North American Decoys at Auction | April 30 & May 1, 2021

Guyette & Deeter, Inc. North American Decoys At Auction April 30 & May 1, 2021

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Guyette & Deeter, Inc.

North American Decoys At Auction Friday, April 30, 2021 Auction 11:00 AM

Saturday, May 1, 2021 Auction 11:00 AM

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

Regardless of the appraised value of any specific item, we will do everything possible to accommodate your request.

The auction will be streamed live, and there will be multiple active phone lines to ensure an effective bidding process.

Thank you for your interest and participation.

Catalog $45. Out of Country $70 Absentee, Phone & Online Bidding accepted call 410-745-0485 for arrangements

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

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

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

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

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

■■ Trade Up Program - A limited number of decoys purchased may be paid for by consigning decoys.

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

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

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

Future Auctions July 2021

The Sheraton Harborside Hotel Portsmouth, New Hampshire

November 2021

Talbot County Community Center Easton, Maryland

To consign, Contact:

Gary Guyette | gary@guyetteanddeeter.com | 410-745-0485 Jon Deeter | jdeeter@guyetteanddeeter.com | 440-610-1768 Zac Cote | zcote@guyetteanddeeter.com | 207-321-8091

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: 410-745-0485.

Guyette & Deeter, Inc.

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

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

Zac Cote

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

Denise Jarrell

Mike Stevenson

Sharon Metzger

Ed Kenney

Bill Lapointe

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

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

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

Office Assistant St. Michaels, Maryland Tel: 410-745-0485 sharon@guyetteanddeeter.com

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

New location, same great town

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

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

Featuring decoys from the collections of Kroghie Andresen

Doug and Ellen Miller

Dr. John Dinan

Fred Mott

Jim and Pat Doherty

Kirby Roberts

Gary and Dale Guyette

Nancy and Randy Root

William Mackey, Jr.

Randy Singer

Leila and Frank Matthew

Governor Jim Thompson

Otto Meyer

Bruce Williams

Steven Michaan

The Governor Jim Thompson collection Governor James R. Thompson was born in Chicago, IL and grew up on the West Side. He was the longest serving Governor in Illinois history, four terms and fourteen years (1977-1991). An avid antique collector for fifty years, the Governor enjoyed collecting “Illinois” items. He collected Abraham Lincoln memorabilia, Illinois political buttons and Rittgers figures. In 2002 Governor Thompson began collecting Illinois River duck decoys. It first began at the Henry, Illinois Decoy Show. The Governor’s vision for his collection was a representative sample of Illinois carvers and painters spanning the Illinois River and a diverse selection of species. Governor Thompson purchased top-of-the-line decoys from Guyette and Deeter auctions, privately from decoy notables Joe Tonelli, Randy Root, Dan Johnson, and Dave Kneebone. He also purchased decoys at the Wisconsin Decoy and Sporting Collectibles Show in Oshkosh and the Midwest Decoy Collectors Association Show in St. Charles, IL. Otto Garren comprised the most of any maker in the Governor’s collection. He liked Garren’s crazy, folky style. Garren also made species that very few others produced. This fit with the Governor’s vision to have varied species in his collection. His favorite decoy was his Garren Mallard hen. It is exceptionally carved. One of Garren’s grandsons told the Governor that his grandfather made some extra special decoys for friends and family. This Garren Mallard hen up for sale is one of the finest he carved. Two of his G.K. Schmidt rigged decoys the Governor purchased privately from the son of

a physician who purchased them from the now famous Rockford, IL auction that sold all the G.K. Schmidt branded decoys when they surfaced in the late 1960’s. Additionally, Governor Thompson achieved rare air in the decoy world when he purchased his Elliston preening Mallard hen in the Guyette and Deeter auction for over $100.000.00.

It’s a great story. A couple discovered five Elliston decoys in their attic in a newly purchased home in Indiana. The couple was hoping to sell the three Elliston’s to pay for a new roof. Mission accomplished! Over the course of eighteen years, Governor Jim Thompson amassed one of the finest Illinois River decoy collections.

The Governor Jim Thompson collection

An assembly of Illinois River’s finest

The Bruce Williams collection My interest in collecting old hunting decoys was not gradual, but instant and all encompassing. It came about when I curiously popped into the former Beacon Hotel in Point Pleasant Beach in the early 1980s to see what a “Decoy Show” was all about.

In my many years of enjoying the pursuit of early American antiques, I had never come across old hunting decoys.

