North American Decoys at Auction May 29 & 30, 2020 by Guyette & Deeter

Guyette & Deeter, Inc. North American Decoys At Auction May 29 & 30, 2020

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Guyette & Deeter, Inc.

North American Decoys At Auction Friday, May 29, 2020 Auction 11:00 AM

Saturday, May 30, 2020 Auction 11:00 AM

Because of COVID-19 restrictions we ask that you to call ahead if you want to preview items at the office in St. Michaels. In the month of May we will be traveling to several locations throughout the country showing decoys that will be in the auction. If there is something you would like to see, please call to arrange a preview in your area. Your requests does not need to be limited to the more expensive items in the sale. We will do our best to accommodate your request. The auction will be live streamed, and we will have additional lines for phone bidding. If you bid through Invaluable or Bidsquare the online bidding fees will be waived.

For questions during the auction call 410-745-0485

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

Important Notices: ■ Unofficial prices realized information will be available five business days after the auction. Official prices realized list will be available online approximately two weeks after the auction. ■ If you would like to consign decoys to our next auction, please contact; Gary Guyette 410-7450485 gary@guyetteanddeeter.com or Jon Deeter 440-543-1416 jdeeter@guyetteanddeeter. com. Free appraisals are available with no obligation to consign, and all correspondences are strictly confidential. ■ Under no circumstances will we be responsible for damage to frames or glass, or damage caused by them. Under no circumstances will we be responsible for damage to fragile decoratives. These items are marked in the catalog with an *. ■ Auctioneer James D. Julia, Fairfield, Maine. ■ Stands are not included with the decoys or weathervanes unless specified in catalog. Plexiglass cases are not included with shotgun shell boxes. ■ All duck calls have condition reports, but are sold “As Is”. ■ Dimensions are approximate and are not guaranteed. ■ Trade Up Program - A limited numer of decoys purchased may be paid for by

consigning decoys to the next Guyette & Deeter. auction. Ask Gary or Jon for Details.

■ Pick up hours are 1pm – 5pm beginning Wednesday, June 3, 2020, or by appointment.

Please call ahead so we can have your items ready.

UPCOMING GUYETTE & DEETER, INC. AUCTIONS Summer 2020 Sheraton Harborside Hotel

Portsmouth, New Hampshire 40 Table Dealer Show

November 11 & 12, 2020

Talbot County Community Center

Easton, Maryland In Conjunction with the Easton Waterfowl Festival 50 Table Dealer Show

To consign, Contact:

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

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

Guyette & Deeter, Inc.

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

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

Zac Cote

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

Mike Stevenson

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

Ed Kenney

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

Lynda Brooks

Office Manager St. Michaels, Maryland Tel: 410-745-0485 lynda@guyetteanddeeter.com

Denise Jarrell

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

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

Featuring decoys from the collections of Martyn Bentley

Phil Mott

Lois and Captain Gary Fisher

Richard Perkins

Dr. Lloyd T. Griffith

Brian Stead

Dr. David & Lynn Meyer

Dick & Diane Walters After living several years in the Seattle area, Dick and Diane Walters returned to their Midwest roots, settling in the Detroit area in 1968. Together with their four children, they enjoyed swimming, fishing, hunting, ice skating, spearfishing, boating, and all the outdoor activities Michigan had to offer. This is when Dick got hooked on waterfowl and spearing decoys. In his early years as an enthusiastic collector, Dick and Diane would get together with other collectors at the Holiday Inn in Monroe, Michigan to network and share information and perhaps buy or sell items of interest. In 1979, Dick and Diane began hosting a Christmas Party at the Ferndale, Michigan warehouse of their company, Erickson’s Flooring & Supply. Fish and duck decoy collectors mingled and brought decoys and other collectibles for a casual exchange. Everyone was invited to donate a piece for an auction whose proceeds benefited the Old Newsboys Goodfellow Fund of Detroit which provided children with warm clothing, boys, books, games and candy, and everyone participated enthusiastically.

Both Dick and Diane were charter members of the Great Lakes Fish Decoy Collecting and Carving Association, and in 1993, Dick took the helm as President. According to Dick: “I started collecting duck decoys in the late 60s. Ten years later, I became interested in spearing decoys after using them on Lake St. Clair. I noticed that dark red, gray, black, and dirty white duck decoys just seemed to hang on my walls and shelves, but fish decoys seemed more alive with color. Pop Art! Unbridled Imagination! Carvers in their myriad of ways accomplished what no ‘factory’ could do... produce for local needs. They created color patterns that worked for them, fins that carried each piece the way they wanted. Metal tails were made for longevity. Carved tails satisfied their own aesthetics and sense of proportion and style.” Seeking a way to share his love of fish decoys to a new audience, Dick and Diane worked with Gene and Linda Kangas to propose an exhibition at The Center for Art in Wood in Philadelphia, whose mission is to promote public understanding and appreciation of art, craft, and designs in wood. The Center held its exhibition May – July 2012 using ingenious visual presentations of the fish decoys for display with several of Walters’ favorite pieces on loan. Fish decoys are far rarer than duck decoys, and Dick wanted to impart that all fish decoys are artistic interpretations weather older or contemporary, and that it was imperative to promote the makers whether they were well known, or more obscure. A fully-illustrated exhibition catalog, “Hooked on Wood, The Allure of the Fish Decoy,” accompanied the museum’s presentation.

The Dr. Lloyd T. Griffith Collection

RIFFITH

Griffith collection stamp.

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

In the 1970s, Richard Bourne would say from his auction podium how the doctor who owned half of Virginia just bought another decoy. Lloyd Griffith had a lot of farmland, but it was more like a couple thousand acres. Lloyd was always a presence, bidding against Jim McCleery, Donal O’Brien, and the Wicks, among other top collectors of the day, at the Mackey auctions and throughout the following decades. Our auction company did a lot of business with Lloyd over the years - both buying and selling - and he and I became good friends. Though Lloyd was a serious buyer for over 50 years, his activity spiked in 2000 at the McCleery auction and continued through 2007. He was one of the major forces driving the decoy auction market. Over the years, I made many trips to Lloyd’s home at Albany Farm on the Northern Neck of Virginia, mostly to deliver or pick up decoys. Lloyd loved his farm. His house was on a small island where Nomini Creek joins the Potomac River and connected to the mainland and the rest of the farm by a sand spit. He would give visitors a tour of his property but we spent most of our time at the house, which is where all of the decoys were located. The farm was fairly isolated, and the closest town was tiny Mount Holly, where “Dr. Lloyd” was a major fixture, having operated the Griffith Clinic for 52 years, as had his father before him. The nearest hospital was a long way from town. On one of my trips to Albany Farm, about 15 years ago, Lloyd asked if I ever had “crab on crab.” Insisting I had to try this local delicacy, we drove to The Driftwood at Cole’s Point on a Friday evening for dinner, ordering the specialty and a bottle of Chardonnay. The place was packed with locals who throughout our dinner approached the table to pay their respects to “Dr. Lloyd.” Some would just quietly say hello, shake his hand and wish him well. Others would introduce themselves and remind him that “you saved my brother’s life back in 1990” or “thanks to you my mother didn’t lose her leg.” He introduced me to everyone as “Gary Guyette, my friend from Maine.” Most of the decoy collecting community will remember Lloyd bidding at countless auctions over the years. I’ll remember “Dr. Lloyd” beaming as he spoke with his people at The Driftwood. Gary Guyette

I first met Lloyd in 1983 while doing my first auction, then working for Richard Oliver of Kennebunk, Maine. We were selling the collection of Barton Blum of East Holden, Maine. One of the items in the sale was a very sculpturesque Maine eider by a then unknown maker. Through recent research we now know the maker to be Eben Weed Easton of Duck Harbor on Deer Island, Maine. When the bidding ended Lloyd walked away with what, in my opinion, was the highlight of the sale, making an immediate and lasting impression on me. IN the ensuing years, Lloyd’s reputation grew as a serious collector, placing him in an elite class of collectors with the likes of Dr. James McCleery and Adele Earnest.

Lloyd holding Adele Earnest’s Cobb goose at the April 1993 Guyette & Schmidt auction.

He built a collection made up of examples by some of the most recognizable names in the antique decoy world. These examples represent the very best known by these makers that include the works of the Ward Brothers, Nathan Cobb, William Bowman, Albert Laing among many others. Lloyd had the innate ability to see, within the utilitarian purpose of these works, the existential beauty each possessed. He had a sophisticated eye for quality and art form, and his rather flamboyant analysis of these qualities in each piece he coveted is what may be missed most in his absence. Dr. Lloyd Griffith was an important cog in the wheel that is this collecting phenomenon and he has been and will continue to be missed. Frank Schmidt

Virginia shorebirds on the mantel at Albany Farm.

We all come together from different places. During my college years, I studied art and was very involved in track and field. Fortunately, I had a coach who was a former national champion and a teammate who was an Olympic champion. Twice, I competed against Olympic champions. That education helped me gain new insights about what it took to improve. Finding decoys was no different. There were many others who knew much more than I did. Lloyd Griffith was one of those collectors that I noticed right away. His preference for flamboyancy made him stand out compared with those who wore more traditional camouflage hunting attire. More important to me, however, was his obvious independence and passion when it came to collecting. Lloyd followed his own vision. While he, at times, acquired pricey “big name” items, he also paid serious attention to lesser known decoys. Some surprised me. It made me think Lloyd had an unquestionably great eye. At numerous auction previews, I watched him. Sometimes he’d walk over and comment on things I was looking at. We compared notes. And, although he was a fervent Olympic style competitor, he remained a friend. Knowing Lloyd was important. He will be missed, especially wearing his wild, bright yellow suits Gene Kangas

I remember Dr. Lloyd Grifffith as the dapper-dressed gentleman from Virginia who carried the leather briefcase and had a great eye for fabulous decoys. He was also a teacher and taught me a lesson.

Looking over a decoy at the Easton Waterfowl Festival.

At an early Oliver Auction, Elaine and I were trying to acquire an Elmer Crowell Carved-wing Black Bellied Plover. Oliver had one - a feeder. We had set our budget limit at $50,000. While we were admiring it a voice from behind us said, “What do you think of that?” I responded, “I think it’s fantastic!” I turned around to see Lloyd Griffith. You can imagine the rest of the story. Lloyd bought it for $55,000. Elaine and I decided we must be more discreet about our thoughts in the future!” Alan Haid

I met Lloyd Griffith around 1963. I was duck hunting with his father, and Lloyd joined us in the duck blind one day. We became friends and traveled around to buy decoys. One of the first people we met was Smitty Rue in Cambridge, Maryland. Smitty had a collection of Ward Brothers decoys. In the late winter, he would trap muskrats, save up the money, and buy “shooting stool” decoys from Lem & Steve Ward. One day, he took us to Crisfield and introduced us to them. When we traveled to buy decoys, we took “The Persuader” with us. The Persuader was a bottle of Crown Royal. We heard that Captain Amos Waterfield in Chestertown, Maryland had some old Ward Brothers decoys. We head there one day in 1965 to try to buy some. He wouldn’t sell any, so we brought out “The Persuader.” Lloyd wanted to buy the two Ward “humpback” pintails (sold in the November 2018 Guyette & Deeter auction). After some persuasion, he tried again. Lloyd asked, “What would you take for the pintails?” Amos said, “Tempt me.” Lloyd said, “$1,000 each.” Amos nodded, “yes,” and Lloyd slung the two pintails under his arm. George Dean

“Moby Dick” was a nickname Lloyd earned from the start. Should you sadly happen to covet the same bird in an auction as did Lloyd, don’t let the line on your harpoon entangle your ankle. When Moby Dick sounded to sixty fathoms, you’d be right behind him! Lloyd was tenacious... and to make matters worse for his competitors at auction, he had “The Eye of the Angel.” In the 35 years that I knew him, his most egregious fault was not following his own “stop limit” at auction. More than once, in the heat of a last-seconds battle over a once-in-a-lifetime treasure, Lloyd stepped forward from the audience, bidding without his paddle, (which I was using) and raised his neon yellow, kid-gloved hand to continue the war, already at four bids OVER his limit!!! But, Lloyd was victorious. He was the ultimate “acquisitor.” Collectors, he explained, were kids who pinned butterflies into velvet frames. Because he viewed decoys primarily as American folk sculpture, Lloyd was less interested in the names attached to the birds, than he was with the artistic flow and surface composition. Decoys WERE art for Lloyd. No one had a better grasp of form and sculptural finesse than he. Bird for bird, Lloyd Griffith’s collection was unequaled. He understood the mindset of carvers that created decoys as tools... BEAUTIFUL tools... Dick McIntyre

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

Guyette & Deeter

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

Online Auctions

West collection Sold! $1823

Stead collection - Sold! $4778

For questions, contact: 207-321-8091

zcote@guyetteanddeeter.com

Williams collection Sold! $2185

Walters collection Sold! $2849

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

Recent Sales

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Session One Friday, May 29, 2020 11:00 am Lots 1 - 313

Session Two Saturday, May 30, 2020 11:00 am Lots 314 - 558

1 - 13 Mason Decoy Factory 14 - 23 Illinois River Items of Interest 24 - 32 33 - 46 Louisiana 47 - 48 Pacific Coast 49 - 55 Virginia Ontario 56 - 70 71 - 76 Jim Schmiedlin 77 - 82 Ward Brothers 83 - 96 Fish Decoys Michigan 97 - 112 Midwest 113 - 125 Sporting Art 126 - 139 Miniatures 140 - 152 Shorebirds 153 - 157 Factory Decoys 158 - 166 Shorebirds 167 - 172 Sporting Art 173 - 181F Illinois River 182 - 203 Louisiana 204 - 218 Fish Decoys 219 - 233 Stevens Brothers 234 - 238 Items of Interest 239 - 243 Maryland 244 - 251 Delbert â&#x20AC;&#x153;Cigarâ&#x20AC;? Daisey 252 - 258 Midwest 259 - 280 Contemporary 281 - 301 Factory Decoys 302 - 313

Decoratives 314 Shorebirds 334 Illinois River 345 Mason Decoy Factory 360 Factory Shorebirds 370 Virginia 375 Marty Hanson 378 North Carolina 383 Canada 386 John James Audubon 403 Etchings 406 Delaware River 416 New Jersey 427 New Jersey Shorebirds 436 New England 444 Shell Boxes 457 Shorebirds 462 Fish Decoys 471 Factory Decoys 491 Duck Calls 508 Illinois River 537 Duck Calls 545

333 344 359 369 374 376 382 385 402 405 415 426 435 443 456 461 470 490 507 536 544 558

Please read conditions of sale in the back of catalog

SESSION ONE Friday, May 29, 2020 - 11:00 am

Mason Decoy Factory 1896 - 1924 | Detroit, Michigan

In the spring of 1984, Frank Schmidt was working with Richard Oliver at his office in Maine. One afternoon, a gentlemen walked in the door with one of the most exciting group of decoys ever consigned. From three paper bags, the gentlemen pulled out a mint pair of Mason challenge redheads, a Challenge bluebill drake and the pair of Standard grade shovelers being offered in lot 1 of this sale. The July 7, 1984 catalog where they were sold read, “These two superb decoys are in pristine, unused condition and bear the obvious and bold paint pattern of the Northern Shoveler. The finishing touch is added by the exaggerated width of the bills. As far as anyone knows, these are the only two shovelers in existence by the Mason Company, a truly exceptional find.” Now, nearly 36 years later, they remain the only pair of Mason shovelers to surface, making them the rarest pair of Mason decoys known.

Important rigmate pair of shovelers, Mason Decoy Factory, Detroit, Michigan, circa 1900. The rarest pair of Mason decoys in existence. Rigged for hunting, but perhaps never used. 15” long. . Rub area on one side of hen’s body, otherwise pristine condition.

Provenance: Sold at the July 1984 Richard Oliver sale, lot 1.

(25,000 - 35,000)

Hollow carved canvasback hen, Mason Decoy Factory, Detroit, Michigan. Hollow carved Challenge grade model. Measures 15.5” long. Minor flaking at neck seat, otherwise excellent and original.

(4,000 - 6,000)

Rigmate pair of mallards, Mason Decoy Factory, Detroit, Michigan. Hollow carved Premier grade models. This rigmate pair of decoys have characteristics similar to the D.B. Day rig, having thicker style bills, obviously part of a special order. Measure 17.5” long. Original paint with minor to moderate flaking and wear; tight drying crack in drake’s back; small chip on each side of drake’s neck seat.

(4,000 - 6,000)

David Barnes Day 1863 - 1947 | Canton, Ohio

David B. Day was the son of attorney Luther Day and his wife, Ellen Isabel Barnes. He was destined to follow in his father’s chosen occupation, and he attended the University of Michigan Law School, graduating in 1888. Upon graduation, he became a member of the firm Day, Lynch, and Day and continued to practice law for his entire working life. In 1898, he became a member of the Stark County Bar Association and, in 1906, he was a delegate to the judicial convention of the fifth district to select a circuit judge. He must have been professionally successful for, at least between the years 1910 and 1930, he and his wife enjoyed the services of a livein maid or servant in their home on Market Avenue North in Canton. He was a duck hunter and conservationist who could afford the finer things the sport had to offer as evidenced by his being accepted into the membership of the selective Toussaint Shooting Club in 1905. The Toussaint Shooting Club was formed in 1885 by a group of wealthy and prominent businessmen from the Cleveland area. At its height, this club managed approximately 1,350 acres within the “Great Black Swamp.” There were seven original members of the club and, as one would expect, memberships changed over time. By 1932, membership averaged 12 members. Self-imposed conservation measures were strict. Members were only allowed to shoot for a maximum of fourteen days per year and even with this limitation, members actually averaged only six or seven days afield. Most days of the week were reserved as “rest days” and members had to pay the club a $5.00 surcharge for every duck shot. Water levels were carefully managed, and vast amounts of feed were distributed within the grounds annually. A portion of the club’s lands was sold to the federal government and, in 1919, the clubhouse was moved nearly two miles over the frozen marsh. The former club lands are, today, part of the Toussaint Wildlife area under the jurisdiction of the Ohio Division of Wildlife.

D. B. Day, 1925. Photograph courtesy of the Stark County Bar Association

At one point in the 1930s, DB Day was president of the “Ohio Marshland Conservation League” and, in that role, in 1932, he wrote a lengthy response letter for submission to the Hearings before the Special Committee on Conservation of Wildlife Resources before the United States Senate. He is remembered for his ability as a duck caller and especially for his special-order Mason Challenge and Premier decoys with exceptional paint and some with slightly thicker than normal, or slightly longer than normal bills. All of his rig was of the highest quality. One can chuckle at the reasoning behind the thicker than normal bills when, in reading his shooting journal, he notes that some of the club’s dogs had the occasional aggravating habit of retrieving the wooden decoys rather than the downed ducks. He and his wife are buried in Maple Grove Cemetery in Ravenna, Ohio.

Rigmate pair of blue wing teal, Mason Decoy Factory, Detroit, Michigan. Challenge grade models with snakey heads. From the rig of D.B. Day and so branded on the undersides. Measure 12.5” and 12.75” long. Strong original paint with very minor wear protected by a thin coat of varnish; a few shot marks and minor flaking at neck seats, otherwise structurally good.

(8,000 - 12,000)

Early pintail drake, Mason Decoy Factory, Detroit, Michigan. Hollow carved Premier grade with early snakey head style.

Early rigmate pair of greenwing teal, Mason Decoy Factory, Detroit, Michigan. Early Challenge grade models.

Branded “A. Hemenway” on the underside.

“RBC” branded in the underside of each.

Measures 20.5” long. Original paint with minor

Measure 12” long. Overpaint was taken down

wear; lightly hit by shot; minor flaking at neck

to much of the original surface; a few small

seat; tail is a professional replacement.

shot marks and minor flaking at neck seats,

(3,000 - 4,000)

otherwise structurally good.

(3,000 - 4,000)

Widgeon hen, Mason Decoy Factory, Detroit, Michigan. Hollow carved Premier

Rigmate pair of redheads, Mason Decoy Factory, Detroit, Michigan. Hollow carved

grade. “WHW” branded in the underside.

Premier grade. Measure 15” long. Strong

Measures 14.25” long. Original paint with

original paint with minor wear; small dents

minor discoloration and wear; small dents

and shot marks; minor flaking around neck

and shot marks; tight crack in back; small

seats; filled crack along hen’s back; two

amount of touchup on face and bill; head is

small spots of touchup on drake’s breast.

slightly loose.

(4,000 - 6,000)

Black duck, Mason Decoy Factory, Detroit, Michigan. Early hollow carved Premier grade with sloped breast. Measures 17.25” long. Original paint with minor flaking and wear; small tail chip repair; small spots of touchup on sides of head and around neck seat; small old chip in underside of tip of bill. (2,000 - 3,000)

Rigmate pair of hollow mallards, Mason Decoy Factory, Detroit, Michigan. Hollow carved Challenge grade models. Measure 17” long. Original paint with minor discoloration from a coat of varnish and minor flaking and wear; some roughness on tips of bills and hen’s tail tip; separation at body seams. (1,600 - 2,000)

Broadbill hen, Mason Decoy Factory, Detroit, Michigan, circa 1900. Bill is flared out. 14” long. Smaller body style with excellent original paint; a few shot scars; roughness at edge of bill. (1,750 - 2,250)

Bufflehead drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Glass eyes. 11” long. Strong original paint; small amount of neck filler; moderate wear on head and body.

(1,750 - 2,250)

Early pintail hen, Mason Decoy Factory, Detroit, Michigan, last quarter 19th century. Very rare, early slope breasted style. Slightly turned head. Pieced in tail sprig. Measures 17.25” long. Original paint with minor wear that has darkened with age; small worn area on lower breast; small chip missing from tip of tail; slight roughness on one edge of bill.

Provenance: “JSM” painted on underside for John S. Meredith, Big Point Gunning Club member, Pain Court, Ontario 1900 -1920.

Literature: “Mason Decoys Complete Pictorial Guide,” Goldberger and Haid, p. 32. (6,000 - 9,000)

Illinois River

Rigmate pair of mallards, Charles Perdew, Henry, Illinois. Both painted by Charlie. Fine comb

paint. Patterson was an excellent painter and his tal-

painting on drake. Heads are slightly turned. 16”

these magnificent decoys. Both have slightly turned

long. Near mint.

heads. Incredible feather painting on both. 14”

ents are displayed well in his execution on each of

(5,000 - 7,000)

long. Both are excellent; small amount of crazing 15

Excellent pair of mallards, Roy Patterson, East Peoria, Illinois, 1946. Each has Patterson’s name, location, and date carved on side underneath the

on back of hen’s head and tail.

Provenance: Perkins collection.

Literature: Decoy Magazine article, Donna Tonelli, Roy Patterson.

(3,000 - 5,000)

Canvasback drake, Charles Perdew, Henry, Illinois, mid 20th century. Excellent combing on

Rare mallard hen sleeper, Robert Elliston, Bureau, Illinois, circa 1900. Bares three differ-

back and sides. A large bold body with relief wing

ent brands on underside, “Booth,” “S.L.C.,” and

carving. 15” long. Strong original paint has slightly

“BANGS,” from members of the Swan Lake Club. 15”

crazed on head; very good and original.

long. Most of the paint is a second coat by Elliston;

(5,000 - 7,000)

some of the original surface can be seen underneath; flaking to bare wood on much of decoy, but structurally good.

(4,000 - 6,000)

Bluebill drake, Robert Elliston, Bureau, Illinois, circa 1880s. Partial brand on underside, only the letter “J” is legible. 14.5” long. Original paint with moderate discoloration and minor wear; head is loose.

Provenance: Meyer collection. (1,750 - 2,250)

Rare Canada goose, Hec Whittington, Oglesby, Illinois. Stamped on underside, “Jan 7 1977.” Hollow carved with applied, raised wingtips, deeply carved shoulders, and ice groove behind neck. 25” long. Strong original paint that has mellowed nicely.

(2,000 - 2,500)

Canada goose, Otto Garren, Canton, Illinois. 19.5” long. In alert pose with scratch feather paint. Original paint; minor wear; small amount of paint loss at a knot in the back; touchup around body seam.

Provenance: Meyer collection.

Literature: “Decoy and Decoy Carvers of Illinois,” Forrest Loomis and

Paul Parmalee.

(1,750 - 2,250)

Black duck, Charles Perdew, Henry, Illinois. Probably from a group made by Charlie for Otto Meyer. Retains Perdew weight. Near mint original paint protected by a coat of clear varnish; structurally very good.

Provenance: Meyer collection. (1,750 - 2,250)

Pair of mallards, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Rare oversize white sided model. Drake has “GO” painted on underside. 23” long. Original paint appears to be by Catherine Elliston; protected by a light coat of varnish; several shot marks; moderate wear on body of both decoys; small chip at tail of drake; neck crack.

Provenance: Perkins collection.

(5,000 - 7,000)

Bluewing teal hen, Robert Elliston, Bureau, Illinois, last quarter 19th century. Branded “PC” in underside. Bill appears to have been shortened slightly. 12” long. An overcoat of gray has been removed to show good original paint; rough areas at edge of bill and tail. (3,500 - 4,500)

The Rangeley Guide Boat In the early 1800s, the Rangeley Lakes region of western Maine was a fairly remote area, rarely frequented except by loggers. Roads were few and only passable during certain seasons. Travel by water was the easiest mode of transportation throughout the area but conditions varied from large open bodies of water to rivers and small streams. These were the days before the use of outboard motors and propulsion was by paddle or oars. The plentiful game, trout and salmon, often of trophy size, attracted the sportsmen, and by the mid 1800s, they came in droves from out of state to fish the waters of Mooselookmeguntic (known to locals as the Big Lake), Cupsuptic, and others in the Rangeley Lakes chain. By the mid 1800s, camps and lodges became established and the guiding business was booming.

Indian Rock boats, were built higher, wider, and longer than the New York boats to handle the rough Rangeley waters. The standard length became 17 feet from stern to bow. As local builders took over the business of creating those boats, more innovations followed. Charles Barrett, who built the boats from 1880 to 1939, invented the round oarlocks that allowed guides to quickly drop the oars to help land a fish. Barrett also introduced the round seats that forced sports to sit in the middle of the boat, making rowing easier for the guides. Other improvements came over time. A square stern was added to the double-ended lapstrake boat in the 1920s to accommodate an outboard motor. The boats remain a time-tested classic design in the region today. To the best of our knowledge, this is the only documented model of a Rangeley Guide Boat in existence.

In 1868, one of the oldest fishing clubs in the nation was formed to take advantage of the exceptional fishing opportunities afforded by the region, and the Oquossoc Angling Association (OAA) was formed. They established their headquarters at their â&#x20AC;&#x153;Camp Kennebagoâ&#x20AC;? on Cupsuptic Lake. All of these camps, clubs, and sportsmen needed a craft suited to the unique water conditions of the area, but boats of any sort were a commodity in short supply. In the summer of 1869, six boats were built for the OAA, and a man by the name of Ball was paid the sum of $300. The design was based on the St. Lawrence skiff, which members had brought over from Ogdensburg, New York. The first Maine-built boats, originally called

Camp Kennebago main building

Oquossoc Angling Association booklet

Camp Kennebago dormitory

One of a kind Rangeley Lakes guide boat salesman sample. 42” long with ribs, gunwales, oars, and seats. Retains original label, “CW Barrett Boats and Canoes, Rangeley, Maine.” Original surface with a few small scrapes and a little wear; back seat is a professional replacement by Russ Allen. (8,000 - 12,000)

Kennebec Boat and Canoe Co. 1909 - 1941 | Waterville, Maine The Kennebec Boat and Canoe Company built its first canoes in December of 1909. The company was founded by George F. Terry, who was formerly a railroad station agent, ice cutter, publisher, and merchandiser. Terry’s son, George F. Terry, Jr. later joined the company and ran it until 1939. In 1939, the company was sold to Frank Terry and James Dean. A small number of canoes were built in the final years until the factory was closed for good in 1941. When it began, Kennebec became a major competitor of the nearby Old Town Canoe Co. They vied with one another to win major shares of the canoe market. For 30 years, there was intense sales competition between the two companies, and their marketing and promotional activities followed similar, almost parallel, paths. An example of this was in the production and use of “display sample” canoes. Many folks refer to these miniature items as “salesman’s samples,” but they were never made for that purpose, and never given to sales staff as selling tools. They were awarded as premiums to the largest and best retail outlets in return for placing large orders and achieving high sales volumes. Once in the hands of the outfitter stores, they were often hung up as attractive promotional items or used in window displays. They were never sold to individual canoe buyers. Preserved corporate records of Kennebec Canoe Co., as kept in the Maine State Museum, disclose that Kennebec produced 10 “display sample” canoes in 1916. This neatly coincides with similar activity at Old Town. Then, there was a production gap before Kennebec once again began producing samples in 1922 when it recorded 10 being made. For the following four years, 1923 through 1926, Kennebec Canoe Co. built another 10 recorded samples each year. Thus, it made a total of 60 samples between 1916 and 1926, after which no more are recorded. By comparison, Old Town produced a total of approximately 105 models between the years of 1903 and the 1920s. Of these 60 Kennebec samples, two sizes are found, 63” and 69”. Prominent model canoe authority, Roger Young, believes that the shorter, 63” samples, were likely made during the 1916 production year, and that the longer 69” version emanates from the 1922-26 production run.

Interestingly, the model being offered here is painted red on one side and green on the other, with corresponding opposite-painted trim. The “Kennebec” brand name appears in large block letters of gold leaf with typical dropshadow outline. Such dual paint schemes were used on a few (not all) samples to provide a quick and ready visual display of what different color schemes might look like on full-size canoe purchases being contemplated by a buyer. Mr. Roger Young has stated, “As for the 63” Kennebec Canoe Co. sample owned by Lloyd Griffith, it is simply one of, if not the, very finest such sample I have ever seen.” We can only echo his remarks. Guyette and Deeter wish to acknowledge the valuable assistance provided by Mr. Roger Young of Keene, Ontario for his historical perspective on the Kennebec Canoe Co. and its display samples.

Opposite side

Extremely rare 63.5” long “incentive” model of a Kennebec “open gunwale” canoe, Waterville, Maine, circa 1910. 63.5” long. 36 wooden ribs and caned seats. Canvas hull is painted green on one side and red on the other, with 1.75” gilded letters on both port and starboard sides which say Kennebec. Included is a Kennebec Canoe Company sales booklet. Kennebec, like other canoe manufacturers offered one of these model canoes as an incentive to purchase at rail car load as opposed to a lesser amount. These models are often found from the Old Town Canoe Companies, but rarely the Kennebec. Original paint with some cracklature; small spots of touchup.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. (20,000 - 25,000)

Well made canoe model, Fort Irwin Boat Manufacturing Company, Haliburton Lake, Ontario. Vented ribs on under-

side. Copper nail construction. A contemporary high quality piece. Measures 51” x 9.5”. Excellent and original.

(1,200 - 1,500)

Red and black painted poplar blanket chest, 19th century. Measures 41.5” long, 19.75” deep, and 24.25” tall. Original paint with minor flaking, scratches, and wear; some small spots of touchup to edge wear; support blocks at corners on underside were added at some point to protect feet.

(1,200 - 1,800)

Canoe and paddles advertising sign, Old Town Canoe Company, Old Town, Maine, circa 1950s. With three Old Town labels. Measures 16” by 14.25”. A few very minor rubs, otherwise excellent and original.

(1,200 - 1,800)

The only known billiken figure carved by Charles Perdew, Henry, Illinois, circa 1950. Charlie created this as a gift for his friend Otto Meyer. The billiken figure became popular in the United States around 1908 and is based on Chinese deity, Joss, God of things as they ought to be. This figure also doubles as a music box. Figure is seated on a stepped bench music box, can be wound from underside. Glass eyes were used as earrings, the billiken figure is wearing a hat with painted ducks on it by Charlie. Measures 12.5” tall x about 5.5” wide. Small amount of separation around wood putty at legs, otherwise very good.

Provenance: David Gallagher collection. Formerly in the collection of Otto Meyer. Included is a letter from Meyer thanking Perdew for the carving. (8,000 - 12,000)

Isabella (Dhuie) Tully (1864 - 1950)

John Tully (1862 - 1931)

John Russell (1820 - 1893)

Early Farlow/Fochabers Co. sea trout trophy fish. Caught on the River Ruel August 17, 1910 by Fred Morgan, Tredegar. Engraved brass plate on front. Fish is 5.5 lb, and 23” long. Half body carving mounted on 28” long varnished oak backboard. Detailed textured scales. Open mouth. Flat painted eye similar to work by John Russell. Carved by John Tully and painted by his wife Isabella (Dhuie) Russell, daughter of famous painter, John Russell. Original paint; dry surface paint has crazed mostly on white areas of belly and some of head; pectoral fin has small amount of damage and some paint restoration.

(2,500 - 4,000)

Farlow/Fochabers Co. record brown trout trophy fish. Fish 33” long, mounted on 38” painted backboard with beveled edges. Text on front reads,” TEST (The River Test) June 9th 22 18# T.E.H.” Caught by Brigadier General T.E. Hickman. Half body, fins, and tail have excellent fin ray carving. Carved and painted eyes, open mouth. Incredible scale painting and carved gills. Carved by John Tully and painted by his wife Isabella (Dhuie) Russell, daughter of famous painter, John Russell. Paper label on back reads, “By special appointment to H.M. the King, Rowland Ward, Limited naturalists practical and artistic taxidermists designers of trophies of natural history, preservers of all specimens of animal life, skin dressers and furriers. The Jungle 167 Piccadilly, London w.1.” Superb and highly detailed

with original paint.

Literature: “Decoys,” Gene and Linda Kangas. Collector Books, 1991, exact fish pictured in color on page 172.

(6,000 - 8,000)

Large Farlow/Fochabers Co. salmon trophy fish. Half body. 51” long. Wonderful fin and tail detailing, open mouth, slightly bulging painted eye, carved gills and extensively raised scales. Carved by John Tully and painted by his wife Isabella (Dhuie) Russell, daughter of famous painter, John Russell. Very good original paint.

(6,000 - 8,000) 32

31 Detail

Louisiana 33

Pair of mallards, Mitchell LaFrance, New Orleans, Louisiana. 16” long. Good feather paint detail and relief wing carving. Original paint with very minor wear; light paint shrinkage behind drake’s neck; drake has small chip missing from one side of tail; hen has tight neck crack repair; each has a repair to small

chip to underside of bill. Literature: “Louisiana Lures and Legends,” Brian Cheramie. (3,500 - 4,500)

Mallard hen and drake, George Morel, 2nd quarter 20th century. Relief

carved wings. Hen with glass eyes. Measure 15.5” and 16.5” long. Original paint with moderate wear; small dents and shot marks; tip of bill was broken off long ago and reshaped; crack through bill.

(3,000 - 4,000)

Mallard drake, Mark Whipple, Bourg, Louisiana. 15.25” long. Original paint with minor wear; hairline crack in neck; several tiny dents.

Provenance: Formerly in the collection of Jimmy Hanneman, Hanneman collection brand in underside.

(3,000 - 4,000)

Unrigged mallard drake, Lafrance, Jafrau, and Frederick, New Orleans, Louisiana. Relief wing carving and turned head. Measures 17.5” long. Strong original paint with very minor wear; small dents; original head was turned at a later date with touchup around the neck seat; areas of touchup on head and bill. (2,500 - 3,500)

Pair of pintails, Sidney Foret, Raceland, Louisiana. Relief wing carving and glass eyes. 15.5” long. Original paint with minor wear, mostly on the extremities; drake has a reglued crack in the neck and a reglued neck seam with a small amount of touchup on each place; several very small dents.

Provenance: Formerly in the collection of Ben Kleinpeter, Baton Rouge, Louisiana.

Literature: “Louisiana Lures and Legends,” Brain Cheramie. (2,000 - 2,500)

Pair of mallards, Alfred Hebert, Montegut, Louisiana, early 2nd quarter 20th century. 14” long. Incised wing carving. Feather paint detail. Original paint with very slight wear; hen has two small dents in the back; drake has a chip missing from one side of the tail and numerous very small dents in the back and top of tail.

