chine lines on sides of body with a sculptural carved transition from bottom of neck through breast. Measures 16” long. Thin original paint with light gunning wear; a few drops of old gray paint drip removed by Russ Allen; areas worn to bare wood; tight age cracks in body and a repaired crack in neck by Russ Allen; rough spot near tail.
Provenance: Private North Carolina collection. Private southern collection.
Literature: “Gunnin’ Birds”, by Kroghie Andresen, page 302, similar decoys pictured. (30,000 - 40,000)
Alvirah Wright (1872-1951), Knotts Island, North Carolina. Redhead hen with slightly raised neck seat. Harvey collection ink stamp on the underside. Measures 15.25” long. Early in use repaint has worn down to much bare wood; drying cracks in body; crack through neck; minor roughness on edge of tail; loss at a knot in underside. (4,000 - 6,000)
424
425 Unknown maker, North Carolina. Pair of red knots. Each head is carved from a a branch and fits in to the one piece body, but is removable for carrying purposes. Mounted on a base meant to hold this exact pair. Both measure approximately 8.5” in length. Both are in strong original paint; each has a few very light bird shot pellet holes.
Provenance: Ex collection George and Hope Wick, famous collectors from the 60’s who at one time owned the famous Lothrop Holmes merganser which sold for 856,000. The first bird acquired from Adele Earnest April 1969, the second from William J. Mackey, Jr. in April 1969. These shorebirds were recently consigned by the family.
(6,000 - 8,000)
North Carolina’s most prolific carver, Edward “Ned” Burgess 1868-1958), carved thousands of decoys over his career as a commercial decoy maker. He carved many entire stands of decoys for various gunning clubs in and around the Currituck, North Carolina area, all the way up to clubs in Maryland.
426 Ned Burgess (1868-1958), Knotts Island, North Carolina. Classic canvasback drake. An excellent example. Measures 17.5” long. Original paint with minor to moderate gunning wear; very minor roughness on edge of tail and bill, otherwise excellent structurally. (5,000 - 7,000)
427 Ned Burgess (1868-1958), Knotts Island, North Carolina. Rare redhead carved for the Walnut Island Club in North Carolina. Measures 17”. Original paint with a few rubs and wear spots from very light gunning wear; tight crack in neck.
Provenance: Private North Carolina collection. Private Southern collection.
Literature: “Gunnin’ Birds” by Kroghie Andresen, page 163, similar examples pictured. (3,000 - 5,000)
John Dilley
c. 1890 | Quogue, Long Island, New York
The first written record of the shorebirds now credited to Dilley appeared in Bill Mackey’s 1965 “American Bird Decoys”. He related that he had acquired a small rig of very finely painted shorebirds from the widow of Jess Birdsall of Barnegat Bay, NJ. With all innocence, he credited Birdsall with their creation. Fairly quickly, however, due to the quality of the painted plumage, speculation centered around the possibility of Elmer Crowell from Cape Cod as the maker. Within a brief period of time, and with additional collectors entering the search, Mackey had to concede that his initial assumptions were incorrect. This was largely due to the fact that most of the “newly discovered” decoys seem to have been found on Long Island, not Barnegat Bay or Cape Cod and Mackey felt that their origin was, most likely, from the area of Quogue, on eastern Long Island. Early reports started to emerge that some had been found with a green stencil with the word “Dilley” and one collector stated that he had found six in a box with the name “John Dilley” on the box, suggesting that they were commercially available. Perhaps foolishly, some even went so far as to feel that the attribution stemmed from nothing more than someone seeing the birds and naively commenting “Boy – those are Dilleys”. Eventually, the true facts, meager as they are, started to emerge.
Examples began to surface with the sometimes faint but clearly legible signature of “Dilley” (usually under the tail) and some had the species identified on the decoy as well. Skeptics felt that these signatures were applied
prior to anyone having ever heard of the name Dilley. Writing in the Jan/Feb 1994 issue of Decoy Magazine, he reported that he had also seen one example with the brand of “Henry and Squires, NY”. Henry C Squires was a respected sporting goods dealer on Broadway in downtown New York City. With that lead, an entry was finally located in an 1890 version of Squires’ catalog showing that he was, indeed, offering these decoys to sportsmen. At that point, the trail ran cold and nothing of significance, seemingly, has been added to the story. What remains are the decoys themselves, almost universally acclaimed as being among the very finest of their kind from the entire flyway. Based on form alone, Gigi Hopkins has stated that: “These decoys are ‘birdy’ –you don’t have to see the paint to know what shorebird is being represented”. The details in the painted plumage, however, are extraordinary and far exceeded the norm for the period. Carved as working vs mantel birds, the minute detail and perfectly blended surface clearly identifies each intended species.
John Dilley can rest with the confidence that his work is now so widely admired and accepted as the pinnacle of excellence in a working shorebird.
428 John Dilley, Quogue, Long Island, New York. Very rare hudonsion curlew, last quarter 19th century. Outstanding paint detail and split tail carving. ‘Curlew’ painted on the underside. This curlew is a rigmate to those in the Fenimore Museum in Cooperstown, New York and has the same identification painted on the underside. Only a handful of curlews by Dilley are known to exist and this is one of only a few not in the Fenimore Museum collection and available to collectors. Measures 13.25” long. Outstanding original paint with very minor wear; a few small shot marks; bill is a professional replacement.
Provenance: Joe French collection. Van Smith collection. Robert Fraser collection.
(40,000 - 60,000)
429 John Dilley, Quogue, Long Island, New York. Outstanding and very rare willet, last quarter 19th century. A large decoy with carved wings and exquisite paint detail. Measures 13.25” long. Excellent original paint with minor wear and a wonderful patinated surface; bill is a professional replacement by Russ Allen, otherwise the structural condition is superb.
Provenance: Robert Fraser collection. (20,000 - 30,000)
Fine black bellied plover in very rare emerging plumage, last quarter 19th century. Relief wing carving and excellent paint feather detail. Measures 10.25” long. Excellent dry original paint with minor wear and some flaking to the paint on the bill; professionally repair by Russ Allen to a hairline crack in neck with thin line of touch up around.
Provenance: From a hunting rig found in New Brunswick, New Jersey in 1955. Robert Fraser collection. (12,000 - 18,000)
430 John Dilley, Quogue, Long Island, New York.
431 Obediah Verity (1813-1901), Seaford, Long Island, New York. Classic black bellied plover with deep relief wing carving and carved eyes. Wide head style. Measures 11.5” long. Original paint with minor to moderate wear; surface has darkened with age; lightly hit by shot; minor roughness on edge of tail; shot strike in tip of bill has caused a chip in the underside; original bill has been tightened at the face with small amount of glue visible under UV light.
Provenance: Tom Karras collection. (12,000 - 18,000)
432 Obediah Verity (1813-1901), Seaford, Long Island, New York. Large curlew with deep relief wing carving and carved eyes. Measures 14.5” long. Original paint with moderate flaking and wear; under an early coat of varnish that has darkened with age; small dents and shot marks; loss of wood on one wing from when the decoy was made; bill is an appealing professional replacement.
Provenance: William Mackey, Jr collection. Mike and Ginger Raffia collection.
Literature: “American Bird Decoys,” William J. Mackey, Jr., p. 44, exact decoy pictured. (14,000 - 20,000)
Theodore Rogers, born in 1831, was a banker in New York City. He was a member of numerous gunning clubs on the South Shore of Long Island, including; the Aldine club, the Jamaica club, the Lyndach club, and the Bellport gun club.
433 Unknown maker, Jamaica Bay, Long Island, New York, late 19th century. Rare ruddy turnstone from the Theodore Rogers rig with carved eyes. Doherty collection sticker on underside. Measures 10.25” long. Original paint with very minor wear; flaking where hardwood bill is splined at back of head; tiny chip at stick hole and a fine hairline crack in the underside, otherwise excellent structurally.
Provenance: Jim and Pat Doherty collection. Mike and Ginger Raffia collection.
Literature: Exact decoy pictured on page 58 and 64 of “The Decoys of Lond Island,” sponsored by the Long Island Decoy Collectors Association. (8,000 - 12,000)
434 Unknown maker, Jamaica Bay, Long Island, New York, late 19th century. Dowitcher from the rig of Theodore Rogers and branded ‘T. Rogers’ on the underside. Measures 10.25” long. Original paint with minor flaking and wear; small chip where bill meets the face.
Provenance: Hunting rig of Theodore Rogers. Kirk Whaley collection. Private Florida collection. Mike and Ginger Raffia collection. (2,000 - 3,000)
435 Obediah Verity (1813-1901), Seaford, Long Island, New York. Yellowlegs with deep relief wing carving and carved eyes. Measures 11.25” long. Original paint with moderate wear; surface has darkened with age; lightly hit by shot; hairline drying cracks on underside.
Provenance: Tom Karras collection. (5,000 - 8,000)
436 Andrew Verity (1881-1976), Seaford, Long Island, New York. Black bellied plover with relief wing carving and carved eyes. Measures 10.25” long. Original paint with minor crazing and wear; spot of touchup to a dent in one side of tail; touchup to puppy chews on the bill; top of the head has had filler and paint restoration to cracks and chips.
Provenance: Mike and Ginger Raffia collection. (2,500 - 3,500)
Alonzo Foster (1841 – 1913) Hampton Bays and Brooklyn, New York
Alonzo Foster was born in Good Ground (what is today’s Hampton Bays), New York. He married Georgiana Alice Squires in 1863, and the couple would have a number of children, some of which appear to have died young. The same year he married, he enlisted in Company F, Sixth Division of the New York Cavalry of the Union Army and mustered in at Culpepper, Virginia. He rose to the rank of sergeant and was seriously wounded in the battle of Deep Bottom, Virginia. He once rescued a company flag from a Confederate soldier at great risk to his own life, and this heroic feat is commemorated in a tablet on one of the monuments at Gettysburg.
When he returned from the Civil War, he became the keeper of the Ponquogue lighthouse at Good Ground (Hampton Bays) and remained in that position for three years. By 1870, he and his family were still in Good Ground, and he became the school teacher for nearby Sag Harbor. By 1875, the family had moved to Brooklyn, New York where he would begin his long career of about 35 years with the US Customs Service. Blindness ultimately forced him to retire from his post, and he spent much of his remaining years at his summer home in Good Ground.
He was past commander of the Frank Head Post 16 of the GAR (The Grand Army of the Republic and Kindred Societies), and he served many years as the superintendent of the Sunday School at the DeKalb Avenue Methodist Episcopal Church. He was an accomplished poet and did a number of readings at the local lyceums. A number of his poems were published.
He was quite successful and, while at Good Ground, he had the time and means to enjoy the gunning opportunities that the area offered. He is credited with producing some of the most animated and fancifully painted shorebirds carved on this fabled stretch of the New York coast.