Seeing these magnificent polychromed floating sculptures, all with important historic significance, was a revelation to me. These old decoys were used by full-time hunters to attract ducks and birds to their hunting rigs to get food for their own families and to supply in quantity to hotels in Atlantic City and Philadelphia.

I looked on this epiphany as an opportunity to reinvest the sale of my membership seat on NYC’s American Stock Exchange into a “job” that for the first time in 25 years I actually enjoyed. I immersed myself in learning more about carvings from New Jersey’s Barnegat Bay and Delaware River. Full-time dedication, study, and energy over the past few decades has enabled me to build a significant and sizable collection of duck decoys, beach shorebirds and miniatures. For years, I’ve had so much fun travelling each Friday to South Jersey, visiting with and learning from decoy carvers and dealers who were methodically purging old barns and sheds of early hunting rigs.

The highlight by far was getting to know Bob White, and then acquiring in 1984 his collection of 63 rare old hunting decoys, assembled over a twenty-five year period by this master decoy carver and ubersportsman from Tullytown, Pennsylvania. In his early years, Bob was a “decoy picker” for Lloyd Johnson and Bill Mackey, and later for John Hillman, all from New Jersey. As he learned from these early collectors, and by visiting the carving sheds of old-time carvers, Bob began collecting for himself. He focused on the

very best Delaware River working decoys that he could find, with an emphasis on rarity of species from the masters along the river.

The collection that I purchased from Bob has remained intact. In 1988, the decoys were put on display for the first time at the Noyes Museum in Oceanville, New Jersey, as a salute to the skilled old-time carvers and painters of the Delaware River. The original core group of the collection was supplemented with an additional 30 decoys that I acquired from Bob or on my own with his guidance. I wanted this specific group of decoys within my larger collection to continue to be named “The Bob White Collection” as a tribute to the exceptional accomplishment of Bob’s talented eye, expertise and energy over so many years.

In addition to the acquisition of “The Bob White Collection”, I’ve also been fortunate to acquire one of every specie of bird that came down the Delaware River of Bob’s own carvings. As well, Bob made a hunting rig for me that he and his friends hunted over in the river. These were on display in 2004 at the almost year-long exhibition that Bob and I co-curated at the Mercer Museum in Bucks County, Pennsylvania which was comprised mostly of the old “classics” from 18651945.

It has been a great ride. I feel so privileged to live with these beautiful floating sculptures. I am indebted to the knowledge shared with me by so many talented carvers and sportsmen, and I am grateful for their friendship.

Bruce Williams, 2010 (1930-2019)

Bruce Williams with George Strunk, pictured at Russ Allen’s workshop

The Bruce Williams collection

The Steven Michaan collection Steve Michaan started collecting fish decoys in 1984.

He is now recognized as a seasoned collector and accomplished author on two of the most popular books on the subject, “Beneath The Ice” and “American Fish Decoys”. He has organized exhibits at museums around the country including The Museum of American Folk Art..

“A thousand years before the first American quilt was created as a protection against the chill night; before the first American whirlgig played against the New England wind or the first American weathervane showed its direction- before any of these things, fish decoys were being actively used for ice spearing

by Native Americans. From Alaska throughout the Midwest, the Middle Atlantic region, New England, and Canada, men have speared for bass, sturgeon, muskellunge, carp, trout, pike and numerous other species. Despite some regional preferences-leather tails in New York State, certain colors preferences in other areas- fish decoys were pretty much the same everywhere.

It is just recent years that fish decoys have come to be recognized and appreciated as fine examples of American folk sculpture. Generally carved only with a drawing knife and a jackknife from white pine, basswood or tulipwood, they have body cavities that are carved out and then filled with lead for “sinkability”.

This forward is from the book dust jacket, “Beneath The Ice”, published in 1990, which served as the catalog for a traveling exhibition organized by the Museum of American Folk Art in New York City, “In the spring of 2003, a duck decoy carved by Elmer Crowell sold at a Guyette & Deeter auction for $801,000. In 1986, the same decoy brought the then staggering sum of $317,000. In the view of many collectors and dealers, that event legitimized the belief that American folk art was in fact true American art. That same year, ice fishing decoys had yet to appear on the auction scene, and I realized that an opportunity existed to create a collection that would define the art form. It was a tipping point and a unique opportunity to assemble the very best pieces for posterity and preserve a precious American asset.”

Steven Michaan We are pleased to offer items that have been in the Michaan collection since their acquisition nearly forty years ago.