Literature: “Louisiana Lures and Legends,” Brian Cheramie. (2,000 - 3,000)

Early mallard drake, Charles “Napoleon” Armstrong. Armstrong was a lighthouse keeper at the mouth of Mississippi River. Original paint; minor to moderate flaking and wear, particularly on the underside; bill repair and small tail chip repair; slight wear to wood at edges of bill; old touchup on most of the tail; dents in underside from weight being

removed. 40

(1,250 - 1,750)

Rare pintail hen, Mark Whipple, Bourg, Louisiana. 15” long. Worn original paint; crack through neck; numerous shot marks; small amount of working touchup at tip of tail; paint on speculums has been restored; small amount of paint restoration on back of head; small piece applied to defect in wood on back when decoy was made.

(1,600 - 2,000)

Pair of bluewing teal, Dewey Pertuit, Raceland, Louisiana. 11.75” long. Incised wing carving. Original paint with very slight wear; drake’s bill appears to have been broken off and reattached a long time ago.

(1,400 - 1,800)

Early mallard drake, Charles Joffreau, St. Sophie, Louisiana. Relief wing carving. 17” long. Original paint with minor discoloration and wear; touchup at one side of neck seam and an area approximately 2.5” x 1.5” on other side of neck; very lightly hit by shot. (1,750 - 2,250)

Pair of pintails, Scott Young, New Orleans, Louisiana. Both have Young’s stamp in the underside. Both have slightly turned heads. Drake is 18” long. Both have relief wing carving. Original paint; minor discoloration and wear; several tiny dents; minor roughness to edges of hen’s bill. (2,000 - 3,000)

Greenwing teal drake, Mike Frady, New Orleans, Louisiana. Slightly turned head and relief carved wings. Signed on the underside. Measures 10.5” long. Original paint with minor wear; professional bill repair; repaint on head and neck; shallow chip in back.

(2,500 - 3,500)

Rigmate pair of pintails, Xavier Bourg, Raceland, Louisiana. Approximately 15” long. Relief wing carving with feathering on back edges. Hen has slightly turned head. Original paint; minor discoloration and wear; drake has a professional repair to the end of the bill; hen has a repair to a small chip at the back of the neck base with touchup in that area; hen also has some

touchup in the center of the back.

(1,750 - 2,250)

Pair of so called “pirate” greenwing teal, Grand Isle, Louisiana. 13” long. Carved wings and glass eyes. Original paint with moderate wear and a few small dents; crack in underside of hen; drake’s bill is a professional replacement.

(1,750 - 2,250)

Pacific Coast

Horace “Hi” Crandall 1892 - 1969 | Westwood, California Horace Crandall was born in Ashaway, Rhode Island in 1892. He spent his younger days on the east coast and moved to Benecia, California in 1917 where he took a job as a ferry boat engineer. His job was carrying trains across the Sacramento River before the bridges were built. He made his first decoys while in Benecia 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 collectors covet the most. “Hi,” as he was known, began selling decoys locally through the San Francisco sporting goods stores, including Phillips Sporting Goods. He was even asked to display his carvings at the 1939 World’s Fair on Treasure Island in San Francisco Bay.

Pintail drake, Horace “Hi” Crandall, Westwood, California. 16.25” long with relief wing carving. Slightly turned head. Original paint with very minor wear; lightly hit by shot; thin crack through neck.

Literature: “Wildfowl Decoys of California,” Michael Miller. (5,000 - 7,000)

Charles Bergman 1856 - 1946 | Astoria, Oregon Astoria Oregon, a coastal town located at the mouth of the Columbia River, has a rich history as a waterfowl and fishery hot bed. Established as an outpost during the infamous Louis & Clark expedition in 180,5 and later as the first permanent American settlement on the Pacific coast, it’s no wonder that some of the Pacific Coast’s most famous carvers called this area their home. Charles Bergman, who many consider the most talented of the group, was born in 1856 in the town of Eknes, Finland. He moved to Astoria around 1880 where he found work as a commercial fisherman and boat builder.

Bergman’s love of duck hunting was quickly established finding success as both a subsistence and market hunter. Bergman’s woodworking talents contributed directly to his decoy carving, making him the area’s premier carver. From the early 1900s to about 1920, Bergman decoys were essentially copies of Mason Premier and Challenge grade models. Bergman began carving full time around 1929 and continued for approximately the next 10 years. His decoys can be characterized as having a Mason influence in their form, with carefully applied paint in wonderful graphic design and scratch patterns. His decoys carved by species in order of most common to rarest include: mallard, pintail, teal, canvasback, widgeon, bluebill, and swan.

Pair of pintails, Charles Bergman, Astoria, Oregon. Drake is 20.5” long. Hen has “CB” stenciled on underside. Both have original paint with significant shrinkage; six spots of black feather painting on drake’s back have been professionally touched up; also black on top of drake’s bill.

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

(5,000 - 8,000)

Hollow carved black duck, Nathan Cobb, Jr., Cobb Island, Virginia, 3rd quarter 19th century. Inlet head in nestled pose. Raised “V” wingtip carving and shoe button eyes. Serifed “N” is carved in the underside. 16” long. Old in use repaint with moderate wear; crack through neck; vertical crack in back of head; thin crack in breast.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (12,500 - 17,500)

This Cobb black duck was sold in the July 1973 sale of the collection of William J. Mackey, Jr.

A DAY LIKE NO OTHER In time, if you live through enough of them, all decoy auctions fade into a continuous blur. But, there was this one I distinctly remember that it wasn’t on the Cape, or in Chicago, or in Westlake, Ohio. This sale was in New York at one of those “snooty” uptown auction halls. I also recall that the birds being offered that day were all pretty good. Mostly, I remember a certain Cobb black duck in the lineup that stood out. It was a textbook Cobb with quite a bit of original paint and a fine big letter “N” carved on its underside. Personally, I don’t like auctions. I obsess too much in the days leading up to a sale. I get way too nervous sitting and waiting for my lot to come up. Desire and anticipation all make me anxious and cranky, but I really love Cobb decoys. Anyway, the big day came, and I took a seat in the middle of the auction gallery fidgeting all the time, nodding, and exchanging greetings with some of the other bidders sauntering up and down the aisle three seats away, and making small talk with the collectors sitting next to me. Boom! The Cobb came up. Bang! Bids were flying. Bam! My hand kept convulsively stabbing up into the air above me. And then, somewhere around $1,800, it all stopped, and the Cobb was mine. All I had to do was pay for it. Now remember, between auctions, I lived on a college professor’s wages. I would write a check for this decoy, but I would also have to scramble to make it good when I got back home. So, I settled in to wait for the next change of auctioneers and a chance to scoot out to the lobby and recompose myself. Ugh! When I finally got out to the lobby, something unexpected happened. In the dim light of the foyer where I was waiting in the “checkout line,” I saw a fit, middle-aged man in khaki pants and a neatly pressed light blue shirt sauntering toward me with a funny little crooked grin on his face. He took his time, but he just kept coming toward me with this devilish twinkle in his eyes—and that funny grin. When we were finally face-to-face, he spoke, “Michael, that’s a great bird. I really wanted it. Michael, YOU WERE TOO STRONG FOR ME!” We both laughed. Dr. Lloyd Griffith had a great (and truly twisted) sense of humor. The absurdity of what he said in that moment made my day. Ever after, I always thought of that Cobb decoy as Lloyd’s bird. We all miss you, Dr. Griffith. - Michael D. Hall

Hollow carved black duck, Dave “Umbrella” Watson, Chincoteague, Virginia, 1st quarter 20th century. Raised “V” wingtip carving and glass eyes. “Gooseville Gun Club” brand in underside. Most of the decoy has an appealing coat of repaint; head appears to be original scratch paint; crack through neck.

Provenance: Dr. Lloyd T. Griffith collection. 51

Griffith collection stamp on underside. Literature: “Virginia Decoys,” Henry Fleckenstein, Jr.

(2,500 - 3,500)

Round body style brant, Ira Hudson, Chincoteague, Virginia. 17.5” long. Raised neck seat and tack eyes. Good feather paint detail. Original paint with numerous rubs; fairly narrow age split in underside that has been partially filled.

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

(2,250 - 2,750)

Flat bottom style brant, Ira Hudson, Chincoteague, Virginia. Hollow carved with tack eyes. 17.5” long. Original paint that has darkened with age; very minor wear; thin crack through neck.

Provenance: Meyer collection.

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

(1,750 - 2,250)

Bluebill drake, Ira Hudson, Chincoteague, Virginia. Round body style with paddle tail. 14” long. Original paint with light wear; some kind of wax was used to fill an imperfection on two small spots on underside; small restoration to approximately 1/2” of filler at base of neck. (1,000 - 1,500)

54A

Rare crooked neck brant, Ira Hudson, Chincoteague, Virginia. Head is turned approximately 95 degrees to the side. Gooseville Gun Club brand in underside. 16â&#x20AC;? long. Appealing old in use repaint; small cracks; bill chip repair.

Provenance: Meyer collection. (3,000 - 5,000)

Group of three special order black ducks from the same rig as this lot. The three above have more exaggerated turned heads, tails and slanted ice grove carving in back, circa 1930. The tight scratch feather paint pattern is Hudsonâ&#x20AC;&#x2122;s finest effort.

Important balsa black duck with turned tail, Ira Hudson, Chincoteague, Virginia, circa 1930s. 17” long. One of a group of 12 special order black ducks sometimes referred to as “circle ducks” because of the turned tail and some have slightly turned head. Hudson’s finest scratch paint detail. Ice dip behind neck, fluted tail. Original paint with slight crazing mostly on underside very minor wear; hairline crack in back; three small dents;

Provenance: From a rig of twelve which include the three Hudson decoys on previous page.

Ira Hudson, 1941

Literature: “Ira Hudson and Family,” Henry Stansbury. “Southern Decoys,” Henry Fleckenstein, Jr.

(9,000 - 12,000)

Ontario The Toronto School of Carving

George Warin

J.R. Wells

The decoys recognized as representative of the “Toronto Flats” school are among the finest of the many wonderful decoys to come out of Canada. The leading carvers credited with creating this style were George Warin (1830 – 1904), John R. Wells (1861 – 1953), and Tom Chambers (1864 – 1950). Another early craftsman, although less widely known, was David Ward (1839 – 1905). He was a contemporary of Warin and was certainly extremely influential in the development of the style. The exceptional decoys produced by these men, while each being unique in their own right, are characterized by a few common traits. The majority are hollow with thin bottom boards. They possess fine form with realistically carved heads, and they are finished with wonderfully painted surfaces exhibiting fine combing and well blended feather painting. These men were friendly with or at least familiar with each other and their work. The earliest were Warin and Ward. Warin, along with his brother, was a boat builder on the Toronto waterfront. George Warrin was a member of the St. Anne Club on the St. Clair Flats and also a founding member of the St. Clair Flats Shooting Company in 1874. The brothers sold decoys and boats to members of the elite clubs and sportsmen of the day. David Ward was a pawn broker in Toronto who was an avid waterfowler who, along with Warin, was a member of the St. Anne Club. Apparently, he carved primarily for his own use and, therefore, his work is quite rare. John Wells was, like the Warins, a boat builder on the Toronto shoreline. He, too, sold decoys to members of prestigious clubs ranging from those on Long Point to those on the St. Clair Flats, and he was often a guest at these clubs. Tom Chambers, like Wells and Warin, was

Tom Chambers

St. Clair Flats Shooting Company

St. Anne Club

Lake St. Clair Fishing and Shooting Club

from Toronto, and he hunted the local waters as a young man. In the latter 1800s, he moved to Wallaceburg and Walpole Island to manage the St. Anne Club for his friend George Warin. Eventually, he was to become manager at the St. Clair Flats Shooting Company, and he is known to have carved decoys for members of the clubs. The realistic, stylish, functional, and aesthetically pleasing decoys produced by these men were very well represented in the huge rigs of wooden lures assembled at the various clubs along the shore. Members of these clubs were wealthy and influential, and they could afford and, thus, purchase decoys from the very best carvers of their day. Many of these birds in collections today are branded with club member’s brands. All were eagerly sought after in their working life, and the best are coveted today and are represented in the finest collections in both the United States and Canada.

Very rare Canada goose, David Ward, Toronto, Ontario, last quarter 19th century. Hollow carved with bottom board. Very similar in style to both Chambers and Warin, but earlier. Branded “D Ward” on underside. Head is slightly tucked. 22” long. Strong original paint; subtle feathering on sides of decoy; early repaint to a crack of the bottom board, this extends a short way up the breast and under the tail, otherwise structurally good.

(15,000 - 20,000)

Canvasback drake, John R. Wells, Toronto, Ontario, circa 1900. Branded “JRW maker” on underside. Hollow with bottom board. 16” long. Excellent original paint with combing over white area on back; subtle wingtip feathering present on black area of back; light gunning wear with a few shot scars.

(2,500 - 3,500)

Rare long body style redhead drake, Tom Chambers, Toronto, Ontario, 1st quarter 20th century. Hollow with bottom board branded “JT McMillan” for James T. McMillan 1913 - 1946 member of the St. Clair Flats Shooting Company. 17” long. Good original paint with subtle feather painting near rear side pockets; several rubs; crack in body and in bill.

(2,500 - 3,500)

Bluebill hen, John R. Wells, Toronto, Ontario. Branded “JRW maker” on underside. Hollow with bottom board. Desirable side pocket painting by Wells around edges of body. Alert pose. 16” long. Very strong original paint; rubs on top of head; shot scars to both body and head.

(2,500 - 3,500)

Mallard drake, John R. Wells, Toronto, Ontario, circa 1900. Hollow with bottom board. Branded “JRW” on underside. Raised neck seat and turned head. 16” long. Very old original paint, much of which is original; some areas have been strengthened at sides of body and wing patches and underneath tail.

Provenance: Formerly in collection of Bob Youngman.

Literature: “Ontario Decoys,” 60

Bernie Gates, p. 48, exact decoy pictured. “Ontario Decoys II,” Bernie Gates, p. 71, exact decoy pictured.

(2,500 - 3,500)

Superb short body style canvasback drake, Tom Chambers, Toronto, Ontario, 1st quarter 20th century. Exhibits both comb painting on back

Rigmate pair of redheads, Ivar Fernland, Hamilton, Ontario, 1st quarter 20th century. Both have turned heads. Both have clas-

and additional side pocket wet blending for feath-

sic Fernland painting, which is a combination of

ers on both lower edges of body. Branded “HMJ”

combing and wet on wet blending. Hollow with

for Harry M Jewett 1924-1933 member at the St. Clair

bottom board. Raised neck seats. One of the bet-

Flats Shooting Company. Also branded “WLM” for

ter pair of Fernland redheads we have seen. 14.5”

St. Clair Flats Shooting Club member W. Ledyard

long. Strong original paint with edge wear at tails

Mitchell, 1938-1944. Hollow with bottom board. 15”

and bills; shot mark on drake.

(3,000 - 3,500)

long. Outstanding original paint with a few very small rubs; structurally excellent.

(3,500 - 4,500)

Pair of hollow carved canvasbacks from Ontario. Written on underside is, “From the Canada Club, Dec. 1970.” 18.5” long. Original paint with minor wear; area of touchup on one side of hen’s back; most of the hen’s bill is a professional replacement; crack partway through drake’s bill.

Provenance: Meyer collection. (5,000 - 7,000)

Pair of canvasbacks, John R. Wells, Toronto, Ontario. Both are solid body. Hen displays good feather paint. Drake has subtle wingtip paint. 17” long. Strong original paint; slight separation at neck seam; very light wear.

Provenance: Dick Walters collection.

Literature: “Decoying,” Barney Crandell, p. 134, rigmate example.

(4,000 - 6,000)

Black duck, Lake St. Clair, circa 1900. Hollow with bottom board. Same maker as the two mallards in this sale. Possibly painted by someone from the Mason Decoy Factory. High alert head that is slightly swept back. Identifiable rump under extended tail. 18.5” long. Strong original paint that has crazed evenly over body; numerous shot scars and scrapes exposing bare wood.

(1,500 - 2,000)

Canada goose, possibly Charles Reeves, Long Point, Ontario, 1st quarter 20th century. Branded “W.L - S” in underside. Hollow carved with bottom board. 23” long. Thin original paint on most of body; white area under tail appears to be second coat.

(1,750 - 2,250)

Early mallard drake, circa 1900. Hollow body with bottom board. Paint style resembles that of Premier grade decoys from the Mason Decoy Factory. 17” long. Worn original paint; crack along one side of body; several shot scars; worn to bare wood around bill, tail, and areas of body. (2,000 - 2,500)

Early Canada goose, similar to Charles Reeves, Ontario. Hollow with bottom board. Exaggerated serpentine neck. Very well constructed and lightweight. 21” long. Old paint is a mix of original and repaint from a very long time ago; it has crazed evenly over the entire body; worn to bare wood at edge of tail and a few other small spots on body. (2,000 - 3,000)

Rare pair of green wing teal, Ken Anger, Dunnville, Ontario. Slightly turned heads, feather

Rare pair of blue wing teal, Ken Anger, Dunnville, Ontario. Slightly turned heads, feather

rasping, and incised wing carving. Measure 10.5”

rasping, and incised wing carving. Measure 10.25”

and 11” long. Excellent and original. (4,000 - 5,000)

and 10.5” long. Excellent and original. (4,000 - 5,000)

Jim Schmiedlin 1945 - 2015 | Bradfordwoods, Pennsylvania

Rare old squaw drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. 18.5” long. Slightly turned head and carved primaries. Branded and signed. Dated 2/03. Very good and original. (4,000 - 6,000)

Pair of bluebills, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hen is in rare reaching pose. Both have slightly turned heads, both are branded and signed. Very good and original.

(4,500 - 6,500)

Rigmate pair of canvasbacks, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Both are branded “JAS” on underside. Both have heads turned and reaching over slightly lifted wings. Good feather painting near rear side pocket. Wingtips are slightly raised with carved tail. 15” long. A few small rubs and scratches, otherwise original and good.

(4,000 - 6,000)

Goldeneye drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Signed, branded, and dated 1984 on underside. Head is reaching back to preen a slightly lifted wing. One tail feather is raised and extended. 14” long. Excellent and original. (3,500 - 4,500)

Excellent preening white wing scoter, Jim Schmiedlin Bradfordwoods, Pennsylvania. Dated 10/01 and branded on underside. Head is reaching back over the body. One wing is slightly lifted. Detailed feather carving on wings extending through wingtips and tail. 17” long. Very good and original. (3,000 - 5,000) 75

White wing scoter, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Dated 10/86. Branded on underside. With detailed gunning records written in pencil. Head is turned and slightly forward. Wingtips and tail carving. 20” long. A few small rubs, otherwise very good and original. (2,500 - 3,500)

Ward Brothers Crisfield, Maryland To the best of our knowledge, the “Prescott collection” name first appeared in a Richard Bourne auction in July of 1981. Nineteen lots were offered, all with the same provenance – “Prescott Collection.” Fifteen of the of the decoys were working but unrigged gunners dated to the early 1930s. The identifying link on all of them is the white painted underside with the species of each painted within the black banner. The species offered in the gunning style in this sale include pintail pair, shoveler pair, canvasback pair, redhead pair, bluebill pair, and a goldeneye drake. Several years later, in Loy Harrell’s book, “The Hundred Greatest,” the owner of a widgeon drake pictured on page 160, with the same painted underside banner adds that it was ordered by a Connecticut collector directly from the Wards in 1928. He also states that, included in the order was a goldeneye hen and the only known working brant. One can easily assume that the Connecticut collector that ordered the decoys was Mr. Prescott, first mentioned in the 1981 Bourne sale. Since that time, other decoys with the same species marking and quality characteristics have surfaced.

Black banner with specific identification found on Prescott decoys

Goldeneye drake, Ward Brothers, Crisfield, Maryland, 1st quarter 20th century. 1930 model. Head is turned approximately 50 degrees. Measures 14” long. Near mint original paint; tiny flake from carved tack on tip of bill; touchup around neck to cover discoloration from an old competition sticker.

Provenance: Formerly in the Prescott collection.

(15,000 - 20,000)

Canada goose with turned head, Ward Brothers, Crisfield, Maryland, circa 1930s. Wide paddle tail. Original paint with minor wear; thin crack through neck.

Provenance: Meyer collection. (6,000 - 9,000)

1936 model mallard drake, Ward Brothers, Crisfield, Maryland. Slightly turned head. Old touchup to the white areas, the green on the head, and the black area of the tail; several dents and shot marks; crack in underside.

(2,500 - 3,500)

Hollow carved goldeneye hen, Ward Brothers, Crisfield, Maryland. Shooting stool model with turned head. Signed and dated 1966 on the underside. Measures 13.75” long. A few very minor paint rubs, otherwise excellent and original. (2,500 - 3,500)

Shooting stool model brant, Ward Brothers, Crisfield, Maryland. Signed and dated 1967 with inscription, “Presented to our friends, Mrs. and Mr. Amos Waterfield.” Hollow carved with slightly turned head. Ice dip behind neck. Original paint with slight shrinkage and wear; thin crack in underside.

Provenance: Formerly in collection of Harvey Pitt. (3,000 - 5,000)

In the 1930s, the Ward Brothers were at the top of their game for several reasons. They had been making decoys since about 1918, so they had honed their skills of carving and painting. They were young and physically able to handle the grind of turning out large volumes of decoys, but also mentally able to concentrate on the quality. They were still somewhat undiscovered as celebrities, so they did not yet have the distractions that burdened them in their later years. The decoys made during these years are sought after by collectors from across the globe. Most specifically, the decoys in the style known as â&#x20AC;&#x153;1936â&#x20AC;? are iconic within the scope of the Ward Brothersâ&#x20AC;&#x2122; work. This pattern was created, perfected, and produced from about the early 1930s until about 1945.

Well carved 1936 model canvasback drake, Ward Brothers, Crisfield, Maryland. Slightly turned head. Bill carving between face and bill usually associated with the special order made for the Glenn. L. Martin rig. 16.5” long. Original paint with minor discoloration and wear; crack in underside; hairline crack in breast; several small dents.

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

Literature: “Ward Brothers Decoys,” Brian McGrath and Ron Gard. (15,000 - 25,000)

Oscar Peterson 1887 - 1951 | Cadillac, Michigan Through the Eyes of Oscar Peterson Dating Oscar Peterson fish decoys can be a bit tricky and inaccurate. For collectors, an easy way to categorize his work can be through the material chosen for the eyes on an individual decoy. Peterson lived in the heart of one of America’s most important furniture manufacturing locations, western Michigan. In fact, his sister and brother were both employed at the St. Johns Chair and Table Company. So, if we think about what materials might have been available then, it’s easy to assume there was a supply of upholstery tacks. This is likely why such a large percentage of his decoys have tacks as eyes. Not all tack eyes are the same, however. Peterson typically used four styles of tacks: flat, raised with flat top, domed smooth, and domed honeycomb. Other eyes were painted,

most commonly used in his later period. The two most interesting eye styles to collectors are glass and carved. These two tend to be the most dramatic and were usually applied to pieces made when he was at the top of his game between 1920 and 1935. Peterson likely charged a little more for the carved and glass eye models as these applications take a little longer to produce. Carving an eye would take more time than nailing a tack, and the purchase of glass eyes would add to the overall cost of producing the decoy. These two styles are also usually associated with the fuller or thicker body style, as well and more attention to paint detail. These are the fish categorized as the “classics.”

Rare and exceptional carved eye sucker, Oscar Peterson, Cadillac, Michigan. 13.125” x 2.75” x 1.6”. So called “blood in the eye,” meaning the red has been included in the lower portion of the eye. Strong curvature to body. An extremely rare example carved eye fish in this length. Original paint with minor wear; rub to bare wood near top of back; professional repair to a chip in the tail; small amount of flaking at top of fins and forward weight on underside.

Provenance: Dick and Diane Walters collection.

(8,000 - 12,000)

Large carved eye walleye with natural side, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. 10.75” long x 1.75” tall x .9” wide. Excellent original surface; varnish has aged and crazed nicely; dorsal fin is missing; tail fin is a professional replacement; moderate wear on underside; slight discoloration where pin holds in line tie.

Provenance: Dick and Diane Walters collection.

(4,000 - 6,000)

Carved eye rainbow smelt, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Extremely rare species with so called “blood in the eye.” 9.5” long x 1.5” tall x .75” wide. Possibly a unique species for Peterson. Strong original paint; some varnish flaking along top of back; small wood splinter at one side; worn area at top of mouth.

Provenance: Dick and Diane Walters collection.

(5,000 - 7,000)

Very rare walleye fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Carved eye. 9.25” long x 1.5” tall x 1” wide. Very rare species for Oscar Peterson. Strong original paint; flaking at fins; varnish has slightly yellowed; two spots of orange paint drip near back of tail.

Provenance: Walters collection.

(4,000 - 6,000)

Rare and large carved eye sucker, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. 9.5” long x 2” tall x 1.25” wide. Original paint protected by an old coat of varnish; two knots in body have pushed out slightly; small chip at underside of tail; some paint loss at belly weights and fins; small scratch in one side.

Provenance: Walters collection. (3,000 - 5,000)

Carved eye brook trout, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. 7.5” long x 1.5” tall x .75” wide. Extra details like the carving between the mouth and gills on underside. Additional yellow phase along underside. A working patch in one side adds character to this fish, and remains unpainted. Original paint; rough areas at tail; paint loss at fins

and underside.

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

Carved eye perch, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. 7.5” long x 1.5” tall x .8” wide. Strong original paint protected by an old coat of varnish; moderate wear; a few small scrapes and rough edges; paint loss at belly weights and a little at fins.

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

Pike fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. 7.25” x 1.25” x .75”. Unusual color phase. Tack eyes. Strong original paint protected by a coat of varnish that has slightly yellowed; small areas of paint loss at fins and underside.

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

Brook trout, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Tack eye model. 5” tall x .75” x .5” wide. Excellent original paint; small areas of paint loss at fins and eyes.

Provenance: Walters collection. (1,200 - 1,500) 92

Rainbow trout, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Painted eye. 5” long x .75” tall x .5” wide. Strong original paint protected by a coat of varnish.

Provenance: Walters collection. (1,500 - 1,800) 93

Carved eye brook trout, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. 6” long x .75” tall x .5” wide. Original paint; wear at tail and head area; protected by an old coat of varnish; loss of paint on underside small portions of fin.

Provenance: Walters collection. (800 - 1,200) 94

Sucker, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Painted eye. 5” long x .75” tall x .5” wide. Excellent original paint that has mellowed under a coat of varnish; small paint loss at fins.

Provenance: Walters collection. (800 - 1,200) 95

Rare bass fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Painted eye. 6.75” x 1.5” x 1”. Original paint protected by a coat of varnish that has colored some; paint loss at fins; underside appears to have been repainted; two areas of paint loss at side.

Provenance: Walters collection.

(1,200 - 1,500)

John Schweikart 1870 - 1954 | Strawberry Island, Michigan

John and father Walter Schweikart, with friends pictured on the Schweikart family yacht “Lucy”, after a good days shoot on Lake St. Clair.

In North American Decoy Magazine published in 1977, Juli Hall wrote the first article on the Schweikart family decoys. Other than some singles, the entire rig had recently been discovered, still in the family’s possession, at their hunting camp on Strawberry Island – a small spit of land several miles off the shore of Michigan’s Lake St. Clair. “Schweikart decoys seem to have it all. There is grace in the line of their backs and wings. There is a uniqueness to their shape and construction, and no one confronting a Schweikart can ignore the enigmatic presence of the carving as it ‘watches’ from the shelf. All Schweikarts have an unexplainable difference that makes them stand

Captain John Schweikart circa 1890

out. They have that peculiar ‘X’ – something that invites debate, but which ultimately puts them in the ranks of the Cobbs, Wards, and Walkers that made decoy history.” “The Schweikart influence is seen everywhere in the Flats, indicating that one man’s artistry had a ripple effect that spread across time to touch even such late carvers as Ferdinand Bach. Schweikart decoys predate almost all other Flats carvings by known Michigan makers. The impact of these birds on Flats decoy making suggests that Schweikart was, in some ways, to Michigan carving what Albert Laing was to Connecticut.”

Rigmate pair of canvasbacks, John Schweikart, Strawberry Island, Michigan. Both have copper wingtips and fold down copper keel. Original paint; minor wear; a few tiny dents.

Provenance: Meyer collection. Literature: “Michigan Decoys,” Lowell Jackson and Clune Walsh. (20,000 - 30,000)

Very rare pair of bluewing teal, William Finch, circa 1900. Hens from this special rig are hard to come by. Both have “WF” carved in

Rare and early Canada goose, Nate Quillin, Rockwood, Michigan, 2nd half 19th century. Hollow with bottom board. Raised

underside. Both are hollow with bottom board

neck seat and tack eyes. 18” long. Multiple

and exhibit fine scratch painting and construc-

coats of very old paint has crazed evenly to cre-

tion qualities similar to those made by Toronto’s

ate an appealing dry surface; small chip under

best makers. 13” long. Strong original paint; hen

bill; a few flakes where bare wood is exposed.

has a tail chip repair.

(4,000 - 5,000)

(3,000 - 5,000)

100

Rigmate pair of canvasbacks, Christie Brothers, Saginaw Bay, Michigan, 1st quarter 20th century. Large solid body decoys with hump style tail. 17” long. Strong original paint; a few shot marks in each; light gunning wear. (1,500 - 2,000)

100

101

Very rare mallard drake, Hays Finkle, Saginaw Bay, Michigan, circa 1900. Hollow with bottom board. Slightly upswept tail. Raised neck seat and glass eyes. Mallards from this area are very rare. Partially hollowed out from underside of body. 19” long. Very strong original paint; virtually little wear.

Literature: “Saginaw Bay Waterfowl Hunting and Decoy Carvers,” William Stout, p. 136, exact decoy pictured.

102

101

(2,500 - 3,500)

Canvasback drake, John Schweikart, Detroit, Michigan, circa 1900. Classic hollow canvasback with inset tin wings. Thick “bull neck” that is reared back slightly. 16” long. Old paint; some of which, mostly on the back, is the original surface with a light white wash; other appear to be very old working second coat.

(2,500 - 3,500) 102

103

Rigmate pair of canvasbacks, Ralph Reghi, Mt. Clemens, Michigan. Desirable high head style from the Laurie rig, each bares that brand on the underside. 17” long. Original paint on drake, some paint appears to have been removed on areas of back and head; black has been strengthened; original bill was broken and reset; original paint on hen, even wear over body and head; several shot scars.

103

(1,500 - 2,000)

Ferdinand Bach 1888 - 1967 | Detroit, Michigan

Swiss-born Ferdinand Bach emigrated to the United States in 1916. Trained as an architect, he quickly capitalized on these skills in his new home and, ultimately, was to work for the design department of a number of automobile companies in Detroit. An avid outdoorsman, his home was a log cabin on a wooded lot with an adjoining waterbody. This served as his tiny oasis where he could escape the demands of his more urban office. His personal rig consisted of 75 decoys which, unfortunately, were lost to a boathouse fire. In 1926, he carved a similar rig and lavished great care upon every decoy, carefully cleaning and wrapping each one at the end of every season. He utilized up to 44 individual head patterns, and all of his decoys exhibited the meticulous attention to detail one would expect from a design professional. He was a contemporary of John Schweikart (1870 – 1954), and both men were probably aware of each other’s decoys. Both men embraced the attractive and sturdy “bull neck” form in constructing their decoys, and both are ranked today among the most notable of Michigan’s best carvers.

105

Classic canvasback drake, Ferdinand Bach, Detroit, Michigan. “F. Bach” carved in the underside. Relief carved wingtips and fluted tail. Measures 16” long. Near mint original paint; a few tiny dents.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli.

(15,000 - 20,000)

106

Pair of bluebills, John Zachman, Detroit, Michigan. Each has Zachman’s sticker on underside. Hen is inscribed, “To Nick Purdo, a real friend, John Zachman 1970.” Drake is branded “Zachman” on underside. Also has participation sticker from the international decoy contest in 1969. Both have detailed feather and wing carving. Highly detailed bill carving with extra fancy or competitive paint job. 13” long. Excellent and original.

106

(1,500 - 2,000)

107

Rare rigmate pair of redheads, Zeke McDonald, Detroit, Michigan, 1st quarter 20th century. Both are branded “H.P. Barton” on underside. Raised neck seats with simple extended tail and classic slightly oversize head carving that McDonald is known for. 16” long. Strong original paint; small area of dried glue at neck seam of drake;

107

slight gunning wear with small rubs on hen’s head and back. (1,500 - 2,000)

108

Canada goose, Ralph Reghi, Detroit, Michigan. 22.75” long. Original paint with very slight wear; a few tiny dents.(1,250 - 1,750)

109 108

Rare pair of teal, Oscar Peterson, Cadillac, Michigan, circa 1930. Both have painted eyebrows, similar to what Peterson did with fish. Tack eyes and snuggled heads. 10.5” long. Both are in strong original paint; with replaced neck filler. (1,250 - 1,750)

109

110

Canvasback drake, Ferdinand Bach, Detroit, Michigan. “F. Bach” is carved in the underside. 15.5” long and 9.25” wide. Slightly turned head. Detailed wingtip and tail carving. Appealing, second coat of paint by Bach; very slightly hit by shot; hairline crack in one lower side.

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

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

(3,000 - 5,000)

110

111

Rigmate pair of canvasbacks, One Arm Kelly, Monroe, Michigan, 1st quarter 20th century. Drake’s head is turned. 15” long. Strong original paint; two tight cracks in body of drake, otherwise very good and original.

112

(1,200 - 1,500)

Four geese, Mr. Pruss, Saginaw Bay, Michigan, circa 1930. Two snows and two Canada. All four were purchased by Dick Walters from the Pruss family. Each has cork body with a wooden bottom board. All heads are removable, for carrying purposes and are secured on the bodies with two dowels. Very appealing wide base of the necks and the sculpted head position give this rig of four geese

111

considerable animation. 20” long. All four decoys are in old working paint that is at least a second coat; structurally good.

(1,200 - 1,500)

112

Ferdinand “Ferd” Lee Homme 1900 - 1963 | Stoughton, Wisconsin It takes a village. That village was Stoughton, Wisconsin. It is where one of North America’s most iconic decoys was created. Stoughton was the home of Ferd Homme. He lived in a culturally inviting community where at least 75 percent of the population spoke Norwegian, which was taught in schools as the first language. Many residents belonged to the same church. Everyone knew everyone. It was a place that encouraged a positive attitude, hard work, and acceptance of new arrivals with a common Nordic heritage. A confluence of diverse factors was inspiring. From the mid-19th century on, a constant stream of Norwegian immigrants traveled to Stoughton for work opportunities and social familiarity. Tollef Olsen Homme and Targe G. Mandt were two of many soon-to-be new Americans, who emigrated from the same region in Norway. They settled in Stoughton in the second half of the 19th century in the town renowned as “Little Norway.”

Tollef married Dagne “Della” Mandt in 1884. The couple had nine children, including sons Ferd and Mandt. Targe owned the TG Mandt Wagon Company, which actively recruited factory personnel from Norway. Tollef was one of the company’s painter/decorators. Friendly personnel interactions at Mandt’s wagon works continually sought to improve their vehicles. Exchanges resulted in a considerable number of US patents. Tollef’s son Ferd was a foreman for the Wisconsin Power & Light Company.

Ferd Homme had an outgoing, engaging personality. In school, he was socially active in the class play, glee club, debate team, and drama club. Ferd was also the art editor of the yearbook. Stoughton was filled with smart ambitious people. Frank Lloyd Wright’s father William Carey Wright, for example, taught music there. Ferd memorialized a number of such citizens in his book, “Oak Opening: The Story of Stoughton.” Ferd was an ardent lover and observer of nature and an accomplished photographer. His wife, Elsie, was the town’s librarian, and he served on the library board. His obituary stated, “He knew the birds by their calls and the animals by their tracks. He knew which country roads had the prettiest views of every season.” Following publication of “OAK OPENING,” Ferd chuckled and said, “You know, it feels kind of good to see your name on the cover of a book.” His decoys were often signed with bold, hand painted letters.