437 Alonzo Foster (1841-1913), Hampton Bays, Long Island, New York. Important eskimo curlew, circa 1880’s in alert head pose. Measures 12.5” long. Original paint with good patina and very minor wear; several small dents.
Provenance: Bob Gerard collection. Mike and Ginger Raffia collection.
Literature: “The Decoys of Long Island,” Ward Museum, page 57. (6,000 - 9,000)
The Red Throated Loon
Few question that the origin of the decoy can be traced to Native American cultures. The now well-known woven reed and feather canvasback decoys found in Lovelock, Nevada have been dated to around the birth of Christ, but it is believed that the practice of fashioning facsimiles of the live bird to aid in attracting game predates this period, possibly by thousands of years.
Early native societies were nomadic and, thus, any decoys employed were ephemeral, simple, and quickly constructed using readily available local materials. Piles of mud or seaweed, rocks placed atop one another, sections of logs with a branch attached for a head, all these methods were effective attractants to gullible birds that had probably never seen a human being. With the rise in agriculture, the people became more sedentary which, in turn, allowed for the construction of more permanent lures, while still employing naturally occurring materials and shapes whenever possible.
When the Europeans began to arrive and settle in earnest, they were quick to adopt many of the hunting practices long in use by the Native populations. After all, these were time-tested methods that had proven their worth. The use of man-made decoys was quickly adopted and many of the earliest decoys credited to the settlers clearly show their Native American influence. The shaping of heads and necks would have posed the biggest problem to the early colonists who had limited access to a variety of tools. Fortunately, a quick search of driftwood piles would supply the readymade shapes necessary to solve the problem.
Through the late 19th century and, even until the present, small groups of indigenous people have survived and have honored their heritage by retaining many of the skills and practices of their ancestors. This is clearly seen in the extremely rare example of a red throated loon offered here.
The loon would have provided sustenance, its feathers may have had a ceremonial use and, as some have suggested, the oil in its skin may have proved useful in wiping down the guns after a hunt. The decoy exhibits many of the traits that one would expect from decoys carved in the native people’s traditional manner. The head and neck are clearly of one piece, so-called “root head” construction, a detail dating back centuries. This head forward design produces a very realistic, animated
decoy, representing an elongated, sleek, rapidly swimming bird or one about to dive for prey. To aid in the lifelike illusion, the head is positioned as if gazing to the right. The use of a piece of leather at the base of the neck seems to be an attempt to soften the transition between the two pieces to smooth out the body line. It is intentional and purposeful, for it is also on two similar examples by the same maker in the collection of the Shelburne Museum.
The painted surface, while not truly representative of the loon’s plumage, exhibits the typical colors, natural symbols and geometric patterns that often embellish decorative, ceremonial, and domestic articles made and used by many Northeast woodland groups. Overall, the decoy is not only visually appealing but remarkably effective in its simplicity.
Loons are one of the truly rare and seldom seen decoy species. This, coupled with its Native American heritage make this example an outstanding addition to any collection and an important part of our outdoor legacy.
438 Unknown maker, Long Island, New York, 19th century. Very rare redthroated loon with root head and folky paint detail. “Kangas” branded on the underside. Measures 23.5” long. Mix of original and very early in use repaint; moderate flaking and wear; strip of leather added at neck seat, with lots of tiny nails; minor roughness on edge of tail.
Provenance: Gene and Linda Kangas collection.
Literature: “Decoys” by Gene and Linda Kangas, page 170, exact decoy with others pictured. “Decoys A North American Survey” by Gene and Linda Kangas, page 111, exact decoy with others pictured. (20,000 - 30,000)
439 Early heron decoy, last quarter 19th century. Applied wooden legs would have originally been mounted to a wooden base. Stick up hole drilled in underside. Mackey collection ink stamp on breast. Measures 34” long. Multiple coats of early paint have flaked to much bare wood; separation and losses where legs are joined to body; drying cracks throughout; old nails added to secure horizontal cracks in head and neck; early chip out of one side of neck seat; some dry rot and splits along the underside; bill is a very early replacement.
Provenance: William J. Mackey, Jr. collection. George Quay collection. . Al Marzorini collection.
Literature: “Decoys” by Gene and Linda Kangas, page 170, exact decoy pictured. (15,000 - 25,000)
Sun porch at William J. Mackey, Jr.’s house. Lot 439 pictured.
440 Three-piece root head heron from New Jersey, last quarter 19th century. Removable head and bill for transport and storage. Appears to be by the same maker as the three-piece heron pictured on page 55 of ‘American Bird Decoys’ by William J. Mackey Jr. Measures 34” long. Paint worn mostly to bare wood that has darkened with age; tight drying cracks, dents, and shot marks with some filled shot holes in body; a small nail was added to the face to hold doweled bill from falling out.
Provenance: Ex Doherty collection. Al Marzorini collection. (5,000 - 8,000)
441 Chief Eugene Cuffee (1861-1941), East Hampton, New York. First half 20th century. Full size blue heron mounted on wooden base with bent legs and carved wooden toes. Wingtips are split and dropped. Original paint with handling wear; rubs to bare wood; one eye missing; broken bill that has been doweled with a nail and put back in but still has a gap; tight crack in body, back; stands 31” tall.
Provenance: Al Marzorini collection. (4,000 - 6,000)
442 Smith Clinton Verity (18451920), Seaford, Long Island. Rare swimming roothead brant. Measures 17” long. Original paint with minor discoloration and wear; some flaking on neck; a few dents and small losses to knots in body.
Provenance: McCarthy collection. Mike and Ginger Raffia collection. (3,000 - 5,000)
441
443 Unknown maker, Long Island, New York. Merganser hen with balsa body. Inset rectangular weight with “H.A.” stamped into it. Carved wooden crest. Measures 17” long. Small amount of wear to one side of the tail, otherwise excellent and original.
Provenance: Tom Karras collection. (2,000 - 3,000)
444 Will Smith (1874-1953), Long Island, New York. Goldeneye with very slight relief wingtip carving and painted eyes. Measures 13.25” long. Appealing original paint with minor gunning wear; lightly hit by shot; slight separation at neck seat; old chip in tip of bill.
Provenance: Mike and Ginger Raffia collection. (800 - 1,200)
445 Unknown maker, early 20th century, Long Island. Pair of brant with tack eyes and applied bills. One in swimming pose with head turned 45 degrees. Measure 18” long. Original paint with moderate flaking and wear; hairline drying cracks in bodies; one has a crack where bill attaches to face.
Provenance: Mike and Ginger Raffia collection.
446 Unknown maker, probably Long Island. Two piece construction heron with neck pinned tightly with a dowel. On base heron stands 39” tall. (1,800 - 2,200)
447 James Stanley (1855-1927), Cape Vincent, New York. Important working gull. Measures 18” long. Original paint with minor flaking and wear; moderate flaking on underside near stick hole; small dent in one side of breast and a very fine hairline crack in neck.
Provenance: Purchased from Don Snyder. Private Louisville collection.
Literature: “Decoys A North American Survey” by Gene and Linda Kangas, page 163, exact decoy pictured. (4,000 - 6,000)
448 Chauncey Wheeler (1888-1945), Alexandria Bay, New York. Black duck with upswept tail and good paint detail. “RD” stamped in lead weight on underside. Measures 17.25” long. Original paint with minor flaking and wear; protected by a thin coat of varnish; tight drying cracks in breast. (4,000 - 6,000)
449 Unknown maker, Buffalo, New York area, 2nd quarter 20th century. Two scoters with tack eyes and upswept tails. Heads in slightly forward head pose. Measure 15”
Elmer Crowell
1862 - 1952 | East Harwich, Massachusetts
450 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Decorative black bellied plover. Maker’s oval brand on underside. Measures 9.25” long, stands 9.25” tall. A few tiny paint flakes on edge of base; very small amount of restoration to jesso thighs; otherwise outstanding.
Provenance: Tom Karras collection. (15,000 - 25,000)
451 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Circa 1925. Rare and impressive full size standing woodcock. Mounted to burled base. With Crowell’s handwritten inscription on the underside.” A.E. Crowell maker Cape Cod”. Glass eyes. Slightly tucked head and carved tail feathers. A delicate and masterfully executed paint pattern. Original paint with a small amount of crazing at one spot on head and area on back; two very small spots have been touched up at the thigh area where jesso had flaked, otherwise excellent and original.
Provenance: Tom Karras collection. (20,000 - 30,000)
452 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Decorative killdeer. Maker’s oval brand on the underside of base. Measures 8.25” long. Original paint with minor shrinkage on breast from a thin coat of varnish; restoration to jesso toes; hairline separation and minor chipping in jesso thighs; small amount of touchup on tip of bill.
Provenance: Tom Karras collection. (15,000 - 20,000)
453 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Belted king fisher perched on painted, carved base emulating a rock. Crowell’s oval brand on underside. Glass eyes and carved extend head crest. Relief tail feather carving. Measures 8” long. Excellent original paint; structurally good; two of the tiny feathers in the head crest have either been replaced or broken and reglued. (12,000 - 18,000)
454 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Full size clapwing sparrow. Makers signature and rectangle stamp on the underside. Also identified in pencil on underside. Measures 4” long. Excellent and original.
Provenance: Tom Karras collection. (2,500 - 3,500)
455 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Outstanding pintail hen head mounted to base. The maker’s best wet on wet feather blending. Measures 6.25” long. Tiny flake to filler at one eye, otherwise excellent. (1,500 - 2,500)
456 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Least sandpiper head mounted to wooden backboard. Excellent feather blending and tack eyes. Plaque measures 5” across. Excellent and original. (1,200 - 1,800)
457 A. Elmer Crowell (1862-1952), East
Harwich, Massachusetts. Miniature running brant. Paper label from Abercrombie & Fitch Co., New York on the underside. Identified as brant and numbered 16 on the paper label. Measures 5.75” long. Tiny paint flake at tip of bill and tip of tail, otherwise excellent.