The Steven Michaan collection

The Gary and Dale Guyette collection In 1973 Dale and Gary Guyette began traveling from their home in West Farmington, Maine, to the Canadian Maritime Provinces to buy antiques. Chris and Ellen Huntington had retired from their folk art and country antique business, Ezra Peters Antiques in Maine and soon after had moved to the south shore of Nova Scotia to dabble in antiques and paint. They invited the Guyette’s up to visit and to buy from them. From that point on, Gary and Dale would traverse the whole of the Canadian Maritimes and Quebec to buy from the Huntington’s, antique shops, and “pickers” or “door knockers”. They were extremely good at what they did!

Truckloads of country tables, baskets, gameboards, tools and whatever else they could unearth, got loaded both in and on top of the van and made the trip back over the border. They would later recall they made a total of 212 trips to Canada over a period of 12 years.

In 1974, Dr George Ross Starr voiced the opinion of most early collectors when he claimed: “The Maritime Provinces of Eastern Canada have never produced much in the way of outstanding decoys.

Their decoys tend to be very crude in appearance but adequate for the job”.

Beginning in 1975, the Guyette’s were about to prove him very wrong! As an afterthought, while buying other items, they bought their first group of decoys from Chris Huntington. These were quickly sold at a profit and Gary and Dale began to focus more and more on what was rapidly becoming the very lucrative decoy market. See “First Decoys” in “Bonfire of Swans. Decoys in the Maritimes seemed to be everywhere and, since no one prior to them had seriously looked there, they were readily available. Of the thousands of decoys that they found, they sold most but wisely kept what they considered to be the jewels of their travels. Many of these treasures have remained in their personal collection since the layers of dust from remote fish shacks and barns was blown away over 40 years ago.

Regrettably, most early pickers had little or no regard for the history behind what they acquired. Fortunately for the decoy collecting community, this was not the case with Dale and Gary. Their notes that were kept while the decoys were first being sourced became the basis for their groundbreaking 1983 publication “Decoys of Maritime Canada”. This reference is probably solely responsible for affording Maritime decoys the recognition they so justly deserve.

In the late 1970s, the Guyettes purchased a farm outside of Farmington with a convenient barn to house their finds. Here antique dealers would be eagerly awaiting their arrival from the north with the

latest assortment of “fresh fish shack and barn finds”.

The couple and the orange van, became a regular, and eagerly anticipated, vendor at numerous shows throughout New England, including the notorious Brimfield flea market in Massachusetts and the now, equally famous Craigville Motel on Cape Cod during the Bourne auctions.

In 1984, in the midst of decoy week in New England, Jim Julia partnered with Gary and Dale and they excitedly staged their first auction. It featured the wellknown collection of Robert Congdon and, in Jim Julia’s words in “Bonfire of Swans”: “Our auction was a bomb! It proved to be a dramatic disaster for Gary and me. Together it was the greatest financial loss we had ever experienced.”

Despite this less-than-ideal start, the team decided to go forward and Jim Julia, in the same essay, made one of the greatest understatements of the 21st century: “The decoy auction business eventually became tremendously rewarding for Gary and me.”

Since the early years, the company has evolved.

The Guyettes bought out, Jim eventually expanding to include Frank and Vicki Schmidt into the Guyette partnership. In 2010, upon Frank’s well-earned retirement, Jon and Leigh Ann Deeter assumed his and Vicki’s role. Gary and Dale’s efforts have established the decoy auction as a viable business model. Their success has spawned other decoy companies but today, Guyette & Deeter has become firmly established as the largest, most trusted, most respected, and most successful decoy and sporting art auction company in the world.

It all began with a faded orange surplus Central Maine Power Company van in the Nova Scotia countryside.

The Gary and Dale Guyette collection

The Leila and Frank Matthew collection In the mid 1950’s and 1960s Leila “Puddy” Brown Matthew (1929-2020) and her husband Frank “Pancho” Brown (J.) Matthew, III (1928-1994) often traveled to New York and New England to buy folk art and began doing business with Adelle Earnest who owned the Stoney Point Folk Art Gallery. They bought decoys from Adelle as well as Harvey Hauptner. Through Adelle they met Bill Mackey Jr., the Ward Brothers, and Ralph Lasbury. For around ten years they traveled back East to buy decoys from these early collectors/dealers, as well as other folk art. They also bought decoys from photographs that collector and dealers would send, including Audrey Conniff, Tom Lindeman, and the 1807 house.

Among Leila and Frank’s possessions were letters from Lem Ward and Harvey Hauptner, as well as photographs and detailed documentation for many of the decoys in their collection. Included is a photo of the pair of Ward Brothers red heads in this auction floating in a marsh. It is labeled “Plate. Red heads male and female”. On the back is written “Please return to Mrs. Frank J. Matthew lll Ormond plantation, Destrehan, La”. Perhaps the photo was intended for inclusion in Adelle’s book.