Ferd Homme was not a recluse. He studied, read, observed, and interacted with a wide cross section of people. His decoys reflect an extraordinary individual awareness and sensitivity. The Homme mallard embodies much more than the average decoy. It was elevated to a new level. While it can certainly be admired from a distance, holding it is a personally rewarding experience. You can close your eyes and still appreciate the bird’s wonderful subtle body undulations, its textural variations ranging from intricate vermiculation to brushed featherations, and its exceptional anatomical reality. The mallard’s comfortably nestled sleeping head was not simply nailed on like most decoys; it was carefully sculpted and asymmetrically positioned in a manner that convincingly embodies life. Homme’s iconic mallard ranks with the very best of all waterfowl portraits. It is both a working decoy and a work of art far exceeding its basic purpose.

113

Ad in May-June 1984 issue of “The Decoy Hunter.” When this great decoy first surfaced collectors from New England thought it was the work of Shang Wheeler, and advertised it as such.

113

Incredibly executed working mallard drake in a tucked head resting pose, Ferdinand Homme, Stoughton, Wisconsin, circa 1930. Considered one of the finest working decoys ever made in the state of Wisconsin. The exaggerated bending of the head in a rotated resting position is anatomically more accurate than any working decoy we have ever seen. The masterful scalloped wing and tail carving with the wet on wet blending and precision combing over the back of the body have been executed perfectly. Crossed wingtips with individually carved tail feathers and, at one point, a flued curly tail at the very tip which has since worn away. Hollow and branded with the creator’s name on underside, “Ferd Homme.” 15” long. Excellent original paint; small amount of crazing at the head; approximately half thumbnail size paint restoration to what may have been a shot scar near top of back; repair to a crossed wingtip.

Provenance: Formerly in the collection of Jim Cook. Formerly in the collection of John Delph. Sold at Oliver auction in early 1990s. Literature: Selected as the feature bird on the cover of, “Decoys,” Linda and Gene Kangas, published 1992, exact decoy pictured on cover and p. 199.

(80,000 - 120,000)

114

Winous Point Shooting Club, early 1860s. Includes several classic Porter rig black ducks in the foreground. Courtesy “The Mysterious J.H. Porter,” Gene Kangas

115

114

Oversize canvasback drake, Augustus Moak, Tustin,

ticular rig of decoys was made and used by members

Wisconsin. From the Valentine’s Day rig. Hollow carved

of the Winous Point Shooting Club, Port Clinton, Ohio.

with very slightly turned head. 18” long. Original paint

The oldest operating duck club in the country. This style

with minor shrinkage and wear; professional repair to a

of black duck is pictured in a famous photo taken at

crack at one side of the neck base; with a tiny amount

the club in 1864. Body is constructed from two pieces

of touchup in that area.

with a bottom board being attached by old square

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli.

115

(3,500 - 4,500)

Early and important black duck, unknown maker, Port Clinton, Ohio, 2nd half 19th century. This par-

nails. There is old shoulder and wing carving and a tail that has been scooped out from the underside, a common trait from decoys used at the club. Hat pins were used for eyes. A well carved head is reared back slightly on the body. 16” long. Original paint that has worn to expose bare wood evenly on the body and some areas of head; structurally good.

(4,000 - 6,000)

116

Rigmate pair of oversize canvasbacks, August Moak, Tustin, Wisconsin. Both are hollow carved with slightly turned heads. 18.5” long. Each have the initials “EPH” painted on the underside. Original paint with minor discoloration and wear; some old in use repaint on flat areas of undersides; a few tiny dents.

Provenance: Formerly in collection of Gene and Linda Kangas.

Literature: “Decoys: a North American Survey,” Gene and Linda Kangas, p. 226, exact decoys pictured. “Decoys of the Mississippi Flyway,” Alan Haid, p. 38, exact decoys. “Decoys of Winnebago Lakes,” Ron Koch p. 86, exact decoys.

(5,000 - 8,000)

Joseph B. Kempinger 1918 – 1968 | Oshkosh, Wisconsin Almost nothing is known about the short life of Joe Kempinger. He was the son of Austrian born Burkhead (Bert) Kempinger and his wife Mary. He attained an 8th grade education and, by age 22, he was living at 1036 8th St, Oshkosh, Wisconsin and was working in Murray’s Food Market in that town. No record can be found of his ever having been married. He did serve in the military in the “Ordnance Department,” and he is buried in the Wood National Cemetery in Milwaukee. He carved only for his own use and this, along with his short life, meant that his production was very limited. His decoys are extremely well done with a paint pattern that was obviously inspired by the Evans Company.

116A Large canvasback drake,

Joseph Kempinger, circa 1920s. 16” long. “HG” carved in underside. Carved bill delineation and glass eyes. Near mint original paint; a few tiny shot marks. (1,750 - 2,250)

116A

117

Well executed widgeon drake, Bill Schultz, Milwaukee, Wisconsin. Signed by maker and dated 1971 on underside. Excellent original paint with painted vermiculation covering most of body. Keel has been removed. Raised wingtips and carved shoulders. Head is slightly reared back. 13.5” long. Excellent and original.

(2,000 - 3,000)

117

118

Canvas over wooden frame Canada goose, Enoch Reindahl, Stoughton, Wisconsin. Carved wooden head. Fine feather paint detail on canvas. Head tips forward onto the breast for storage. 24” long. Original paint with minor wear; three small repairs to canvas with touchup; wear at edge of bill was darkened.

Provenance: Meyer collection.

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

118

(2,500 - 3,500)

119

Pair of mallards, Bernard Ohnmacht, Lafayette, Indiana. 15.25” long. Relief wings and swivel head. Both are stamped “GBM.” Canvas over cork construction. Original paint with minor wear; small amount of touchup on top of drake’s head, bottom edges of one bottom edge of hen, and filler at sides of weight slot replaced on underside and touched up.

119

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

120

Rigmate pair of bluebills, Owen Gromme, Milwaukee, Wisconsin. 12.5” long. Relief wing carving. Original paint with minor discoloration and wear; several small spots of touchup at hen’s neck base, mostly on the seam; small spot of touchup on one side of breast; several tiny dents.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli.

(7,500 - 10,000)

121

Large pair of mallards from Wisconsin. 17.5” long. Hen has carved, crossed wingtips and is in sleeping pose with bill buried in feathers. Drake has slightly turned head, in feeding pose. Original paint with some feather detail on hen; minor wear; a few small dents.

(600 - 900)

121

122

Canvasback hen, unknown carver, used at the Winous Point Shooting Club, Port Clinton, Ohio, 3rd quarter 19th century. Branded “GAS” for member George A. Stanley, 1857 - 1884 on weight attached to underside. Tack eyes. Slightly upswept tail and bold shoulder carving. Hollow with center cut line. 16” long. Original paint; tight crack in neck; a few shot scars; light gunning wear.

122

(1,500 - 2,500)

123

Rare mechanical flapping wing mallard drake, possibly from Ohio, 1st quarter 20th century. Mounted to a bottom board which is rigged to take a line from a hunters blind. When pulled the mallard tips up and cloth wings expand to simulate a stretching mallard. Original paint; in good working original condition.

(1,500 - 2,000)

123

124

Rigmate pair of mallards by a member of the Lawson Boat Company, circa 1930. Both have bottom boards and are possibly hollow. Both have heads extended straight down middle of back. Both are absent eyes, to emulate sleeping pose. 13” long. Original paint on drake; hen appears to be a mix of old working repaint and original; drake has tail chip; both have worn spots at top of

124

head and small areas on body. Provenance: Perkins collection.

(1,500 - 2,000)

“Enoch was my grandmother’s brother. I remember stopping by his home on Main Street in Stoughton, Wisconsin to visit, and always thought he was a very interesting person. He used to shoot grackles and hang them in a tree to ward off other grackles, so they wouldn’t chase away or kill his favorite birds.” “Enoch was the quintessential outdoorsman. He spent many hours in the Grand Marsh which he owned and, eventually, gave to the Wisconsin Department of Natural Resources. He hunted there and took many waterfowl photographs, some of which he used to refer to for his oil paintings and carvings.” “Enoch lived for 96 years. Toward the very end of his life, I helped him with his health care decisions, medications, medical appointments, etc. He knew I really liked the owl/rabbit carving so he gave it to me.”

125

Consigned from the Family of Enoch Reindahl

125

Well executed, carved sculpture, Enoch Reindahl, Stoughton, Wisconsin, circa 1940. Portrays a great horned owl that has just pounced on a cottontail rabbit. Talons are clutched into rabbit’s side. Wings are spread, tail is fanned. Highly detailed paint pattern as well as musculature carving in both the owl and the rabbit. Mounted on two tiered base. 8.75” tall from base and base is 5” wide. Excellent dry original paint; structurally very good. (5,000 - 7,000)

125A Six old wood carving chisels. 11.5” - 7” long. From Enoch Reindahl’s workshop, consigned by the family member that consigned lot 125. (400 - 600)

125A

Sporting Art

Edmund Osthaus 1858 - 1928

Born in Hildesheim, Germany, Osthaus studied at the Royal Academy of Arts in Dusseldorf between 1874 and 1882, immigrating to the United States in 1883. He became the director of the Toledo Academy of Fine Arts between 18861893, eventually leaving to devote himself fulltime to painting, shooting and following field trials. He was a charter member of the National Field Trial Association formed at Newton, North Carolina in November 1895. As one of the top American sporting painters in his time, he was greatly admired by wealthy families such as the Vanderbilts and the Morgans. These families and great art collectors commissioned paintings in order to decorate large and spacious walls in their grand homes. Osthaus worked in watercolor and oils and, occasionally, etchings. Many of his works were commissioned pieces like the one being offered today. A well to do sportsman of the time quite often decorated his home or office with a portrait of his prized hunting companion.

126

Exceptionally well done oil on canvas of dogs in the forest, Edmund Osthaus (1858-1928). In original frame. Image size 22” x 36”. Notes on back indicate painting was cleaned in early 1980’s; black light indicates two small inpainting lines approximately pencil width and one inch long close to upper corner; from back of canvas a small patch is visible along left side of frame, but inpainting is not visible with black light at front.

Provenance: Written on back of cardboard backing, “Marshalls Art Shoppe, 110 Oak Hill Ave, Youngstown, Ohio.” (25,000 - 35,000)

James Brade Sword 1839 - 1915 | Philadelphia, Pennsylvania James Brade Sword was born in Philadelphia but spent much of his youth in Macao, China. He returned to the United States to complete secondary school in Philadelphia and became employed as a civil engineer. Sword studied painting at the Pennsylvania Academy under Christian Schussele and then with marine artist George Washington Nicholson. Throughout his artistic career, he painted a wide range of subjects, from sporting scenes, portraits, and genre scenes to landscapes in the Hudson River idiom. He also painted at various locales in the Northeast, including eastern Pennsylvania, Newport, Rhode Island, the New Jersey shore, the White Mountains, and the Adirondack Mountains. He was elected President of the Philadelphia Society of Artists in 1878 and, in 1887, Director of the Art Club of Philadelphia. Sword was also a member of the Brooklyn Art Association and of the Boston Art Club. His work can be found in the collections of the University of Pennsylvania, the Pennsylvania Academy of Fine Arts, the Reading (PA) Public Museum, the Farnsworth Art Museum, the Washington County (MD) Museum of Fine Arts, the Colby College Museum, and the Yale Art Gallery. Sword’s portrait of House Speaker J.W. Jones still hangs in the Capitol in Washington. At various times, Sword listed his occupation as “Artist”, “Portrait Artist” or “Landscape Artist”. He executed several hunting scenes focused on quail hunting, waterfowling, and rail shooting. The hunter in the painting offered here bears a striking similarity to Mr. Sword in his earlier years, and it is conceivable that it is, basically, a self-portrait. The artwork offered here was titled “Marsh at Break of Day.” It was chosen to illustrate the chapter on “Inland Duck Shooting in the United States” in William Bruce Leffingwell’s 1890 “Shooting on Upland Marsh and Stream.” The chapter was written by John G. Smith the then-president of the Iowa State Sportsmen’s Association.

127

Oil on canvas, James Brade Sword (1839-1915). Titled “In the Marsh at Break of Day.” Important illustration done for “Shooting on Upland, Marsh and Stream” by Leffingwell William Bruce. Image of hunter, probably a self portrait of Sword, shooting ducks from a cattail stand from the shore of a marsh with a side by side hammer gun. Accompanied by a flat coat retriever and a younger companion, probably his son. Image measures 17.5” x 29.5”. Professionally framed. Only a few very minor spots of inpainting; maintains original stretcher that has oxidized perfectly to expose age and has not been relined.

Provenance: Last sold at Crossroads of Sports.

(7,000 - 9,000)

Chet Reneson b. 1934 | Old Lyme, Connecticut

Chet Reneson’s 2018 Massachusetts duck stamp.

Reneson was born on the family game farm in Cromwell, Connecticut. As a young man he began to cater to his artistic urges by sketching the local wildlife around his home. After high school, he was able to attend the University of Hartford Art School and went on to begin his career as an illustrator for Pratt and Whitney. He continued to sketch and paint and was eventually selling his work at galleries in Connecticut and New York City, such as The Crossroads of Sport. His subjects are almost universally hunting or fishing scenes, and these are rendered in his favored medium, watercolor. He is renowned for his minimalist approach to his subjects while still capturing the mood of the scene, as well as the full human emotion. He has been described by the publisher of Wildlife Art Magazine as “a master of watercolor.” He only paints from experience and has hunted and fished from Canada to the Bahamas, and has visited the Scottish moors, always accompanied by his wife, Penny. He has completed a volume of work that has been exhibited at galleries ranging from Connecticut and New York to the Easton Waterfowl Festival. In

addition to numerous private commissions, his work has graced the covers of numerous journals such as Gray’s Sporting Journal, Sporting Classics, and Sports Afield, and he has illustrated a number of independent wildlife books. He has been named Artist of the Year multiple times by Ducks Unlimited, Trout Unlimited, and The Atlantic Salmon Federation. His painting of scoters was chosen as the winner for the 2018 Connecticut Migratory Bird Stamp. A lifelong conservationist, he has sat on the board of the Connecticut Wildlife Federation and has been a delegate to the National Wildlife Federation. At least two books have been written which focus on his extensive body of work. In addition to his flat art, he has carved and painted about 1,400 decoys, both working and decorative. He must surely be considered among America’s premier wildlife artists.

128 128

Watercolor on paper of duck hunters in a blind, decoys, and ducks in a snow storm, Chet Reneson. Signed and dated 1975. Image size 20.5” x 28.5”. Very good and original.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on back. (2,000 - 3,000)

129 129

”Jump Shooting Blackducks,” watercolor, Chet Reneson (b. 1934). A father, son, and retriever flushing three ducks and taking aim. Signed lower left. Image measures 20” x 28”. Professionally matted and framed. Very good and original.

(2,000 - 3,000)

Sir Peter Scott 1909 - 1989

Sir Peter Markham Scott was a naturalist, conservationist, artist, and author whose abiding passion was wildlife. He traveled the world painting rare birds, then later founded the Severn Wildfowl Trust (now the Wildlife and Wetlands Trust), and co-founded the World Wildlife Fund (now the World Wide Fund for Nature). Described as the “father of conservation,” he led a campaign for endangered wildlife that captured the imagination of a generation and inspired many to care about the environment long before it was fashionable to do so. Scott was born in London, the only child of Antarctic explorer Robert Falcon Scott and sculptor Kathleen Bruce. He was only two years

old when his father died. Robert Scott, in a last letter to his wife, advised her to “make the boy interested in natural history if you can, it is better than games.” He inherited his artistic talent from his mother, and had his first exhibition in London in 1933. His wealthy background allowed him to follow his interests in art, wildlife, and many sports, including sailing and ice skating. In the 1936 Berlin Games, he represented Great Britain and Northern Ireland in sailing at the Olympics, winning a bronze medal.

130

Canvasbacks, oil on canvas, Sir Peter Scott. Canvasbacks moving through distant sky with a close flock setting wings to join the safety of resting ducks on water. This exact painting along with five other Scott painting were reproduced by Field and Stream in 1953. Sold in sets of six, each was laminated for use as place mat or wall hanging. Published by Henry Hold & Co. Signed and dated 1952 lower left. Image measures 24.75” by 35.75”. Very good and original.

Provenance: Private collection Maryland.

(6,000 - 9,000)

131

Watercolor of partridge hunter in a farm field, Ogden Pleissner. Signed. Image size 18” x 28”. Included is a letter from Ogden Pleissner to a man who purchased it in 1967 from Crossroads of Sport, “Was painted about 10 years ago. Old stone wall is just in back of my place in Vermont and along it is rather good cover.” Excellent and original.

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

(20,000 - 30,000)

132 132

Flying ruddy turnstones, acrylic on board, Larry Barton (1936-2008). Highly detailed. Signed lower right and dated 1983. Professionally framed. Image measures 19.75” by 29.5”. Very good and original. (2,000 - 3,000)

133 133

“Woodland Seclusion Wild turkeys,” oil on board, Richard W. Plasschaert (b. 1941). Two turkeys in an autumn landscape. Signed lower left. Professionally framed. Image measures 24.75” by 37.5”. Tight paint shrinkage or crazing throughout, otherwise very good. (2,000 - 3,000)

134

“Alone,” oil on canvas, Richard Bishop (18871975). Nicely detailed single goose against a “Bishop blue” sky. Signed lower right. Image measures 23.25” by 26.5”. Two small spots of touchup in sky, otherwise very good and original.

(4,000 - 5,000)

Bishop’s paintings and prints may be found in the Honolulu Art Museum, the Syracuse Museum of Fine Arts, and the Philadelphia Museum of Art. An artist internationally known for his wildlife prints, Bishop illustrated the book Prairie Wings by Edgar Queeney and, in 1936, published Bishop’s Birds (J. B. Lippincott). He was the original artist for the prestigious Federal Duck Stamp program at its inaugural in 1936

135

Grouse after the hunt, oil on canvas, Richard LaBarre Goodwin (1840-1910). Signed lower left and dated 1880. In a modern gilt frame. Image measures 24.5” by 16”. Very minor stretcher marks, otherwise very good and original.

(1,500 - 2,500)

136

Fly fishing scene, watercolor, Arthur Shilstone (b. 1922). Signed lower right. Matted and framed. Image measures 15.75 by 23”. Excellent and original.

(1,200 - 1,800)

137 137

Oil on canvas of champion beagles with names identified as well as lineage in lower left. Trinket 1903 and Varnish 1898. The artist did not sign the painting, but instead, used a monogram, as was fairly common in painting champion dogs. Monogram is dated 1904. Image measures 14.5” x 19.5”. Varnish is darkened slightly; tight crack in sky above dog’s head has some separation. (1,250 - 1,750)

138

Oil painting on canvas, Jim Foote, Detroit, Michigan, 2nd half 20th century. Very appealing image of three canvasbacks on water. Signed lower right. Image size 17 1/4” x 23 1/4”. Professionally matted and framed. Excellent and original.

(2,000 - 3,000)

139

Oil on canvas of woodcock, Wakeman Holburton. Image size 10.5” x 13.5”. In Birdseye maple frame. Professional repairs to two small tears.

(2,000 - 3,000)

Miniatures

139A

142

140

143

141

144

139A Very rare miniature green heron, Elmer Crowell,

East Harwich, Massachusetts. Good feather paint

Pair of mallards, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangle stamp on the

detail. 5” tall. Very good and original. (2,500 - 3,500)

underside of base. Small spot of touchup on hen’s

142

head and a professional neck crack repair on drake, 140

Very rare miniature skunk head scoter, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. 3 1/8” tall. Very good and original.

141

(2,000 - 3,000)

otherwise very good and original.

Provenance: Lillian Colodny collection.(2,000 - 3,000)

143

Miniature wood thrush, Elmer Crowell, East Harwich, Massachusetts. Raised wingtips.

Miniature running merganser drake, Elmer Crowell, East Harwich, Massachusetts. Underside

Measures 3” long. Tiny spots of touchup to flaking on back, otherwise very good and original.(1,200 - 1,800)

of base painted white. 5.5” long. Original paint with good detail; four small spots of touchup on sides of head; structurally good.

(800 - 1,200)

144

Miniature mallard, Elmer Crowell, East Harwich, Massachusetts. Rectangle stamp on the underside. Measures 5” long. Professional neck crack repair, otherwise excellent and original.

(1,200 - 1,800)

145

147

146

148

145

Miniature Canada goose, Elmer Crowell, East Harwich, Massachusetts. Rectangle stamp on the

147

Pair of miniature redheads, A.J. King, Scituate, Rhode Island. 2.25” tall. Both birds have detailed

underside of base. Measures 5.75” long. Professional

feather paint and extended wingtips. Signed on

neck crack repair and a spot of touchup on face, oth-

base. Several tiny flakes of paint missing from one of

erwise excellent and original.

drake’s feet, otherwise very good and original.

(1,200 - 1,800)

(1,000 - 1,400) 146

Miniature greenwing teal, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangle stamp on underside of base. Also identified in pencil.

Pair of miniature canvasbacks, A.J. King, Scituate, Rhode Island. 2 3/8” tall. Detailed

Measures 4” long. Reglued crack in bill with a few tiny

feather paint with extended wingtips. Signed on

spots of touchup, otherwise excellent and original.

base. Original paint with a few tiny flakes missing;

148

(1,200 - 1,800)

149

150

structurally very good.

151

1/2 size widgeon drake, Tom Schroeder, Detroit, Michigan. With Schroeder’s brand on underside.

151

152

Miniature bluebill drake, Tom Schroeder, Detroit, Michigan. Carved to appear as if it was

Wing primaries are lifted above secondaries and tail

on a gold base. Schroeder’s stamp on underside. 7”

carving, not typically seen on Schroeder’s widgeon. 9”

long. Excellent and original.

(400 - 600)

(700 - 900) 152

150

(1,000 - 1,400)

1/4 size Canada goose, Horace “Hi” Crandall, San Francisco, California. 9.5” long. Relief wing

Rare miniature redhead drake, Oscar Peterson, Cadillac, Michigan, circa 1930. Typical Peterson shape with head set back on body. Painted eyebrows.

carving and very slightly turned head. Very good and

5.5” long. Strong original paint that is crazed mostly

original.

on one side, covered by a coat of varnish; touchup

(450 - 650)

around neck base; a few small flakes.

(300 - 500)

Shorebirds

According to William J. Mackey, Jr., Assawoman Island in Accomac County, Virginia was the home to William Mathews. “who, for 70 years, left his mark on many decoys from that section. Most of Mathews’ decoys were the common, sturdy type favored by Virginia guides, for whom he apparently made them. His personal rig, however, was far from ordinary. Many of its dowitchers and curlews had that nicety of detail as well as the turned head feature, that distinguished Mathews’ best work.”

Plate 133 of,“American Bird Decoys,” William J. Mackey, Jr., exact decoy pictured.

Mackey identified this decoy as being from Mathews’ personal rig.

153

Very rare yellowlegs with turned head from Assateague, Virginia. 12.25” long. Carved eyes and detailed wing carving. From the Mathews rig. Original paint; minor wear; structurally very good.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Purchased by Griffith from William J. Mackey, Jr.

Literature: “American Bird Decoys,” William J. Mackey, Jr., p. 160, exact decoy pictured.

(20,000 - 30,000)

Dave “Umbrella” Watson 1851 - 1938 | Chincoteague, Virginia Oddly, very little is known about this man who produced some of the finest shorebirds to emerge from Chincoteague. Dave “Umbrella” Watson was originally from Willis Wharf, Virginia where he married Nancy Carpenter. The couple moved to Chincoteague but had no children of their own. He worked on the water as a fisherman and successful oysterman, and was a highly respected commercial guide, waterfowler, and market hunter before the passage of The Migratory Bird Act of 1918. He produced a number of classic Virginia style ducks and geese, but his shorebirds were his crowning glory. Originally thought to have come from New Jersey, these stylish, raised wing shorebirds are now appropriately credited to be from his hand. He was regarded as a quiet, reserved, religious man who kept to himself and hunted alone. He is known to have had the habit of always carrying an umbrella and thus, his unusual nickname. When asked about this, he is said to have remarked, “Any fool can carry an umbrella when it was raining, but it took a smart man to carry one when the sun was shining.”

100

154

Exceptional peep, Dave “Umbrella” Watson, Chincoteague, Virginia, last quarter 19th century. Raised “V” wingtip carving. 6.25” long. McCleery stand included. Original paint; very minor wear; several tiny dents and shot marks; end of bill has been broken off and professionally reattached with a small amount of touchup in that area.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (6,500 - 9,500)

101

Nathan Cobb, Jr. 1825 - 1905 | Cobb Island, Virginia From the 1850s until 1933, the Cobb family operated a sportsmen’s resort on their privately owned island. The family offered guides for visiting “sports” and also carved decoys for the use of their guests. In early days most visitors to Cobb Island ferried over from Cobb’s station on the mainland, where Luther Nottingham served as a game warden. Both Nottingham’s and Nathan Cobb’s shorebirds have oak bills splined through the back of the head. - “Call to the Sky,” Robert Shaw

“Call to the Sky,” Robert Shaw, p. 83, exact decoy pictured

155

Important running robin snipe, Nathan Cobb, Jr., Cobb Island, Virginia, 3rd quarter 19th century. 10.5” long with shoe button eyes and raised “V” wingtip carving. A masonic “A” is carved behind the stick hole that stands for Nathan’s brother, Arthur Cobb, in whose rig the decoy was hunted. Fine “V” feather paint detail. Original paint with good patina and very minor wear; approximately 2” long hairline crack in one lower side; small chip missing from one eye; very lightly hit by shot on one side.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Formerly in collection of Jim McCleery. McCleery collection stamp on underside. The decoy’s McCleery stand is included. Prior to McCleery this was in the Michael Hall collection, who purchased it from Somers Headly. This decoy was exhibited at the Cranbrook Academy of Art exhibit “The Decoy as Folk Sculpture,” in 1986, Michael Hall and Ronald Swanson, curators.

102

This exact piece was selected for exhibition at the Cranbrook Academy of Art Museum in 1987.

Literature: “Call to the Sky,” Robert Shaw, p. 83, exact decoy pictured. “The Decoy as Folk Sculpture,” Michael Hall and Ronald Swanson, p. 30, exact decoy pictured. Guyette & Schmidt/Sotheby’s auction catalog, January 2000, exact decoy pictured. “The Barrier Islands: A Photo History of Life on Hogg, Cobb, Smith, Cedar, Paramore, Metompkin, and Assateague Islands,” Curtis Badger and Rick Kellam.

(75,000 - 95,000)

103

156

Rare plover in fall plumage, Nathan Cobb, Jr., Cobb Island, Virginia, 3rd quarter 19th century. Shoe button eyes and raised “V” wingtip carving. 10.5” long. Serifed “N” is carved in the underside. Original paint with minor discoloration and wear; hit by shot; very slight roughness at stick hole.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Formerly in collection of William J. Mackey, Jr. Mackey collection stamp on underside. Literature: “American Bird Decoys,” William J. Mackey, Jr., p. 96, exact decoy pictured. (40,000 - 60,000)

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vii. of,â&#x20AC;&#x153;American Bird Decoys,â&#x20AC;? William J. Mackey, Jr., p. 96, exact decoy pictured.

According to William Purnell this wooden trunk pictured is where William J. Mackey, Jr. quite often stored many of his Cobb shorebirds.

105

157

Running black bellied plover from Virginia, last quarter 19th century. Relief wing carving with raised “V” wingtips. 10.5” long. “Virginia BB plover circa 1900” is written under the tail by William J. Mackey, Jr. Original paint with very minor discoloration and wear; small shot scar on one side.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Formerly in the collection of William J. Mackey, Jr. Literature: “Virginia Decoys,” Henry Fleckenstein, Jr. (10,000 - 14,000)

106

Writing by William J. Mackey, Jr. under tail.

107

Factory | The Sandhill Crane

Sandhill crane hunter in cornstalks, 1870s

Once a prevalent species throughout the Midwest, the sandhill crane population began a steady downhill spiral in the 19th and early 20th centuries. Aldo Leopold predicted in his noteworthy 1937 essay, “Marshland Elegy,” that loss of wetlands would ultimately lead to the demise of the species. He lamented that the day was approaching when, “…the last crane will trumpet his farewell and spiral skyward….” Habitat loss or destruction was certainly a factor in the decline in numbers of the birds, but, ultimately, it was the unrestricted hunting of the cranes that had the most dire consequences. They were eagerly sought by the market hunters of the period due to their culinary reputation as the “ribeye of the sky.” In addition, they were despised by the farmers for their appetite for the small grain crops which were expanding across the Midwest. Hunting was relentless, and the greater sandhill crane disappeared as a breeding bird from Illinois in 1890, Iowa in 1905, South Dakota in 1910, Ohio in 1926, and Indiana in 1929, and it was nearly extirpated throughout the rest of the upper Midwest until, that is, the protection conferred by the Migratory Bird Treaty of 1916 and the Migratory Bird Treaty Act of 1918 (which implemented the 1916 treaty with Canada).

Hunter with cranes

These acts ended the uncontrolled killing and allowed cranes and other migratory birds to begin a recovery. This was to be a slow process due to the fact that the cranes do not reach sexual maturity until about four years of age; breeding pairs raise, at most, one or two young per year, and relatively few pairs succeed in raising young at all. Fortunately, the cranes do live a long time and their survival strategy which emphasizes longevity over reproduction has proven to be their salvation. Fortunately, unlike the passenger pigeon, due to timely foresight and appropriate conservation practices, the sandhill crane population, like the wood duck and other species, have made a remarkable rebound. Today, the “North American Waterbird Conservation Plan” lists the birds as a species of low concern. Currently, under strict guidelines, sandhills can, once again, be legally hunted in numerous states along the central flyway. The Jocob Danz Co. of St. Paul Minnesota (c. 1881 – 1915) was one of the extremely few, if not the only, commercial makers of decoys for sandhill cranes. Their production of these items must have been remarkably limited. To the best of our knowledge, the extremely rare decoys offered here are the only known surviving examples.

Danz Company ad published circa 1890.

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158

Three very rare and important sandhill crane decoys, Danz Manufacturing Company, St. Paul, Minnesota, circa 1890. Recently found at a small auction in Minnesota. It was known that the Danz company offered crane decoys, but until this date none have been found. Each of these three has a different head position. All three have metal stakes and fold up to a smaller profile. 53” tall with stand. Original paint with some flaking and stains; display base was made by Russ Allen, and is included.

Literature: “Minnesota Duck Decoys,” Doug Lodermeier. (4,000 - 6,000)

109

159

Rare pair of bluebills, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. Rigmate pair with glass eyes. Both have fancy wet on wet paint. 14” long. Both are in strong original paint with small areas of paint loss; slight wear around some edges; neck filler has been replaced on both.

(1,200 - 1,800)

159

160

Canvasback drake, Peterson Decoy Factory, Detroit, Michigan, 2nd half 19th century. Branded “J.M. Kennedy” in one side, Winous Point Shooting Club member 1876. Nice subtle and detailed feather painting on back half of body. 16” long. Strong original paint; filler missing around neck; paint loss at knot at underside and small area at crack on top of body; a few shot scars; some oxidization on the black areas.

160

(800 - 1,000)

161

Rare high neck pintail drake, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. It is possible the company was trying to copy a Nate Quillin high head pintail model. Original paint with minor wear; crack in back; thin crack through neck; most of bill is a professional replacement.

161

Provenance: Purchased by the consignor from Jim Foote in the 1970s. (1,500 - 2,500)

162

Excellent mallard drake, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. Glass eyes. 15” long. Strong original paint with exceptional detail on the back and wings; wet on wet blended green shades on the front part of the head, and additional quality detail not always seen; professional neck filler replacement; a few shot marks, mostly

162

110

on one side.

(800 - 1,200)

163

Very rare bufflehead drake, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. Tack eyes with “buffalo head” style, which emulates the puffy head shape of the drake. 12” long. Original paint; white area on back of head has been strengthened; neck filler missing; imperfections in wood on one side of lower body; crack in back of neck. (2,250 - 2,750)

164

163

Exceptional redhead drake, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. 14.5” long. Glass eyes and detailed feather paint pattern. Near mint original paint; protected by an old coat of varnish; several very small chips missing from neck filler that has been touched up.

Literature: “Detroit Decoy Dynasty,” Bill Dodge and Ron Sharp. (2,000 - 3,000)

165

164

Rigmate pair of mallards, Dodge Decoy Factory, Detroit, Michigan, circa 1900. Fancy painting on backs. Original eyes appear to have been reset a long time ago; some restoration to missing neck filler on hen; a few small rubs; one shot mark in hen’s head; tight crack in one side of drake.

Provenance: Perkins collection. Literature: “Detroit Decoy Dynasty,” Bill Dodge and Ron Sharp.

165

(2,000 - 3,000)

166

Very rare hollow carved Canada goose, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. 21.5” long. Restoration and repaint to neck; repaint to sides and underside of body.

(1,750 - 2,250)

166

111

Virginia Shorebirds

168

Yellowlegs, Charles Clark, Chincoteague, Virginia. Fine form with wide paddle tail and beetle head style. Small amount of touchup on bill where it joins the head and at one eye.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Purchased at April 1993 Guyette & Schmidt, Inc. auction. Formerly in the collection of Adele Earnest, Earnest collection stamp on underside. (8,000 - 12,000)

112

169

170

169

Dowitcher from Virginia, last quarter 19th century. Great form

170

Large curlew from Cobb Island, Virginia. 16.5” long. Carved eyes and raised “V” wingtip carv-

with very plump body and long thin

ing. Original paint with minor to moderate wear on

neck. Original paint; minor wear,

most of the decoy; bill is a professional replacement;

mostly on extremities; small amount

age split in one side; crack in underside; stick hole

of touchup where bill joins head;

was moved a couple of times and wooden plugs

slight roughness at stick hole.

were put into the old holes.

Provenance: Dr. Lloyd T. Griffith

collection. Griffith collection stamp on underside.

(4,000 - 6,000)

Provenance: Meyer collection.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (5,000 - 8,000)

113

171

Large whimbrel from the Mathews rig. 13.5” long with carved eyes. Good feather paint detail. Original paint with good patina and very minor wear; thin crack in head; small amount of professional touchup at front of upper neck.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. (12,000 - 15,000)

114

Alma Fitchett Smith Island, Virginia

171A Running curlew, Alma Fitchett,

Smith Island, Virginia. 16” long. A Serifed “F” is carved behind the stick hole. Carved eyes. Original paint with minor wear; bill has been broken off and reattached at approximately the center point.

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

Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (9,000 - 12,000)

115

Lynn Bogue Hunt 1877 - 1960 | New York City and Hempstead, New York Born in Honeoye, (Mendon), in northern New York, the young Lynn Bogue Hunt spent most of his childhood in Albion, Michigan with his, then divorced, mother. Here, he developed his deep love of the outdoors and had the first of his lifelong experiences with hunting and fishing. While in high school, he took art lessons from a professor at Albion College and, ultimately, went on to attend that school. While a student there, he made his debut on the national scene with “A King of Game Birds,” a story on ruffed grouse that he wrote and illustrated for Sports Afield. He worked for three years as staff artist for the Detroit Free Press and, in 1903, he made his dramatic move to New York City where he began his long career as artist and illustrator. He soon received numerous accolades and commissions and became very successful. During the Depression, he made as much as $50,000 a year – about $650,000 in today’s dollars. He moved to Long Island where he commuted to the city daily from his fashionable home, complete with a maid, in Hempstead (Long Island). A bon vivant, appearances mattered to Hunt, and he was known to be a meticulous dresser. His marriage to Jessie Bryan became contentious, and he made no secret of his long relationship with his mistress. An early conservationist, he advocated catch and release gamefishing as early as 1935 and eagerly supported the newly formed Ducks Unlimited. He became

Left: Young Lynn Bogue Hunt Top: Lynn Bogue Hunt afield Bottom: Young Lynn Bogue Hunt (center)

116

friends with the leading sportsmen and writers of the day such as Ray Holland, Earnest Hemingway, Zane Gray, Burton Spiller, Gordon MacQuarrie, and others. A list of his accomplishments is, indeed, a lengthy one. He completed about 250 separate covers for nearly 40 magazines including over 106 cover illustrations for Field & Stream alone. He designed corporate murals, the 1939/40 Federal Duck stamp and he illustrated numerous books such as Game Birds of America, Grouse Feathers and More Grouse Feathers and, his own, An Artist Game Bag. Hunt was, undisputedly, the most famous outdoor artist and illustrator of his time. “His work has come to define the look, feel, and abundant unfettered spirit of what was truly the Golden Age of American Field Sports.” Beginning to lose his sight, he cleaned his brushes for the last time in 1951 and lived out the remainder of his life in semi seclusion at his home in Western Long Island. His obituary in the New York Times described him as “The Audubon of his time,” a characterization that surely would have pleased him.