(1,500 - 2,000)
458 A. Elmer Crowell (1862-1952), East
Harwich, Massachusetts. Miniature Canada goose with slight relief wing carving towards tail. Paper label from Abercrombie & Fitch Co., New York on underside. Identified and numbered 25 on paper label. Measures 5.5” long. A few tiny paint flakes, otherwise excellent and original. (1,500 - 2,000)
459 A. Elmer Crowell (1862-1952), East
Harwich, Massachusetts. Miniature redhead. Paper label from Abercrombie & Fitch Co., New York on the underside. Identified and numbered 5 on paper label. Measures 4.25” long. Excellent and original. (1,500 - 2,000)
460 A. Elmer Crowell (1862-1952), East
Harwich, Massachusetts. Miniature bluebill hen. Paper label from Abercrombie & Fitch Co., New York on underside. Identified and numbered 10 on paper label. Measures 3.25” long. Excellent and original. (1,500 - 2,000)
461 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Rare double mount of miniature greenwing teal. Drake in feeding pose. Maker’s rectangle stamp on the underside. Base measures 5” across. Very minor scratches and paint flakes, otherwise excellent and original. (1,500 - 2,500)
462 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Pair of miniature canvasbacks. Drake in feeding pose. Maker’s rectangle stamp on the underside. Measure 4.5” and 5” long. Original paint with tight crazing on heads; otherwise excellent. (2,500 - 3,500)
463 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature bluewing teal. Maker’s rectangle stamp on the underside. Measures 4.5” long. Thin scratch on one side of tail; otherwise excellent and original. (800 - 1,200)
464 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature ruddy turnstone. Maker’s rectangle stamp on the underside. “Turnstone” was carved on the underside of base and the underside painted black at some point. Measures 3” long. Excellent original paint is protected under a thin coat of varnish; thin line of glue visible where bill meets the face.
Provenance: Joe French collection. Tom Karras collection. (1,200 - 1,800)
463
464
465 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature bluejay. Maker’s rectangle stamp on the underside. Measures 4” long. Original paint with minor flaking; minor discoloration on underside; bill is a professional replacement.
Provenance: Tom Karras collection. (800 - 1,200)
466 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature Eastern Towhee with upswept tail. Driftwood base with maker’s blue paper label on the underside. Measures 2.75” long. Excellent and original.
Provenance: Tom Karras collection. (1,200 - 1,800)
467 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature robin. Maker’s rectangle stamp on the underside. Measures 4” long. Professional bill chip repair, otherwise excellent. (1,000 - 1,500)
468 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature thrush. Maker’s rectangle stamp on the underside. Measures 3.75” long. Minor blunting at bill tip; otherwise excellent.
Provenance: Tom Karras collection. (1,200 - 1,800)
469 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature warbler. Maker’s rectangle stamp on the underside. Measures 3” long. Original paint with some very fine crazing; tiny paint flake from tip of bill.
Provenance: Tom Karras collection. (800 - 1,200)
470 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature scarlet tanager. Maker’s rectangle stamp on the underside. Meaurs 3” long. Original paint with very minor rubs; tiny chip at tip of bill.
Provenance: Tom Karras collection. (600 - 900)
471 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Excellent tucked head bluebill with relief tail feather carving and nice paint detail. Maker’s oval brand on the underside. Faint George Ross Starr collection ink stamp on the underside. It is believed that this decoy may have been given by Crowell to Keyes Chadwick as a model for carving and painting. “Keyes Chadwick 7/30/52” written on the underside by George Starr. Also “BB 11” for his 11th bluebill collected. Measures 13.5” long. Original paint with very minor wear; small amount of flaking on head and bill; professional touch up around neck
seat and to back of head; decoy was never rigged or weighted.
Provenance: Dr. George Ross Starr collection. Private New England collection. (5,000 - 8,000)
472 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Goldeneye hen with tucked head. Maker’s oval brand on the underside. Measures 13.5” long. Original paint with minor gunning wear; very lightly hit by shot; knot in one side has risen slightly. (3,000 - 4,000)
473 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Greenwing teal with relief tail feather carving. Maker’s rectangle stamp on the underside. Also with a 2.5” round weight inlayed to the underside. Measures 12.5” long. Original paint with minor flaking and wear, mostly on head and around neck seat; minor blunting and a tiny chip at tip of tail; tight crack in bill and one side of neck seat. (5,000 - 7,000)
474 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Goldeneye with slightly turned head. Maker’s rectangle stamp and two round inlayed lead weights on underside. Measures 14” long. Original paint with minor wear; shallow dents on back and one side; some roughness on edge of tail and bill; reglued crack through neck; tight drying crack along the underside. (3,000 - 5,000)
475 Attributed to Joseph Lincoln, Accord, Massachusetts. Golden plover with split tail carving. Measures 10.5” long. Original paint with minor wear; moderately hit by shot; blunting at wingtips; tight cracks on underside of where bill meets face.
Provenance: Don and Mary Elizabeth Snyder collection. (2,000 - 3,000)
476 Unknown maker, Cape Cod, Massachusetts, circa 1900. Lesser yellowlegs with shoe button eyes and nice paint detail. Raised and split carved tail. Measures 10.5” long. Original paint with good detail and patina; very slight wear; area of touchup near stick hole where two wire legs had been added at some point and the holes were filled and touched up. (3,500 - 4,500)
477 Henry Dutton Morse (1826-1888), Boston, Massachusetts. Golden plover with split tail carving and “H.D. Morse” branded on underside. Measures 10” long. Original paint with minor wear under a thin coat of varnish; lightly hit by shot; minor roughness on edge of wingtips; some of the white feather detailing was added later in its gunning life; bill is a professional replacement. (2,000 - 3,000)
478 Unknown maker, Newburyport, Massachusetts, circa 1900. Tiny sanderling with split tail carving and small glass eyes. Measures 6.75” long. Original paint with moderate wear; lightly hit by shot; bill is an early replacement. (1,000 - 1,400)
479 Jess Blackstone (1909-1988), Concord, New Hampshire. Miniature house wren with dropped wing carving and upswept tail. Identified, numbered 6447, with initials on the underside. Measures 3” to top of tail. Excellent and original. (600 - 900)
480 Jess Blackstone (1909-1988), Concord, New Hampshire. Miniature titmouse with raised wingtips and extended crest feathers. Identified and numbered 19 with maker’s initials on the underside. Stands 3.25” tall. Excellent and original. (600 - 900)
481 Jess Blackstone (1909-1988), Concord, New Hampshire. Miniature killdeer. Identified and numbered 7 on the underside. Also with the maker’s initials and JB French collection ink stamp. Measures 3.25” long. Very minor roughness on tip of tail; half of the bill is a professional replacement.
Provenance: Tom Karras collection. (400 - 600)
482 Jess Blackstone (1909-1988), Concord, New Hampshire. Miniature purple finch with raised and extended wingtips. Identified and numbered 261 on underside. Also with maker’s initials. Measures 3.75” long. Excellent and original.
Provenance: Tom Karras collection. (800 - 1,200)
483 Jess Blackstone (1909-1988), Concord, New Hampshire. Miniature kinglet. Identified and numbered 227 on the underside. Someone has written “J Lapham, Dennisport, Mass” on the underside. Measures 3.5” long. Bird is very good and original; hole drilled on underside of base with chipping on edges; and hole filled with lead.
Provenance: Tom Karras collection. (400 - 600)
484 Jess Blackstone (1909-1988), Concord, New Hampshire. Miniature nuthatch. Identified and numbered 258 on underside. Measures 3.5” long. Tiny paint rubs on edge of tail, minor blunting to tip of bill.
Provenance: Tom Karras collection. (300 - 400)
485 Jess Blackstone (1909-1988), Concord, New Hampshire. Miniature chickadee. Unusual smooth body without the maker’s typical feather carving. Unmarked underside. Measures 3.5” long. Two thin lines of touchup on underside of bill, otherwise very good.
Provenance: Tom Karras collection.
(300 - 400)
486 Jess Blackstone (1909-1988), Concord, New Hampshire. Miniature nuthatch.
Identified and numbered 140 on underside. Also with maker’s initials. Measures 3.5” long. Small paint rub on one side, otherwise excellent and original.
Provenance: Tom Karras collection. (400 - 600)
487 George Boyd (1873-1941), Seabrook, New Hampshire. Excellent miniature Canada goose. Identified on underside. Measures 4.75” long. A few very minor rubs, otherwise excellent.
(2,000 - 3,000)
488 George Boyd (1873-1941), Seabrook, New Hampshire. Early miniature black duck with slightly turned head and tiny tack eyes. Measures 4.25” long. A few small paint rubs and slight separation at neck seat; otherwise excellent.
Literature: “Finely Carved and Nicely Painted” by Jim Cullen, page 38 and 57, exact miniature pictured. (1,200 - 1,800)
489 Ross G. Salmons, 1st half 20th century. Wonderfully carved pair of hooded mergansers. Both with carved extended crest. Mounted on a branch, affixed to a painted base. Stands 6.5” tall. Each bird is in strong original paint that has mellowed to show nice age. (800 - 1,200)
490 Charles Hart (1862-1960), Gloucester, Massachusetts. Miniature penguin with tiny tack eyes. Stands 5.75” tall. Original paint with very minor flaking; minor blunting at bill tip was darkened. (800 - 1,200)
491 James Joseph Ahearn (1904 - 1963), Stamford, Connecticut. Two rare fish carvings with open mouths and relief gill carving. A brown trout and a rainbow trout. Glass eyes and applied metal tails and fins. Measure 7” long. Brown trout is excellent and original; rainbow trout has some touch up on tail and two fins; some paint flakes on back side of two fins, otherwise very good.
(800 - 1,200)
492
Charles Perdew (1874-1963), Henry, Illinois
Excellent miniature preening mallard hen. Maker’s metal tag on the underside. Measures 4.5” long. Very fine hairline crack in one side of neck; very minor flaking on top of head; otherwise excellent. (2,500 - 3,500)
493
Charles Perdew (1874-1963), Henry, Illinois.
Miniature pair of mallards on burl base. Deep relief wingtip carving and slightly turned heads. Birds measure 4.5” long. Original paint under a thin coat of varnish that has darkened slightly; each has a professional neck repair with touchup on tops of heads; hen with small spots of touchup on the tip of the bill and edge of tail.
Provenance: Tom Karras collection. (400 - 600)
494
Charles Perdew (1874-1963), Henry, Illinois.
Tiny pair of flying pintails on a small mirror. Birds measure 1.5” long. Original paint with minor flaking on mirror; minor blunting to bill tips; one of drake’s wings is a professional replacement.
Provenance: Tom Karras collection. (1,200 - 1,800)
495 Ward Brothers, Crisfield, Maryland. 1/3 size hooded merganser with slightly turned head and extended crest. Balsa body is identified and signed on the underside. Measures 8.25” long. Original paint with very minor wear; very good structurally.
Provenance: Mike and Ginger Raffia collection. (800 - 1,200)
496 Ward Brothers, Crisfield, Maryland. Miniature pair of bluewing teal. Balsa bodies with slightly turned heads. Signed and dated 1952 on the undersides. Measure 8.5” long. A few tiny dents on hen; 1” dent on drake’s back; otherwise excellent. (800 - 1,200)
497 Jim Schmiedlin (1945-2015), Bradfordwoods, Pennsylvania. Rigmate pair of canvasbacks. Hollow carved with slightly turned heads. Both are branded “JAS” and with maker’s Reward for Return label on the undersides. Both have information of where the decoys were used and who they were used with. Measure 18” and 19.5” long. Original paint with moderate wear; a few drying cracks in body near bottom board of drake.
Provenance: Len Carnaghi collection.
(6,000 - 9,000)
498 Jim Schmiedlin (1945-2015), Bradfordwoods, Pennsylvania. Excellent Gadwall with slightly turned, swimming head and raised, crossed wing tips. Inscription on underside indicates that this was Jim’s first working gadwall. Dated 1983 and braded ‘JAS’ on underside. Measures 14.5” long. A few minor paint rubs and a small repair to the tip of one raised wing tip, otherwise very good and original. (6,000 - 9,000)
499 Jim Schmiedlin (1945-2015), Bradfordwoods, Pennsylvania. Oversize scoter hen. Hollow carved with relief wing and tail feather carving. Slightly turned head with detailed bill carving. Dated 10/01 with information about where it was used on the underside. “JAS” brand and Jim’s Reward for Return label on underside. Measures 20.5” long. Original paint protected under a thin coat of varnish; very minor gunning wear; moderately hit by shot in breast and head; crack in lower breast.
Provenance: Mike and Ginger Raffia collection. (3,000 - 4,000)
500 Jacob Scholer (1861-1949), Burlington, Iowa. Oversize mallard with raised neck seat. Scratch feather paint detail on back. Measures 18” long. Original paint with minor discoloration and wear; a thick coat of varnish was cleaned off much of the body; filler and touchup added to much of the body seam and cracks in breast; crack in front of neck seat with filler and touchup added.
Provenance: Gene and Linda Kangas collection. (6,000 - 9,000)
502 Josef Wooster (1934-2008), Buckeye Lake, Ohio. Hooded merganser. Hollow with tin bottom board and keel. This is the only working hooded merganser by Wooster we are aware of. Strong original paint; head appears to have been detached and reglued with wing glue visible in that area; rough area at tip of crest, otherwise excellent.
Literature: “Decoys A North American Survey” by Gene and Linda Kangas, page 176, exact decoy pictured. (1,000 - 1,500)
501 Unknown maker, Ohio, 1st quarter 20th century. Canvasback with tack eyes and inlet neck. Probably an early club bird from one of the establishments in the western basins of Lake Erie. It was common for the tack eyes in that areas to have a yellow outline. Measures 16” long. Strong original paint with some fine combing on back; crack in neck moderate wear. (600 - 900)
502A Walter Lowry (1878-1966), La Crosse, Wisconsin. Hollow carved mallard with slightly turned head.
“A.R. Grams” carved in the underside. Measures 15.75” long. Original paint with very minor wear under the original coat of varnish that has darkened slightly; spots of touchup on head, edge of tail, and one wing patch; a few tiny dents, otherwise very good structurally.
Provenance: Part of a rig found in Lacrosse, WI. Lowrey traded a dozen decoys for two laborers to dig his basement. The rig included 11 mallards and one black duck. Of the mallards only two were hens. These are considered Lowrey’s finest production.
(2,500 - 3,500)
502B Walter Lowry (1878-1966), La Crosse, Wisconsin. Mallard hen with detailed paint pattern. A good example of Lowry’s work. Measures 14.5” long. Strong original paint protected by a coat of varnish; a few shot scars and professional restoration to painted surface at tip of tail.
(1,500 - 2,500)
503 Unknown maker, Illinois, 1st quarter 20th century. Hollow carved laminate body with removable high head. Copper inset at neck seat to receive the wooden dowel on the head. Measures 22” long. Original paint with moderate wear; an early coat of varnish has darkened with age and has created a finely crazed surface; small wooden patch added on the underside of the removable head.
Provenance: James and Lyda Madden collection. (3,000 - 5,000)
502A
502B
Noted Wisconsin authority and author Ron Koch, when discussing Frank’s teal, describes them as “The crown jewels of any Resop collection”.
Frank Resop
1894 - 1968 | Berlin, Wisconsin
Like so many men in rural Wisconsin of his day, Frank was an avid hunter. As such, he needed decoys and, while employed as a custodian at a local bank, Frank rose to the task, making not only his own birds, but practically all that were needed by his shooting companions as well. These were rugged and solid birds, all carved with simple hand tools in the basement of his home at the corner of Wisconsin and Union St. His decoys are classic “Wisconsin” in design and show a strong Gus Moak influence. Some have described his work as “folky”, or almost a “caricature of their live counterparts”. Regardless of their appearance to men, they successfully drew in the ducks. His lifetime production of canvasbacks, bluebills, coot, mallards, and teal, as well as a few geese, has been estimated at between 800 and 1000 decoys. An accomplished craftsman, Resop also made all the necessary associated gear needed by himself and his friends, including numerous paddles, marsh skis and hunting skiffs.
When the northern flights were in, he and his companions lived aboard a houseboat named “Princess” moored at the southwestern corner of Lake Poygan. In later years they also made use of a large army tent on the shore as their base of operations. He is remembered as a distinguished gentleman who was respected and well liked by his neighbors and friends. He simply gave away most of his decoys and probably never sold more than a few dozen. Today, his work is appreciated as exemplifying some of the finest decoys from Winnebagoland.
504 Frank Resop (1894-1968), Berlin, Wisconsin. Rigmate pair of blue wing teal with “S.K.” branded in the undersides. Measure 11.5” long. Original paint protected under an early coat of varnish; minor gunning wear; hairline crack in each neck seat; drake hit by shot with one filled and touched up shot strike on top of head and top of bill tip.
Provenance: Herb Desch collection. Mike and Ginger Raffia collection. (6,000 - 9,000)
Richard Janson
1872 - 1951 | Sonoma Creek, California
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 well-known 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.
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.
505 Richard Janson (1872-1951), Sonoma Creek, California. Near mint greenwing teal drake with relief wing feather carving and slightly turned head. Decoy was never rigged or weighted. Measures 12.75” long. Fine hairline crack in one eye, otherwise near mint. (30,000 - 40,000)
506 Richard Janson (1872-1951), Sonoma Creek, California. Rare high neck pintail with relief wingtip carving and slightly turned head. Measures 18.5” long. High neck pintails are rare and the slightly turned head makes this decoy even more so. Original paint with moderate gunning wear; discoloration on bottom half of decoy. The discoloration is a result of the decoy being used in California’s Suisun marsh, which is very tannic or stained water; minor roughness on edge of tail and one side of bill; spot of filler added on front of neck with old touchup.
(8,000 - 12,000)
507 Richard Janson (1872-1951), Sonoma Creek, California. Canvasback with wooden skeg and relief wing feather carving. Measures 15.75” long. Orignal paint with minor wear; under a thin coat of varnish; minor roughenss on edge of tail; professional repair to a small chip in bill tip. (3,000 - 5,000)
508 Richard Janson (1872-1951), Sonoma Creek, California. Pintail hen with four relief wing cuts. Measures 17” long. Strong original paint; with a few nicks and dings; brown on area of breast has faded to expose white primer; light wear, mostly on bill and tail. (1,500 - 2,500)
Richard Janson (1872-1951), Sonoma Creek, California. Canvasback hen. A rare and early smooth back model with no relief wing cuts. Measures 16” long. Original paint with moderate wear, mostly around bill and tail; some discoloration on underside around weight; a few small shot scars. (1,500 - 2,500)
509
Horace “Hi” Crandall
1892 - 1969 | Westwood, California
Crandall was born in Ashaway, Rhode Island in 1892. He spent hi s younger days on the east coast and moved to Benicia, California in 1917 where he took a job as a ferry boat engineer. His job w as carrying trains across the Sacramento River before the bridges were built. He made his first decoys while in Benicia, but they were all lost in a fire. In 1931, he moved to Westwood, California on Lake Almanor where he eventually took a job with Red River Lumber Company. This is when he made the decoys that collectors covet the most. “Hi,” as he was known, began selling decoys locally through the San Francisco sporting goods stores including, Phil lips Sporting Goods. He was even asked to display his carvings at th e 1939 World’s Fair on Treasure Island in San Francisco Bay. Know n mostly for his mallards and pintails, his greenwing teal have a lways been highly sought by collectors around the country.
510 Horace “Hi” Crandall (1892-1969), Westwood, California. Excellent greenwing teal hen with raised wingtips and slightly turned head. Measures 10” long. Original paint with almost no wear; small spot of roughness on one side; hairline crack in one side of neck; very small amount of glue visible at neck seat; small rub on top of head has darkened. (15,000 - 20,000)
Horace “Hi” Crandall (1892-1969), Westwood, California. Pintail drake. 1st half 20th century. Slightly turned head with raised wingtips. Strong original paint; very tight crack in neck; several shot scars, mostly on one side; rough area at wing tip. (5,000 - 8,000)
512 Horace “Hi” Crandall (1892-1969), Westwood, California. Pintail drake, 2nd quarter 20th century. 15.5” long. Strong original paint with light wear; one glass eye is broken and partially missing; other eye is cracked; structurally good. (2,000 - 3,000)
511
513 Harold McGillivray, Sacramento, California. Pair of mallards. From McGillivray’s own hunting rig. Both branded “MCG” in underside. Hen is additionally branded “EAW”. Two piece hollow body hen. Drake is solid. Both have tucked, swimming heads. With classic detailed feather carving. Measure 17” long. Both show moderate gunning wear; original paint protected by a coat of varnish.
(8,000 - 12,000
514 Josephus Roesling (1862-1944), Alameda, California. Pair of canvasbacks with comb feather paint detail and inlayed neck seats. Measure 14.5” long. Drake in original paint with minor wear, tight crack through neck with small nail added to secure; hen appears to originally been a drake repainted as a hen by the maker, very minor wear; excellent structurally.
(8,000 - 12,000)
John William Luedtke (1901-1958), Stockton, California. Very rare pintail hen. Measures 15.5” long. Original paint with very minor wear; reglued crack through neck; very minor roughness on tip of tail and top edge of head. (4,000 - 6,000)
516 Seth Barry (1896-1993), Broderick, California. Pair of pintails. Drake is branded “LJR” on underside. Drake measures 18” long. Drake is in strong original paint with very light wear; hen is original paint but shows moderate to heavy wear; small chip at tip of tail.
Literature: “Waterfowl Decoys of the Pacific Coast,” Michael Miller, p. 324. and p. 513-514, exact decoy pictured. (800 - 1,200)
515
517 Harry Cook Jr (1909-1939), Vallejo, California. Pair of green wing teal. “Cook” branded in underside of both. Ball point pen signature of Harry Cook. Signed 1930. Measures 11” long. Thick coat of original paint with very minor wear.
(800 - 1,200)
518 Emilio Andreucetti (1904-1990), Vorden, California. Rigmate pair of green wing teal. Cork bodies on wooden bases. 2nd half 20th century. Drake measures 10” long. Thick old paint which appears to be original; some separation at bottom board where wood meets cork; a few small rubs.