173

Oil on canvas, Lynn Bogue Hunt. Image of hunter on an island pit blind taking aim at a flock pf pintails and surrounded by stick up decoys, both geese and ducks. Image measures 21” x 15”. Signed center bottom. Professionally framed. Small area of damage near top of sky; one small puncture between hunter and goose near sandbar; areas of light crazing.

Provenance: From the daughter of a former member of the Wild Goose Club, Butte Sink, California. From WALDGARUE Galleries, Reno, Nevada. (8,000 - 12,000) Jan. 1941 Field and Stream

117

174

Flying black ducks, oil on board, Lynn Bogue Hunt (1878-1960). Signed lower left. In a modern gilt frame 11.75” by 15.5”. A few spots of touch up in the sky and around a few ducks.

(4,000 - 6,000)

174

175 175

“October Woods - Black Ducks,” oil on canvas, Lynn Bogue Hunt (18781960). Professionally framed. Signed lower left and dated 1955. Image measures 11 5/8” by 13 5/8”. Very good and original.

118

(2,500 - 3,500)

176

Tempura on paper board, Lynn Bogue Hunt. Image of gunner with side by side in sneak boat shooting bluebills under stormy skies. Professionally matted and framed. Measures 23.5” x 17”. Excellent and original. (6,000 - 8,000)

119

177

178

177

“Black ducks,” an oil on canvas by Hugh Monahan (19141970). Signed and dated 1953.

ing over farm ground. Image measures 14” x 21.5”. Signed lower left. Matted

23.5” x 29.5”. Very good and original.

with five individual mats and high quality artistic frame. Excellent and original.

Provenance: Ex Jim and Diane Cook

(800 - 1,000)

(800 - 1,200)

179

Watercolor by Henry Bell (b.1942), Indiana. Image of Canada geese fly-

Professionally framed. Image size

collection.

180

Oil on board, John Seerey-Lester (b.1946). Image of hunter packing decoys with retriever swimming near

Pastel of a trumpeter swan stretching its wings, Kristi Billmayer (b.1954). Entitled “Swan

his side. Sunburst is breaking though

on the Madison.” Professionally mat-

the trees. Professionally framed.

ted and framed. Image size 16.75” x

Image size 9.5” x 7.75”. Excellent

20”. Excellent and original.

and original.

120

178

(800 - 1,200)

180

(700 - 1,000)

181

Exceptional watercolor of quail flying through forest near early cabin, David Hagerbaumer. Signed. Image size 31” x 42”. Professionally mounted and framed. Very good and original.

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

(4,000 - 5,000)

121

181A

181B

181A Watercolor of flying geese, John W Taylor (b.1931). Signed lower right. Professionally matted and framed. Image measures 17.25” by 23.25”. Very good and original. 181B

(600 - 900)

”Chocolate Delight,” acrylic on board, Jim Daly. Signed. Image size 16” x 12”. Very good and original.

181C

(700 - 1,000)

181D

181C Barrows goldeneye, acrylic on board, Daniel Smith

(b.1954). Signed lower left and dated 1997. Professionally framed. Image measures 7” by 10”. Excellent and original. (1,200 - 1,800) 181D

Oil on board by Lynn Bogue Hunt. Signed with inscription, “Bermuda Jan. 6 1936 Gibs Hill form Challenger Bank.” 9.5” x 13.25”. Very good and original.

122

(700 - 1,000)

181E

“Kites at Udaipur, acrylic on board, by Robert Bateman. Kites is a name used for certain birds of prey, these are likely black winged or black shouldered kites. Signed and dated 2002. Image size 15.5” x 19.5”. Very good and original. (5,000 - 8,000) 181F

181F

“In Your Face: Grizzly,” oil on canvas John Seerey Lester. Of brown bear in the snow. Signed. Image size 24” x 38”. Very good and original.

(3,000 - 4,000)

123

Illinois River 182

Pair of mallards, Robert Elliston, Bureau, Illinois, circa 1900. Both retain original Elliston weight. Strong feather painting by Catherine Elliston on back of hen. 17” long. Both in original paint with light wear; drake has some in painting at wing patch and tail feathers; a white wash has been removed from underside of drake; both are protected by an old coat of varnish; a few shot scars in hen.

(3,000 - 4,000)

182

183

Ring neck drake, Robert Elliston, Bureau, Illinois, circa 1900. Very rare species. Branded “Carson” on underside. Carson was a friend and hunting partner of Charlie Grubbs. Together they founded the Hennepin Gun club. Carson is also credited with starting the Undercliff Gun Club as well as being a founding member and president of the Senachwine Gun Club. 13” long. Good original paint; some discoloration; a few shot scars and wear; professional restoration to chip missing from

183

end of bill; black area of tail was strengthened a long time ago. (3,000 - 4,000)

184

Important bluebill drake, Robert Elliston, Bureau, Illinois, circa 1900. Branded “G.K. Schmidt” in underside. Retains original Elliston weight. This is one of several Elliston decoys that was taken back to Charles Perdew and repainted by Edna around 1925. Superb Edna paint; small chip at bill; one area of putty has popped near a nail hole. (3,000 - 4,000)

184

124

185

Canvasback drake, Hiram Hotze, Peoria, Illinois. Near mint original paint; hole drilled through body to make it into a lamp; hole has been professionally filled and touched up, touchup has darkened somewhat with age.

Literature: â&#x20AC;&#x153;Decoys of the Mississippi Flyway,â&#x20AC;? Alan Haid.

(4,000 - 6,000)

125

Charles Walker 1873 - 1954 | Princeton, Illinois

185A Important pintail drake, Charles Walker, Princeton,

Illinois. 19” long. Flat bottom style with relief wing carving. Number “22” is painted on underside for George Skinner, president of the Princeton Game and Fish Club. One of five classic pintails that he owned. Original paint with very minor wear, mostly on head; varnish has been professionally removed; professional repair to a crack in the neck; touchup by Russ Allen to small spot on back of neck; several scratches in one lower side; scratches are slightly indented but the paint is intact.

Literature: “Decoys of the the Mississippi Flyway,” Alan Haid. (40,000 - 60,000)

126

On commenting about the Walker Pintail owned by William J. Mackey Jr and pictured on plate 185 of his book, American Bird Decoys. â&#x20AC;&#x153;The pintail and mallard by Charles Walker of Princeton, Illinois are of a quality to make every decoy collector regret the limited output of Charles Walkers Shop. With his crisp, fine carving and bold, free paint patterns his work ranks with the bestâ&#x20AC;? - William J. Mackey, Jr.

127

185B

Mallard drake, Bert Graves, Peoria, Illinois. Gray sided model. Graves weight on

185C Pintail drake, Robert Elliston, Bureau,

Illinois, last quarter 19th century. Large

underside. 17” long. Original paint; minor dis-

“LE” branded in underside. 17” long. Original

coloration and wear; several small dents.

paint; minor discoloration and wear, mostly on

(1,750 - 2,250)

head; lightly hit by shot; crack in underside. (2,500 - 3,500)

185C

128

186

Bluewing teal drake, Robert Elliston, Bureau, Illinois, last quarter 19th century. Bluewing drakes are very rare. Brand had been carved out of the underside a very long time ago. 12.5” long. Strong original paint; line tie marks on back that have worn to bare wood and other rubs that have exposed bare wood, mostly on head, back, and small amount of underside.

187

(3,000 - 4,000)

Canvasback drake, Bert Graves, Peoria, Illinois. Fancy and desirable wet on wet feather swirling to emulate wing pattern at top of back. 16” long. Strong original paint with light gunning wear; slight discoloration at underside; structurally good.

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

(2,500 - 3,500)

186 Detail

187

129

Charles Walker was born in Princeton, Illinois and never really left the area, choosing to stay where waterfowl shooting was at its best. Walker hunted locally, including at the Princeton Game and Fish Club, a club exclusive for Princeton area hunters only. While Walker was not a full-time professional carver, as were Robert Elliston and Charles Perdew, and he produced significantly fewer birds, he is still considered one of the best of the Illinois River region by todayâ&#x20AC;&#x2122;s collectors. He produced between one thousand and fifteen hundred decoys later in his life from about 1925 to 1950, many of which were made and sold to members of the Princeton Game and Fish Club. Walker made both hen and drake mallards, while the pintails that he produced were all drakes. He also produced two-dozen miniature mallards and a set of six chicks for his friends and relatives.

130

188

Exceptional round body style mallard hen, Charles Walker, Princeton, Illinois. From the Jolley rig, Princeton Fish & Game Club. One of the finest Walker mallards known. One of the last two dozen made by Walker. Made for Jolley from lumber given to Walker from Jolley’s lumberyard. 17” long. Near mint original paint with excellent patina; tiny amount of filler missing where the dowel goes through top of head.

Provenance: Formerly in the Konopasek collection. (15,000 - 18,000)

131

189

Rare mallard drake, Steven Lane, Lacon, Illinois, last quarter 19th century. Center cut hollow with wonderful racey sculpture. These are some of the earliest decoys to be used on the Illinois River. Exceptional bill carving and slightly reared back neck. 15” long. Strong original paint that has crazed to create a desirable surface; moderate gunning wear evenly dispersed over decoy; a few shot scars; professional restoration to

189

190

tip of bill.

(1,500 - 2,500)

Strong mallard drake, Bert Graves, Peoria, Illinois, 1st quarter 20th century. Gray sided model. Mackey collection stamp on underside. Retains original Graves weight. 16” long. Strong original paint by Millie Graves; covered by a light coat of varnish; moderate wear; small chip at tail; rough edge around bill.

Provenance: Perkins collection. (2,000 - 2,500)

190

191

Mallard drake, Charles Walker, Princeton, Illinois. Flat bottom style with very slightly turned head. Retains Walker weight. 17.25” long. Original paint with minor discoloration and wear; two cracks through neck; small dents.

191

192

Mallard drake, Charles Walker, Princeton, Illinois. Flat bottom style with slightly turned head. Retains Walker weight. Original paint with moderate wear; old touchup at white area of speculums and ring around neck; small dents.

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

(2,000 - 3,000) 192

132

(2,000 - 3,000)

193

194

193

Rigmate pair of mallards, Robert Elliston, Bureau, Illinois, circa 1900. Both are branded “J.H. Milner.” Both retain original Elliston weight. 17” long. Original paint with moderate wear; protected by an old coat of varnish; slight seam separation on drake; a few shot marks and small rubs.

Provenance: Richard Perkins collection.

194

Rare pintail drake, Robert Elliston, Bureau, Illinois, last quarter 19th century. Good combing and feather

(3,500 - 4,500)

paint detail. Retains Elliston weight. Branded “WHW” in underside. 18” long. Original paint with minor wear; several small dents and shot marks.

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

194

(6,000 - 9,000)

133

195

Rare and exceptional mallard hen, Charles Perdew, Henry, Illinois, circa 1920. Made for G.K. Schmidt, and branded “GK Schmidt” on underside. Perdew’s early weight with no marking. Superb Edna Perdew paint job on slightly oversized early period model. Fancy wing speculum paint. Dry brush blending over breast, back, and side. 17” long. Superb unrigged condition; small dent in one side of back; tiny scratch and minute flaking at back of head.

134

(20,000 - 30,000)

The Schmidt rig included pintail, mallards, bluewing and greenwing teal, cavbasback, bluebill and redhead decoys. Only four mallard hens were made for Mr. Schmidt, three straight heads and one sleeper. The three straight head hens are slightly larger than his normal hens, The rig was made around 1920 and came with the specific request to make them the best. G.K. Schmidt was very wealthy and he enjoyed living a life of high style and luxury. For its time and even now, this is the most impressive rig of decoys Charlie Perdew ever produced. Decoy Magazine article, The Hunt for G. K. Schmidt by Donna Tonelli Nov/ Dec 2007.

This photograph of G.K. Schmidt was taken by a photographer for the Chicago Daily News in 1929, describing him as the president of the Prudential State Savings Bank. Courtesy Chicago History Museum

135

196

Very early bluewing teal drake, possibly Illinois River, unknown maker, circa 1900. Perky raised head with flat pad weight on underside. Double blue painted wing patches. 9” long. Strong original paint has crazed on much of the decoy creating an appealing folk art surface; numerous shot marks, mostly on one side; a few dents on the other.

196 197

(1,800 - 2,200)

Early bluewing teal hen, Judge Glen Cameron, Chillicothe, Illinois, 1st quarter 20th century. Many believe these are bluebills made by John Barnhart and repainted by John Franks as bluewing teal. They were owned by Judge Glen Cameron and branded “GJC” by Cameron in underside. 12” long. Very old paint has crazed lightly and evenly; appealing surface protected by a coat of varnish that has mellowed;

197

a few small dents.

198

(2,000 - 3,000)

Rare and early greenwing teal drake, Richard Wilcoxen, Liverpool, Illinois, last quarter 19th century. Comb painting on back. Very old original paint on body; paint on head has been strengthened probably at the time the neck was repaired; a few dents and rubs; moderate gunning wear. (1,500 - 2,500)

198

199

Mallard drake, Robert Elliston, Bureau, Illinois. Retains original Elliston weight. 17” long. Strong original paint that has worn evenly on body and head; small amount of wood filler added to area of body seam.

199

136

(1,500 - 2,000)

200

Feeding snow goose, Nicholas Englehart, Manito, Illinois. Carved wood with tin on lower sides. 29” long. Original paint with minor discoloration and wear; small amount of filler added to neck seam with small amount of touchup in that area; hairline cracks in back; old touchup on top of tail.

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

201

200

Standing Canada goose decoy, Nicholas Englehart, Manito, Illinois. Carved wood with tin on lower sides. 23” long. Original paint with minor scraping and wear, mostly on the tin.

Provenance: Meyer collection. (1,250 - 1,750)

201

203

202

Mallard drake, Henry Holmes, Bureau, Illinois, last quarter 19th century. 14.5”

203

Mallard drake, Charles Walker, Princeton, Illinois. 17.25” long with flat bottom and very

long. Good comb paint detail. Original paint;

slightly turned head. Original paint with signifi-

minor shrinkage and wear; hairline crack

cant wear on most of the decoy; speculums

through neck.

and head have been repainted; tiny chip miss-

Literature: “Decoys and Decoy Carvers of

ing from top of tail.

(1,200 - 1,500)

Illinois,” Paul Parmalee and Forrest Loomis. (950 - 1,250)

137

Louisiana 204

Pintail drake, George Morrell, New Orleans, Louisiana. 16” long. Good form with relief wing carving and upswept tail; shoe button eyes. Original paint with good patina and minor wear; hairline crack through the neck and another hairline crack partway through the neck; professional repair to a crack through the center of the bill by Russ Allen with touchup in that

204

area.

Literature: “Louisiana Lures and Legends,” Brian Cheramie. (2,000 - 3,000)

205

Pair of mallards, Dewey Pertuit, Raceland, Louisiana. 16.25” long. Near mint original paint; structurally very good; thin crack through drake’s neck.

205

206

(1,400 - 1,800)

Pintail hen, Eddie Granier, Vacherie, Louisiana. Slightly turned head. Identified with black marker on the underside. Original paint with minor wear on much of the decoy; worn spots on both lower sides; head is a little loose; slight wear to tip of tail; several small dents.

Provenance: Formerly in the collection of Jimmy Hanneman, New Orleans, Louisiana. Hanneman brand in underside.

206 207

(1,750 - 2,250)

Black duck, Laurent Verdin, Sr., Bayou Blue, Louisiana. Relief wing carving and slightly turned head. Multiple museum exhibit labels on underside. Exact decoy pictured in “The Great Book of Waterfowl Decoys” by Engers. Measures 13” long. Second coat by Verdin with minor wear; minor flaking around bottom edge; small dents and shot marks; neck crack repair by Verdin.

207

138

Literature: “Great Book of Decoys,” Joe Engers, editor.

(1,200 - 1,800)

208

Canvasback drake, Mike Frady, New Orleans, Louisiana. Slightly turned head and relief wing carving. Raised wingtips and detailed tail feather carving. Signed on the underside. Measures 14.75” long. Excellent and original. (1,200 - 1,800)

208

209

Redhead drake, Mike Frady, New Orleans, Louisiana. Slightly turned head and relief wing carving. Raised wingtips and detailed tail feather carving. Signed on the underside. Measures 13” long. A few minor paint rubs and tiny dents, otherwise excellent and original. (1,200 - 1,800)

209

210

Merganser drake, Mike Frady, New Orleans, Louisiana. Slightly turned head and relief wing carving. Raised wingtips and detailed tail feather carving. Signed on the underside. Measures 16.75” long. Excellent and original. (1,200 - 1,800)

210

211

Two pintails Anton Isadore, Point Lahechf, Louisiana. 16.25” long. Both decoys have been repainted by Mitchell Lafrance. Both have relief wing carving. Minor roughness to edges of bill; tiny dents. (800 - 1,200)

211

139

212

214

213

215

212

Ringbill drake, Arthur Cantrall, Galliano, Louisiana, circa 1930s. 12.5” long. Original paint

214

with moderate wear to the primer on the black areas;

Ring neck drake, Mark Whipple, Bourg, Louisiana. 12.5” long. Original paint with moderate flaking and wear; touchup on bill; a few tiny dents.

white area has a thin second coat; structurally good.

(800 - 1,200)

(800 - 1,200) 215 213

Pintail hen, Sidney Duplessis, Davant, Louisiana. Branded “JWS” in the underside. Relief

Pair of coot, Xavier Bourg, Larose, Louisiana. Detailed wing carving. Very slightly turned heads. Original paint; minor wear; a fair

wing carving. 15.5” long. Original paint with minor

amount of neck filler is missing from one; slight wear

wear; paint on part of the bill has been strengthened;

to the wood at the tip of the other’s tail, that bird

short crack in tail.

has also had the bill blunted slightly.

(800 - 1,200)

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

216

217

Pair of mallards, Chico Gonzales, Shell Beach Louisiana. 16” long. Relief wing carving and

(700 - 900)

218

Very rare mallard hen, Johnny Dugas, Plaquemines Parish, Louisiana. Relief wingtip

carved eyes. Original paint with very minor wear;

carving. Old in use repaint with some areas of

a few tiny dents.

original remaining; head has been broken off and

(650 - 950)

nailed back on; one eye is missing; bill and front 217

Pintail drake from New Orleans, 1st quarter 20th century. Relief wing carving and inlet lead weight. Measures 17” long. In use repaint by Mitchell Lafrance with moderate flaking and wear; losses to both glass eyes.

140

(400 - 600)

part of face has been spliced in from another Dugas decoy, seams are visible.

(400 - 600)

Fish Decoys

Fish decoys have been used on Lake St. Clair since the early 19th century. The fisherman used the decoys to attract fish within spearing range of their dark shanty. The decoys were designed to travel in a circular motion. They were typically carved from wood and weighted with lead bellies and inserted metal fins. Each maker’s subconscious artistic vision became apparent in the design and painting of their fish. For something that was made as a utilitarian tool, today, to the fish decoy collector, the fish decoy is an object of beauty. Its utilitarian reason for existence has become secondary to its ability to excite the emotions of the beholder. Lake St. Clair must have been quite a scene to behold back in its heyday of the 1930s. A report by Jimmy Donahue published in the Detroit News in February 1938 estimated that upwards of 10,000 men – the majority of them unemployed auto workers – spent their days on the ice of Lake St. Clair trying to provide sustenance for themselves and their families by fishing through the ice. This great need, plus proximity to Detroit and easy access by streetcar, contributed to make ice fishing one of the biggest sports of the day. Add to that the bonus of no license required, as Lake St. Clair is a connecting water in the Great Lakes, and you¹ve got a veritable mob scene. “It is estimated that there are 5,000 fishing shanties on the lake. They are strung out as far as the eye can reach. Every bay is covered and each tiny building houses from two to five persons. Fewer jobs in Detroit means more shanties.” Reference: Miller, Gary L. “Lake St. Clair in the 1930s.” Copyright 2012.

These fish from the Dick and Diane Walters collection represent the finest and most sought after makers from the Lake St. Clair region. 141

219

Extraordinary perch, Andy Trombley, Mt. Clemens, Michigan, 1st half 20th century. 14” long. Slightly curved with metal inset fins and glass eyes. Strong original paint that has mellowed nicely with age; very small areas of paint loss at fins, otherwise excellent and good.

Provenance: Walters collection.

(3,500 - 4,500)

220

Fish decoy, Hans Janner, Mount Clemens, Michigan, circa 1940. Upswept body design with fanned tail. Artistic cut and applied dorsal fin. Unusual relief tongue carving with slightly open mouth. Two body weights. Glass eyes. It appears that this was a fish made in the raw, or unpainted, by Janner and then painted at a later date in the style of a ghost fish, possibly by his nephew, Andy Trombley or one of the other fish decoy makers in the area. 12.5” long. Excellent.

Provenance: Walters collection.

(2,500 - 4,500)

221

Herring fish decoy, Abe DeHate, Mt. Clemens, Michigan (b. 1890). Carved gill and mouth with painted eye. Wooden tail is slightly curved. Hole has been drilled into belly weight. 10.5” long. Strong original paint; some loss at fins and tiny chip at top of tail; small gouge at nose; one fin is missing.

142

Provenance: Walters collection.

(1,500 - 2,000)

222

Bass fish decoy, Jim Kelson, (b. 1888), Clinton River, Michigan. Appealing crosshatch marks on side of body with carved gill and painted eyes. Body is slightly curved. A wide and heavy fish with metal insert fins. 8” long. Original paint with multi shades of green; top fin is missing; damage at very tips of tail; one small chip to body.

Provenance: Walters collection. (1,500 - 2,500)

222

223

Large bass fish decoy, Abe DeHate, Mt. Clemens, Michigan, 1st half 20th century. 11.5” long. Carved double gill with red and yellow eyes. Original green and silver blended paint with yellow fins. Light wear, mostly around underside and belly weight.

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

223

224

Sucker fish decoy, Dan Vandenbosche.

11” long. Copper fins with brass tack eyes. Sucker mouth has been colored orange. Carved gills. Excellent original paint; moderate wear.

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

224

225 Rare floating walleye spearing

decoy, Abe DeHate, Mt. Clemens, Michigan, 1st half 20th century. 13” long. Carved gill, mouth, and carved and painted eye. Floating, which means that it has no body weights, but has line tie at center of body which attaches to an anchor so it can suspend below the surface. Excellent original paint; very small 225

chip at lower tail. Provenance: Walters collection. (1,500 - 2,000)

143

226

White fish fish decoy, Bun King, Upper Peninsula, Michigan. Articulated leather tail. Metal fins with a gouged fin pattern on body. 11.5” long. Paint around belly weight on underside appears to have been strengthened, otherwise original.

Provenance: Walters collection.

(800 - 1,000)

226

Perch fish decoy, Gordon Pecore Fox, Mt. Clemens, Michigan (b. 1914). Wooden tail is slightly curved.

227

Carved gills and mouth with tack eyes. 8” long. Original paint with some paint loss on underside, at fins, and a stain on one side of body.

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

227

228

Sucker fish decoy, Peltier Family, 1st quarter 20th century. Carved mouth, gills, and crosshatch carving on body. Wooden tails with inset metal fins. 10.5” long. Original paint; chip at both tips of tail; three fins are possibly old replacements.

228

229

Mooneye or shad fish decoy, Lem Harsen, Harsen’s Island, Michigan, circa 1940. A river style fish with a straight body, no bend at tail. Carved mouth, gills, and glass eyes. Silver paint over mahogany with metal fins. 7.4” long. Original and good.

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

144

229

Provenance: Walters collection.

(600 - 800)

230

Sucker fish decoy, possibly Vandenbosche Family, Michigan, circa 1900. Carved mouth with tack eyes. Angled wooden tail. 10” long. Original paint; missing two fins; damage and loss at tail.

Provenance: Walters collection.

(500 - 700)

230

231

Three fish decoys, Alfred Dreschel, Detroit, Michigan. A herring, a mooneye shad, and a shiner. All carved with Dreschel’s classic style. Thin body with broad reaching fins and glass eyes. Each is slightly curved. Carved gills and mouth. 10” long. All three in original paint with some flaking at fins and small area of body.

231

Provenance: Walters collection. (700 - 1,000)

232

Carp sucker fish decoy, Peltier Family, Mt. Clemons, Michigan, 1st quarter 20th century. Unusual scale pattern created with crosshatched carving to sides of body. 11” long. Metal fins with original paint; some loss around underside.

Provenance: Walters collection.

Literature: “Hooked on Wood,” an exhibition at the Center for Art in Wood, Philadelphia, exact fish illustrated in catalog.

(800 - 1,000)

232

233

Large spearing decoy, Frank Kuss, Detroit, Michigan. 12” long. Tack eyes and carved mouth. Original paint protected by an old coat of varnish that has yellowed; some discoloration and paint loss to metal fins.

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

233

145

Stevens Brothers Weedsport, New York

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

Some states have claimed at least one great 19th century maker of duck decoys. In Massachusetts, there was Elmer Crowell, and in New Jersey, Harry V. Shourds. Albert David Lange of Connecticut, Nathan Cobb, Jr. of Virginia, and Robert Elliston of Illinois were others. Until now, New York has not laid claim to such a great 19th century carver, but without question Stevens’ Brothers have earned that title. The Stevens decoys were created over a century ago, all handmade throughout. In the past, Stevens decoys have often been placed or cataloged among the factory decoys, compared with those made by Peterson, Dodge, and Mason. Yet Stevens’ decoys were individually handmade, just as were those by the great 19th century carvers listed above. Perhaps Harvey’s unique method of making these decoys, and advertising in periodicals as a “manufacturer” of duck decoys, led to this misclassification. The hunters who bought Stevens’ decoys no doubt felt their rigs had been individually made for them, and few other available decoys could compare. In reality, this is true because no two Stevens decoys are exactly alike, since they were handmade “throughout,” made in a “different style,” and finished with only the “best paint.” They were crafted from original patterns from skilled hands.

146

234

Bluewing teal drake, Harvey Stevens, Weedsport, New York, 3rd quarter 19th century. Stenciling on underside “HA Stevens Maker, Weedsport, New York Standard Decoy.” A large “S” is also branded in underside, as well as “HSB” three times in underside for Harvey Brown rig. 13” long. Very strong original paint; very light wear on outer edges of body; paint surface has mellowed nicely. (8,000 - 12,000)

Stencil on underside reads, “H.A. Stevens Maker, Weedsport, N.Y. Standard Decoys.”

147

This extraordinary pair of mallards by company founder Harvey Stevens, represents the artist entrepreneur at his best. The attached copper curl tail was an added extra. Some collectors believe they were a special order made for the Fox Island Gun Club, and others believe they were likely fancy store display models. Regardless, they are unique in the scope of their work, and they remain nearly 150 years later in near mint condition. This exact pair was found around 1980 in Travers City, Michigan along with two other mint Stevens decoys â&#x20AC;&#x201C; a redhead and a bluebill â&#x20AC;&#x201C; both to be sold in our July 2020 auction.

148

235

Outstanding and important rigmate pair of mallards, Harvey Stevens, Weedsport, New York. Each is branded “HA Stevens maker Weedsport, New York Standard Decoys.” Drake has very unusual inset tail feather curl. Strong and excellent feather combing on back. Hen’s back is feather loop painted, including loop figurals at edges of each speculum. Outstanding original paint; small wood imperfection on underside of drake.

(45,000 - 65,000)

149

237

Bufflehead drake, George Stevens, Weedsport, New York, last quarter 19th century. 12.5” long. Strong original paint; a few shot scars; moderate wear on underside where paint has flaked; smaller area at top of one side of back where wood is exposed. (6,000 - 9,000)

238

Bluebill drake, Harvey Stevens, Weedsport, New York, last quarter 19th century. 14” long. Original paint with good combing detail and minor wear; areas of touchup to breast, bill, and back; structurally good.

238

Provenance: Formerly in the collection of Roy Bull, Cape Charles, Virginia. Bull collection brand in underside.

Literature: “Stevens Brothers Decoys,” Peter and Peggy Muller.

150

(1,750 - 2,250)

Items of Interest

238A

238B

238A High necked pintail drake, George W. Combs I, Freeport, Long Island, New York, last quarter 19th

century. Hollow carved. Measures 17” long. Original paint with minor wear; several small dents. 238B

(650 - 950)

Merganser hen, Captain George W. Combs I, Freeport, Long Island, New York, last quarter 19th century. Branded “C.T. Sprague”. Measures 15.25” long. Worn original paint; numerous cracks. (500 - 800)

239

Full size wooden crow with flapping metal wings and metal legs. Mounted on wooden base with trees painted on it. Stands approximately 14.5” tall. Original paint with minor wear; small amount of touchup at neck seam and at the hinges at one wing.

Provenance: Formerly in collection of Henry Fleckenstein, Jr. (2,000 - 3,000) 239

240.

Pointer trade sign or honor board, probably from a quail plantation in Aiken, South Carolina, circa 1940. Appears to have good age with crazing on areas of white. 52” long. Metal strap is attached to one side for strength; tail has been broken and repaired with metal strap; paint is a mix of original with strengthening mostly to brown areas.

240

(800 - 1,200)

241 241

242

Hardcover binder in slip case with federal duck stamps. 71 federal duck stamps 1934-2004. Original and good.

242

(400 - 600)

Old sea chest with a map of Long Island under the lid and a set of crane decoys, four with stakes, carved by George Combs, Sr. in 1999. Carved letters on front were added at that time. Original and good. (500 - 700)

151

John Tax 1894 - 1967 | Osakis Minnesota The Frontyard Landmark (Adapted from Marie Tax Rieck’s story of her grandfather, John Tax, Sr.) My grandparents met us at the Alexandria MN Train Station in a black 1929 Model A Ford. Grandma Tax warmly greeted us in her fresh pressed apron that she always wore over her dress, and Grandpa Tax gave my dad a hug and a pat on the shoulder. I had traveled with my family on the Great Northern Rocky Mountain Railway from Olympia WA to spend the summer with them at their house on Lake Osakis. Grandma was cooking dinner and told my parents I reminded her of little Ramona, my dad’s younger sister who died at the age of 12. Grandpa thought so too. I could tell he liked me. Grandpa was a quiet man who rarely smiled and seemed to have a lot on his mind. He owned the Osakis Feed and Harness Store. When he wasn’t working at the store, he’d be in his woodshop or out on the lake in his wooden rowboat. Grandpa’s shop was off limits to us kids, but my dad said it was filled with duck decoys, geese, fish, wildlife plaques, unusual carvings and paintings. Late one night when everyone was asleep, grandpa woke me up after a heavy rainstorm. I followed him along the sidewalk that led to the lake as he pointed to the longest, fattest earthworms I’d ever seen as they wiggled across the sidewalk. He picked up a dozen and tossed them in a rusty tin can. He turned and winked at me, and whispered, “bait.” I felt like I’d been chosen for a secret adventure! Early one morning, I saw grandpa sitting by the lake surrounded by squirrels and chipmunks eating sunflower seeds right out of his hand! It was a magical moment as I stared in silence. I walked to work with Grandpa one sunny day about five or six blocks away. I must’ve been underfoot that morning, because grandpa said, “I think you should go back to the house now.” Heading back towards the lake, along the railroad tracks, I realized there weren’t any tracks on our way to the store. I headed towards the lake, but I had wandered a block too far. Fortunately, a man trimming his hedge looked at me and asked, “Are you lost little girl?” With tears filling my eyes, I said, “I think so. I’m supposed to go to my grandma’s house, but I don’t know where it is!” He asked me my name, and I said, “Marie Tax.” He smiled

152

again, dabbed my tears, and said, “Honey, do you see that white house, across street with a big sunfish birdhouse on that pole? Well, that’s where John and Ada Tax live… you must be their granddaughter that came from Washington on a train!” So, it was then, that the sunfish birdhouse in my grandparent’s front yard became a landmark and an early childhood memory. Grandpa and most of his neighbors on Lake Street had birdhouses in their yard, but the sunfish stood out from all the rest. I had wondered how the birds felt about making their home inside a fish! John F. Tax Sr. died on August 15, 1967. Some of his decoys and carvings were dispersed amongst relatives, neighbors, and friends, and many simply disappeared when the property was sold. Fortunately, the sunfish birdhouse was passed on to grandpa’s brother. In 1991, I traveled from my home in Hawaii to visit my parents in Washington. Sorting through boxes, I came across the sunfish birdhouse. As I removed the old newspaper, memories flooded back. My dad said grandpa probably made the birdhouse in the 40s out of reused materials and oil-based paints he collected during the war years. He insisted that I take the birdhouse. In 2018, in the midst of extreme weather, earthquakes, and volcanic eruptions on the island, I packed up my birdhouse and sent it to a trusted friend, Rick Sandstrom, for safe keeping. The sunfish birdhouse belongs in the Midwest where it was lovingly created by my grandpa. It is now being offered at auction. It is my sincere hope it will continue to be treasured, and that the legacy of John F. Tax Sr. will live on.

243

Hollow sunfish birdhouse, John Tax, Osakis, Minnesota. Metal fins. Open mouth with entrance to the inside. Carved eyes and gills. 16” long. Original paint; some bending at metal fins with paint loss at the dorsal fin.

(6,500 - 9,500)

153

Maryland

244

245

244

High head swan with swing keel, Madison Mitchell, Havre de Grace, Maryland. Signed and dated 1964 on one lower side. Measures 35” long. Original paint with moderate discoloration and very minor wear.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. (1,500 - 2,500) 245

Swan, Madison Mitchell, Havre de Grace, Maryland. Flat bottom style. Signed and dated 1962 in electropen on the underside. Measures 33” long. Original paint with minor to moderate discoloration and very minor wear.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. (1,500 - 2,500)

154

246

249

247

250

248

251

246

Pair of Ward Brothers humpback style shovelers, Oliver Lawson, Crisfield, Maryland. Both have

249

Rare flying mergansers, Alvin Meekins, Hoopers Island, Maryland. Applied canvas wings and tack

slightly turned heads. 17” long. Very good and origi-

eyes. Made to either hang from a ceiling or used

nal.

as stick ups. Measure 22.5” long. Original paint with

(1,200 - 1,500)

minor wear with moderate discoloration from a coat of 247

Pair of Ward Brothers style mallards, 1948 high tail, Oliver Lawson, Crisfield, Maryland. Signed. 18” long. Both have slightly turned heads. Very good and original.

248

(1,200 - 1,500)

varnish; hit by shot, otherwise very good and original.

Provenance: Bruce Williams collection.

250

Three cast iron sink box decoys. A redhead, a black duck, and a canvasback. Measure from 15” to

Pair of shooting style widgeon, Oliver Lawson, Crisfield, Maryland. Signed. 14” long. Both have

16” long. Discoloration from rust and pitted surface. (600 - 900)

slightly turned heads. Very good and original. (900 - 1,200)

(800 - 1,200)

251

Cast iron sink box decoy from Maryland.

Measures 13” long. Pitted surface with some green paint added to head.

(300 - 500)

155

Delbert “Cigar” Daisey 1928 - 2017 | Chincoteague, Virginia Born in 1928 on Chincoteague Island, Virginia, Cigar, along with his two brothers, followed the footsteps of his father, Herbert, a decoy carver, market gunner and waterman who made a living off the land. After graduating high school in 1945, Cigar was making more money than most of the elders on the island doing what he truly loved, trapping, which included fur bearing animals and ducks. Times were different then and game laws were not as strictly enforced as they would eventually become. In truth, these were exciting times for Cigar and one could probably write an entire novel about his brushes with the game enforcement officers. Cigar eventually turned his efforts to carving and other more mainstream occupations, which included finding and selling decoys for Bill Mackey in the mid-1950s. Learning that there was increasing interest for both old and contemporary decoys, Cigar was quick to capitalize on both. Over the next several decades, Cigar fine-tuned his reputation as a decoy carver, where he both judged and competed in carving competitions up and down the East Coast. One highlight was winning three first place awards, one of which was best of show, in a single World Championship contest sponsored by the Ward Foundation

252

Very rare pair of ringbills, Cigar Daisey, Chincoteague, Virginia. Branded and signed “Delbert Cigar Daisey Longneck ringbill hunting decoy 2/98.” 12.75” long. Both have slightly turned heads and detailed wingtip and tail carving. Fine feather paint detail. Excellent and original.