(1,000 - 1,500)
519 Scott Decoy Factory, Oakland, California. 1st half 20th century. Pair greenwing teal. Drake has a company stamp on underside. Measures 10” long. This pair remains near mint in all respects.
(1,200 - 1,800)
520 Dean Brown, Alameda, California, circa 1940. A standing rigmate pair of full body green wing teal with glass eyes. Both in natural walking, feeding positions. Drake has exaggerated turned head. Balsa bodies with wooden heads are mounted to lead base. Measures 8” tall, 11” long. Original paint that has mellowed nicely; protected by a coat of varnish; some small areas missing around jessoed area that attaches to body; hen has exposed filler where body attaches to lead legs (5,000 - 8,000)
517
Charles
Oregon. Widgeon hen. Two piece hollow body. Measures 15” long. Original paint protected by a coat of clear varnish; tight neck crack repair; a few shot scars and rubs at tail and bill.
(3,000 - 5,000)
522 Charles Bergman (1856-1946), Astoria, Oregon. Greenwing teal hen. Two piece hollow body. Made as a decoy, but then cut with a hinge applied so that the back of the decoy opens up to a keepsake box. 13” long. Original paint with a coat of vanish that has darkened and crazed; some very small chips and wear around tail and bill; small puppy chew at tip of bill; paint flaking mostly along edges where decoy separates to open. (3,000 - 4,000)
521
Bergman (1856-1946), Astoria,
521
522
523
Leonard Carnaghi (1941-2023), Clinton, Michigan. Hollow carved ruddy duck with slightly turned head and detailed feather carving. One wingtip raised off of body slightly. Signed on the underside. This bird won five first place ribbons, which are included. Also a first place plaque from the Canadian National Decoy Contest, 1976. Measures 11.75” long. Tiny paint rub on tip of tail, otherwise excellent and original. (3,000 - 4,000)
524 Larry Hayden (1934-2006), Farmington, Michigan. Composite canvasback with relief wing carving and slightly turned pine or cedar head. Signed and dated 1969 on underside. Measures 17.75” long. Original paint with very minor wear; some filler and touchup on underside of bill; a few small paint flakes and dents.
Provenance: Len Carnaghi collection. (800 - 1,200)
525 John Zachman (1929-2017), Detroit, Michigan. Hollow carved canvasback with comb feather paint detail and relief wingtip carving. Signed and dated 1968 on the underside. Measures 17” long. Excellent and original.
Provenance: Len Carnaghi collection. (1,200 - 1,800)
526 John Zachman (1929-2017), Detroit, Michigan. Half size canvasback with comb feather paint detail and relief wingtip carving. Maker’s brand on the underside. Measures 11.25” long. Tiny paint flake on one edge of tail; otherwise excellent and original.
Provenance: Len Carnaghi collection. (300 - 500)
527 Ferdinand Bach (1888-1967), Detroit, Michigan. Bluebill drake with fat body is nearly as wide as long. Wide, bulbous head carving is partially inlayed into back. Deep relief wingtip and tail feather carving. Measures 13.25” long, 8.5” wide. Hairline drying cracks in breast, otherwise excellent and original.
Provenance: George and Miriam Van Wallegham collection. (8,000 - 12,000)
528 Tom Schroeder (1886-1976), Detroit, Michigan. Goldeneye with slightly turned head and relief wingtip carving. Maker’s name and 1960 branded on underside. Measures 12” long. Original paint under an early coat of varnish; thin coat of white added after the varnish layer; very minor separation at neck seat.
Provenance: Len Carnaghi collection. (800 - 1,200)
529 Tom Schroeder (1886-1976), Detroit, Michigan. Redhead, 2nd quarter 20th century. Box bottom style with heavily carved body and turned head. Retains box on underside with H shaped weight. Light gunning wear with some rubs at lower sides. (1,000 - 1,500)
530 Tom Schroeder (1886-1976), Detroit, Michigan. Bluebill hen with feather rasping and incised wingtip carving. Measures 12” long. Original paint with moderate flaking and wear; very good structurally.
Provenance: Len Carnaghi collection. (600 - 900)
531 Benjamin Schmidt (1884-1968), Detroit, Michigan. 2nd half 20th century. Very rare hooded merganser hen. Excellent feather stamping. Carved raised crest. Appears to have been signed in pencil on underside, only partially legible. Excellent in all respects. (3,000 - 4,000)
532 Benjamin Schmidt (1884-1968), Detroit, Michigan. Pair of pintails with relief wingtip carving. “L” stamped on the undersides for the Lancaster collection. Measure 16.5” long. Original paint with minor wear; hairline drying crack in drake’s tail area; hen’s bill was cracked down and reset with touchup on the bill.
Provenance: Len Carnaghi collection. (2,000 - 3,000)
533 Benjamin Schmidt (18841968), Detroit, Michigan. Pair of canvasbacks. Measure 16” long. Original paint with minor wear; filled crack along drake’s back; hairline crack in one side of drake’s neck and minor roughness on one side of bill; reglued crack in hen’s bill.
Provenance: Len Carnaghi collection. (1,200 - 1,800)
534 Benjamin Schmidt (1884-1968), Detroit, Michigan. Hollow carved Canada goose with 1” bottom board and incised feather carving. “FB” stamped many times on the underside. Measures 26.5” long. Original paint with very minor wear; slight separation at neck seat; thin line of old glue visible at body seam; very minor roughness to tip of tail.
Provenance: Jim and Patti Aikin collection. (2,000 - 3,000)
535 Benjamin Schmidt (1884-1968), Detroit, Michigan. Black duck circa 1950. Hollow bottom board with keel removed. Raised extended wingtips. Superb feather stamping. Excellent and original.
Provenance: Jim and Patti Aikin collection. (600 - 900)
536 Benjamin Schmidt (1884-1968), Detroit, Michigan. Black duck circa 1950. Slightly turned head. Excellent feather stamping. Measures 18” long. Strong original paint with very light wear.
Provenance: Jim and Patti Aikin collection. (600 - 800)
537 Benjamin Schmidt (1884-1968), Detroit, Michigan. Rare preening pintail with relief feather carving on back. Measures 15.5” long. Original paint with moderate wear under a thin coat of varnish; chipping and roughness at tip of tail; hairline drying crack along back; some overpaint cleaned off of head; some filler and touchup around neck seat.
Provenance: Len Carnaghi collection. (800 - 1,200)
539 Ed “One Arm” Kellie (1883-1955), Monroe, Michigan. Rigmate pair of canvasbacks. Measure 15” long. Hen is in original paint with minor wear; some old filler and touchup around neck seat; drake is mostly original with a thin second coat to the white; crack at a knot in one side of neck seat; minor roughness on the tip of each bill.
(1,200 - 1,800)
538 Benjamin Schmidt (1884-1968), Detroit, Michigan. Pair of shoveler heads with wide bill carving and feather carving on hen’s body. Signed and dated 1963 on back of board. Heads measures 8.5” long, board is 12.5” tall. Excellent and original.
Provenance: Len Carnaghi collection. (400 - 600)
538
540 Richard B. Adam (German/ American, 1873 - 1937), oil on canvas. Titled “A Day in the Field”. Signed “Richard B. Adam, Boston, 1929”. Image measures 42” x 30”. As viewed under UV light surface shows no inpainting or tears; painting remains in near excellent condition.
Provenance: Virginia Private Collection. (5,000 - 8,000)
541 Lynn Bogue Hunt (1878-1960), oil on canvas. Titled “Traveling Companions”. Signed lower left. Measures 25.5” x 17.5”. Painting has been relined and professionally conserved with craquelure filled and revarnish, mostly in blue sky areas of clouds.
Provenance: Ex Jim Cook collection. (6,000 - 8,000)
542 Chet Reneson (b. 1934), watercolor. Spectacular and powerful Reneson painting of a striped marlin hooked with fighting boat in background. Vibrant colors and rare subject matter. Well executed. Professionally framed and matted. Signed and dated 06. Image measures 17.5” x 28”. Excellent in all respect. (8,000 - 12,000)
543 Milt Weiler (1910-1974), watercolor. Titled “Pick Up Time, Barnegat Bay”. This image was made into a popular limited edition print by the Winchester Press and is the artist’s most famous work. Professionally framed and matted. Signed. Image measures 19” x 27”. Excellent in all respects.
Literature: “The Art of Milton C. Weiler - A Sportsman’s World” by John T. Ordeman and M.C. Bud Weiler Jr, page 60-61, illustrated. (8,000 - 12,000)
543A Reveau Mott Bassett (1897 - 1981), oil on artist board. Of mallards landing at dusk. Signed lower right. Image measures 16” x 20”. Very minor rubs on edges from movement in the frame, otherwise excellent.
(8,000 - 12,000)
543B Lynn Bogue Hunt (18781960), oil on canvas board. Black duck setting into wind blown marsh. Signed lower right. Sticker on verso indicates image was exhibited at the Bozman Art Museum. Image measures 11.75” x 15.5”. Excellent and original. (4,000 - 6,000)
544 Arthur Davenport Fuller (1889-1966), watercolor on paper. Image measures 23” x 17”. Signed lower right. Painting remains excellent and original; frame shows scuff marks and scratches. (800 - 1,200)
545 Walter Granville Smith (1870-1938), watercolor on paper. A very rare image, probably an illustration piece, of ladies on a successful turkey hunt shooting double barrels, with one turkey down and the rest of the flock escaping. Signed and dated 1894. Image measures 9.75” x 16.75”. Matting has darkened quite a bit; image remains in good shape but has darkened slightly; original frame with cedar plank backing.
(2,000 - 3,000)
545A Arthur Davenport Fuller (1889-1966), , oil on canvas board. Image measures 17.5” x 23.5”. Signed. Image of black ducks in flight. As viewed under UV light no visible damage or inpainting.
(500 - 800)
546 Anton Otto Fischer (1882-1962), oil on canvas. Man pulling sled, trapped at ice end. Signed. Image measures 24” x 30”. As viewed under UV light painting remains in excellent condition; stretcher marks are slightly visible on right and left side.
(3,000 - 4,000)
547 Jim Foote (1925-2004), oil on canvas. Setters on point. Signed. Image measures 15.5” x 19.5”. Excellent in all respects.
(800 - 1,200)
548 Jim Foote (1925-2004), oil on canvas. Wood duck perched on log. Signed and dated 1961. Image measures 19.5” x 15.5”. As viewed under UV light no restoration visible, however small spots where paint is missing and canvas is visible.
(1,500 - 2,000)
549 Edmund Henry Osthaus (1858-1928), watercolor on paper. Depicts a great dane. Likely a commissioned piece of someone’s prized great dane. Matted and professionally framed. Signed and dated 1897. Image size 13” x 19.5”. Image remains very good and original.