Provenance: Doily Fulcher collection.

Literature: “Delbert “Cigar” Daisey Decoys, Doiley Fulcher. (3,000 - 4,000) 252

156

253

256

254

257

255

258

253

Rare eskimo curlew, Cigar Daisey, Chincoteague, Virginia. Branded “Cigar” on under-

original base branded Cigar. 12” long. Very good and

and original.

original.

Provenance: Doily Fulcher collection. “86 Doily” is writ-

(1,250 - 1,750)

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

ten on underside. 257

(650 - 850)

Dowitcher in feeding pose, Cigar Daisey, Chincoteague, Virginia. Branded and signed. On original clamshell base with Cigar Daisey label on

and original.

underside. 9” long. Very good and original.

Provenance: Doily Fulcher collection, Fulcher collec-

Provenance: Doily Fulcher collection. “06 Doily” is writ-

(1,250 - 1,750)

Rare dunlin in content pose, Cigar Daisey, Chincoteague, Virginia. On clam shell base.

ten on underside. 258

Branded “Cigar”. 8.5” long. Very good and original.

Provenance: Doily Fulcher collection. “03 Doily” is writ-

Daisey weights are included. 11.25” long. Very good

tion stamp on underside. 255

Yellowlegs with lifted head, Cigar Daisey, Chincoteague, Virginia. Branded and signed. On

side. 12.5” long. Good feather paint detail. Very good

ten on the underside. 254

256

(750 - 1,000)

Golden plover, Cigar Daisey, Chincoteague, Virginia. Branded and signed “Cigar” on underside of decoy. Signed on underside of clam shell base. 9.25” long. Very good and original.

Provenance: Doily Fulcher collection. “Doily 05” is written on underside.

(650 - 950)

Provenance: Doily Fulcher collection.

Literature: “Delbert “Cigar” Daisey Decoys, Doiley Fulcher. (650 - 950)

157

Midwest Ben Schmidt 1884 - 1968 | Detroit, Michigan

259

260

259

Rigmate pair of buffleheads, Ben Schmidt, Detroit, Michigan, circa 1950. Hen’s head is slightly turned head.

260

Rigmate pair of pintails, Ben Schmidt, Detroit, Michigan, circa 1940. Hen has wooden sprig tail. Keels have been removed

Drake’s head has iridescent mixed in

from both. 17” long. Strong original paint;

paint to create realistic feather shine. 13”

tight body crack in drake with rough area at

long. Excellent and original.

tip of tail; body crack in back of hen; both

(3,000 - 5,000)

have two very small holes drilled at tail as some sort of carrying system or marking. (2,500 - 3,500)

158

261

Pair of goldeneye, Ben Schmidt, Detroit, Michigan. Slightly turned heads. Hen with relief wing carving and detailed feather stamping. Measure 14.75” long. Excellent and original.

Provenance: Phil Mott collection. (2,500 - 3,500)

261

262

Excellent rigmate pair of mallards, Ben Schmidt, Detroit, Michigan, circa 1950. Very unusual hollow carved with tin bottom board. 18” long. Strong feather stamping on both bodies. Excellent wet on wet blended paint. Near mint.

(2,000 - 3,000)

262

263

Rare and possibly unique cinnamon teal, Ben Schmidt, Detroit, Michigan, circa 1950. Well executed carving style with split wings and tail carving. Feather stamping on body. Remnants of leather glued to underside indicates that it was probably in the collection of Dick Lancaster. 12” long. Excellent and original. (2,000 - 3,000) 263

264

Widgeon drake, Ben Schmidt, Detroit, Michigan, circa 1940. Strong feather stamping all over body. Hollowed from the underside and branded “GEB.” Strong original paint; original and good. (1,500 - 2,000)

264

159

265

Rigmate pair of canvasbacks, Ben Schmidt, Detroit, Michigan, circa 1950. Both are branded “T.L. Baker” on underside. Slightly turned heads. Hen’s body has some feather stamping. 16” long. Very good and original. (1,200 - 1,500)

265

266

Canada goose, Ben Schmidt, Detroit, Michigan, circa 1950. Slightly turned head with feather stamped body, raised and split wingtips. Hollowed from underside. 25” long. Strong original paint; some of which has somewhat worn away on back area of body.

(1,500 - 2,000)

266

267

Very rare nene goose, Ben Schmidt, Detroit, Michigan, 2nd quarter 20th century. Probably carved at the request of Dick Lancaster. 21” long. Head is slightly turned. Excellent and original. (1,500 - 2,500)

267

268

Greenwing teal drake, Ben Schmidt, Detroit, Michigan, circa 1950. Excellent feather stamping and well executed carving. Remnants of leather pad on underside probably from the collection of Dick Lancaster. Slightly turned head. 14” long. Excellent and original.

268

160

(1,500 - 2,000)

269

272

270

273

271

274

269

Rare bufflehead hen, Christie Brothers, Saginaw, Michigan, 1st quarter 20th century. 12”

272

Very rare bluebill drake, William Pepper, Rocky River, Ohio, circa 1930. A rare classic Ohio decoy,

long. Original paint; rough area at end of bill; several

only a few of these decoys are known to exist. Each

shot marks.

has a separately carved bill that can be removed from

(1,000 - 1,500)

the face of the decoy. 14” long. Original paint with 270

Stylish sleeping canvasback drake, Danny Scrivens, Detroit, Michigan, 1st quarter 20th century. Branded “C.L. Gransden” numerous times

wear at edges of tail and front of breast; crack in neck where it looks like the head has been reattached. (800 - 1,200)

in underside. Head is positioned over back and bill is tucked into the feathers. 13” long. Original paint that

Silhouette Canada goose, Enoch Reindahl, Stoughton, Wisconsin. Movable head. Body is 24”

has mellowed nicely to create a dry surface.

long. Good feather paint detail. Original paint with

carved slightly shorter to give appearance that it is

273

very minor wear; structurally good.

(800 - 1,000) 271

Stylish canvasback drake, unknown maker, last quarter 19th century. Part of a rig of canvasbacks all in this style with extended snakey heads and upswept tails. 16” long. Multiple coats of old working paint which have flaked and crazed.

(800 - 1,200)

Provenance: Meyer collection.

274

Hollow carved black duck, Jacob Scholer, Burlington, Iowa. 18” long. Original paint with

(800 - 1,200)

minor to moderate wear on much of decoy; old in use repaint on underside extending .5” up sides; neck crack repair with touchup on the head. (1,500 - 2,000)

161

275

278

276

279

277

280

275

Canvasback drake, One Arm Kelly, Monroe, Michigan. 17” long. Slightly turned head and glass

277

Racey canvasback drake, Captain Robert Heath, Algonac, Michigan, circa 1900. Hollow

eyes. Original paint with minor wear; mostly on head;

carved with bottom board, similar to style of

head is a little loose; filled “in the making”’ crack in

Christopher Smith. 16” in length. Original paint; flaking

back as well as two knots that have separated slightly.

on back; rubs at top of head and tail.

(700 - 900)

(650 - 950) 276

Rare and unusual black duck, Ike Goulet, Mt. Clemens, Michigan. Tack eyes with head carved

278

Canada goose, Frank Schmidt, Detroit, Michigan, circa 1940. Feather stamping on back with extra detailed wing carving, more than what Frank typi-

in a semi swimming pose. Applied extended wingtips,

cally did on geese. Loop feather painting to embellish

a very unusual trait for Michigan decoys. Goulet was

stamping. 24” long. Two tight cracks in back other-

known for his carved fish decoys. Two holes drilled in

wise, very good and original.

(750 - 950)

underside to use for weights. 18” long. Original paint; structurally good.

(700 - 900)

279

Canvasback drake, Ben Schmidt, Detroit, Michigan. Slightly turned head. 16.5” long. Original paint with minor wear; structurally good.

280

(500 - 700)

Mallard drake, Perry Wilcoxen, Liverpool, Illinois. Good form. “HLR” stamped in underside. Original paint with minor wear; structurally good. (400 - 600)

162

Contemporary

281

Great blue heron, Mark McNair, Craddockville, Virginia. Carved eyes. Faux marble painted base. Heron measures 35” long. Stands 54.5” long. Excellent and original.

Provenance: Meyer collection.

282

(3,000 - 4,000)

283

Pair of mergansers, Pete Peterson, Cape Charles, Virginia. Signed, branded, and dated

283

Pair of wood ducks, Pete Peterson, Cape Charles, Virginia. Signed, branded, and dated

2004. Hen is in preening pose with bill slightly bur-

2002. 14.5” long. Both have very slightly turned

ied in feathers. Drake is 17.5” long. Very good

heads and raised “V” wingtip carving. Very

and original.

good and original.

(600 - 800)

(500 - 700)

163

284

Appealing herring gull, Mark McNair, Craddockville, Virginia. With relief wing carving and split raised tail. Center cut hollow and very lightweight. Raised neck seat with carved eyes. Signed “McNair” under deeply dropped keel. Paint is made to appear to be aged and, in fact, has a very nice surface. Near mint.

(1,500 - 2,000)

284

285

Pair of mergansers, William Gibian, Onancock, Virginia. Signed. Relief wing carving, carved crests, and detailed feather paint. Very good and original.

(1,500 - 2,000)

285

286

Well executed rooster pheasant, Frank Finney, Craddockville, Virginia. High level of detail in the feather carving, from the back through the side pockets, tail feathers, and especially around the head. Mounted on high quality base with Frank’s fancy “F” carved into the side. 31” long. Excellent and original.

286

287

(1,500 - 2,000)

Large lake trout fish plaque, George Strunk, Glendora, New Jersey. Signed and dated 2010. Plaque is 36” long. Made in the style of Lawrence Irvine, Winthrop, Maine. Fish is very deep bodied, 3.25” thick. Very good and original.

287

164

(1,000 - 1,400)

288

289

291

290

288

292

Stylish feeding curlew, Cameron McIntyre, Falls Church, Virginia. Bares the “CTM” initials on underside. Carved eye with a serpentine style

Hanging game yellowlegs on old wooden door panel, George Strunk, Glendora, New Jersey. Signed. Panel is 21” tall. Carving is excel-

neck create a feeding position. Exposed rusted

lent and original; panel is good.

290

(800 - 1,200)

square nails that attach the head to the body. years ago. Surface has been worn and stressed to

Standing blue wing teal hen, Ben Heinemann, Durham, North Carolina. With tucked and

create a very realistic vintage appearance. 18”

turned head, raised wingtips and excellent paint

long. Excellent and original.

detail. Signed and dated 2008 on the underside.

Raised split tail similar to those made in Virginia 100

291

(800 - 1,200)

Measures 10.25” long. Excellent and original. 289

Large curlew carved in the style of Walter Brady, Marty Hanson, Hayward, Wisconsin. “MH” carved by stick hole. Relief wing

(800 - 1,200)

carving. Removable dovetailed head and neck.

Large Hudsonian godwit, William Gibian, Onancock, Virginia. Relief wing carving and

17.25” long. Very good and original.

raised wingtips. “Gibian” carved into the under-

(800 - 1,200)

292

side. Measures 17.25” long. Excellent and original. (800 - 1,200)

165

293

296

294

297

295

298

293

Pair of redheads, Paul Burdette. Signed and dated 1971. Both have slightly turned heads and

Owl, Jerry Siloski, Chicago, Illinois, circa 1970. Stamped “JS” with copyright near tail.

detailed feather carving. 13.5” long. Very good

Shotgun shell eyes. Body is hinged so that it

and original.

opens and stores three folding tin crow decoys.

296

Excellent paint feather detail. 19” tall. Very good

Provenance: Dr. Lloyd T. Griffith collection.

and original.

Griffith collection stamp on underside. (650 - 950) 294

Hollow caved mallard, Bob Seabrook, Absecon, New Jersey. Carved in the style of

297

“GC” carved in underside. 30” long. Strong origi-

eyes. Measure 16” long. Made to look older;

nal paint has mellowed nicely; small chip in tail of

separation in one side of body seam with a tight

295

stamped in the undersides. Both have slightly turned heads and raised “V” wingtip carvings. 13” long. Excellent and original.

one; little bit of age staining on another, but both

(500 - 800)

Pair of shovelers, Grayson Chesser, Jenkins Bridge, Virginia. Both have a large “C”

(400 - 600)

Pair of canvas and wood swans, George Crosson, circa 1979. Stylized head positions. Canvas bodies and wooden tails. Both have

Nathan Rowley Horner with ice groove and tack

cracks at nails.

have very nice mellow surface; a few tight cracks under tail of one. 298

(500 - 800)

Greater yellowlegs, carved in the style of Thomas Gelston, Jamie Reason, Long Island, New York. “JR” in underside. 13” long. Original paint with minor to moderate wear; several tiny dents.

166

(300 - 400)

299

Wood duck drake, JP Hand, Goshen, New Jersey. Hollow carved with ice groove and extended crest. Maker’s brand in the underside. Measures 15.5” long. Excellent and original.

300

(300 - 500)

Hollow carved wood duck drake, William Gibian, Onancock, Virginia. “Gibian” craved in underside. Very slightly turned head. Detailed feather carving on wingtips and tail. 15” long. Very good and original.

Literature: “Decoys - North America’s One Hundred Greatest,” Loy Harrell, exact deco pictured.

301

(950 - 1,250)

Wood duck drake, Eddy Wozny, Cambridge, Maryland. Signed and dated 2006. 14” long. Slightly turned head. Carved crossed wingtips, fluted tail, and carved secondaries. Very good and original.

Literature: “Decoys - North America’s One Hundred Greatest,” Loy Harrell, exact deco pictured.

(800 - 1,200)

299

300

301

167

Factory Decoys

302

305

303

306

304

307

302

Rare oldsquaw hen attributed to Gundelfinger Decoy Factory, Jefferson City, Missouri. Very few

305

Mallard drake with tack eyes, Dodge Decoy Factory, Detroit, Michigan. 15.5” long. Original

oldsquaw were made by decoy factories. Likely a spe-

paint with minor wear; several tiny dents; profes-

cial order. Measures 16.75” long. Thick original paint with

sional neck filler replacement.

(800 - 1,200)

minor discoloration and wear; drying crack in back and breast from when the decoy was made. 303

(800 - 1,200)

306

Rigmate pair of mallards, Dodge Decoy Factory, Detroit, Michigan. From the “backyard” period. Both

on flat area of underside; defect in wood was filled

have tack eyes. 15” long. Worn original dry paint; crack in

when the decoy was made and much of that filler

back of drake; some paint loss, mostly on hen.

has come out; touchup at neck filler and each side (800 - 1,200)

304

Owl and crow, J.W. Reynolds, Chicago, 1940s. Flapping cloth owl and crow. Silk screened on cloth with canvas crow. Unused; a few very small spots of stain on cloth at breast; and includes original shipping box.

exact decoys pictured.

of neck. 307

(800 - 1,200)

Hoosier call & owl, Delphi, Indiana, circa 1930s. Silk screened cloth. Includes crow call and original shipping box.

Literature: “North American Factory Decoys: A Pictorial Identification & Reference Guide,” Ken

Literature: “North American Factory Decoys: A Pictorial Identification & Reference Guide,” Ken Trayer, p. 332,

168

Canvasback drake, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. Original paint with minor wear; moderate wear

(800 - 1,000)

Trayer, p. 208, exact items pictured.(700 - 900)

308

311

309

312

310

313

308

309

Mallard hen, Mason Decoy Factory, Detroit, Michigan. Challenge grade. 16.5” long. Original

century. Both have the Evans stamp on the under-

paint with minor wear; professional tail chip repair;

hen has old touchup on part of the underside going

age split in one side with touchup in that area; several

around .25” up lower sides and a spot on the back;

small nail holes at lower neck and neck base; lightly hit

drake has a professional repair to a crack in the bill

by shot.

with touchup in that area.

side and are 18” long. Original paint with minor wear;

(650 - 950)

Bluebill drake, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. Detailed

312

(650 - 950)

Canvasback drake, Mason Decoy Factory, Detroit, Michigan. Premier grade, Seneca Lake

feather paint pattern and glass eyes. Original paint

model. 17” long. Original paint with minor to moder-

with minor discoloration and wear; lightly hit by shot;

ate wear; crack through neck with some filler added,

neck filler professionally replaced.

also filler added to neck seam; in factory crack in one

(650 - 950)

side; lightly hit by shot; crack in underside; cracks in 310

Mammoth mallard hen and drake, Evans Decoy Factory, Ladysmith, Wisconsin, 2nd quarter 20th century. Both retain Evans stamp on the back. 18”

other side with small amount of touchup in that area. (600 - 900)

drake has touchup to white ring around neck; small

Greenwing teal drake, Hays Decoy Factory, Jefferson, City, Missouri. 12.5” long. Original paint

dents.

with minor discoloration and wear; old touchup on the

long. Original paint with minor to moderate wear; (650 - 950)

313

speculums; two small nails added to the neck base to 311

Pair of mammoth canvasbacks, Evans Decoy Factory, Ladysmith, Wisconsin, 2nd quarter 19th

stabilize the head; fairly large crack in underside. (600 - 900)

End of session one

169

SESSION TWO Saturday, May 30, 2020 - 11:00 am

Decoratives

314

Very unique black duck hen and three ducklings, Tom Schroeder, Detroit, Michigan, circa 1940. Extraordinary piece made by Schroeder. This mechanical piece has been hollowed out from the inside, the top lifts off, and has a motor and battery included. Expiration for battery April 1949. The tail is meant to wiggle and the head is meant to swivel. Very creative carving from this important Michigan decoy maker. 16” long. Excellent original paint; nice aged patina. (8,000 - 10,000)

170

315

Three standing decorative shovelers in a beach scene, Oliver Lawson, Crisfield, Maryland. Full size shovelers with excellent feather detail, relief wing carving, and raised wingtips. Both drakes with outstretched wings. Signed and dated 1973 on driftwood. Birds measure from 14.5” to 16.5” long. Entire piece measures 33” wide and 18” tall. A few minor flakes to metal legs, otherwise excellent and original.

Provenance: Made for the Lynwood Herrington collection, 1973. Consigned by the family.

(8,000 - 12,000)

171

317

Bluewing teal hen and drake, Harold Haertel, Dundee, Illinois. Both are signed. Hen is dated 1970, drake 1976. Four ducklings included. Drake is 12” long. Hen is in feeding pose. Both have fine paint detail and raised carved wingtips. Very good and original.

318

(4,000 - 6,000)

Canvasback drake, Harold Haertel, Dundee, Illinois, 1968. Signed and dated by maker on underside. Raised and

318

split wingtips. Tail feathers carved individually. Haertel’s classic raised neck drinking pose. 16” long. Excellent and original. (1,500 - 2,000)

319

Swimming bluewing teal hen, Jim Foote, Detroit, Michigan, 1970. Signed on underside with note, “First in species at Point Mouillee, Michigan contest.” Head is slightly turned and tilted. Very detailed side pocket wingtip, and tail carving. Hollow with bottom board. Finely painted. 12” long. Excellent.

319

172

(1,800 - 2,200)

323

320

321

322

320

324

Full size standing gadwall, Cameron McIntyre, New Church, Virginia. “CTM 1992”

Canvasback drake, Tom Schroeder, Detroit, Michigan, 1st half 20th century. Carved wing

carved in the underside. 18.5” long. In reaching

and tail detail. Scratch painting covering white

pose with lifted wings. Good carving and paint

areas of body. Hollowed from underside. Head is

detail. Very good and original.

slightly turned. 18” long. Excellent and original. (1,000 - 1,500)

Provenance: Commissioned by Steve Graham in 1992.

321

323

(1,250 - 1,750)

Kestrel on tree limb, Frank Finney, Cape Charles, New Jersey. Signed. 14” tall including

* 324 Carved wooden red tailed hawk on wooden

base. Fine feather carving detail. 18” long. Very good and original.

(800 - 1,200)

base. Turned head, detailed feather carving. Very good and original. 322

(1,250 - 1,750)

Red tail hawk, Frank Finney, Craddockville, Virginia. Slightly turned head with raised and split, crossed wingtips and tail. Wingtips are crossed in split form tail. Mounted on base that bares Frank’s name, “F. Finney.” 14” tall. Excellent and original. (1,200 - 1,500)

173

325

Decorative preening widgeon, Ward Brothers, Crisfield, Maryland, dated 1963. Raised, crossed wings with bill tucked under one wing. Relief carved wing and tail feathers. Signed and dated 1963 on the underside. Measures 12” long. Original paint with minor sap bleed and no wear; reglued crack in raised wing with touchup at seam and underside of wing.

Provenance: Formerly in the collection of Russell Aiken. Herb Wetanson collection. (7,000 - 9,000)

174

326

327

326

Goldeneye drake, Ward Brothers, Crisfield, Maryland. Signed and dated 1966. Ward’s metal tag is on the

327 Opposite side

underside. In content pose with detailed feather carving. Raised carved primaries and fluted tail. Very good and original.

Provenance: Herrington collection.

327

Very creative carving, Tom Schroeder, Detroit, Michigan, circa 1940. Schroeder’s brand on underside. Half of this decoy

(3,500 - 4,500)

is made as a wood duck drake and half as a widgeon drake. Both are well executed with feather carving and stamping though wings and tail. Old coat of varnish has mellowed to give a nice patina. This is the only known wood duck/widgeon made by Schroeder. 15.5” long. Slight roughness to edge of wingtips on both with wood duck missing very small piece of tail; otherwise original and good.

(2,750 - 3,250)

175

328

Pair of 1/4 size partridge, George Huey, Friendship, Maine. Mounted on 9.5” x 15.5” beveled hardwood base with the inscription “Hand carved and painted work of G.R. Huey, Friendship Maine” in the underside. Original paint with very minor wear; slight paint loss at neck seams.

Literature: “New England Decoys,” John and Shirley Delph. (5,000 - 8,000)

176

329

330

332

331

333

329

1/2 size flying mallard drake, Charles Perdew, Henry, Illinois. Detailed wing and tail carving that

* 331 Pair of semi palmated sandpipers, Jack Franco,

Assonet, Massachusetts. Signed and dated

includes a curled tail feather in cupped or land-

January 1988. On wooden base with sand and stone

ing position. This piece was consigned originally to

attached. Highly detailed feather carving. Carving is

Guyette & Schmidt in April 1999 by Harold Perdew

10” long. Very good and original.

(450 - 950)

and can be seen in lot 539 of that catalog. It was by Tony Zulu, including insertion of glass eyes. 8.75”

Black bellied plover, Harold Haertel, 1979, Dundee, Illinois. Raised split and carved wingtips.

tall. Crack in underside of tail has been reglued.

Snuggled head with glass eyes. 10” long. Excellent

90% painted at that time, but has been enhanced

332

(1,500 - 2,000) 330

1/2 size cormorant, Kenneth Scheeler. Signed.

and original. 333

(400 - 600)

Owl on post, Ernie Muehlmatt. Signed and dated

13” long. With relief wing carving and slightly turned

1997. Fine carving and paint detail. Carving is 14”

and lifted head. Very good and original.

tall. Very good and original.

(450 - 650)

(800 - 1,200)

177

Nantucket Drop Wing Golden Plover In the early days of searching for decoys, the existence of a small, yet wonderful group of shorebirds surfaced, which seemingly originated on the island of Nantucket off the southern coast of Cape Cod. Reportedly, Bill Mackey and Donal O’Brien managed to track down and purchase 15 of the 17 known examples. These decoys were totally unlike anything that had been seen coming from the island. All were individually crafted, seemingly, without the use of a pattern. The Quaker heritage and maritime background of the Nantucket residents was evident in the fine craftsmanship of the decoys commonly in use on the island. Plover shooting was an important part of the life of the islanders and competition was, undoubtedly, severe among hunters. It would seem evident that the hunters with the best rigs would achieve the greatest success. The maker of these decoys chose to make no two exactly alike. Carved wings were either absent, as if tucked close

to the body, or applied and posed, as if raised or drooping. Heads were depicted as if looking left, right, or upward. Overall, the assemblage must have appeared extremely lifelike and animated. Today, they are considered to be among the finest examples of this folk form to exist, and they are represented in a select few of the very finest collections in America. They were once included in, or are currently prominently displayed in, the collections of Mr. Bill Mackey, Dr. James McCleery, Dr. Peter Miller, Dr. Lloyd Griffith, Mr. Donal O’Brien, and Mr. Paul Tudor Jones. Like so many exceptional decoys, the identity of the exact maker is, unfortunately, uncertain. Over time, this rig has been assigned various attributions – most recently “Webster.” It must be assumed that due to recent catalog provenance (ie. “Franklin Folger Webster collection”) that this is where the original grouping was acquired from.

Portions of the O’Brien and McCleery collections

Evolution of the attribution “Webster” EVOLUTION OF THE ATTRIBUTION “WEBSTER” 1. In 1971, Milton C. Weiller in his “Classic Shorebird Decoys” portfolio, list an example as

“Nantucket Island – Golden plover.” 2. In 1973, in the Mackey auction, his example was cataloged as “Nantucket plover.” 3. In the 1981 Doyle Galleries auction catalog, they were listed as “Golden Plover – Nantucket.” 4. In 1982, The Museum of American Folk Art labeled an example from the O’Brien collection as “Maker Unknown.” 5. In July 1983, Richard Bourne Auction list an example as “rare early Nantucket golden plover” 6. In 1987, Donal O’Brien stated in “The Decorative Arts and Crafts of Nantucket” that the example pictured from his collection was “Possibly by a member of the Folger family c. 1850.” 7. In March 1987, Richard Bourne auction list an example as “Rare golden plover from Nantucket” 8. In 1992 in “Call to The Sky,” the McCleery example was listed as “Golden plover c. 1890, Mr. Webster (dates unknown) Nantucket.” 9. In 2000, when the McCleery collection was auctioned off, they were “attributed to a Mr. Webster, Nantucket, Massachusetts mid-to-late 19th century.” 10. In 2020, the Dr. Muller examples were listed simply as “Webster” with a provenance of the “Franklin Folger Webster collection.”

178

Franklin Folger Webster | 1895 – 1980 The Folger name is almost synonymous with the island of Nantucket. The family, along with the Starbucks, Coffins, Husseys, and others, were all prominent members of the community during the whaling period. Franklin Folger Webster was born in central Massachusetts, but by the time he was four, he was living with his mother and sister in the home of his grandfather (Franklin Folger) on Nantucket. He married Emily Sykes Boody in 1925, and the couple raised three sons. By 1930, he had relocated to New Jersey and worked for the telephone company there until his retirement when he and his wife moved back to the island. He eventually moved to Florida but, when he died, his remains were returned to Nantucket, and he is buried in the Prospect Hill Cemetery there.

Nantucket is a relatively small, very insular community and the “old families” all knew each other and were aware of most of the activities in town. It is purely speculative, but perhaps because of the Folger family connections, Franklin F. Webster became aware of this rig of shorebirds and made them available to Mackey and O’Brien. If he (Franklin Webster) had actually used the rig, it would have been for a very brief time in his early 20s. His grandfather, Franklin Folger, would have been active in the late 1800s at the time of widespread shorebird shooting on the island. Perhaps time and additional research may finally identify the true maker of these shorebirds. Until then, they will be enjoyed by a select few that are privileged enough to have them in their collections.

334

179

334

Very rare golden plover from the Webster Rig, Nantucket, Massachusetts, 3rd quarter 19th century. 10.75” long with slightly turned head and wings that are applied with a single 3/8” diameter wooden dowel. Carved eyes. Original paint with very minor wear; a very small amount of paint loss at each dowel.

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

180

(40,000 - 60,000)

181

336

335

Yellowlegs, George Boyd, Seabrook, New Hampshire. Shoe button eyes with square

Yellowlegs, George Boyd, Seabrook, New Hampshire. 10 5/8” long. Original paint with

forehead. Excellent Boyd paint pattern. Adele

good detail and minor wear; tip of bill is missing;

Earnest stamp on underside. 11” long. Strong

thin crack through neck.

original paint; very tight crack near neck seam; small stress crack in bill; a few small rubs on back. (3,500 - 4,500)

182

336

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

(3,000 - 4,000)

337

Running yellowlegs, Elmer Crowell, East Harwich, Massachusetts. A little over 12” long with tack eyes and good patina. Original paint; three very small paint rubs; very slight wear; structurally good.

Literature: “New England Decoys,” John and Shirley Delph. “Songless Aviary,” Brian Cullity.

(12,000 - 15,000)

183

338

Golden plover in spring plumage, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Fat body with glass eyes and split tail. Desirable dry paint application. 9.5” long. One shot scar in underside, otherwise very good and original.

339 339

Golden plover in fall plumage, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Fat body with glass eyes. Desirable dry paint application to create feathering. White paint has mellowed nicely. A rigmate to lot 338 in this sale. 9.5” long. Very good and original. (9,000 - 12,000)

184

(9,000 - 12,000)

339

338

185

341

340

343

342

340

341

Golden plover with tack eyes from Massachusetts. In slightly forward pose. 11.5”

Golden plover, Joseph Lincoln, Accord, Massachusetts. Tack eyes. Measures 9.5”

long. Original paint with good feather detail and

long. Original paint with minor wear; small dents;

very slight wear; small smudge of black paint on one

chips in tail; bill is a replacement; touchup around

side of head structurally good.

eyes.

(1,750 - 2,250)

Large curlew from Nantucket, 3rd quarter 19th century. Hollowed from the underside to

343

(1,000 - 1,400)

Golden plover with baleen bill, Cape Cod, Massachusetts, last quarter 19th century. 10.75”

use as a wind bird. Tack eyes. Measures 15.25”

long. Original paint with good patina and minor

long. Original paint with minor wear; head has been

wear; structurally very good.

off and reattached with some touchup in that area. Provenance: Meyer collection.

186

342

(1,500 - 2,500)

(950 - 1,250)

344

Willet with two iron legs and canvas thighs, Toronto Harbor, Ontario, 1st quarter 20th century. Iron bill and tack eyes. 12.5” long. Original paint with very minor wear; several small shot holes. (4,000 - 6,000)

344A Rare black bellied plover with turned

head from Massachusetts. Quite large,

344

approximately 10” long. Tack eyes. Original paint with good feather detail and minor wear; small dents and shot marks.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. (5,000 - 7,000)

344A

187

Illinois River 345

Mallard drake, Charles Perdew, Henry, Illinois, 1st quarter 20th century. Early three piece body, branded “E.L.” on underside for Ed Long. Retains original weight with fine Edna Perdew paint. 16” long. Original paint with light wear over most of decoy; small areas of flaking; very tight crack in neck; protected by an old coat of varnish. (2,500 - 3,500)

345

346

Mallard drake, Oscar Alford, Beardstown, Illinois. Supposedly Alford made only 36 decoys for his personal use. Distinctive long necks, rounded head, which is turned slightly and slightly reared back. Displays Ward Museum exhibition sticker. 12” long. Strong original paint; covered by a coat of varnish; both of which have crazed; a few small rubs where paint appears to have moved due

346

to heat. 347

(3,000 - 5,000

Mallard hen, Robert Elliston, Bureau, Illinois, last quarter 19th century. 17.5” long. Branded “RB Peoria” in underside. Keel is marked, “Keel by Dale Marsh, Peoria, second owner 1949.” Brass and wooden swiveling stand is included. Written in underside, “Second owner Dale Marsh Sturgeon Bay Wisconsin. Gift from the first owner Ralph Berman, Peoria, Illinois, 1944.” Original paint;

347

protected by an old coat of varnish; one shot mark in side of head. Literature: “Decoys of the Mississippi Flyway,” Alan Haid.

348

(2,500 - 3,500)

Mallard drake, Charles Perdew, Henry, Illinois, circa 1940. Slightly turned head. Paint by Charles. 16” long. Strong original paint; crack in neck; small areas of very light wear. (2,500 - 3,500)

348

188

Bert Graves 1887 - 1956 | Peoria, Illinois

349

Pintail drake, Bert Graves, Peoria, Illinois, 1st quarter 20th century. 18” long. Retains Graves weight. Good feather paint detail and patina. Original paint with a few small rubs and spots of discoloration; two small worn spots on underside.

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

(7,500 - 9,500)

189

Robert Elliston 1847 - 1911 | Bureau, Illinois

“Call to the Sky,” Robert Shaw, p. 105. Exact decoy pictured.

350

Redhead drake, Robert Elliston, Bureau, Illinois, last quarter 19th century.

“Round back” style. Retains Elliston weight. Highly detailed comb painting on back. Complimented by wet on wet feather blending where the combing stops. Retains McCleery collection stamp. 14.5” long. Four shot scars; small paint loss at top of head and one replaced eye.

Provenance: Formerly in the collection of Dr. James McCleery. Lot 85 in the Guyette & Schmidt/Sotheby’s McCleery auction, January 2000.

Literature: “Robert & Catherine Elliston,” Donna Tonelli, Jan/Feb 2020 Decoy Magazine article.

190

(15,000 - 20,000)

191

351

Rigmate pair of mallards, Fred Allen, Monmouth, Illinois. Both have matching weights from the V.C. Sanford Company, Bridgeport, Connecticut. 16” long. Strong original paint with very dry surface; a few shot scars; areas where paint is worn to bare wood, mostly on sides of body and top of drake’s head.

Provenance: Perkins collection. (2,500 - 3,500)

351

352

Pair of mallards, Billy Shaw, Chillicothe, Illinois, last quarter 19th century. 16” long. Original paint with shrinkage on much of the surface areas; some old in use touchup; tiny dents.

(2,000 - 3,000)

352

353

Mallard drake, Lou Kelly, Peoria, Illinois, circa 1930. Hollow. Stamped “LPK” on underside. 16” long. Original paint; moderate gunning wear; a few rubs to exposed wood; roughness to end of bill. (1,500 - 2,500)

353

354

Mallard hen, Lou Kelly, Peoria, Illinois, circa 1930. Hollow with pad weight that has been removed. Looped scratch feather painting in back. As with most Lou Kelly hens, feather painting continues through the underside of the decoy. 15” long. Strong original paint with moderate gunning wear; shot scar on

354

192

one side of face; a few rubs to bare wood on body.

(1,500 - 2,500)

355

Mallard drake, Charles Walker, Princeton, Illinois. “34” painted in red on underside, indicating this decoy was made for Watson Lawton, a member of the Princeton Game and Fish Club. Round body style with turned head. Excellent comb painting on back of body. 17” long. Strong original paint; very light wear.

Provenance: Consignor purchased directly from the Lawton Family. (9,000 - 12,000)

Watson Lawton owned a feed and fertilizer store in Bureau County, Illinois. He joined the Princeton a Game and Fish Club in 1930, and probably ordered this rig from Walker at that time. He was a close friend of an other important owner of Charles Walker mallards, Cliff Jolley.

193

356

Pair of mallards, Bert Graves, Peoria, Illinois. 17.5” long. Good feather paint detail.

Rare oversize mallard drake, Bert Graves, Peoria, Illinois. Graves weight on underside. 23”

Both retain Graves weights. Drake is protected by

long. Original paint with moderate discoloration

a coat of varnish. Original paint with minor wear;

and minor wear; paint restoration on head and

both have touchup on the white part of the

breast; structurally good.

speculums, drake has some at the white at tip of tail; drake has been hit by shot.

357

times and are from the Somers Headly collection. (3,000 - 4,000)

194

Provenance: Meyer collection. Formerly in the collection of William J. Mackey, Jr, Mackey col-

Provenance: Both are stamped “SGH” several

357

lection stamp on underside.

(3,000 - 5,000)

358

Mallard drake, Charles Walker, Princeton, Illinois. Flat bottom style with relief wing carving.

359

Canvasback hen, Bert Graves, Peoria, Illinois, 1st quarter 20th century. Diver

16” long. Original paint with minor discoloration

tail style. Retains original Graves weight. 17”

and wear on much of the decoy; crack through

long. Original paint with light wear protected by

neck; overpaint removed from head and lower

a coat of varnish; partial crack to one eye; a few

body.

small dents.