(3,000 - 5,000)
550 David Hagerbaumer (1921-2014), watercolor on paper. Pintails. Professionally framed and matted. Signed and dated 1997. Image measures 13” x 18.5”. Image remains excellent and original. (800 - 1,200)
551 Aiden Lassell Ripley (1896-1969), watercolor on paper. Image measures 14” x 18.5”. Perhaps a study for a larger painting. Pencil notes are seen around rooster on right. Rooster displays cockfighting spurs. Slight darkening, mostly around edge of matting; frame has a few scratches and marks.
Provenance: Quay collection. (2,500 - 3,500)
552 Roger Blum (b. 1950), oil on canvas. Titled “A Perfect Pair”. Setter on point with flushing pheasant. A perfect autumn setting. Professionally framed. Signed. Image measures 24” x 36”. Painting is excellent and original.
(1,500 - 2,500)
553 William Schaldach (1896-1982), watercolor on paper. Bobwhite quail flushing. Matted, but not framed. This exact image was used as the cover for Ray P Holland’s book titled “Scatter Gunning”, illustrated by Schaldach. A copy of the book is included. Signed. Image measures 18” x 16”. Image remains bright, but has darkened slightly over time.
(1,000 - 1,500)
554 Art LaMay (b.1938), watercolor on paper board. Well executed blue jay. Professionally framed and matted. Signed. Image measures 6” x 9.25”. Excellent and original.
(300 - 500)
555 Walter M. Baumhofer (1904-1987), guache on paper. Illustration of a man getting attacked by a bear with help on the way. This exact image was used to illustrate a story by Bert Bell titled “In the Jaws of Bear”, which appeared in the Nov ‘68 issue of Outdoor Life on p. 75. Two copies of that outdoor life magazine accompany the painting. Signed. Image measures 18.5” x 19.75”. Image is very good and original.
(1,000 - 1,500)
556 Luis Agassiz Fuertes (1874-1927), original ink wash. “Red-winged black bird” circa 1911. Initialed in lower part of image. Site size 11.5” x 8.75”. Minor rub to paper in center of sky; minor creasing top right corner; otherwise very good. (1,500 - 2,500)
557 Frank Benson (1862-1951), print of an ink wash. Titled “Eider Ducks in Winter”. Published by Foster Brothers, Boston Massachusetts. 1925. Signed by the artist lower left. Site size 15” x 20.25”. Moderate toning with minor spot of foxing; otherwise good. (800 - 1,200)
558 Gerard R. Hardenbergh (1855-1915), watercolor and guache on papar. Two snipe. Professionally framed and matted. Signed lower left. Image measures 9.5” x 13.25”. Image remains very good and original; information on back reads that picture has been pasted to acid backing board. (1,500 - 2,500)
559 Aiden Lassell Ripley (1896-1969), drypoint etching. “Snipe” 1936. Titled lower left, signed and dated lower right. Plate measures 8.5” x 6.5”. Moderate toning from age. (800 - 1,200)
557 559
560 Warren Baumgartner (1894-1963), watercolor on paper. Image measures 12.75” x 17.5”. Signed. Geese landing in corn field. Baumgartner was a member of the American watercolor society and National Academy. Norman Kent, the editor of “The American Artist” magazine considered him to be the only watercolorist to come within the area of the tradition of watercolor paintings by Winslow Homer. Very good and original.
(500 - 800)
561 Lloyd Cargile (b.1938), oil on board. Image of shucked oysters and mason jar. Signed and dated 2012. Image measures 9.5” x 11.5”. Excellent and original.
(1,000 - 2,000)
562 Les Coles, oil on canvas. After a painting by Jean Leon Gerome Ferris (1866-1930) titled “Hiawatha’s Wedding Journey”. This was a popular image created by Ferris and copied by many artist in the time. Signed. Image measures 38” x 31”. As viewed under UV light there is a small puncture in chest of Indian that has been repaired; puncture to left of headdress; patch to the back of canvas approximately 12” long with inpainting on front of canvas running from Hiawatha’s left foot up to approximately his waist about 1.5” wide.
(1,500 - 2,000)
563 Very rare and desirable UMC advertising poster. Image has top and bottom bands with hang tag. Illustration done by Lynn Bogue Hunt. Image measures 34.25” x 12”. Structurally very good; inpainting between bands and green area at both top and bottom in the white margin area, as well a spot about 1.5” long near top left edge.
(3,000 - 5,000)
564 Rare American Powder Mills, “Dead Shot” poster. Lower right, “Armstrong, Moore Company Boston”. In the original decorative frame with the word gunpowder on lower edge. Period glass. Frame measures 31” x 25.5”. Poster has been laid on to board, but is in otherwise excellent condition.
(2,000 - 4,000)
565 Four Roses Whiskey Company tin advertising. Framed in old barn wood. Image measures 34.5” x 23.5”. A few scratches; rust area along top and right hand side.
(1,500 - 2,000)
566 Three separate professionally framed and matted original pieces. From the Gardner Richardson Company of MIddletown, Ohio. Folding cardboard decoys. One frame contains a mallard drake, one a mallard hen, and third the cover from the 12 pack case. Each frame measures 26” x 30”. All are in good condition with small amounts of staining and a couple of tears that are barely visible.
Provenance: Gene and Linda Kangas collection. (400 - 600)
567 Collection of federal migratory duck stamps. 19341983 Some have signatures, but not all. Professionally framed and matted. All stamps are in excellent condition. (500 - 800)
568 Gerard R. Hardenbergh (1855-1915), watercolor and guache on paper. Depicting Bobwhite quail. Signed and dated 1881. Image measures 9.75” x 13.75”. Painting remains very good and original. (1,500 - 2,500)
569 Thomas Aquines Daly (b.1937), watercolor. Three men fishing from a canoe. Signed. Professionally framed and matted. Image measures 11.5” x 9.5”. Remains very good and original. (800 - 1,200)
570 George Browne (1918-1958), oil on paper board. Landscape mountain scene. George Browne monogram stamp on verso. Professionally framed and matted. Image measures 9.5” x 13.5”. Image remains excellent and original. (800 - 1,200)
571 Frank Benson (1862-1951), etching. “The Sandpiper” 1932. Trial proof C, one of only three known impressions on Whatman paper, there was never an edition made, and the plate was destroyed. Signed lower left. Plate measures 7” x 9”. Very minor toning from age, otherwise excellent. (1,200 - 1,800)
572 Frank Benson (1862-1951), etching. “Dead Goose” 1915. Edition of 24. Paff 83. Signed lower left. Numbered 13 lower right. Original paper label from Kennedy and Co Rare Prints on back. Plate size measures 3.75” x 5.75”. Very good and original. (1,500 - 2,500)
573 Frank Benson (1862-1951), drypoint etching. “Three Yellowlegs” 1920. Edition of 150. Paff 184. Signed lower left. Plate measures 4.5” x 6”. Minor toning from age. (600 - 900)
574 Frank Benson (1862-1951), etching. “Plodding Home” 1924. Edition of 150. Signed in lower margin. The Guild of Boston Artists paper label on back. Plate size 2.75” x 2”. Minor toning from age. (600 - 900)
575 Frank Benson (1862-1951), drypoint etching. “Single Duck” 1917. Edition of 95. Paff 123. Signed lower left, numbered 14 lower right. Plate size 4” x 5.25”. Minor to moderate toning from age. (400 - 600)
573
575
574
578A A set of three decorative display stands, circa 1950. Smaller two stands are 27.5” tall, tallest is 48”. In original paint that has crazed; some flaking an edge wear. (200 - 300)
576 Jules Moigniez (French, 1835-1894), bronze sculpture. Of a setter clutching pheasant. 17” on marble base. Artist name inscribed near rear feet of dog. Very good with green vertigris patina in some areas. (500 - 800)
577 Clark Bronson (b.1939), bronze sculpture. Dated 1981. 23/75. Artist name inscribed on base. Titled “Old Silver Tip”. Measures 13.5” tall. Very good and original. (500 - 800)
578 Samuel Wisnom (late 20th century), Arizona. Bronze of elk and wolf titled ‘Wapiti - North American Elk’ with maker’s name on brass plaque on base. Bronze is dated 1987 and numbered 6/30. Turntable mechanism allows the hardwood base to rotate. Measures 14.5” long. Very good and original. (800 - 1,200)
578
577
579 Harry V. Shourds (1861-1920), Tuckerton, New Jersey. Black bellied plover in summer plumage. Measures 9.5” long. Original paint with very minor wear; dark staining and minor sap bleed at a knot through the neck; spots of blood staining on back.
Provenance: Tom Karras collection. (3,000 - 5,000)
580 Harry V. Shourds (1861-1920), Tuckerton, New Jersey. Yellowlegs, circa 1900. Measures 10” long. Strong original paint showing light gunning wear; minor roughness under tail; small amount of crazing on back; one shot scar in neck. (4,000 - 6,000)
581 Unknown maker, 20th century, New Jersey. Hollow carved working great blue heron with brass tack eyes and Shelburne Museum collection ink stamp on underside. Signed “Chris Sprague, Beach Haven, New Jersey” at a later date on the underside. Head is doweled in to body and removeable. Measures 36” long. Original paint under a thick coat of varnish that has darkened with age; slight separation at vertical body seam around center of body; tight crack and flaking to filler where head is attached to neck.
Provenance: Al Marzorini collection. Sold at a Richard Oliver Sale, July 1987. (5,000 - 8,000)
582 Dan English (1883-1962), Florence, New Jersey. Hollow carved black duck with tucked head and raised wingtip carving. Incised feather carving on back. Measures 15” long. Original paint with very minor wear; scattered shallow dents. (2,500 - 3,500)
583 Harry V. Shourds (1861-1920), Tuckerton, New Jersey. Hollow carved bluebill with inlayed lead weight. “F.W. Cassedy” branded on the underside. Measures 14.25” long. Original paint with minor to moderate wear; some staining at nails in body seam; professional neck crack repair.
Provenance: Tom Karras collection. (5,000 - 7,000)
583A Cliff Van Zandt, Townsend Inlet, New Jersey, circa 1920s. Excellent hooded merganser hen with exaggerated crest and applied wooden bottom board. Measure 11.75” long. Original paint with almost no wear; early coat of varnish has darkened slightly; tight crack in neck, otherwise very good structurally. (1,250 - 1,750)
584 Mason Decoy Factory (1889-1924), Detroit, Michigan. Premier grade Canada goose, 1st quarter 20th century. Strong original paint with good feather detail and tail painting; light gunning wear with some discoloration; professional bill repair to approximately half of the bill; tight crack in underside that extends partially up breast and under tail area, which is very common. (7,000 - 10,000)
585 Mason Decoy Factory (1889-1924), Detroit, Michigan. Excellent and rare widgeon hen. Challenge grade with thick sponge paint detail. Measures 13.25” long. Original paint with very minor wear; some flaking to the original neck filler; tight drying crack in the underside.