(4,000 - 6,000)

(3,500 - 5,500)

359

195

Mason Decoy Factory 1896 - 1924 | Detroit, Michigan 360

Canada goose, Mason Decoy Factory, Detroit, Michigan. Premier grade. Original paint with minor to moderate wear; loop feather paint is still visible on back; numerous small dents on tail with some old touchup in that area; old touchup on part of bill; small dents.

Provenance: Collection of Captain Gary and Lois Fisher.

360

361

(2,000 - 3,000)

Rare “double blue” bluewing teal drake, Mason Decoy Factory, Detroit, Michigan. Challenge grade. Original paint with minor wear; spots of touchup to flaking on body and head; neck filler has been professionally replaced with touchup in that area.

(2,000 - 2,500)

361

362

Brant, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade. 19” long. Strong original paint with visible swirls; flaking to areas of back and top of head, mostly and a little at breast. (2,000 - 3,000)

362

363

Rigmate pair of redheads, Mason Decoy Factory, Detroit, Michigan. Challenge grade models. Rig brands gouged out of the undersides. “DV”’ painted on the underside of drake. Measure 14.75” long. Original paint with minor gunning wear protected by a thin coat of varnish; small dents and shot marks;

363

196

some on drake’s tail touched up; split in underside of hen.

(1,600 - 2,000)

364

365

364

Greenwing teal hen, Mason Decoy Factory, Detroit, Michigan. Hollow carved Premier grade. “Taylor” brand-

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

ed in the underside. Measures 12.75”

with double blues. Branded “LINN”. 12”

long. A few shot marks, otherwise excel-

long. Strong original paint; light even

lent and original.

wear; slight separation at body seam.

(4,000 - 6,000)

365

(3,000 - 4,000)

197

Photograph from the 2000 McCleery sale catalog.

198

366

Oldsquaw drake, Mason Decoy Factory, Detroit, Michigan, circa 1900. Premier grade. Slightly uplifted head. One of only two known from this rig, and one of only three Premier oldsquaws to have surfaced. 16” long. Appears as if an overcoat of paint was removed on much of the decoy, small traces are still evident; small amount of neck filler missing and a few tiny rubs to bare wood including tip of tail, which is slightly worn.

Provenance: Formerly in the McCleery collecReceipt of Randy Root’s purchase of this exact decoy at the November 1975 Parke-Bernet/Sotheby’s Americana auction for $1,300.

tion. Formerly in the Randy Root collection. Purchased at Parke-Bernet auction November 1975 and consigned by Quintino Colio. Literature: “Factory Decoys,” John and Shirly Delph, p. 82, exact decoy pictured. (30,000 - 40,000)

199

367

368

367

Rigmate pair of canvasbacks, Mason Decoy Factory, Detroit, Michigan. Hollow carved Premier grade. “R.B.” stenciled on the underside of each and “G.B.” on the underside of the hen. Measures 14.5” long. Strong original paint with minor flaking and gunning wear; lightly hit by shot; tight cracks in hen’s back. (3,000 - 4,000)

368

Very rare slope breasted model bluewing teal drake, Mason Decoy Factory, Detroit, Michigan. Premier grade. Branded “VaneVleck” and “E.J. House” in underside. Original paint with minor discoloration and wear; in factory crack in back has opened up in some places; head has had two nails added to

368

200

secure it; very small chip missing from back of neck; several tiny shot marks.

(5,000 - 7,000)

369

Canada goose, Mason Decoy Factory, Detroit, Michigan. Premier grade. Original paint with good loop feather paint detail. 24.5” long. Minor flaking and wear, mostly at neck seam and top of head; some of the neck filler is missing; curing crack in underside which had a piece of wood splined into it when the decoy was made.

Provenance: Meyer collection.

Literature: “Mason Decoys: A Complete Pictorial Guide,” Russ Goldberger and Alan Haid, p. 80, exact decoy pictured. (9,000 - 12,000)

201

Factory Shorebirds

371

370

Exceptional robin snipe in spring plumage, Mason Decoy Factory, Detroit, Michigan, circa 1900. Tack eye model. 11” long. Strong original

Black bellied plover, Mason Decoy Factory, Detroit, Michigan, circa 1900. Tack eyes with iron bill. Well executed wet on wet brush blending. 11”

paint; sponge painting over top of brown coat on

long. Plump body with strong original paint; tight

back; small areas of paint loss around bill; one small

crack in one side of back.

chip near nail hole, otherwise near excellent. (4,000 - 6,000)

202

371

(3,000 - 4,000)

372

374

373

372

Curlew, Mason Decoy Factory, Detroit, Michigan, circa 1900. Large two piece cur-

373

lew with glass eyes and iron bill. Measures 18.5”

Dowitcher, Dodge Decoy Factory, Detroit, Michigan. Tack eyes and iron bill. Measures 12” long. Very good and original.

(3,000 - 5,000)

long. Original paint with minor wear, mostly on in that area; a few old nails added to the base of

Dowitcher, Mason Decoy Factory, Detroit, Michigan. Tack eye model with iron bill.

neck to secure.

Measures 10.25” long. Small chip in underside

back; bill is a professional replacement, touchup

Provenance: From the Davis Island Club. (4,000 - 6,000)

374

of tail was reshaped and touched up, otherwise excellent and original.

(2,000 - 3,000)

203

Charles Birch 1867 - 1956 | Willis Wharf, Virginia Charlie was born in North Beach, Maryland, directly across the Virginia state line. While a young man, he moved to Chincoteague where, at age 24, he married Jennie E. Bloxom. The couple would eventually have three daughters and three sons. He remained on Chincoteague until at least 1900 where he gunned for the market, but he listed his primary occupation as “Oysterman.” He continued in this profession through at least 1910 when, by that time, he had moved the family to Willis Wharf, Virginia. Henry Fleckenstein notes that, while in Willis Wharf, he had his own oyster grounds and sold his fish, oysters, and clams to the Walker Brothers and Ballard Brothers fish companies there. From the 1920 census through the time of his death, he listed his occupation as “Carpenter,” initially as a “House Carpenter” and, by 1940, “Carpenter – piece work.” Fleckenstein continues to state that Birch also “built many fine boats and monitors for local watermen.” Boatbuilding requires a high level of carpentry skill, and these skills are certainly very apparent in the fine construction of his decoys. Charlie also, apparently, had more than one artistic bone in his body because he is remembered by family members as being able to pick up his favorite violin and play just about any tune.

Charles Birch, Willis Wharf, VA.

His years on the water and marsh gave him an appreciation for the ways of the migrating birds. His advanced carpentry skills gave him the ability to fashion his decoys in accurate renditions of the real birds, and his artistic skills allowed him to execute realistic painted surfaces on his creations. The exceptional swan crafted by him that is being offered here today was once owned by John Kemp Bartlett, Jr. It was donated to the Maryland Historical Society in 1962 from his estate.

JOHN KEMP BARTLETT, JR. | 1890 – 1961 | Baltimore, Maryland Like his father before him, JK Bartlett, Jr. was an attorney in Baltimore, Maryland. He graduated from Princeton University and the University of Maryland School of Law. During World War I, he served as a lieutenant in the Army under the Judge Advocate General’s Office. During World War II, he was Civil Defense Director for Baltimore County. At the time of his death, he was senior partner in the firm of Bartlett, Poe, and Claggett in Baltimore. He was the general counsel to the (then, International League) Baltimore Orioles. He enjoyed sports and was active in civic

204

John Kemp Bartlett Jr. c1940

375

205

affairs and a supporter of the Boy Scouts of America. His WWII draft registration describes him as “having a partially severed finger on his left hand” as well as “a gunshot wound to the right foot.” It is unknown if these were hunting related accidents or from some other cause. His first wife predeceased him, and he remarried in 1954. He had two daughters and one son. His father was John Kemp Bartlett (1863 – 1948) who was born in Easton, Maryland, practiced law in Baltimore, and is buried in Easton, Maryland.

John Kemp Bartlett Sr.

375

Both men were somewhat contemporaneous with Charlie Birch – perhaps JK Bartlett, Sr. being slightly more so. In addition, the senior JK Bartlett obviously had strong ties to Easton, Maryland and, although purely speculative, he may have had a vacation home or hunting lodge there which would have placed him fairly close to Willis Wharf. It may be that this swan was part of his rig and was passed down to his son.

Important hollow carved swan, Charles Birch, Willis Wharf, Virginia. Raised neck seat, tack eyes, and inserted hardwood bill that is splined through to the back of the head. 24” long and 19” high. Near mint original paint, never rigged; small stain from sap at a knot on the top of the tail; short hairline crack in tail; short hairline crack at back of neck base; a few small spots of discoloration; two small holes in center of underside where it appears a display stand was attached at one time.

Provenance: Deaccessioned from the Maryland Historical Society, Baltimore, Maryland.

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

206

(125,000 - 175,000)

207

Arthur Cobb 1870 - 1951 | Cobb Island, Virginia

This decoy was sold as lot 177 in the January 2000 Dr. James McCleery sale

376

208

376

Hollow carved bluebill drake, Arthur Cobb, Cobb Island, Virginia, last quarter 19th century. Raised neck seat and carved eyes. 13.75” long. Original paint with minor wear; very small chip missing from one side of tail; several tiny dents.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. Formerly in the McCleery collection, McCleery stamp on underside, lot 177 in Guyette & Schmidt/Sotheby’s January 2000 auction catalog. Collection of Dr. Edgar Burke, then to William J. Mackey, Jr., then to Tony Waring. Dr McCleery acquired from Waring in 1972. Literature: “Southern Decoys,” Henry Fleckenstein, Jr, p. 202. “Duck Shooting Along the Atlantic Tidewater,” Eugene Connett, p. 149, exact decoy pictured. (30,000 - 40,000)

209

Marty Hanson b. 1965 | Hayward, Wisconsin This wood duck was made in the early 1990’s. It was a commission for a client that declined purchase, as he thought the size was not correct for his satisfaction. The piece was then sold later that day at the Milwaukee Decoy Show, and then to the consignor who has had it for 20+ years, give or take. It is hollow, and all made from white Cedar. The legs are hickory and the whole piece is finished in oil paint. It is one of a kind and the style is based loosely on an Elmer Crowell carving, without exacting details. It is one of the first standing carvings I created. Marty Hanson

378

Standing wood duck drake, Marty Hanson, Hayward, Wisconsin. Hanson’s stamp under the base. Carved oak leaf and acorn on base. Slightly turned head and fluted tail. Near mint original paint; structurally excellent. (3,000 - 4,000)

210

In reference to lot 379 I made a rig of 12 Canada geese for Lloyd in the early 1990s. He wanted 12 to use on the river property he owned and lived on. The geese made for him were pictured in July/ August 1994 issue of Decoy Magazine in an article about my decoy making. They are all hollow and made from white cedar, painted with oils, and weighted and ballasted to float correctly. I am not aware if Lloyd ever used them… I don’t think he did – he stated they were too nice to use. There was one issue with the geese that Lloyd commented on, he said, “the name plates you made were a bit flamboyant.” I thought that was an ironic statement coming from Lloyd, as all that knew him would say that he was also “a bit flamboyant.” Lloyd was a great friend to me and always was encouraging and promoting the work I was doing. I will be forever grateful to him for that, and was honored to make these geese for him, personally. Marty Hanson

379

381

380

382

379

Working Canada goose, Marty Hanson, Hayward, Wisconsin. 22” long. Hanson stamp on underside and

Sickle billed curlew, Marty Hanson, Hayward, Wisconsin. Two piece hollow. Full size curlew with inset

metal plaque, “Made for Lloyd Griffith 1993 by Martin B

pitchfork iron bill. Slightly curved head. Neck is pegged

Hanson.” Detailed wing carving with carved wingtips.

into the body with square wooden dowels. “MH” carved

Slightly turned head. Near mint original paint; small

under the tail. Exaggerated wood grain shrinkage and

amount of glue has seeped out of the seam between

stressed paint job give the carving the appearance of

the neck and the head.

old age. 17” long. Excellent and original.

Provenance: Dr. Lloyd T. Griffith collection. Griffith collection stamp on underside. 380

381

(1,000 - 1,400)

Pair of buffleheads, Marty Hanson, Hayward, Wisconsin. Hanson’s Prior Lake stamp is on the underside. Both are remarked with bufflehead head and

382

(800 - 1,200)

Pair of hunting model goldeneye, Marty Hanson, Hayward, Wisconsin. Hanson’s Prior Lake stamp is on the underside. Good wing feather carving detail. Drake has slightly turned head. 14.25” long. Very good and original.

(650 - 950)

breasts on underside. Both have slightly turned heads and raised carved wingtips. 11” long. Very good and original.

(900 - 1,200)

211

North Carolina

The Princess Anne Club, founded in 1894, was located at Little Island in the Sandbridge area. The club operated until 1936 when it was acquired by the government to become part of the Back Bay National Wildlife Refuge. The club members hunted the marshes and waters on North Bay and what is now the resort area of Sandbridge. “Gun Clubs & Decoys of Back Bay & Currituck Sound,” Archie Johnson & Bud Coppedge.

383

384

383

Root head brant, John Farrow, North Carolina.

20.5” long. Old in use repaint on the white area, the rest

Rare “highhead” style redhead drake, James Best, Kitty Hawk, North Carolina, circa 1900. Appealing

has original paint with moderate wear; numerous cracks;

old in use repaint with moderate wear; tight drying

roughness to end of bill.

cracks in body; heavily hit by shot; head is a professional

(500 - 700)

384

replacement; old nail added to a split in the base of neck. Literature: “Gunnin’ Birds,” Kroghie Andresen, p. 302. (650 - 950)

212

385

Early swan from Princess Anne Club, Currituck, North Carolina. “V” wingtip carving. Body is 26” long. Appealing old in use repaint; thin split in back; defect in wood in one side was filled with small pieces of wood when the decoy was made.

Literature: “Collectors Guide to Decoys, Book 2,” Bob and Sharon Huxford, p. 222, exact decoy pictured. (6,000 - 9,000)

213

Canada 386

Early mallard drake, Lake St. Clair, circa 1900. Hollow with bottom board. “AWR” scratched in underside. Tack eyes. 17” long. Original paint that has crazed in areas of body; several shot scars; small repair at tail and cheek and around neck seat. (1,500 - 2,000)

386

387

Rigmate pair of goldeneye, Orel Leboeuf, St. Anicet, Quebec. 14.5” long. Original paint on much of each decoy with minor wear; the white areas on both have had old overpaint taken off with traces of some remaining; numerous small cracks in bodies; very lightly hit by shot.

(1,500 - 2,000)

387

388

Canada goose, Harry “Spud” Norman, Wolfe Island, Ontario, 2nd quarter 20th century. Highly detailed feather carving. Slightly turned head. 23” long. Original paint with very slight wear; structurally very good. (1,250 - 1,750)

388

389

Green wing teal hen, Jesse Baker, Trenton, Ontario. Thin solid body with slightly turned and up looking head. Scratch feather paint detail. Maker’s stencil on the underside. Measures 11” long. Original paint with moderate crazing and minor wear; a few shot marks and minor roughness on edge of tail.

Provenance: Formerly in the collection of Peter Brown.

389

214

(1,000 - 1,400)

390

Rare shoveler hen, Ken Anger, Dunnville, Ontario. Slightly turned head with nicely carved bill, feather rasping, and incised wing carving. Measures 13.5” long. Excellent and original.

391

(3,000 - 4,000)

Hollow carved Canada goose, Ken Anger, Dunnville, Ontario. Hump back style with feather rasping and incised wing carving. Measures 22.25” long. Original paint with minor wear; an area of black flocked paint was added on back; some roughness on edge of tail with a tight crack and a reglued chip in top of tail.

(5,000 - 8,000)

390 Detail

391

215

392

393

392

Rare bluebill hen, Tom Chambers, Toronto, Ontario. Bottom board hollow with “FTM” branded in underside for Fred T. Murphy, St. Clair Flats Shooting Club member, 1922-1949. Excellent comb painting over the entire back with subtle wingtip feathering. 15” long. Strong original paint with a few very small rubs.

393

(3,000 - 5,000)

Long body style canvasback drake, Tom Chambers Toronto, Ontario, 1st quarter 20th century. Branded “AH Buhl” on underside for Arthur H. Buhl, 1914 - 1933, mem-

392 Detail

ber of the St. Clair Flats Shooting Company. Hollow with bottom board. Good visible feather combing on back. 17” long. Strong original paint; shot scars on one side of body and one in head.

216

(3,000 - 5,000)

In the 1970s there was a farm sale outside of Markham, Ontario. At the sale, a number of decoys were sold, which are now known as the “Markham Rig.” Some of the decoys were thought to have been made by Walker Moorley and some by a talented unknown maker. The most interesting decoys in the group had heavily carved mandibles and nostrils.

394

Hollow carved redhead drake form the Markham rig, Ontario. Original paint with minor shrinkage and wear; structurally very good.

(5,000 - 7,500)

217

395

396

395

Rare pintail drake, Ken Anger, Dunnville, Ontario. Comb feather paint detail and incised wing carving. Measures 16.5” long. Excellent

Hollow carved redhead drake, with slightly lifted head, John R. Wells, Toronto, Ontario. Branded “JRW maker” in under-

and original.

side. Original paint with minor to moderate

(3,000 - 4,000)

396

wear; a few small dents; small amount of filler added to one side of neck seam with touchup; small crack and small rough area in underside; lightly hit by shot.

218

(2,000 - 3,000)

397

400

398

401

399

402

397

Redhead drake, Tom Chambers, Toronto, Ontario. Branded “JH McMillan,” a member of the

coloration and wear; a few small dents. (800 - 1,200)

original paint; tight crack in neck; head and body

Rigmate pair of old squaws, unknown maker, Ontario, possibly 1st half 20th century. A very

have crazed evenly; two small areas where wood

rare pair of decoys from Ontario. Stylistic paint pat-

filler was used at wood imperfections that have

terns. Hen has slightly lifted or calling head position.

darkened on the body.

Hollow with bottom board. Hen has comb painting

St. Clair Flats Shooting Company. 16” long. Strong

401

(1,200 - 1,500)

on back. 13” long. Strong original paint with small 398

Canvasback drake, Duncan Ducharme, Manitoba, Canada. 13” long. Original paint with

areas of rub, shot scars, some discoloration, and wear; knot below tail on drake has fallen out. (800 - 1,000)

moderate wear; small dents on one side of head; hairline cracks in body.

Provenance: Meyer collection.

399

Rare high neck style black duck, John R. Wells, Toronto, Ontario. 17.5” long. Raised neck

(1,000 - 1,400)

seat and branded “HP” on underside. Original paint with moderate wear; neck repair with touchup in that area. 400

(1,000 - 1,400)

Pair of canvasbacks, Ken Anger, Dunnville, Ontario. 16.5” long. Original paint with minor dis-

402

Well constructed bufflehead hen, unknown maker, Toronto Harbor or St. Clair Flats, Ontario. Bottom board hollow with “D. Maddocks” carved in underside. Raised neck shelf. Similar construction to George Warin and John Wells. 9.5” long. Old working repaint that has crazed and worn to bare wood; some restoration to front half of bill.

(700 - 900)

219

John James Audubon 1785 - 1851

An article in the bi-monthly magazine of Ducks Unlimited begins by stating, “John James Audubon pursued his interest in waterfowl and other birds with a paintbrush in one hand and a shotgun in the other.” Audubon was born in what is now Haiti, the illegitimate son of a French merchant, planter, and slave trader and a creole servant woman. He spent his youth in France where his interest in drawing birds began. When he was 18, his father sent him to America to run his farm near Philadelphia. Farming held absolutely no interest for Audubon, and by 1808, he set off down the Ohio River with his new bride to establish a store on the Kentucky frontier. This venture, too, eventually failed, and he set off again down the Ohio leaving his wife to support their young family as a governess and teacher. He sold an occasional painting or sketch but lived off the land hunting and drawing his birds.

He shot to eat, and he also gunned for the market. While in the Illinois Territory, his party reportedly shot 50 swans. He did not paint from life either. He shot his specimens and would prop them up with wires in a somewhat lifelike pose and used a grid like system to replicate the outline and size of the bird itself. Over time, he expanded his portfolio with trips across the eastern parts of the US and Canada. Unable to find an engraver on this side of the Atlantic that could produce his lifelong dream – a giant book on American birds – he traveled to Great Britain where he became an instant sensation. He was soon able to find enough subscribers for his project, including the King of England. As his fame grew, the engraver, Robert Havell of London, undertook publication of his illustrations as “The Birds of America.” He returned to the United States to continue his painting and his reputation continued to grow. By the time of his death, he was regarded as the foremost naturalist of his generation, both in the United States and in Europe. In 1886, the editor of Forest and Stream Magazine, George Bird Grinnell, proposed the formation of a new conservation organization to discourage plume hunters, the Audubon Society, whose members were required to take an oath stating that they would avoid “killing, wounding, or capturing any wild bird not used for food.” Audubon had no association with the organization other than having it named in his honor by Grinnell, who did not know Audubon but had attended the day school of his widow and wandered among his artifacts.

220

403

Original aquatint engraving, John James Audubon (1785-1851), PL 379 - Brant goose. Drawn from nature by John James Audubon, F.R.S. And F.L.S. engraved, printed and colored by R. Havell 1837. Professionally matted and framed. Visible image measures 24.5” x 36.75”. Retains excellent bright contrasting colors; two very small stains, otherwise excellent and original.

Provenance: Meyer collection.

(15,000 - 20,000)

221

404

Original aquatint engraving, John James Audubon (17851851), PL 381 - Snow Goose. Drawn from nature by John James Audubon, F.R.S. and F.L.S. engraved, printed and colored by R. Havell 1837. Professionally matted and framed. Gallery sticker on back from Hirschl & Adler Galleries, Inc. lists that as the full size 26.75” x 39 1/8”. Image shown measures 25” x 38”. Retains excellent bright contrasting colors; excellent and original.

222

Provenance: Meyer collection.

(10,000 - 15,000)

405

Original aquatint engraving, John James Audubon (17851851), PL 358 - Glossy Ibis. Drawn from nature by John James Audubon, F.R.S. And F.L.S. engraved, printed and colored by R. Havell 1837. Professionally matted and framed. Visible image size 21” x 26.25”. Retains rich color and contrast.

Provenance: Meyer collection.

(5,000 - 10,000)

223

406

Etchings 409

410

407

406

Original etching, Aiden Lassell Ripley. Titled, “Cock Pheasant,” circa 1940. Signed lower right and titled. Image size 11.5” x 9.75”. Very good and original.

407

(700 - 900)

Original etching, Frank W. Benson. Titled, “Rippling Water,” 1920. Signed lower left. Image size 9.75” x 7.75”. Very good

408

and original. 408

(750 - 950)

Original etching, Frank W. Benson. Titled, “Man with a Goff.” Signed in the margin. Professionally matted and framed. Image size 13” x 11”. Very good and original.

409

(1,200 - 1,600)

“Captain Billy’s Rig,” etching, Roland Clark (18741957). Signed lower right. Image measures 10.75” by 13.75”. Professionally matted and framed. Very good and original.

Provenance: Dr. Lloyd T. Griffith collection. 410

(1,000 - 1,400)

Original etching, Aiden Lassell Ripley. Titled, “Ruff Grouse in Winter,” circa 1930. Signed lower right and titled. Image size 11.25” x 9.25”. Very good and original.

224

(700 - 900)

411

414

411

Original etching, Richard Bishop. Titled, “His First Goose.” Image measures 10.75” x 9.75”. Signed. Very good and original.

412

(450 - 650)

Original etching, Roland Clark. Titled, “Gathering of the Clan,” 1931. Signed lower right. Image size 15” x 11.75”. Very good and original.

414A 413

(350 - 550)

Original etching, William J. Schaldach. Titled, “The Hot Corner,” 1939. Signed

412

and dated ‘75 in pencil. Image size 12” x 9”. Very good and original. (300 - 500) 414

Original etching, Margaret Kirmse. Titled “Hold It,” circa 1930. Signed lower right and

415

titled. Image size 6.5” x 9”. Very good and original. (250 - 450) 414A Original etching, Roland

Clark. Titled “Little Bluebills.” Image measures 7.75” x 9.75”. Signed. Very good and original. (150 - 350) 413 415

Original etching, William J. Schaldach. Titled, “Perching Grouse,” 1939. Signed lower right. Image measures 6.75” x 7.75”. Very good and original.

(200 - 300)

225

Delaware River Arthur Batholomew Vance 1818 - 1889 | Philadelphia, Pennsylvania All that is known about Arthur Vance can be traced to the exhaustive research done by noted restorer Russ Allen and his comprehensive and thoughtful evaluation of the information that he (literally) uncovered. While working on a decoy of the “Blair School,” or “Blair Type” as they were referred to in the decoy community at the time, Russ discovered the name of “A.B. Vance” written on the inside. He would eventually document additional decoys with the same cursive signature, and all with 1870s dates on the inside. Arthur Vance was born into a native Philadelphia family with a strong history of craftsmen in such occupations as “shipwrights,” “ship blacksmiths,” “ship carpenters,” and “mariners.” For some reason, Vance chose not to follow in the family’s footsteps and, rather, trained as a “cordwainer” or shoemaker. In 1843, he married Elizabeth T. Press, and the couple would raise five children, spending practically their entire lives in the Southwark section of Philadelphia, mere blocks from the Delaware River and the numerous sporting opportunities it offered. By 1850, he had become specialized in his occupation which was then listed as “ladies shoemaker,” employing two of his sons as “ladies shoefitters.”

Typical A. B. Vance signature and address inside his decoys

226

He was known to be an avid gunner, entering a number of local shooting competitions, and he enjoyed racing Delaware River gunning skiffs. It would certainly be reasonable to assume that he also enjoyed waterfowling either for sport or the market, and he would have needed decoys to aid him in that endeavor. Russ goes on to present an extremely convincing argument that it may very likely have been Vance who taught John Blair, Sr. how to carve decoys. Blair came to Philadelphia from Scotland in 1865 as a 20 year old who had probably never seen a decoy in his life. At that time, Vance would have been a 47 year old man at, or near, the apex of his carving career. Decoys by both these men are strikingly similar in form and construction with only relatively minor differences in construction only clearly visible with the use of X-rays or by taking the decoy apart. As noted by Russ: “the greatest similarity of the two makers’ work is the exquisite paint patterns applied to their decoys” which he notes is “virtually identical – same colors, patterns and brush strokes.” It is possible that the paint on both Vance and Blair decoys was applied by someone else such as a “portrait artist” as has been suggested, but this would seem to be highly unlikely when considering the artistic efforts evident in the production of the Vance birds. This paint and construction would become the standard by which other decoys from the region would be judged.

416

Hollow carved teal, A.B. Vance, Philadelphia, Pennsylvania, 3rd quarter 19th century. Just under 13” long. Body halves are joined by four small wooden dowels. Shoe button eyes. Good feather paint detail. Original paint with minor wear; structurally excellent.

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

(30,000 - 40,000)

227

417

Black duck, Dan English, Florence, New Jersey. 16” long. Raised “V” wingtip carving with feather carving detail. Fluted tail. Original paint with slight wear; several tiny dents.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight.

(3,500 - 4,500)

417 418

Pair of canvasbacks, John Dawson, Trenton, New Jersey. Hollow carved. “JD” stamped into the undersides. Measure 15.75” and 16” long. Original paint with minor discoloration and wear; drying crack in hen’s breast with a few small nails added to secure; small amount of glue visible at drake’s neck seat. (3,000 - 5,000)

418

419

Pair of bluebills, William Kemble, Trenton, New Jersey. Hollow carved with relief wing carving. Measure 12.75” long. Original paint with minor discoloration and wear; heads swivel slightly. (2,500 - 3,500)

419

420

Bufflehead drake, Joe Savko, Trenton, New Jersey, 1st quarter 20th century. Hollow carved with raised wingtips and relief carved tail feathers. “SGH” stamped into underside for the collection of Somers Headley. Measures 13” long. In use repaint attributed to John Dawson with minor wear; some later touchup on

420

228

back behind neck seat; feather stripes added at a later date; small nails added around neck seat.

(2,000 - 3,000)

Canvasback drake, Dan English, Florence, New Jersey, last quarter 19th century. Hollow carved with “HC”

421

stamped into the underside for the rig of Harry Cheesman. Measures 13.5” long. Paint on back appears original with the rest being in use repaint with minor discoloration and wear; hairline crack in one lower side; tight crack in bill with small nail in underside securing. (2,000 - 3,000) 421

Pintail drake, William Welker, Edgily, Pennsylvania. Hollow carved with raised

422

“v” wing tips. Measures 19.25” long. Mostly original paint with minor discoloration from a coat of varnish; flaking to the varnish on back; areas of paint restoration; 1.5” of the tip of tail is replaced.

(2,000 - 3,000) 422

Pair of black ducks, Williams Kuhn, Trenton, New Jersey. Hollow carved low-

423

head models with weighted wooden keels. Maker’s name plate on the side of each keel. Raised “v” wings and incised feather carving. Measures 15.5” long. Original paint with minor flaking around body seam; one with a wingtip repair.

(1,500 - 2,500) 423

424

425

Pair of buffleheads, JJ West, Bordentown, New Jersey. Hollow carved with raised

425

Pintail drake, Thomas Fitzpatrick, Delanco, New Jersey. Hollow carved with tucked head

wingtips. Exhibition labels on the underside.

and raised “v” wing tips. “SGH” stamped into

Measures 12” long. Original paint with very

underside for the collection of Somers Headley.

minor discoloration; tight crack in one side of

Measures 16.5” long. Original paint with mod-

neck seam on drake.

erate paint shrinkage and minor wear; rough-

(1,200 - 1,800)

ness on tip of tail has been darkened. (1,200 - 1,800)

229

John Blair, Jr. 1881 - 1953 | Philadelphia, Pennsylvania

230

426

Hollow carved pintail drake, John Blair, Jr., Philadelphia, Pennsylvania, last quarter 19th century. 17.75” long. Fine loop feather paint on back. Original paint with minor discoloration and wear; small amount of shrinkage on head and speculums; several tiny dents; small paint drip on head near bill that extends slightly down the underside of the head.

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

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight.

(35,000 - 45,000)

Plate 50, “Wildfowl Decoys,” Joel Barber. Architectural drawing by Joel Barber states, “Old Pintail Drake, hollow, New Jersey Shore, maker unknown, Courtesy of John Blair, Jr.”

231

New Jersey Taylor Johnson 1863 - 1929 | Point Pleasant, New Jersey

427

Canada goose, Taylor Johnson, Point Pleasant, New Jersey, last quarter 19th century. 25” long with very slightly turned head. Johnson made very few Canada geese. Original paint with minor wear; a few tiny dents.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr.

232

(5,000 - 7,000)

428

429

428

Redhead drake, Harry V. Shourds, Tuckerton, New Jersey. Joe French stamp on underside. 14” long. Original paint with light wear evenly dispersed over decoy; a couple of shot scars and restoration to small part of cheek and crack that extends around the neck.

Provenance: Tom Esenbaugh collection. Joe French collection. (4,000 - 6,000) 429

Hollow carved brant, Nathan Rowley Horner, West Creek, New Jersey, 1st quarter 20th century. 17.75” long. Original paint with very slight wear; professional touchup to three approximate .25” diameter paint rubs on back and one approximate .5” paint rub on back; very small amount of paint crazing under tail; structurally good.

Provenance: Meyer collection.

(3,000 - 4,000)

428

233

430

431

433

432

434

430

Very rare working swan, Eugene Hendrickson, Northfield, New Jersey. Hollow carved with tack eyes

painted by Chris Sprague. Hollow carved. Measures 16”

and inlet lead weight. Believed to be one of only two

hairline crack in each eye.

long. Original paint with minor wear; small chip in tail;

known swans by Hendrickson. Measures 24” long. Dry

(1,000 - 1,400)

wear; tight cracks in body; separation at body seam;

Merganser hen, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Hollow carved with

small chip in underside of bill; small losses at knot in one

carved crest and tack eyes. Repainted by Chris Sprague

side and face.

with a few minor paint flakes in underside. Very good

original paint with moderate discoloration and minor

433

(1,200 - 1,800)

structurally. 431

Greenwing teal, Caleb Ridgeway Marter, Burlington, New Jersey. Hollow carved with relief wing

Provenance: Formerly in the collection of Jack Updike who bought it from Chris Sprague in 1940. Ex Somers

and raised wingtip carving. Maker’s name stamped four

Headley collection.

times into underside. Measures 12.25” long. Strong original paint with very minor wear; fine hairline crack in neck; small spot of touchup on one side of breast. (1,500 - 2,500) 432

234

Mallard hen, Horner/ Sprague, Beach Haven, New Jersey. Carved by Nathan Rowley Horner and

434

(1,000 - 1,400)

Pair of oversize black ducks, Clark Madera, Pitman, New Jersey. Hollow carved with tack eyes. 17.5” long. From the Swan island Club in North Carolina. Original paint on the heads; bodies were flocked at a later date; lightly hit by shot.

(800 - 1,200)

Harry Mitchell Shourds 1890 - 1943 | Ocean City, New Jersey

Harry Mitchell Shourds in 1919, holding two of his geese. Ocean City’s Ocean Rest Hotel appears in background. Courtesy Henry A. Fleckenstein, Jr.

435

Extremely rare (the only known) mallard drake, Harry Mitchell Shourds, Ocean City, Maryland. Tack eyes.16.5” long. Original paint with minor wear; slight roughness to end of bill; wear on underside near stick hole.

Provenance: Formerly in the collection of David Cambell, “DSC” stamped in underside. Literature: “Classic New Jersey Decoys,” James R. Doherty, Jr., p. 78, exact decoy pictured.

(10,000 - 14,000)

235

New Jersey Shorebirds Ephraim Hildreth 1835 - 1915 | Middle Township, New Jersey

Not a great deal is known about the life of Ephraim Hildreth. It would appear that his parents were farmers but, by the time he was 16, he was living on the large farm of Jeremiah and Judith Hand along with, (presumably) his older brother and two older sisters. Ultimately, he was to own his own farm at the southern end of Cape May, and he would remain a successful farmer for his entire life. In 1861, he married his wife, Tabitha, and the couple would raise three children. His farm was located in the Rio Grande section of Middle Township, a location that would place him mere minutes from the vast salt marshes

and shallow bays along the Atlantic, and it would have taken only a brief time to reach the marshes along Delaware Bay to the west. In the spring and fall, both of these areas were host to multitudes of migrating shorebirds and other waterfowl, and Ephraim certainly would have been aware of their passing. The decoys he crafted for these shorebirds are instantly recognizable for their distinctive and appealing folky form, a design concept which was surely, his alone.

436

Yellowlegs, Ephraim Hildreth, Cape May, New Jersey, last quarter 19th century. 11.5” long. Original paint with moderate wear; bill may be an old replacement.

Provenance: Meyer collection. Conover collection stamp under the tail. (3,000 - 4,000)

236

437

Semi palmated plover from South New Jersey. 7.5” long. Very plump. Original paint; minor wear; two small holes near stick hole from where the decoy was one time placed on wire legs; very lightly hit by shot.

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

Literature: “American Bird Decoys,” William J. Mackey, Jr., p. 50, plate 30, similar example. (6,000 - 9,000)

237

440

Pair of very large black bellied plover, New Jersey, circa 1900. Iron bill and tack eyes. 16.5” long. Slightly flat sided. Highly detailed original paint with very minor wear; small amount of professional touchup at the eyes; structurally very good; several very small dents.

Provenance: Meyer collection. (3,000 - 4,000)

440

441

Pair of plover, Chet Schute, Cape May, New Jersey, last quarter 19th century. Both have exaggerated beetle head style and relief wing carving. One is in spring breeding plumage, the other is in fall plumage. 9.5” long. Original paint with very minor wear; one has been lightly hit by shot.

441

238

(2,750 - 3,250)

442

443

442

Running curlew from Cape May, New Jersey. Fat body

443

Pair of yellowlegs from New Jersey. 14.5” long. Wire

and iron bill. Measures 15.75”

bills. Original paint with very

long. Original paint with minor

minor wear; each has a tiny hole

wear; tight drying cracks in body

in one side.

(800 - 1,200)

and small loss to wood at a small knot in one side.