Provenance: Len Carnaghi collection. (4,000 - 6,000)
586 Mason Decoy Factory (1889-1924), Detroit, Michigan. Premier grade bluewing teal with so called double blues wing patches. Hollow carved. Light gunning wear with rough area at one side of bill; a couple of very tiny dents at top of back, otherwise very good. (5,000 - 8,000)
585
586
587
588
Mason Decoy Factory (1889-1924), Detroit, Michigan. Excellent rigmate pair of canvasbacks, circa 1900. Painted eye model with exact same weight and placement on each decoy. Measure 16” long. Strong original paint that is bone dry; some slight discoloration and staining; small amount of neck filler missing on hen; depression where a knot was filled in the making by the factory.
(3,000 - 4,000)
589
Mason Decoy Factory (1889-1924), Detroit, Michigan. Painted eye model black duck, circa 1900. Measures 16” long. Excellent original paint; tight crack in underside, otherwise very good structurally. (800 - 1,200)
Mason Decoy Factory (1889-1924), Detroit, Michigan. Rare solid body Premier grade black duck. Very few of these examples exist. Measures 17.5” long. Original paint protected by a light coat of varnish; light gunning wear with spot of missing paint at top of head, tail, back, and evenly worn spots on the body. (1,800 - 2,200)
590 Mason Decoy Factory (1889-1924), Detroit, Michigan. Circa 1900. Coot. Branded “W.B.” on underside. Measures 12” long. Original paint; crack in underside; a few shot scars. (1,500 - 2,500)
591 Mason Decoy Factory (1889-1924), Detroit, Michigan. Very rare rigmate pair of challenge grade greenwing teal, circa 1900. Measure 12.5” long. Both decoys have had a second coat of paint removed to expose original paint in most areas; wing patches have been strengthened; brown coat on back of drake and on head remains in second coat of paint; a few rubs missing; filler missing at neck seat; several shot scars. (4,000 - 6,000)
592 Mason Decoy Factory (1889-1924), Detroit, Michigan. Circa 1900. Rare tack eye red knot with iron bill. Measures 10” long. Strong original paint with a few small flakes exposing bare wood; structurally excellent. (1,500 - 2,500)
593 Mason Decoy Factory (1889-1924), Detroit, Michigan. Circa 1900. Tack eye plover with iron bill. Measures 11.5” long. Strong original paint that has slightly darkened with age; small dent and a couple of scratches. (1,500 - 2,500)
594 Mason Decoy Factory (18891924), Detroit, Michigan. Glass eye yellowlegs. Measures 12.5” long. Original paint with minor wear; drying crack in one side was filled and touched up and has opened slightly since.
Provenance: Len Carnaghi collection. (1,200 - 1,800)
595 Mason Decoy Factory (1889-1924), Detroit, Michigan. Glass eye plover in winter plumage. Measures 10” long. Original paint with very minor wear; a few small dents; thin wash of white was cleaned off of front part of decoy with some remaining on the tail.
Provenance: Len Carnaghi collection. (1,000 - 1,400)
596 Dodge Decoy Factory (1883-1893), Detroit, Michigan. Excellent redhead with tack eyes. Decoy was rigged but never weighted. Measures 14.5” long. Original paint with minor wear; small dents and shot marks; minor roughness on one edge of bill tip; flaking to filler on one lower side; tightly reglued crack in neck; neck filler was professionally restored.
Provenance: Len Carnaghi collection. (2,500 - 3,500)
597 Dodge Decoy Factory (1883-1893), Detroit, Michigan. Mallard drake with tack eyes. Does not appear to have ever been rigged or weighted. Measures 16.25” long. Original paint with minor wear; small dents and scratches; minor roughness on tip of bill and tail; neck filler appears all original; thin coat of varnish has darkened with age.
Provenance: Len Carnaghi collection. (1,500 - 2,500)
597
598 Dodge Decoy Factory (1883-1893), Detroit, Michigan. Hollow carved Canada goose with reared back head. Measures 21” long. Early in use repaint with moderate wear; some flaking on neck and head.
Provenance: Len Carnaghi collection. (3,000 - 5,000)
599 Dodge Decoy Factory (1883-1893), Detroit, Michigan. Pair of mallards with slightly turned heads and tack eyes. Measures 16.25” long. Original paint with moderate flaking and wear; hairline cracks in drake’s body; minor chipping to the original neck filler; hairline crack in one side of drake’s neck.
Provenance: Len Carnaghi collection. (1,000 - 1,400)
600 George Petersen Factory (1873-1884), Detroit, Michigan. Early black duck with painted eyes. Measures 17” long. Original paint with moderate wear; minor roughness on edge of tail; reglued crack through neck; neck filler has been restored.
Provenance: Len Carnaghi collection. (600 - 900)
601 George Petersen Factory (1873-1884), Detroit, Michigan. Mallard drake from the Babcock rig. Babcock branded on underside. Measures 16.25” long. Original paint with moderate flaking and wear; small chip in tail; neck filler is missing.
Provenance: Len Carnaghi collection. (800 - 1,200)
602 Herters Decoy Factory, Waseca, Minnesota, circa 1950. Very rare and in excellent condition cloth owl with glass eyes and bear claw beak. Measures 18.5”. Small stain on back approximately the size of a dime, otherwise very good and original.
603 Herters Decoy Factory, Waseca, Minnesota. Balsa owl with relief wing carving and applied wooden ear tufts. Stands 19.75”
tall. Original paint with moderate flaking and wear; filler around claw beak appears original but with more than typical. (800 - 1,200)
604 J.W. Reynolds, Chicago, Illinois, circa 1900. A near mint set of bluebills inside original wooden factory case. Stenciled with “Illinois River Folding Duck Decoys” at top of box. Each of the three tri-folds included in the box has the original strings and weights and is in unused condition. Box measures 8.5” x 22” x 8.5”. (1,000 - 1,500)
602
604
603
605 Richard Wistar Davids (1825-1863), Philadelphia, Pennsylvania. Very early sleeping black duck with back angled neck seat. Hollow carved with “R.W.Davids” branded on the underside. Measures 14” long. Very early surface with significant crazing and moderate flaking and wear; spots of black touchup to flaking near one eye and on tail area; slight separation to body seam on breast.
Provenance: Gene and Linda Kangas collection. (3,000 - 5,000)
606 Albert Laing (1811-1886), Stratford, Connecticut. Thinly hollowed lowhead black duck. Measures 15.5” long. Very early in use repaint has flaked away to much bare wood; scattered dents and shot marks; roughness on edge of bill and top of head; bill as cracked down and tightly reset; the tail is a professional replacement.
Provenance: Gene and Linda Kangas collection. (5,000 - 8,000)
607 Unknown maker, 19th century, attributed to Connecticut. One piece sleeping brant with shoe button eyes. Measures 16” long. Old white overpaint was taken down and the surface restored; tight drying cracks throughout; shallow chips in top of head; many small dents and shot marks.
Provenance: Gene and Linda Kangas collection.
Literature: “Great Book of Wildfowl Decoys”, Joe Engers, editor, page 28, exact decoy before paint was taken down and restored. (1,200 - 1,800)
608 Trade sign, circa 1st quarter 20th century. Single sided pine trade sign. White and black sign with “G. Wilson”. Measures 11.75” x 47.5”. Nice dry original paint. (2,000 - 2,500)
609 Augustus Aaron Wilson (1864-1950), South Portland, Maine. 1st quarter 20th century. White wing scoter with tucked head and bill nearly resting on breast. Wing carved outline, with inletted neck and carved eyes. Measures 16” long. A very nice worn patina; paint is a mix of what appears to be mostly original with a small amount of strengthening in some areas. (5,000 - 8,000)
609
610
Augustus Aaron Wilson (1864-1950), South Portland, Maine. Very rare black duck with applied, outstretched wings. Inlayed neck seat and carved eyes. “Kangas” branded on underside. Measures 18.5” long. Original paint with minor to moderate wear; crack through neck with a nail added at back of head; tight crack in each wing; large chip at the end of one wing; minor roughness with a tiny chip at end of bill.
Provenance: Tom Winstel collection. Gene and Linda Kangas collection.
Literature: “Decoys” by Gene and Linda Kangas, page 51, exact decoy pictured. “New England Decoys”, by Shirley and John Delph, page 28, exact decoy pictured. Literature: “Decoys” by Gene and Linda Kangas, page 51, exact decoy pictured. “New England Decoys”, by Shirley and John Delph, page 28, exact decoy pictured.
(10,000 - 14,000)
611 Augustus Aaron Wilson (1864-1950), South Portland, Maine. Early preening eider hen with large inlet neck seat and relief wing carving. Wide body was made out of two pieces of wood. Measures 17.25” long. Thin second coat of paint with minor gunning wear; drying cracks in breast and underside; drying of wood has created a separation at back of neck seat; shallow chip and roughness on top of head; professional neck crack repair.
Provenance: Gene and Linda Kangas collection.
(7,000 - 10,000)
612
613
Augustus Aaron Wilson (1864-1950), South Portland, Maine. Preening black duck with relief wing carving and long inlayed neck seat. Measures 15.5” long. Original paint with very minor wear; filled crack along one side from when the decoy was made; wooden patch used on one side of neck seat when the decoy was made with slight separation; filled split along back with line of touchup. (3,000 - 4,000)
614
Augustus Aaron Wilson (1864-1950), South Portland, Maine. Rocking head white wing scoter. George Ross Starr collection ink stamp and Charlie Hunter collection brass tag on the underside. Measures 18.5” long. Original paint with moderate flaking and wear; some loss at dry rot on one lower side; roughness and losses at knots in body; tight drying cracks in body; drying cracks through neck; repaired chip on each side of neck seat. (2,500 - 3,500)
Augustus Aaron Wilson (1864-1950), South Portland, Maine. Early white wing scoter with relief wing carving. Slightly turned, inlayed head and carved eyes. Measures 17.25” long. Early in use repaint; worn to some with the original surface; old chips and roughness at tail; drying cracks in breast area; minor roughness on edge of bill; hairline cracks in back and on head.
Provenance: Ron Swanson collection. (1,500 - 2,500)
615 Unkown maker from Maine, circa 1900. Oversize long tailed duck drake. Inlet head is attached to body with dowels. Measures 14” long. Appealing old in use repaint; minor wear; age split in back; small dents; two cracks through neck.
Provenance: Dr. John Dinan Jr collection. Private New England collection.