Provenance: Meyer collection. Formerly in collection of Jack Conover. Conover ink stamp on underside.

(1,500 - 2,500)

239

New England

444

Early eider drake from the central Maine coast. 16.5” long. Inlet head, upswept tail, and carved bill. Thomas Alexander’s serifed initials are carved in the underside, but he did not make the decoy. Appealing old in use repaint; small chips missing from tail; small dents; very lightly hit by shot.

Provenance: Owned by the consignor’s great grandfather, and kept at his farm in Massachusetts.

240

(6,000 - 8,000)

445

Merganser hen, George Boyd, Seabrook, New Hampshire. 18” long with slightly turned and lifted head. Detailed feather paint. Original paint with several rubs on the head; in the making filled crack in back has lost a little of the filler and most has been professionally touched up.

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

(8,000 - 12,000)

241

Albert Laing 1811 - 1866 | Stratford, Connecticut

"No single individual ever exerted a more direct or lasting influence on the design and making of decoys. Albert Laing must be ranked as one of our greatest decoy makers." When discussing a particular sleeping black duck: "The black duck by him in plate 46 is to a decoy collection what a Rembrandt is to an art museum." William J. Mackey, Jr.

"Laing was an innovator, and he was the first, if not the first ever, to make hollow floating decoys â&#x20AC;&#x201C; a model that became the norm in many parts of North America in the second half of the nineteenth century." Robert Shaw

242

446

Very rare hollow carved black duck, Albert Laing, Stratford, Connecticut, 3rd quarter 19th century. 15.75” long. Glass eyes, ice dip behind head. Original paint on the head; working repaint on the body; numerous tiny dents.

Provenance: From Laing’s personal hunting rig, “Laing” is branded in the underside. Ron Swanson collection. Formerly in the collection of Donal C. O’Brien who obtained it from Thomas Marshall. All three collection labels on underside.

Literature: “Shang,” Dixon Merkt. “Connecticut Decoys,” Henry Chitwood.

(15,000 - 20,000)

243

447

Black duck, Elmer Crowell, East Harwich, Massachusetts. Relief carved tail feathers. Crowell’s oval brand on the underside. Measures 18.25” long. Original paint with minor wear; tight crack in one side; shot marks and a small chip in back have been darkened; nail added to one side of neck seat; some white highlights were added on tail carving; underside has an early second coat of paint with minor flaking.

447

(2,000 - 3,000)

448

Hollow carved black duck, Ben Holmes, Stratford, Connecticut, last quarter 19th century. 16.5” long. Near mint original paint with good feather detail; thin chip missing from underside of bill.

Literature: “Connecticut Decoys,” Henry Chitwood. “Shang,” Dixon Merkt.

(1,750 - 2,250)

448 449

Redhead hen, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. Just under 13” long. Original paint with minor wear; the flat area of underside has been repainted; restoration at tip of tail; plug in underside where an inset circular weight once was.

(1,500 - 2,000)

449

450

Black duck, Elmer Crowell, East Harwich, Massachusetts. 17.5” long. Crowell’s oval brand is in the underside. Near mint original paint; cracks in underside.

450

244

(2,000 - 3,000)

Icahbod Clarence Bailey 1882 - 1952 | Kingston, MA Clarence Bailey rarely used his full given name, and he would often abbreviate it or simply eliminate the Ichabod. He was born in Hong Kong, China but by the time he was a young man, he was living with his parents and siblings in Kingston, Massachusetts. He, like his brother Fred, were to become lifelong Harbor Pilots for the Port of Boston. This organization was formed in 1783 to assist ships from distant ports to navigate the tricky waters of Boston and nearby harbors. Clarence graduated from the Massachusetts Nautical Training School in 1900 and would, ultimately, captain the boats “America,” Liberty,” and “Louise.” In 1908, he married Albertine Darling Simmons, and the couple raised a daughter and three sons at their home on Summer Street in Kingston. As noted by Dr. George Ross Starr, “Captain Clarence believed in oversized birds.” He is well known for his massive canvas over frame “loomer” geese and his larger than life oldsquaws. He was very much a perfectionist, and his decoys all exhibit the excellent craftsmanship one would expect from a man accustomed to the fine lines and finish of the highest quality sailing vessels. The Captain and his wife are buried in the Mayflower Cemetery in Duxbury.

451

Oversize black duck, Captain Clarence Bailey, Kingston, Massachusetts. 23” long. Hollow carved with glass eyes. Very good and original.

(3,500 - 4,500)

245

452

455

454

452

Merganser drake, Ben Smith, Martha’s Vineyard, Massachusetts, last quarter 19th century. 16”

455

Rare Canada goose silhouette, George Boyd, Seabrook, New Hampshire. 26.5” long x 1” thick.

long. Original paint with moderate wear; head

Branded “DA Goodwin” on each side. Original paint

appears to have some old touchup; crack and sev-

with minor to moderate wear; metal strips at neck

eral small rough spots on one upper side; short hairline

seam are original.

(800 - 1,200)

cracks in underside; small nail has been added to 456

neck base.

Literature: “Martha’s Vineyard Decoys,” Stanley Murphy.

454

are 19” long. Original paint with minor to moderate

(1,250 - 1,750)

wear; one has a missing head; another has some chips in the top of head.

Hollow carved black duck from New England, 1st quarter 20th century. Carved in a style similar to that of Elmer Crowell. Slightly turned head with glass eyes. Original paint with minor wear and a few tiny dents.

456

246

Two nests of double silhouette scoter decoys, Dixon Merkt, Old Lyme, Connecticut. Silhouettes

(800 - 1,200)

456

(500 - 700)

Shell Boxes

457

460

458

461

459

461A

457

Extremely rare shot shell box, Winchester Repeating Arms Company. Duck cartridges with

460

Rare two piece shotgun shell box, Peters High Gun. With snipe on front label. Full wrap. Sides have

desirable image of canvasback on front paper label. 12

separated at one corner; label is intact and retains good

gauge. Number 2 load, 5 shot. Advertising indicates for

color.

(500 - 700)

wood ducks, redhead, and canvasbacks. Buff box with full wrap label; minor areas of wear; top piece is structurally good; bottom piece is a replacement. (1,500 - 2,500)

461

Three shotgun shell boxes. 12 gauge number 6. image of flying mallards. Full wrap label with dead shot mallard on back. Two piece shotgun shell box. Slight

458

Rare and desirable shot shell box, Chamberlin Cartridge Company. With bluewing teal on front

rough edges; discoloration on label; small tear on bot-

label. 10 gauge, 7 shot. “Also an excellent cartridge for

on full wrap label, some discoloration and damage to

prairie chickens, ruffed grouse, wild pigeons, and squir-

edges of box. Peters Ideal 10 gauge with bluewing teal,

rels.” Top and bottom are original; with full wrap label;

box is full and sealed. Structurally good, label retains

professional in painting to front and sides. (1,500 - 2,500)

good color with some small areas of discoloration.

tom label and one side. Peters 20 gauge with bluebill

(600 - 900) 459

Rare 12 gauge shotgun shell box, Parker Brothers. Holds 20 shells. Two piece telescoping box with original and what appears to be a reinforced inner

461A. Lot of six powder tins. Varys from very good to fair. (300 - 500)

insert. Original top and bottom; top box is split at corners one has been slightly reglued; Top label appears to have been laid down with an adhesive at a later date. (600 - 900)

247

William Bowman 1824 - 1906 | Lawrence, Long Island, New York & Bangor, Maine

The Bowman / Bunn Controversy Since the days of Bill Mackey, most collectors have accepted the notion that these exceptional shorebirds were the work of a William (Bill) Bowman (1824 - 1906) of Lawrence, Long Island, New York and Bangor, Maine. Recently, the concept has been forwarded that they are, rather, the work of Charles Sumner Bunn (1865 – 1952), a native American member of the Shinnecock tribe from Southampton, Long Island, New York. Historical accuracy is vitally important, and well researched, well informed, and well thought out debate is healthy and desirable. Over the years, early attributions have been proven incorrect with the passage of time and the emergence of new facts. For example, based on evidence available to him at the time, Mackey attributed four beautiful examples of shorebirds, now credited to be the work of John Dilley, to be

Chicago Board of Trade, c. 1880, “Agriculture and Industry.” Sculptor unknown

“Jess Birdsall type” and a number of additional, unwitting, misattributions can be found throughout his early book. To some extent, in terms of artistic merit alone, it is almost irrelevant that the maker of an object be known with certainty. The object should be judged on the basis of its sculptural form, surface, and overall appeal to the beholder. Provenance, rarity, and historical importance are also relevant factors in the equation. The fact that there are, still today, examples of great works of art and sculpture, examples of significant literary works, and examples of outstanding architecture where the creator is unknown or uncertain cannot, and should not, diminish the beauty or importance that person’s work. Whoever made these shorebirds was, undisputedly, one of the very best creators of gunning shorebirds and the quality of that

Las Pozas, Mexico 1960s. Architect and Landscape. Architect unknown

248

person’s work justly places him or her in the very upper echelon of the foremost makers of decoys in North America. Most collectors would agree that this person’s efforts are equal to the carvings of Crowell and Dilley. Some would argue that they are the best of the “big three.” It is not our position to enter the controversy over whether or not William Bowman or Charles Sumner Bunn created these masterworks, but until irrefutable evidence proves beyond a doubt which of these individuals was the carver, we will assign the long standing attribution of “Bowman” to these majestic examples of waterfowl artistry, and we encourage further historical research and documentation.

Elizabeth I, Queen of England (British 16th century) artist unknown.

Beowulf. Author unknown.

462

249

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

250

462

Important willet, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. A large and plump decoy, 11.5” long. Relief wing carving with extended wingtips and shoe button eyes. “Willett made by Elmer Crowell, Cape Cod” is written on underside by Bill Mackey. In Mackey’s book, he identified Bowman shorebirds as being made by Elmer Crowell. Original paint with good patina and very slight wear; two small spots of touchup at wear on wingtips; another at wear at tip of the tail.

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

Literature: “Decoy Hunter Magazine,” front cover, March-April 1982 issue.

(100,000 - 150,000)

251

463

Large Verity Family black bellied plover, Seaford, Long Island, New York, last quarter 19th century. 13.25” long. Relief wing carving. Highly detailed original paint with minor wear; structurally very good.

Provenance: Meyer collection. (2,500 - 3,500)

463

464

Curlew from the South Shore of Long Island, New York, last quarter 19th century. Approximately 11.5” long with relief wing carving raised extended wingtips and glass eyes. Shoe button eyes. Worn original paint; lightly hit by shot; several tiny dents and short marks.

Provenance: Meyer collection. (3,000 - 4,000)

464

252

465

Greater yellowlegs, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. 12.5” long. Relief wing carving with extended tips. Shoe button eyes. Original paint with good patina and very slight wear; professional repair to a thin crack in the neck; several tiny dents.

Provenance: Meyer collection.

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

253

On page 155 of his book “Chance”, Harold Reiser III shows a similar example. Harold provides the following information. “Wheeler made about a half dozen shorebirds as a special order for his longtime friend Sterling Garlock. The Garlock family was from Grindstone Island and had a lumber business in Alexandria Bay where Wheeler got all of the wood to carve his decoys. Garlock Lumber still exists in Alexandria Bay today.”

466

Rare plover, Chauncey Wheeler, Alexandria Bay, New York. Tack eyes and iron bill. Measures 11” long. Strong original paint with very minor wear; two spots of touchup to flaking on one side of head and on back; old stick hole in underside was filled and touched up; professional repair to chips in each side of tail. (4,000 - 5,000)

254

467

Very rare eskimo curlew with turned head, Alonzo Foster, Hampton Bays, New York, last quarter 19th century. Two piece body construction. Fine feather paint detail. Just under 11” long. Original paint with very slight wear; bill is an in use replacement. (7,500 - 9,500)

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.

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.

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

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.

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.

255

468

Black bellied plover, Daniel Demott, Long Island, New York, last quarter 19th century. Good feather paint detail. 10.75” long. Near mint original paint; several small holes under the tail where it appears feathers were attached at one time.

(9,500 - 12,500)

468

Daniel DeMott was the fourth of seven children born to Michael DeMott and his wife, Emaline Johnson. The family was living in the Rockville Centre section of Hempstead, and Michael’s occupation was listed as “farmer.” The rural nature of his father’s profession and his proximity to Jamaica Bay, and the beaches and marshes of the Atlantic Ocean, probably instilled a love of nature in young Daniel. The area around his early home was once one of the largest oyster producing regions in the world and supported an active community of baymen and, ultimately, tourists, and year-round homes. At the age of 21, he married Anna Augusta, and the couple had three children: Alma, Robert, and Perry. It is believed that he carved his first decoys as early as 1865 to be used as necessary tools in his market hunting ventures which, presumably, were a supplement to his other sources of income. His carpentry experience certainly would have given him the materials, tools, and skills needed to produce some of the finest decoys carved on Long Island.

256

469

William Southard dark phase yellowlegs, Seaford, Long Island, New York, last quarter 19th century. In reaching pose with carved wings and carved eyes. Original paint with good patina and almost no wear; very small amount of touchup at shot scar on one side of neck.

(9,500 - 12,500)

257

Fish Decoys

471

Trout fish decoy, Oscar Peterson, Cadillac, Michigan. 9” long. Tack eyes and metal fins. Original paint with minor wear, mostly on the underside; several tiny spots of touchup on the eyes and mouth.

471

472

(2,000 - 2,500)

Trout fish decoy, John Fairfield, Michigan. Supposedly one of only two made this size. Signed on underside and dated 1991. Painted eye and carved gill and mouth. Metal inset fins. 24” long. Excellent and original.

Provenance: Dick and Diane Walters collection.

473

(1,500 - 2,000)

Trout, Oscar Peterson, Cadillac, Michigan. Tack eyes. Measures 6.75” long. Original paint with minor discol-

472

oration and wear; paint flaking on fins and underside; professional repair and overpaint on tail.

474

(1,500 - 2,000)

Trout, Oscar Peterson, Cadillac, Michigan. Tack eyes. Measures 8” long. Original paint with minor flaking and wear; tight crack in underside of head and one side of mouth with touchup on that side of mouth; professional tail chip repair.

(1,500 - 2,000)

473

474

258

John Fairfield holding lot 472.

475

Very unusual salesman’s sample case of spear tips. Sticker reads, “Martin Maier and Company, Detroit, Michigan, ext 1865 at 102 Woodward Avenue.” Includes 11 spear tip heads of various sizes and construction. Ranges from large for musky to small for panfish or frogs. Some have a logo forged in side of spear. Box measures 14.5” x 24.5”. Displays spears on two sides. Good and original.

Provenance: Dick and Diane Walters collection. (1,200 - 1,000)

476

Two fish decoys, one Isaac Goulette and one Augie Janner. Janner has glass eyes, carved wooden tail and metal fins. Mouth and gill are carved. Age has created a nice patina. 9.5” long. Original paint with some areas of loss on underside and top where dorsal fin appears to be missing. Goullete is brown and silver. Wooden tail and tack eyes and carved gill. 10” long. Original paint surface has bubbled evenly

476

over most of body probably due to heat source.

Provenance: Dick and Diane Walters collection. (600 - 800)

477

Large mouth bass, Jim Foote, Detroit, Michigan. Signed and dated 1990 in underside. Painted eyes with wooden fins. Detailed scale carving. 7.5” long. Excellent and original.

477

Provenance: Dick and Diane Walters collection. (700 - 900)

478

Rare albino sucker, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Tack eyes with rare paint pattern. 6.75” long. Original paint that has flaked at small areas around fins; mellowed under a coat of varnish; a few small gouges on one side.

478

(800 - 1,200) 479

Trout fish decoy, possibly Michigan or Ohio, 1st half 20th century. Was originally sold as a set that included three other perch by the same maker. Painted eye with gill cut and three line ties. Thick body with square poured weight. 5.75” long. Small amount of in painting at tip of tail.

(800 - 1,000)

479

259

480

Three fish decoys, Minnesota. Two Ernie Newman and one Frank Mizera Both Newman’s have glass eyes and metal fins, smaller of two has metallic sides. 9” long. And in original paint. All in original paint; Mizera has very small areas of paint loss at underside of fins.

480

Provenance: Dick and Diane Walters collection.

481

(800 - 1,000)

Three fish decoys from Minnesota. Red and black by John Ryden, Aiken, Minnesota, circa 1920, 5” long. Copper tone with particles, Chet Sawyer, Duluth, Minnesota circa 1930, 5” long. Large and well made crappie with

481

tack eyes, 7” long. Original paint with some paint loss on metal fins. (800 - 1,200) 482.

Carving of a brook trout under Victorian period domed glass. With frame. Frame size is 31” x 47”. Frame and dome are original; paint on fish was restored by Captain G.W. Combs Sr. in 1981.

483.

482

(2,000 - 2,500)

Trout fish decoy, Oscar Peterson, Cadillac, Michigan. 7” long with curved tail and metal fins. Original paint with minor wear; several very tiny spots of touchup on the body; touchup to part of the tack eyes and the weights. (600 - 900)

483

483A. Three fish decoys, Frank Mizera,

Minnesota. 8.5”, 8”, and 5.5” long. All in original paint; all have light even wear; orange and black fish has a tail chip; small areas of paint loss at fins and gouge at one eye; red and white fish has small areas of paint loss at fins and gouge between eyes; blue fish has small tail chip missing from lower rear fin.

483A

Provenance: Brian Stead collection. (600 - 800)

484

Pike fish decoy, Augie Janner, Mt. Clemons, Michigan, 1st quarter 20th century. Carved gills with painted eyes. Angled wooden tail and metal fins. 11” long. Paint surface is an old second coat; small paint loss at back edges of

484

fins; chips at top and bottom of tail.

260

Provenance: Dick and Diane Walters collection.

(400 - 600)

485

Fish decoy, LeRoy Howell, Hinkley, Minnesota, 1st half 20th century. Flower fish with bull nose. Orange, black, and yellow with natural on lower sides and face. 6.75” long. Original paint; painted surface appears dirty and could use a light cleaning; some iron staining near

485

nails around tail; small bends in fins as well as small area of rust discoloration; structurally very good.

Provenance: Brian Stead collection. (600 - 800)

486

Ice fishing carrying case for tipups, 1st quarter 20th century. Painted wooden case for

486

paint decorated fishing tipups. Each has a school of fish swimming on them. Each is painted orange and black. Excellent surface on carrying case with copper support strappings; box measures 24” and has leathering carrying handle.

Provenance: Dick and Diane Walters collection.

487

(300 - 600)

487

Sturgeon fish decoy with rubber fins. 41” long and 6” wide. Weighted by lead poured in holes drilled in back. Metal stand is included. Old paint appears to be original. (650 - 950)

488

Lot of four fish decoys. Trout and

488

frog are by John Jenson. Varying from 11” - 6.25” long. One is a frog. Not very old. Good. 489

(250 - 350)

Five miscellaneous decoys. Three frogs, a baby rabbit, and a rat. From 8.5” - 4.5” in length. Not very old. Some pitting on metal otherwise good.

490

(250 - 350)

489

Five fish decoys. Varying from 16” - 6.5” in length. Two are old, three appear to be not very old. Original and good.

(300 - 500)

490

261

Factory Decoys 491

Brant, Mason Decoy Factory, Detroit, Michigan. Challenge grade. 20” long. Original paint with minor wear; hairline crack on top of tail; small piece missing from bottom of neck; fairly large crack in underside.

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

491

492

Canvasback hen, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Chesapeake Bay style. 16” long. Strong original paint protected by an old coat of varnish; crack in underside; separation between neck and body with small amount of paint loss in that area; small amount of paint

492

loss near top of head. (1,500 - 1,800)

493

Pair of bluebills, Mason Decoy Factory, Detroit, Michigan. Challenge grade with fairly wide spoon bills. Original paint with minor discoloration and wear; hen has a small amount of some sort of solvent spilled on the breast and crack in one side.

493

Provenance: Fisher collection. (1,500 - 2,500)

494

Rigmate pair of canvasbacks, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Seneca Lake model, both branded “AOG.” 17” long. Strong original paint with excellent feather painting on hen; each has a few shot scars;

494

very light wear; hen has very small area of neck filler replacement.

262

(1,500 - 1,800)

495

498

496

499

497

500

495

Rigmate pair of bluebills, Mason Decoy Factory, Detroit, Michigan 1st quarter 20th century. Large

dents and a hairline crack on one side of neck; drying crack in breast; flaking on both sides of neck seat. (1,200 - 1,800)

body style. 16” long. Both have strong original paint; several shot scars and small rubs.

(1,200 - 1,500) 499

496

Pintail hen, Mason Decoy Factory, Detroit, Michigan. Hollow carved Premier grade. Rig brand

Pair of bluebills, Mason Decoy Factory, Detroit, Michigan. Hollow carved Premier grade. “Penn” and “26” stamped into the underside of the drake.

on the underside. Measures 17.25” long. Thick origi-

Measure 13.5” long. Original paint with minor gun-

nal paint with moderate crazing and wear; head

ning wear and minor discoloration on drake; small

and body old repaint on bill; paint restoration around

dents and shot marks; some on drake with unpainted

neck seat.

filler; hairline crack in drake’s back; each with minor

(1,200 - 1,800)

flaking at neck seat. 497

Black duck, Mason Decoy Factory, Detroit, Michigan. Challenge grade. 16.5” long. Snakey

(1,200 - 1,800)

head style. Original paint with minor wear; small tail

Black duck, Mason Decoy Factory, Detroit, Michigan, circa 1900. Very desirable head

chip repair; small chips at neck filler.

style with visible premier stamp on underside. 18”

(1,200 - 1,500)

500.

long. Strong original paint; crack near base of neck; 498

Redhead hen, Mason Decoy Factory, Detroit, Michigan. Hollow carved Premier grade. Mesaures

tight crack in body; light wear to original paint on sides of body and small area of back.

(1,200 - 1,500)

13.75” long. Original paint with minor wear; small

263

501

505

502

506

503

507

pried off; small among of touchup at neck seam. (900 - 1,200) 504

Black duck, Mason Decoy Factory, Detroit, Michigan. Premier grade with traces of Mason Premier ink stamp on underside. 18” long. Original paint with touchup to parts of bill and neck seam;

504 501

502

503

264

small amount of touchup to edges of tail; a few

Rigmate pair of bluebills, Mason Decoy Factory, Detroit, Michigan. Challenge grade. Inlet lead weights

small dents.

(800 - 1,200)

and “C.B.D” branded in the underside of each. Measure

Mallard drake, Mason Decoy Factory, Detroit, Michigan. Premier grade. 18” long. Branded “OT”

15” long. Original paint with minor gunning wear under a

and “AH” in underside. Original paint with minor to

thin coat of varnish; drying cracks in the undersides; hair-

moderate discoloration and wear; body seam has

line crack in one side of drake’s neck and minor flaking at

separated slightly; several tiny dents; slight roughness

neck seat.

to tip of tail with a small amount of touchup there.

505

(1,200 - 1,800)

Mallard drake, Mason Decoy Factory, Detroit, Michigan. Challenge grade. 17” long. Original paint

(800 - 1,200)

with very minor wear; tail chip repair with significant tou-

Rare crow, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Glass eyes.

chup in that area; crack in underside.

14” long. Strong original paint; tiny rough area at

506

(1,000 - 1,400)

Canvasback drake, Mason Decoy Factory, Detroit, Michigan. Premier grade Chesapeake Bay model. 16”

very tip of bill.

(800 - 1,200)

long. Original paint; minor discoloration and wear; mod-

Black duck, Mason Decoy Factory, Detroit, Michigan. Challenge grade. 17” long. Original

erately hit by shot; hairline crack in back; cracks in under-

paint with minor wear; protected by an old coat of

side; small chip missing from underside where weight was

varnish; crack in underside; thin crack at neck base;

507

slight separation at neck seam.

(800 - 1,200)

Calls

508

509

Rare and excellent duck call, Ben-Jon, Memphis, Tennessee. Deluxe model call in original box with call guarantee from Ben Jon company. Box measures 7.5”. To the best of our knowledge our company has only sold two of these, and very few are known to exist. Call is near mint in all respects.

508

Provenance: Brian Stead collection. (5,000 - 7,000)

509

Desirable carved duck call, James T. Beckhart, Big Lake, Arkansas. Four raised panels. Each is checkered. Stamped “JT Beckhart” at top of barrel. Previous owner lightly carved “D.P.” in stopper. 6”. Otherwise very good structurally; all parts appear to be original.

509

Provenance: Brian Stead collection. (6,000 - 8,000)

265

512

514

510

513

511

510

511

515

Two duck calls, John “Sandy” Morrow, Michigan and Arkansas. One has four carved shoulders with

513

Checkered duck call, A.M. Bowles, Little Rock, Arkansas. Appears to be ebony wood. Fine check-

checkering near carved mouthpiece and Arkansas

ering on all four panels. Stamped by maker at top of

style cedar stopper. 6.75”. Second has lathe turn

barrel. 6.5”. All parts appear to be original; surface

marks, Arkansas style stopper with gunsight. 6.5”. Both

wear around brass ring; call shows very light amount

are original and good.

of wear.

(1,700 - 2,200)

Rare Duck call, Perry Hooker, Memphis, Tennessee. Smooth barrel with cedar stopper. 6.5”. Light wear.

Provenance: Brian Stead collection.

514

Duck call, Sharpie Shaw, Redfoot Lane, Tennessee. Burled wooden barrel with “Sharpie

(1,500 - 1,800)

(1,500 - 2,000)

Shaw” stamped in one side. Faint gold lettering is still visible. 7”. All parts appear to be original.

512

Rare and important turkey call, Yelper, Tom Turpin, Memphis, Tennessee. Material consist of bone, brass ring, two pieces of bamboo, and cork. 6.25” long. Shows nice age; structurally excellent.

Provenance: Jay Koetje collection. Purchased from Earl Mickel or Bill Jones.

266

(1,500 - 2,500)

Provenance: Brian Stead collection.

515

Turkey box call, Neil Cost, Greenwood, South Carolina. “Old hen, shorty call as prototype May

(1,500 - 2,000)

1984. For Ron Simpson.” Signed Neil Cost with hand drawn turkey track. 8.5” long. Very good and original.

(800 - 1,200)

517

516

516A 516

518

Turkey box call, Neil Cost, Greenwood, South Carolina. Described on underside as, “Prototype

519

520 518

Checkered duck call, Johnny Marsh, Nashville, Tennessee. Three checkered panels with original

of a new design, January 1979.” Signed with

wedge block and stopper. 6.5”. A few small scratch-

hand drawn turkey track. Made for John Burnette.

es at top of barrel, otherwise near excellent.

Checkered sides and top. 9.5” long. Description of materials on underside. One small gouge; very light wear.

(1,000 - 1,500)

Provenance: Brian Stead collection.

519

Duck call, Henry Kenward, Jonesboro, Arkansas. “New Beckhart” style. Stamped “New

516A Duck call, probably Warner Wiles, Jonesborg,

Beckhart” with three stars at top of barrel. 5.75”. All

Arkansas. Four raised checkered panels with inset

parts appear to be original.

penny dated 1955. 6” Call appears to be all original; a wax substance seems to have oxidized and light-

(1,000 - 1,500)

Provenance: Brian Stead collection.

520

Carved checkered duck call, Tiff Roseberry, Sr., Murphysboro, Illinois. Three checkered panels.

ened in the checkered and wood grain areas.

(1,200 - 1,500)

Provenance: Brian Stead collection.

Literature: “Calling the Wild: The History of Arkansas

Very nice evenly worn patina. 4.75”. All parts appear

Duck Calls,” Mike Lewis. Flemings book. (1,000 - 1,500)

to be original.

Duck call, Doc Taylor, Gleason, Tennessee. Very rare size feeder call with intact water label. 517

Approximately 5.5”. All parts appear to be original.

Provenance: Brian Stead collection.

(1,000 - 1,500)

Provenance: Brian Stead collection.

(1,200 - 1,500)

267

521

523

525

522

524

526

521

522

Presentation model duck call, Charles Grubbs, Chicago, Illinois. 6.5”. Barrel and stopper are in excel-

“AM Bowles”. Brass ring at top is inscribed, “Parker Rogers

lent shape; wedge block is a possible replacement.

embedded in checkering and turned a lighter color;

Provenance: Brian Stead collection.

12/25/62. From CES”. 6.5”. Some kind of wax residue is structurally very good.

(1,500 - 2,000)

Provenance: Brian Stead collection.

525

that possibly Beckhart made for VL&A. Has four check-

Duck call, Boyce “Doc” Taylor, Gleason Tennessee. Retains water label with some damage on

ered raised panels, one with “VL&A” carved in side. 6”.

right hand side. 7.25”. All parts seem to be original; var-

Very rare duck call, possibly James T. Beckhart, Big Lake, Arkansas. One of few St. Francis duck calls

Provenance: Brian Stead collection.

nish is worn through on mouthpiece and upper end of

(1,500 - 2,000)

523

Two crow calls, Tom Turpin, Memphis, Tennessee.

One with wooden mouthpiece and one with plastic

(800 - 1,000)

barrel; a few small scratches.

Provenance: Brian Stead collection.

526

mark on mouth piece and smaller call has an area

Carved duck call, Willard Kingsley, Kingston Mines, Illinois. Three checkered panels that are not

about the size of a pencil eraser with pink paint or nail

raised. Varnish has darkened to create an appealing

polish on it.

old surface; all parts appear to be original; small areas of

mouthpiece. Largest measures 5”. Both have light tooth

Provenance: Brian Stead collection.

524

Duck call, Andy “A.M.” Bowles, Little Rock, Arkansas. Four carved checkered panels. Stamped

(800 - 1,000)

damage, some to stopper, neck collar, and barrel.

(800 - 1,000)

Provenance: Brian Stead collection.

(800 - 1,200)

527

529

528

530

527

531

Duck call, Tom Turpin, Memphis, Tennessee. Three ducks stamped in barrel. Wedge block and stopper

Checkered duck call, Johnny Cochran, Reelfoot Lake, Tennessee. Signed twice on barrel. Four check-

have number 5 stamped. 6.75” long. Original copper

ered panels. 6.5”. Excellent; reed is missing.

reed. Wedge block appears to be made from a piece of burled wood. Very good and original. 528

532

(800 - 1,200)

Rare goose call, Tobias Berger, Murphysboro, Illinois. Replaced reed and wedge block in Arkansas

530

Provenance: Brian Stead collection. 531

(800 - 1,200)

Two duck calls, Fred Jolly, Proctor, Arkansas. Son of noted call maker John Jolly. One is checkered with four panels, each having a carved and painted duck.

stopper. 5.75”. Very good and original.

Marked “F.W. Jolly ‹35” at top of barrel. Other is smooth

Provenance: Brian Stead collection.

529

Four turkey calls, Neil Cost, Greenwood, South Carolina. All four are signed. Three have stamp from

(800 - 1,000)

barrel and marked “F. Jolly” at top of barrel. Tallest is 7.25”. Both are excellent and original.

the Gobbler Shop. One is dated 1998, another 2002, another 1983. All are very good and original. (1,000 - 1,500)

Provenance: Brian Stead collection.

(800 - 1,200)

532

Duck call, Claude Stone, Hornersville, Missouri.

Smooth barrel style. 6”. Structurally excellent; some type of surface application has whitened in wood grain, but when wet seems to disappear; reed is a possible replacement, otherwise appears to be original.

Provenance: Brian Stead collection.

(800 - 1,200)

269

533

534

533

535

Complete set of six box turkey calls, Neil Cost, Greenwood, South Carolina. Each has hand drawn

brass rings. Rare and desirable laminated stopper. 7”. All parts appear to be original; very small scuff at top of

for Mark Kirk, Raleigh, North Carolina. 10” long. All are

barrel.

(4,000 - 6,000)

Carved and checkered duck call, Claude Stone, Hornersville, Missouri. Four panels carved, one with small chip at tip of stopper; a few areas of dents to checkered areas on barrel.

270

Excellent duck call, Bill Clifford, River Forest, Illinois. Burled or stripped maple barrel with three inset

complete set. Set was made between 1991 and 1992

the “S” shape banner. 6.75”. Reed is a replacement;

535

turkey foot, signed by Cost, and numbered as part of the

excellent and original. 534

536

Provenance: Brian Stead collection.

Provenance: Brian Stead collection. 536

Carved duck call, Charles Perdew, Henry Illinois. Red mouthpiece with three ducks with glass eyes. Initials “LEN” carved near mouthpiece. Wedge block could be a replacement; tip of stopper has been carved out slightly.

(2,500 - 3,000)

(3,000 - 4,000)

536A

536B

536D

four of thirty

three of eleven

536C four of thirty

536E five pictured

536A 1863 Springfield musket. 56â&#x20AC;? long. Original and good. (950 - 1,250) 536B

Lot of 30 iron shorebird stands. Various heights and thicknesses. Very good.

(150 - 250)

536C Lot of 30 iron shorebird stands. Various heights and thicknesses. Very good. 536D

(150 - 250)

Lot of 11 museum quality decoy stands. Metal with rubber upright tips. Various sizes. Some missing rubber tips, otherwise very good.

536E

(150 - 250)

Large assortment of decoy weights. Many by the Herters Factory. Good.

(150 - 250)

271

Illinois River

537

Standing Canada goose, Bureau, Illinois, last quarter 19th century. 27” long. Wooden body with cast iron head. Stamped “DWV” in underside for Dan Voorhees. Original paint with moderate wear on body; minor wear on head and neck; thin cracks and dents.

(6,500 - 9,500)

537

The Voorhees family, Daniel Sr. and Daniel Jr., were actively affiliated with the Duck Island Club near Peoria, Illinois, and their decoys were almost certainly used there for many years. Daniel Sr. was president of the club as well as president of the Illinois Sportsman’s Association. The Duck Island Hunting and Fishing Club was the oldest organized duck club in Illinois. The club was founded at Banner, Illinois on 3,000 acres in 1880 by businessmen from Peoria and Cincinnati, Ohio. In 1928, it became a nonprofit organization with the mission of “protecting all game for legal acts of recreation.” Membership was small, numbering between eight and twelve men. During the early years of its development, the only access was by boat.

272

538

Rare and early pintail drake, Steven Lane, Lacon, Illinois, last quarter 19th century. Branded “BFF” on underside. 15” long. Original paint protected by an old coat of varnish that has flaked and partially worn off; small amount of professional restoration to tip of bill and tip of tail; area on underside near weight where white paint has been added.

(3,000 - 5,000)

273

539

542

540

543

541

544

539

Rigmate pair of mallards, Hec Whittington, Oglesby, Illinois. Both signed by Whittington and

542

Ringneck drake, Charles Walker, Princeton, Illinois. Gibbs stencil on underside. 13”

dated 1980. Both have turned heads. Drake has fine

long. Original paint on the black areas and the bill,

combing on gray area of back and inset lead cur-

the rest has old working repaint with moderate wear;

lew tail. Tip of drake’s bill has been cracked but is

weight is missing.

(800 - 1,200)

still intact; hen has intricate feather painting on both head and body and is original and good. (700 - 900) 540

543

Pair of mallards, Oscar Althoff, Beardstown, Illinois. Both have slightly turned heads. Original

Mallard hen, Robert Elliston, Bureau, Illinois, circa 1900. Retains original Elliston weight. Head

paint with almost no wear; protected by its original

is slightly turned. 17” long. Good original paint pro-

dent in center of hen’s back.

tected by an old thicker coat of varnish that has darkened over much of the decoy; a few small dents in lower side of body.

(1,000 - 1,500)

coat of varnish; significant varnish shrinkage; small

Provenance: Meyer collection.

Literature: “Decoy and Decoy Carvers of Illinois,” Paul Parmalee and Forrest Loomis.

541

274

Mallard hen, Charles Walker, Princeton, Illinois. Flat bottom style. 17” long. Original paint on

(1,500 - 2,000)

much of the decoy; old working repaint to bottom

Mallard hen, Henry Holmes, Bureau, Illinois, last quarter 19th century. Slightly turned head. Decoy

half of body; several old spots of touchup at neck

appears to be a mallard drake that was repainted as

cracks and part of one side of head; working repaint

a hen by Holmes; neck crack repair with touchup in

at speculums; small tail chip missing; reglued crack in

that area.

bill.

(950 - 1,250)

544

(650 - 950)

Calls

545

547

549

546

548

550

545

Duck call, John “Sandy” Morrow, Flint, Michigan. Very rare in the fact that this call retains an

548

Duck call, John Yasger, Horicon, Wisconsin.

Stopper is Reelfoot style but with locking wedge block like

original sporting goods store label. Label reads, ”Jaepke

all Yasger calls. 6”. Varnish is darkened slightly; a few small

For Tackle, Finle Avenue, Detroit, Michigan.” 6”. Very

scrapes.

small area of varnish loss on one side of mouth piece.

Provenance: Brian Stead collection.

546

Duck call, John “Sandy” Morrow, Flint, Michigan. Slightly burled barrel with unusual built up

neck collar, probably in the making.

Provenance: Brian Stead collection.

547

Carved duck call, Charles Perdew, Henry, Illinois. St. Francis or VL&A style. With four raised check-

549

Duck call, Tom Turpin, Memphis, Tennessee. “Woods” model.5.5”. All parts appear to be original; small red mark at top of barrel, about 1/3 the size of an eraser head.

Provenance: Brian Stead collection.

550

Outstanding Truetone blue label duck call, Oak Park, Illinois. This is an exceptional burled piece of

(600 - 800)

(700 - 900)

wood. Includes original Truetone cloth sleeve. 6”. All parts

ered panels, “VL&A” carved in one of them. 6”. All parts appear to be original. Provenance: Brian Stead collection.

(600 - 800)

mouthpiece. Arkansas style stopper. 7”. Crack around

Provenance: Brian Stead collection.

(800 - 1,000)

appear to be original.

(800 - 1,000)

Provenance: Brian Stead collection.

(500 - 800)

275

551

Extremely rare crow call, G.D. Kinney, Pine Bluff, Arkansas. One of only a few known crow calls by this maker. Cedar barrel and cedar mouthpiece. 5”. Small chip missing from rings at top of barrel; light wear.

Provenance: Brian Stead collection. (2,500 - 3,500)

551

552

Early raised panel checkered duck call, Andy “A.M.” Bowles, Little Rock, Arkansas. Stamped “Bowles” at top of barrel. 6”. Light wear on both barrel and stopper; reed is a replacement.

Provenance: Brian Stead collection. (2,000 - 3,000)

553

Carved duck call, Barry McFarland, Hornersville, Missouri. Four raised panels. One with alligator, hanging ducks, and a banner for carving initials. Stamped “McDuck” at top of barrel twice. 5.5”. Excellent and original.

Provenance: Brian Stead collection. (400 - 600) 552

276

553

554

556

555

554

Carved duck call, Barry McFarland. Four raised and checkered panels. One of which has

Three box turkey calls, Ken Kirby, Tuckerton, New Jersey. All three signed by maker. One is

a flying duck. Call is stamped “McDuck” twice at

dated 12/2000, has inset buffalo nickel and two turkey

top of barrel. 6”. Excellent and original.

scenes. One is dated 22/02, has hand drawn turkey

Provenance: Brian Stead collection.

555

Duck call, Pa Perkins, Memphis, Tennesse.

557

scene on one side and area for coin that is missing.

(400 - 600)

Third inscription says “custom crafted for one of the great pioneers and turkey hunting, Charles Elliot.” dated 1992. Longest is 12.5”.

Realfoot style stopper. Smooth, but shaped barrel. 5” long. Very light wear on barrel; all parts appear to be original.

Provenance: Brian Stead collection. (1,000 - 1,500)

556

Duck call, Norman Leader, Tennessee.

558

(500 - 700)

Two box turkey calls, Lamar Williams, Starke, Florida. Made for Neil Cost, “Thanks for your support, guidance, and good times that we’ve had together. I will always try to be grateful.” With hand drawn turkey feather and signed. 9” long. Second call Made for

6.5”. Wedge block could be a later replacement;

California State Chapter 1998. Signed. 9.5” long. Both

lanyard lines and varnish around barrel; slight

excellent and original.

(300 - 500)

wear.

Provenance: Brian Stead collection.

(300 - 500)

End of session two

557

558

277

Index of Carvers Alfrod, Oscar.. ................................................................. 346 Allen, Fred....................................................................... 351 Althoff, Oscar.. ................................................................ 543 Anger, Ken........................................ 69,70,390,391,395,400 Armstrong, Charles........................................................... 39 Audubon, John James............................................ 403-405 Bach, Ferdinand...................................................... 105,110 Bailey, Clarence............................................................. 451 Baker, Jesse.................................................................... 389 Barton, Larry.. .................................................................. 132 Bateman, Robert.......................................................... 181E Beckhart, James T................................................... 509,522 Bell, Henry....................................................................... 178 Ben-Jon .......................................................................... 508 Benson, Frank.. ......................................................... 407,408 Berger, Tobias................................................................. 528 Bergman, Charles.. ........................................................... 48 Best, James..................................................................... 384 Billmayer, Kristi................................................................ 180 Birch, Charles.................................................................. 375 Bishop, Richard........................................................ 134,411 Blair, Jr., John.. ................................................................ 426 Bourg, Xavier............................................................. 45,215 Bowles, A.M... .....................................................513,524,552 Bowman, William..................................................... 462,465 Boyd, George............................................. 335,336,445,455 Burdette, Paul................................................................. 293 Cameron, Judge Glen................................................... 197 Cantrall, Arthur............................................................... 212 Chamberlin Cartridge Company ................................. 458 Chambers, Tom....................................... 58,61,392,393,397 Chesser, Grayson.. .......................................................... 295 Christie Brothers ..................................................... 100,269 Clark, Charles................................................................. 168 Clark, Roland.................................................. 409,415,414A Clifford, Bill...................................................................... 535 Cobb, Arthur................................................................... 376 Cobb, Jr., Nathan.. ..............................................50,155,156 Cochran, Johnny.. .......................................................... 530 Combs, George.. .......................................... 238A,238B,242 Cost, Neil.. ................................................... 515,516,529,533 Crandall, Horace â&#x20AC;&#x153;Hiâ&#x20AC;?............................................... 47,150 Crosson, George............................................................ 297 Crowell, Elmer...................... 139A-146,337-339,447,449,450 Daisey, Cigar........................................................... 252-258 Daly, Jim....................................................................... 181B Danz Manufacturing Company .. ................................. 158 Dawson, John................................................................. 418 DeHate, Abe.. ....................................................221,223,225 Demott, Daniel............................................................... 468 Dodge Decoy Factory .. 159,161-166,303,305,306,309,373 Dreschel, Alfred.............................................................. 231 Ducharme, Duncan........................................................ 398 Dugas, Johnny................................................................ 218 Duplessis, Sidney............................................................. 213 Elliston, Robert..........................17,18,23,182-184,185C,186, 193,194,199,347,350,540 Englehart, Nicholas................................................. 200,201 English, Dan............................................................. 417,421 Evans Decoy Factory ............................................ 310,311 Fairfield, John................................................................. 472 Farlow/Fochabers Co. . . ............................................. 30-32 Farrow, John................................................................... 383

Fernland, Ivar.................................................................... 62 Finch, William.................................................................... 98 Finkle, Hays..................................................................... 101 Finney, Frank......................................................286,321,322 Fitchett, Alma...............................................................171A Fitzpatrick, Thomas......................................................... 425 Foote, Jim..........................................................138,319,477 Foret, Sidney..................................................................... 37 Fort Irwin Boat Manufacturing Company ....................... 26 Foster, Alonzo................................................................. 467 Fox, Gordon Pecore....................................................... 227 Frady, Mike......................................................... 44,208-210 Franco, Jack................................................................... 331 Garren, Otto..................................................................... 20 Gibian, William...................................................285,292,300 Gonzales, Chico............................................................. 216 Goodwin, Richard LaBarre............................................. 135 Goulet, Ike...................................................................... 276 Goulette, Isaac............................................................... 476 Granier, Eddie................................................................. 206 Graves, Bert..................... 22,185B,187,190,349,356,357,359 Gromme, Owen.............................................................. 120 Grubbs, Charles.............................................................. 521 Gundelfinger Decoy Factory ....................................... 302 Haertel, Harold..................................................317,318,332 Hagerbaumer, David..................................................... 181 Hand, J.P......................................................................... 299 Hanson, Marty................................................... 289,378-382 Harsen, Lem.................................................................... 229 Hays Decoy Factory ..................................................... 313 Heath, Captain Robert.................................................. 277 Hebert, Alfred................................................................... 38 Heinemann, Ben............................................................. 291 Hendrickson, Eugene..................................................... 430 Hildreth, Ephraim............................................................ 436 Holburton, Wakeman..................................................... 139 Holmes, Henry................................................................. 202 Holmes, Ben.................................................................... 448 Holmes, Henry................................................................. 544 Homme, Ferdinand......................................................... 113 Hooker, Perry.................................................................. 511 Hoosier .......................................................................... 307 Horner, Nathan Rowley.................................................. 429 Horner/Sprague ............................................................ 432 Hotze, Hiram................................................................... 185 Howell, LeRoy................................................................. 485 Hudson, Ira................................................................... 52-55 Huey, George................................................................. 328 Hunt, Lynn Bouge........................................... 173-176,181D Isadore, Anton................................................................ 211 Janner, Hans................................................................... 220 Janner, Augie................................................................. 484 Joffreau, Charles.............................................................. 42 Johnson, Taylor............................................................... 427 Jolly, Fred........................................................................ 531 Kelly, Lou.................................................................. 353,354 Kelson, Jim...................................................................... 222 Kemble, William.............................................................. 419 Kempinger, Joseph......................................................116A Kennebec ....................................................................... 25 Kenward, Henry.............................................................. 519 King, A.J................................................................... 147,148 King, Bud......................................................................... 226

Kingsley, Willard.............................................................. 526 Kinney, G.D..................................................................... 551 Kirby, Ken........................................................................ 557 Kirmse, Margaret............................................................ 414 Kuhn, Williams................................................................. 423 Kuss, Frank.. ..................................................................... 233 LaFrance, Mitchell............................................................ 33 LaFrance, Jafrau, Frederick ........................................... 36 Laing, Albert................................................................... 446 Lane, Steven............................................................ 189,538 Lawson, Oliver.................................................. 246-248,315 Leader, Norman............................................................. 556 Leboeuf, Orel.. ................................................................ 387 Lincoln, Joseph............................................................... 342 Madera, Clark.. ............................................................... 434 Markham rig .. ................................................................ 394 Marsh, Johnny.. ............................................................... 518 Marter, Caleb Ridgeway.. .............................................. 431 Mason Decoy Factory . . ...... 1-13,308,312,360-374,491-507 McDonald, Zeke............................................................. 107 McFarland, Barry..................................................... 553,554 McIntyre, Cameron................................................. 288,320 McNair, Mark........................................................... 281,284 Meekins, Alvin................................................................. 249 Merkt, Dixon.................................................................... 456 Mitchell, Madison.................................................... 244,245 Mizera, Frank.. ...............................................................483A Moak, Augustus....................................................... 114,116 Monahan, Hugh............................................................. 177 Morrell, George......................................................... 34,204 Morrow, John “Sandy”......................................510,545,546 Muehlmatt, Ernie............................................................ 333 Newman, Ernie............................................................... 480 Norman, Harry “Spud”. . .................................................. 388 Ohnmacht, Bernard....................................................... 119 Old Town Canoe Company .. ......................................... 28 One Arm Kelly ........................................................ 111,275 Osthaus, Edmund........................................................... 126 Parker Brothers .. ............................................................ 459 Patterson, Roy.. ................................................................. 15 Peltier Family, .. ....................................................... 228,232 Pepper, William.. ............................................................. 272 Perdew, Charles........ 14,16,21,29,195,329,345,348,536,547 Perkins, Pa....................................................................... 555 Pertuit, Dewey........................................................... 41,205 Peters High Gun ............................................................ 460 Peterson, Oscar............ 83-96,109,152,471,473,474,478,483 Peterson, Pete......................................................... 282,283 Peterson Decoy Factory .............................................. 160 Plasschaert, Richard.. ..................................................... 133 Pleissner, Ogden.. ........................................................... 131 Pruss, Mr.......................................................................... 112 Quillin, Nate...................................................................... 99 Rangeley Lakes................................................................ 24 Reason, Jamie................................................................ 298 Reeves, Charles................................................................ 66 Reghi, Ralph.. ........................................................... 103,108 Reindahl, Enoch................................................118,125,273 Reneson, Chet......................................................... 128,129 Reynolds, J.W... ............................................................... 304 Ripley, Aiden Lassell................................................ 406,410 Roseberry, Sr., Tiff.. .......................................................... 520 Savko, Joe...................................................................... 420 Schaldach, William.. ................................................ 413,415

Scheeler, Kenneth.......................................................... 330 Schmidt, Ben..................................................... 259-268,279 Schmidt, Frank................................................................ 278 Schmiedlin, Jim............................................................ 71-76 Scholer, Jacob............................................................... 274 Schroeder, Tom................................... 149,151,314,323,327 Schultz, Bill....................................................................... 117 Schute, Chet................................................................... 441 Schweikart, John....................................................... 97,102 Scott, Sir Peter................................................................. 130 Scrivens, Danny.............................................................. 270 Seabrook, Bob................................................................ 294 Seerey-Lester, John................................................179,181F Shaw, Billy....................................................................... 352 Shaw, Sharpie................................................................. 514 Shilstone, Arthur.............................................................. 136 Shourds, Harry Mitchell................................................... 435 Shourds, Harry V....................................................... 428,433 Siloski, Jerry..................................................................... 296 Smith, Daniel................................................................ 181C Smith, Ben....................................................................... 452 Southard, William............................................................ 469 Stevens, Harvey.................................................234,235,238 Stevens, George............................................................. 237 Stone, Claude.......................................................... 532,534 Strunk, George......................................................... 287,290 Sword, James Brade....................................................... 127 Tax, John......................................................................... 243 Taylor, Boyce “Doc”....................................................... 525 Taylor, Doc...................................................................... 517 Taylor, John...................................................................181A Trombley, Andy............................................................... 219 Truetone ........................................................................ 550 Turpin, Tom.................................................. 512,523,527,549 Vance, A.B...................................................................... 416 Vandenbosche, Dan...................................................... 224 Vandenbosche Family ................................................. 230 Verdin, Sr., Laurent......................................................... 207 Verity Family .................................................................. 463 Voorhees Family ........................................................... 537 Walker, Charles....... 185A,188,191,192,203,355,358,541,542 Ward, David...................................................................... 56 Ward Brothers ...............................................77-82,325,326 Watson, Dave “Umbrella”......................................... 51,154 Webster rig ..................................................................... 334 Welker, William................................................................ 422 Wells, John R......................................... 57,59,60,64,396,399 West, J.J.......................................................................... 424 Wheeler, Chauncey....................................................... 466 Whipple, Mark....................................................... 35,40,214 Whittington, Hec........................................................ 19,539 Wilcoxen, Richard........................................................... 198 Wilcoxen, Perry............................................................... 280 Wiles, Warner................................................................516A Williams, Lamar............................................................... 558 Winchester Repeating Arms Company ....................... 457 Wozny, Eddy................................................................... 301 Yasger, John................................................................... 548 Young, Scott..................................................................... 43 Zachman, John............................................................... 106

Additional information references Lot 4 1. Haid. Alan, G. 1981. “Decoys of the Mississippi Flyway.” Schiffer Pub Ltd.

Exton, PA. 2. Hay, Jeff and Joyce. 2015. “Ohio Decoys - A seminar at the 50th Annual North American Vintage Decoy and Sporting Collectibles Show.” St. Charles, IL. Privately printed. 3. United States Senate. 1932. “Migratory Waterfowl Shortage” Hearings before the Special Committee on Conservation of Wildlife Resources in The Protection and Preservation of Migrating Waterfowl.” United States Government Printing Office. Washington, DC.

Lot 24 1.Allerton, R.G. 1869. “Brook Trout Fishing- An Account of a Trip of the Oquossoc Angling Association to Northern Maine”. Perris and Browne. New York. (Lib. Of Harvard Univ Museum of Comparative Zoology) 2. Kidder, Harland. 2004. “A Good Life in The Rangeley Lakes Region”. Rangely Lakea Area Historical Society. Rangeley, Maine.

Lot 25 1.Personal correspondence. Guyette and Deeter and Mr. Roger Young. Lot 56 1.Brisco, Paul. 1986. “Waterfowl Decoys of Southwestern Ontario and the Men Who Made Them.” Boston Mills Press. Erin, Ontario. 2.Crandall, Bernard W. 1975. “Canada Club – St Clair Flats Shooting Company.” North American Decoy Magazine, Fall 1975. Hillcrest Publications. Heber City, Utah. 3.Crandell, Bernard W. 1997. “George Warin Revisited – New Angles on an Old Carver.” Decoy Magazine. May/June 1997. 4.Tonnelli, Donna. 2010. “John R. Wells and the Decoys of the Oak Lake Shooting Club.” Decoy Magazine, Jan/Feb 2010.

Lot 105 1.Bridges, Peggy. 1993. “Ferdinand Bach – A Carver as Unique as his Decoys”. Decoy Magazine, Nov./Dec. 1993 2.DeNavarre, Edward T. and H. Sorenson. 1968. “The Unusual Decoys of Ferdinand Bach”. Decoy Collectors Guide, 1968 Annual. 3.Kangas, Gene. 2014. Ferdinand Bach – The Beginning. Decoy Magazine, July/ Aug., 2014.

Lot 127 1.Appletons cyclopedia of American Biography 1600 – 1889 Vol VI Lot 128 1.1972. “Sportsmen Given Reassurance”. Naugatuck (CT) Daily News. May 22. 2.1973. “Waterfowl Art Exhibit to be Held in Easton”. The Daily Times (Salisbury, MD.) Nov 1. 3.1975. “Art Exhibit at Southport to Help Smith College”. Bridgeport (CT) Sunday Post. May 1.

Lot 158 1.Trayer, Kenneth L. 2003. “North American Factory Decoys – A Pictorial Identification and Reference Guide.” Reyart Publishing.

Lot 173 1.Davis, Tom. 2018. “Lynn Bogue Hunt – Angler, Hunter, Artist.” Sporting Classics Daily June 13, 2018. (www.sportingclassicsdaily.com). 2.Shelly, Kevin C. 2003. “Lynn Bogue Hunt, A Sporting Life.” Derrydale Press. New York.

Lot 188 1.Decoys and Decoy Carvers of Illinois, Parmalee and Loomis, copyright 1969, Northern Illinois University Press, DeKalb, Illinois. 2.Top of the Line Hunting Collectibles, Donna Tonelli, copyright 1998, Schiffer Publishing Co., Atglen, PA

Lot 195 1.Decoy Magazine article, The Hunt for G. K. Schmidt by Donna Tonelli Nov/ Dec 2007.

P. 141 1.Miller, Gary L. “Lake St. Clair in the 1930s.” Copyright 2012. Lot 334 1.Carpenter, Charles H. and M.G. Carpenter. 1987. “The Decorative Arts and Crafts of Nantucket.” Dodd Mead and Co. New York, NY. 2.Copley Fine Art Auctions, Feb. 15, 2020. “The Peter J. Muller, Jr. Collection of American Bird Decoys.” Hingham, MA. 3. Doyle Auction Galleries Catalog. April 15, 1981. New York, NY. 4.Parker, Jackson. 1982. “O’Brien Classic Decoys on Display at Museum of American Folk Art.,” North American Decoys. Summer 1982. Hillcrest Pub. Spanish Folk, UT. 5.Shaw, Robert. 1992. “Call to the Sky – The Decoy Collection of James M. McClery, MD.” Houston Museum of Natural Science. Gulf Pub. Co. Houston, TX. 6.Sheehan, Lawrence and C.S. Sheehan and K George. 1992. “The Sporting Life – A Passion for Hunting and Fishing.” Clarkson Potter Pub. New York, NY. 7.Southeby’s. Auction. 2000. “American Waterfowl Decoys – The Distinguished Collection of Dr. James M. McCleery.” New York.

Lot 375 1.Baltimore Sun. Nov 30, 1961 obit

2.Princeton Alumni Review Volume 62 jr 3.Fleckenstein, Henry A. Jr. 1983. “Southern Decoys of Virginia and the Carolinas”. Schiffer Publishing LTD. Exton, PA.

Lot 403 1, Madson, Chris. 2018. “Audubon the Hunter.” Ducks Unlimited Magazine. July/August. Memphis, TN. 2, https://www.audubon.org/content/john-james-audubon

Lot 416 1.Allen, Russ. 2014. “Arthur Bartholomew Vance and the ‘Philadelphia School’ – Discovering the Maker and Painter of Many ‘Blair School’ Decoys.” Decoy Magazine May/June 2014. Lewes, Delaware.

Lot 451 1. Starr, George Ross Jr. M.D. 1974. ‘Decoys of the Atlantic Flyway”. Win-

chester Press. 2..1915. “Twenty-Third Annual Report of the Commissioners of the Massachusetts Nautical School”. Boston, MA. 3.1913. “Handbook of the Port of Boston – 1913”. Boston Chamber of Commerce.

Lot 462 1. Mackey, William F., Jr. 1965. “American Bird Decoys.” Bonanza Books, New York, NY. 2.Sieger, Timothy R. et al. 2010. “The Decoys of Long Island.” Ward Museum of Waterfowl Art. Pub. By the Long Island Decoy Collectors Association, Watermill, NY.

Plus shipping & handling

(810) 845-2434

Collection Planning Program

Enjoy Collecting Now and Plan Ahead With a forty year history, you can rely on the Guyette & Deeter decoy auction house as the most trusted decoy auction firm to handle your estate planning and collection management needs. Whether it’s for tax purposes, estate planning, gifting, charitable giving or insurance purposes, let us manage and periodically update a comprehensive written appraisal of your collection. Gary and Jon are available to work with banks, attorneys, trust and estate officers, probate court, private clients and family members who may be responsible for the dispersal of estates and collections. Let professionals document your collection with accurate values and descriptions. We will work closely with you to ensure that your wishes are established at agreed upon terms and conditions now, to make it easier to administer your estate later.

Please contact Gary or Jon to discuss our Collection Planning Program today.

With several options, we make it easy for you to reach us: Gary Guyette PO Box 1170 • St. Michaels MD 21663 (410) 745-0485 • (410) 745-0487 fax gary@guyetteanddeeter.com Jon Deeter 7980 Darbys Run • Chagrin Falls OH 44023 (440) 610-1768 jdeeter@guyetteanddeeter.com For more information, visit our website: www.guyetteanddeeter.com

n Our Golde

ar Annivers

WATERFOWL FESTIVAL

NOVEMBER 13–15, 2020

All Festival proceeds benefit Waterfowl Chesapeake’s restoration and conservation efforts in the region. TICKETS

$15*

FOR ALL THREE DAYS *Ticket price is $20 after October 31

The ultimate destination for the collecting sportsman! Talk to experts about the value of your collection Find that perfect bird to complete your vision • Enjoy swapping stories with other decoy enthusiasts • Appreciate the rich history of the Eastern Shore sportsman • •

PREMIERE NIGHT PARTY

Join us for great atmosphere, delicious food, drink, fabulous art, and interesting artists! William A. Perry Scholarship Auction THURSDAY, NOVEMBER 12 | VIP PACKAGES AVAILABLE

WATERFOWLFESTIVAL.ORG | 410.822.4567

44 Annual MDCA Decoy Show th

February 3 – February 6, 2021

For information contact:

Minneapolis Airport Marriott

John Southworth (651) 455-7114

(494 between Cedar Ave. & 24th Ave. South)

Jim Krebsbach (612) 325-3557

2020 American Boulevard East, Bloomington, MN 55425-1228

Phone: 952-854-7441 – Fax: 952-854-7671

Dick Brust Memorial Vintage Decoy Competition 1. 2. 3. 4. 5.

Best West Coast Decoy, any species Best Heron Lake Decoy, any species Best Delta Marsh Decoy, any species Best Midwest Puddle Duck Decoy, any species Best Preening Duck Decoy, all regions

6. 7. 8. 9. 10.

(Vintage is 50 years old or older) Best Swimming Duck Decoy, all regions Best Factory Diver Duck Decoy, any species Best Factory Puddle Duck Decoy, any species Modern (post 1969) Goldeneye Decoy 2 divisions: Decorative and Gunning. Youth Contest: Goldeneye Decoy

Featuring Minnesota’s Finest Decoys on Display & For Sale! • Antique

Marvin Bernet 1924-2019

• Contemporary • Factory

Sleeping Black Duck Larry Thomforde Collection

• Identification • Wildlife Art • Sporting Books & Catalogs • Antique Sporting Collectibles • WED. – THURS. •

• FRIDAY •

• SATURDAY •

FEB. 3 & 4, 2021

FEB. 5, 2021

FEB. 6, 2021

2 p.m. – 10 p.m. Hotel room-to-room trading Open to the Public SPONSORED BY MINNESOTA DECOY COLLECTORS ASSN.

coy e D 11 a.m. – 7 p.m. tion c 7 p.m. Decoy Auction Au P.M. 7 (9:00 a.m. Exhibitor Setup) $20.00 Membership Fee – Includes Family Admission $20.00 Early Bird + membership gets you in at 9:00 a.m.

9 a.m. – 3 p.m.

Open to the Public $5.00 Admission 18 yrs. & older Vintage Decoy Competition

MINNESOTA DECOY COLLECTORS ASSOCIATION Board of Director Contacts: Dues and Membership ................................................................................................... Jim Krebsbach jwkrebsbach@aol.com Table Reservations ..................................................................................................................Bob Sauer mbssauer@gmail.com –or – John McCorrmick johnmccormickmail@gmail.com Auction Information ............................................................................................................... Dr. John Baillie drjbaillie@aol.com Vintage Decoy Competition Information................................................................. Carter Stenberg clstenberg@charter.net Advertising & MN Decoy Foundation Donations and Information ...................... Marty Hanson hansondecoys@gmail.com

(612) 325-3557 (952) 484-6173 (651)-426-8066 (651) 260-1995 (320) 522-1789 (715) 462-4173

• Mailing Address: Minnesota Decoy Collectors Association, P.O. Box 211511, Eagan, MN 55121-4201 •

Visit our Website @ MnDecoyCollectors.com

MARCH, 2021 ANNUAL DECOY SHOW & COLLECTORS EVENT FREE Admission BUY + SELL + SWAP

FOR INFORMATION CONTACT: Ken Cole, KenCole3@aol.com; 810-845-2434 Marty Hanson, hansondecoys@gmail.com; 952-210-9377

CONDITIONS OF SALE ‑- PLEASE READ 1.

GUARANTEE ‑ We have made a concerted effort to accurately catalog and describe the property to be sold. The decoys and paintings have guaranteed condition reports. Should the need arise, the auctioneer reserves the right to make verbal corrections and provide additional information from the block at the time of the sale. Absentee bids will not be executed on items that are found to be other than described in the catalog. Since opinions can differ, particularly in the matter of condition, the auctioneer will be sole judge in the matter of refunds. If we fail to identify a flaw that has an impact on the value, you can return the decoy. 2. DURATION OF GUARANTEE ‑ Request for a refund for items purchased IN PERSON at the auction must be made within 3 days of the sale. If you bid absentee, by phone, or on the internet, it is your responsibility to examine the lot immediately upon receipt and notify us of any issues. The guarantee will end 5 days from the date of delivery. Therefore, all guarantees on items purchased will become null and void 10 calendar days from the date of shipment. IT IS VERY IMPORTANT TO NOTE THAT IF YOU PAY LATE, YOU WILL NOT BE ELIGIBLE FOR THE GUARANTEE. Payment must be postmarked no later than 30 days after the auction. 3. PROTESTED BIDS ‑ In the case of a disputed bid, the auctioneer is the sole determinant as to who the successful bidder is, and at his discretion, may reoffer and resell the article in dispute. If a dispute arises after the sale, the auctioneer’s sales records shall be conclusive as to who the purchaser was, and the purchase price. 4. BIDDING - Bidding usually starts below the low estimate and advances in increments of approximately 10% of the open‑ ing bid subject to the auctioneer’s discretion. The auctioneer reserves the right, at his sole discretion, to refuse any bids that he deems unreasonable. The minimum bid increment guideline is as follows: $500 to $1000 - $25 $10,000 to $20,000 - $500 $100,000 and above - $2,000 $1000 to $10,000 - $100 $20,000 to $100,000 - $1,000 5. ABSENTEE BIDS ‑ Phone or mail bids, at the discretion of the Auctioneer, will be accepted with a 20% deposit. In such case, the bookkeeper will execute such bids competitively. Absentee bids are executed by the bookkeeper on behalf of the bidder in accordance with the bid increment policy shown above. Please review the rules governing both absentee and phone bids in the back of the catalog. 6. TERMS ‑ All items are to be paid for in U.S. funds on the day of the auction. No items will be released until they are paid for. Those who have not established an account with us and wish to pay by check, must do so prior to the beginning of the auction, by presenting a current letter of reference from their bank, or by providing references, that are suitable to the Auctioneer. The Auctioneer reserves the right to hold merchandise purchased by personal check, until the check has cleared the bank. Phone and absentee bidders ‑ You will be notified one week after the auction of your bids/results. PAYMENT IS DUE UPON RECEIPT. A late charge will be accessed on all balances not paid, at the rate of 12% A.P.R. commencing 30 days after the auction. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. Guyette & Deeter will not carry insurance on items that are not paid for within 35 days of the auction. Also, the auctioneer may retain and/or recover the deposit specified as liquidated damages. In addition, the property can be resold at public or private sale without further notice. Any defi‑ ciency resulting from such resale shall be paid to the auctioneer by the defaulting buyer, together with all charges, fees, and expenses incurred by such resale, or the enforcement of the obligation hereunder. Buyer agrees to pay all charges and expenses incurred by reason of any breach of the Terms and Conditions of Sale, including without limitation, reasonable attorney fees. 7. PAYMENT FOR PURCHASES CAN BE MADE WITH CREDIT CARD (VISA, MasterCard, American Express, or Discover), CASH, CHECK, OR WIRE TRANSFER. 8. BUYERS PREMIUM- The buyer’s premium, assessed on each selling lot, is 20% of the hammer price up to and includ‑ ing $1,000,000, plus 10% on any amount in excess of $1,000,000. For payments made using a credit card, the buyer’s premium is 23% up to and including $1,000,000, plus 13% on any amount in excess of $1,000,000. 9. TAX ‑ THERE IS AN 6% SALES TAX IN MARYLAND. Tax is waived if buyer presents a valid resale certificate from any state or has purchases shipped outSIDE of MARYLAND. 10. ACCEPTANCE OF CONDITIONS ‑ Bidding on any articles in this catalog indicates your acceptance of all the above items. 11. BIDDING AGENT RESPONSIBILITY ‑ If you are registering for someone or if you execute a bid for someone else under your number, you are responsible for the settlement of that account. You are also responsible for examining the decoy(s) for your client regarding the guarantee. 12. WITHDRAWAL ‑ We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. 13. TITLE ‑ Title passes upon the fall of the auctioneer’s hammer. It will then be the responsibility of the buyer to make full payment prior to removing the goods from the premises. Removal is at both the buyer’s risk and expense, and must be made at the conclusion of the sale, unless other arrangements are made with the Guyette & Deeter staff. Any lots we might make arrangements for moving or storing are solely at the risk of the owner, and any damage or loss occurring after the fall of the hammer becomes that of the buyer. 14. LEGAL DISPUTE ‑ Any legal disputes arising from this auction shall be settled in the court system of the State of Maine. UNIFORM COMMERCIAL CODE - The Maine Uniform Commercial Code, Title II, Section 2328 applies to this auction. 15. All calls are sold “As Is”. THE OFFICE WILL NOT BE OPEN UNTIL WEDNESDAY AFTER THE AUCTION.

ABSENTEE, PHONE, AND ONLINE BIDS 1. Absentee bids are a service provided to our customers free of charge. Every effort is made to execute all absentee bids, however, in the event of an error or omission, or failure to properly execute absentee bids, the Auctioneer shall not be held liable. 2. All absentee bids must be accompanied by a 20% deposit, which will be refunded immediately after the auction if your bid is unsuccessful. If your bid is successful, the deposit will be applied to the purchase price and the balance due upon presentation of your bill. All absentee bidders are notified by mail, whether successful or unsuccessful. 3. Visa and Mastercard numbers can be given in place of a check deposit, if your bid is submitted by phone. Your card number will not be used to make payments for purchases, it is only used as collateral. Your card number will only be used to make payment for purchases if you default on payment. 4. To execute an absentee bid, fill out the enclosed form listing catalog number, description, and your top bid price (not including the 20% buyer’s premium). Send this together with your deposit as soon as possible. If your bids are sent seven days or less prior to the auction, you should call our office three days prior to the auction, to confirm that we have received your bids. If they have not been received at that point in time, we will take your bid over the phone. We cannot guarantee that bids received after the auction has started will be executed. 5. If two or more bids are received on the same item from different people, the bidding will open at the next logical raise above the second highest bid. If two absentee bids are received with the exact same amount, the first one received will take precedence. 6. All bids must be in even dollar amounts. Bids in fractions of dollars will be considered the next lower even dollar amount. 7. Bid increments: The bid increment policy, which also applies to both absentee and phone bidders, is listed under “CONDITIONS OF SALE” (item #4), in the front of the catalog. 8. Open bids, bids with no set top amount, or orders to just simply buy the lot, cannot be accepted. You must have a definite top limit before we can execute your bid. Alternatives to this are as follows: a. To bid over the telephone. This can be done by simply sending a 20% deposit for what you wish to bid on the object. This will bind whatever bid amount you wish to bid over the telephone. (NOTE: There are only 8 phone lines into the auction room and phone bids will be handled on a first come, first serve basis.) b. Some bidders concerned that a lot might just go for one bid above their top limit, leave a top bid plus one bid. This works as follows: the top bid submitted might be $1,000, but not wishing to lose the lot for simply $25 more, the party might bid $1,000 + 1 bid if they definitely don’t want to go over a certain price, they would indicate $1,000 +1 ($1,025) (NOTE: One possible problem that occasionally arises with absentee bids is when someone in the audience bids exactly the amount, which you specify is your limit. In such a case, we would not go one extra bid unless your bid sheet indicates “plus one” bid.). 9. If you are a successful bidder, a bill will be sent one week after the auction. Purchasers should indicate their desired method of shipment, if such is necessary. There is a charge for shipping, labor, materials, and insurance. 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. According to UPS regulations, we must now crate all paintings. In addition, for expensive oil paintings and delicate carvings, we need a written statement from the purchaser, assuming the responsibility of pursuing any claims, in the event of damage incurred during shipping. Valuable lots need to be sent 2 day air UPS due to values. Under no circumstances will we be liable for damage to glass or frames, or fragile decoratives, regardless of cause. 11. TERMS — Phone and absentee bidders — You will be notified one week after the auction of your results. Payment is due upon receipt. Interest will be charged on all balances not paid within 30 days after the bill is sent at the rate of 12% APR. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. If an account is 75 days overdue, the items may be returned to the consignor and overdue buyer will pay the buyers premium and commission from the sale, if they wish to participate in future Guyette and Deeter auctions. 12. Bidding on any article(s) indicates your acceptance of these terms above. 13. If you would like any additional information on any of the lots, please contact: Gary Guyette at (410) 745-0485 or Jon Deeter at (440) 610-1768. nd

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

OFFICE:

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

I desire to bid on the following items in the sale. The bids are to be executed by Guyette & Deeter, up to but not exceeding the amount(s) specified on the below bids. All bids will be executed and accepted subject to the Terms of Sale and Absentee Bids Procedure outlined in the catalog. (Please be sure that you understand our procedures before using this Absentee and Phone Bid Form.) Office will not be open until Wednesday after the auction.

A PREMIUM OF 20% WILL BE APPLIED TO ALL ITEMS SOLD, TO BE PAID BY THE BUYER

Page 2

NAME OFFICE USE

PHONE IN CATALOG # ORDER

AUCTION DATE DESCRIPTION

BID AMOUNT

173

127

131

130

126

Guyette & Deeter, Inc. PO Box 1170, St. Michaels, MD 21663 | 410-745-0485 | www.guyetteanddeeter.com