Literature: “The Great Book of Decoys,” Joe Engers, editor, chapter on Maine decoys written by John Dinan, p. 32, exact decoy pictured. (2,000 - 3,000)
616 Augustus “Gus” Wilson (18641950), South Portland, Maine. White wing scoter with turned inleted head. Raised wings. 2nd quarter 20th century. Measures 18.5” long. Body is in old working repaint with wood imperfection near one wing; chip out of tail; underside remains mostly unpainted. (600 - 900)
617 Leigh Witherspoon (18891971), North Haven, Maine. Merganser hen with inlayed neck seat and incised wing and tail feather carving. Open bill and slightly extended crest feathers. Measures 16.5” long. Original paint with very minor wear; under a thin coat of varnish that has darkened with age; bottom and front half of the top of the bill is a professional replacement.
Provenance: Gene and Linda Kangas collection. (4,000 - 6,000)
618 Leigh Witherspoon (1889-1971), North Haven, Maine. Rare merganser hen with carved eyes and slightly raised crest feathers. Measures 15” long. Original paint with very minor wear; tight drying cracks in breast and front of neck seat; minor roughness on tip of tail; three filled defects in wood from when the decoy was made.
Provenance: Gene and Linda Kangas collection. (1,500 - 2,500)
End of Sesson Two
Index of Carvers
Aamodt, Ernest 150-156
Adam, Richard B. 540
Ahearn, James Joseph 491
Alexander Family ............................................................... ...... 317
American Powder Mills ............................................................ 564
Dan 582 Fabens, Captain Samuel 299 Faue, Otto 160 Faue, William 157-159,161 Fernlund, Ivar 221 Finney, Frank ............................................
Lyman, Harry 375
Madera, Clark 306
Manville, Frank 394
Marr, Joe ............................................................... .............. 144-147
Smith, Chris 107 Smith, D.H. 392 Smith, Walter Granville
James
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The Alan and Elaine Haid Collection
Auction Review
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Writing credits
1. Cullity, Brien (curator). “The Songless Aviary – The World of A.E. Crowell & Son”. Privately printed. Heritage Plantation of Sandwich. Sandwich, MA.
2. Forbush, Edward Howe. 1912. “Game Birds, Wildfowl and Shorebirds” Privately printed, Massachusetts Board of Agriculture. Boston, MA.
3. Grice, David and J.P. Rogers. 1965. “The Wood Duck in Massachusetts”. Massachusetts Division of Fisheries and Game. Westboro, MA.
4. Heusmann, H. 2016. “Wood Duck in Massachusetts; Their History”. Massachusetts Wildlife, No 2. Massachusetts Division of Fisheries and Wildlife. Westboro, MA.
5. Jahn, Laurence, R et al (eds). 1966. “Wood Duck Management and Research, A Symposium”. Wildlife Management Institute. Washington, DC.
6. Long, Stephen. 2017. “The 1938 Hurricane That Rivaled New England’s Fall Colors”. Smithsonian Magazine, Oct 12. New York, NY.
1. Cunningham, John, DR. 1961. “A Short Personal History of the Cunningham Family” Unpublished manuscript. Brookline, MA. (Courtesy Cunningham Family).
2. Phillips, John C. 1926. “Shooting Records Wenham Lake, 1897 – 1925”. Privately printed. Boston, MA.
3. Crowell, A. Elmer. C1915-1951. Personal letters to Dr John C Cunningham. Collections of Heritage Museums and Gardens. Sandwich, Ma. (Courtesy Heritage Museums and Gardens).
4. Personal correspondence Mr. “Mac” Cunningham
1.Connett, Eugene V (ed). 1947. “Duck Shooting Along The Atlantic Tidewater”. 1952. William Morrow and Co Inc. (Chapter on “Cape Cod Memories” by Elmer Crowell). New York, NY.
2.Cullity, Brian. 1992. “The Songless Aviary – The World of A.E. Crowell and Son”. Privately printed, Heritage Plantation. Sandwich, MA.
3.Lincoln, Joseph C and H Brett. 1935. “Cape Cod Yesterdays”. Little Brown and Co. Boston, MA.
4.O’Brien, Stephen B Jr and C.W. Olney. 2019. “Elmer Crowell – Father of American Bird Carving”. Privately printed. Stephen O’Brien Jr Fine Arts LLC. Hingham, MA.
1. Hopkins, Gwladys. 2016. “Massachusetts Masters – The Decoy as Art”. Privately printed. Museum of American Bird Art. Mass Audubon. Lincoln, MA.
2. Murphy, Stanley. 1975. “Keyes Chadwick, Decoy Carver”. Duke County Intelligencer. Dukes County Historical Society, Inc. Pub.
3. Lee, Linsey. 2012. Historical Perspective: Waterfowling was once a Way of Life. Martha’s Vineyard Times, Nov. 27. Marthas Vineyard, MA.
1. Bailey, Sarah Y. 1920. “The Story of Jones River in Pilgrim Plymouth, 1620 – 1726 Which in the Latter Year Became Kingston, Massachusetts”. Pub by Kingston Branch of Alliance of Unitarian Woman. Kingston, MA.
2. Hopkins, Gwladys. 2016. “Massachusetts Masterpieces – The Decoy as Art”. Massachusetts Audubon Society.
3. Shaw, Robert. 1994. “Bird Decoys of North America – Nature, History, and Art”. Sterling Publishers.
4. Starr, Dr George Ross. 1974. “Decoys of the Atlantic Flyway”. Winchester Press. New York, NY.
1. Setterlund, Christopher. 2023. “A Duck Farm In Orleans You Never Knew
2. Personal correspondence The Centers for Culture and History, Orleans, MA.
1. Cheever, Byron. 1974. “Mason Decoys”. Hillcrest Publications. Heber City, UT.
2. Goldberger, Russ J and Alan G. Haid. 1993. “Mason Decoys – A Complete Pictorial Guide”. Decoy Magazine Pub. Burtonsville, MD.
3. Sharp, Ron and Bill Dodge. 2009. “Detroit Decoy Dynasty – The Factory Decoys of Peterson, Dodge and Mason”. Hunting and Fishing Collectibles Magazine Pub. Lawsonville, NC.
1. Crandall, Bernard W. 1977. “The Remarkable Tom Schroeder”. Decoy Collectors Guide Vol 6. Harold Sorenson Publisher. Burlington, IO.
3. Shaw, Robert. 2010. “Bird Decoys of North America – Nature, History and Art”. Sterling Publishing. New York/London.
4. Correspondence Mr. Paul Brisco.
1.Berkey, Barry and Velma. 1981. “Chincoteague Carvers and Their Decoys”. Privately printed. Fairfax Station, VA.
2.Eshelman, Ralph E, P.A. Russell, et al. 2004. “Historic Context Study of Waterfowl Hunting Camps and Related Properties Within Assateague Island National Seashore, Maryland and Virginia”. National Park Service. U.S. Dept of the Interior. Berlin, MD.
3.Fleckenstein, Henry A Jr. 1983. “Southern Decoys of Virginia and the Carolina”. Schiffer Pub LTD. Exton, PA.
4.Mackey, William F Jr. 1965. “American Bird Decoys”. Bonanza Books. New York, NY.
5. correspondence, Mr. Grayson Chesser, VA.
1. Fleckenstein, Henry A Jr. 1983. “Southern Decoys of Virginia and the Carolinas”. Schiffer Publishing Ltd. Exton, PA.
2. Pennington, William. 1987. “Three Swans (letter to editor)”. Maine Antique Digest. Waldoboro, ME.
3. Personal correspondence 1987 Wm Purnell to Donald Snyder
1. Mackey, William J Jr. 1964. “The Confidence Decoy”. Decoy Collectors Guide., July/Aug/ Sept. Burlington, IO.
2. Mackey Willam J Jr. 1965. “American Bird Decoys”. Bonanza Books. New York, NY.
1. Sorenson, Hal. 1963. “The Story of ‘Tru-Dux, as told by Al Ries”. Decoy Collectors Guide, April/June. Burlington, IO.
2. Tonelli, Donna. 2006. “Al Ries and the Wood Products Company”. Decoy Magazine, July/ Aug. Lewes, DE.
1. Henderson, Dan. 1948. “Elkin Artist is Widely Known”. Elkin Tribune, May 20. Elkin, NC.
1. Koch, Ronald M. 1996. “Frank Resop – Wisconsin Decoy Maker and Folk Artist”. Nov/Dec Decoy Magazine. Burtonsville, MD.
2. Koch, Ronald M. 2000. “Decoys of the Winnebago Lakes”. Rivermoor Publications. Omro, WI.
• Black anodized aluminum construction.
• Rubber padded tops & bottoms. Will not mar your furniture or decoys.
• 3 post and 4 post styles to choose from.
• 1 in to 4 in heights in 1/4 in increments
Custom Sizes and Colors Upon Request $30 each plus shipping and handling
To order call Ken Cole at: (810)
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 have guaranteed condition reports. Should the need arise, the auctioneer reserves the right to make verbal corrections and provide additional information from the podium at the time of the sale. 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 a significant impact on the value, you can return the decoy.
2. 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 14 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.
3. PROTESTED BIDS ‑ In the case of a disputed bid, the auctioneer is the sole determinant as to who the success ful 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 Bidding usually starts below the low estimate and advances in increments of approxi mately 10% of the opening bid subject to the auctioneer’s discretion. The auctioneer reserves the right, at his sole discretion, to refuse any bids that he deems unreasonable. The minimum bid increment guideline is as fol lows:
$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 auctioneer will execute such bids competitively. Absentee bids are executed by the auctioneer on behalf of the bidder in accordance with the bid increment policy shown above.
6. TERMS ‑ All items are to be paid for in U.S. funds. No items will be released until they are paid for. The Auctioneer reserves the right to hold merchandise paid for by personal check, until the check has cleared the bank. 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. Merchandise not paid in full withing 30 days will be con sidered unsold.
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 including $1,000,000. For payments made using a credit card, the buyer’s premium is 23% up to and including $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 ILLINOIS.
10. ACCEPTANCE OF CONDITIONS ‑ Bidding on any articles in this sale indicates your acceptance of all of the conditions of sale.
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 items 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, according to terms and conditions, prior to removing the goods from the premises. Removal is at 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.
14. LEGAL DISPUTE ‑ Any legal disputes arising from this auction shall be settled in the court system of the State of Maryland. UNIFORM COMMERCIAL CODE The Maine Uniform Commercial Code, Title II, Section 2328 applies to this auction.
15. Stands are not included with the decoys or weathervanes unless specified in catalog. Cases are not included with shotgun shell boxes. All dimensions are approximate and are not guaranteed. All calls are sold “As Is”.
16. 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 or special delivery at the buyer’s expense. Under no circumstances will we be responsible for damage to fragile decorative carvings. These items are marked in the catalog with an *.
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 2nd 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, or Zac Cote at (207) 321-8091. If you have any questions concerning absentee bids, please call us.
ABSENTEE AND PHONE BID FORM
OFFICE USE ONLY REG
Zac Bookkeeper Computer Bid Builder
ADDRESS
DEPOSIT $
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.) The 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