On page 125 of The Art of the Decoy, by Adelle Earnest is a photo of 4 Mason factory decoys on some brick steps. The caption reads “Louisiana decoys; teal, bluebills and mallards”. On page 126 of the book she discusses the brands on the undersides of the decoys. The McI. Co. brand was used by E.A McIlhenny, one time President of the famed Tabasco sauce company (Avery Island, Louisiana). The CWW brand belonged to Charles Willis Ward who hunted with him for a few years. In the 1950’s a large portion of the decoy rig was burned when the family began using plastic decoys. The four decoys in the photo belonged to McIlhenny’s granddaughter, Leila “Puddy” Brown Matthew.

Leila and Adelle became friends and Adelle visited the Matthews at their home, next door to Leila’s parent’s home “Ormond Plantation” in Destrahan, Louisiana. She photographed the branded Mason decoys that she and they assumed were from Louisiana decoys for her upcoming decoy book.

Hal Evans and Harvey Hauptner in the 1960s.

Photo sent to Leila in 1965 of shorebirds being offered by Audrey Conniff. She purchased the one with the arrow. It is the Nantucket plover, lot 325 in this sale.

The Leila and Frank Matthew collection

Guyette & Deeter Online Auctions

We e k ly O nline Au c t ions End ing E ve r y T hu r sd ay N ig ht G u a r a nt eed co n d i t i o n re p o r t s , m ul t i p l e p hot os , q u i ck s h i p p i n g , g reat d eal s o n q ual i t y i t e m s

Preening wood duck

by William Gibian SOLD! $4,646

Gadwall by Jim Schmieldin SOLD! $6,095

Acrylic on Board by Richard Plasschaert - SOLD! $2,588

J. Deally Fishing Reel No. 10 SOLD! $8,050

For questions, contact: 207-321-8091

zcote@guyetteanddeeter.com

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

Recent Sales

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

1-5%

3% Additional online bidding fees charged by each site

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Session One Friday, April 30, 2021 11:00 am Lots 1 - 280

Session Two Saturday, May 1, 2021 11:00 am Lots 281 - 553

Madison Mitchell 1 Illinois River 9 18 Contemporary 31 Maritime Canada 53 New Jersey Shorebirds 66 Mason Decoy Factory 76 Elmer Crowell Ontario 100 Ward Brothers

105 Midwest 112 Fish Decoys 119 New York 134 Midwest 143 Illinois River 153 Items of Interest 161 Ward Brothers 172 Sporting Art 180 New England 193 Shorebirds 205 New Jersey 215 Ontario 233 Items of Interest 244 Factory Decoys 257 Contemporary 262

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8 15 30 52 65 75 99 104 111 118 133 142 152 160 171 179 192 204 214 232 243 256 261 280

Decoratives 281 Illinois River 294 Miniatures 304 New England 312 Shorebirds 322a Louisiana 331 Fish Decoys 339 Factory Shorebirds 358 Delaware River 361 Elmer Crowell 377 Delbert “Cigar” Daisey 382 Delaware River 393 Sporting Art 414 Virginia 425 North Carolina 435 Shorebirds 442 Decorative 462 Illinois River 477 Advertisements 492 Maryland 505 Swans 518 Illinois River 521 Fish Decoys 527 Calls 541

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293a 303 311 322 330a 338 357 360 376 381 388b 413 424c 432 441 461 476b 491 504 517 520 526 539 553

Please read conditions of sale in the back of catalog

SESSION ONE Friday, April 30, 2021

Maryland Madison Mitchell 1901 - 1993 | Havre de Grace, Maryland

Magruder and Mitchell visiting in the shop. One of many visits Magruder made.

Major General Warren A. E. Magruder of Pasadena, MD was lucky enough to grow up in a time that most of us have only read or dreamed of. A time when flocks of ducks darkened the skies, a time when the bag limits were 15 ducks and baiting in the state of Maryland was legal. Magruder, now 92 years young, enjoys sharing his stories of hunting in the 40’s, most of which was done from his own 18 ft. bushwack boat. For Magruder, like many of us however, it’s not the bag limits that he misses the most, it is the companionships. His early mentor and friend happened to be R. Madison Mitchell, whom he met through a mutual acquaintance. Warren placed his first decoy order from Mitchell in 1945; 50 canvasback decoys at a price of $1.75 each, 18 blackheads at $1.50 , 12 goldeneyes at $1.55 , 6 redheads and 6 black ducks at $2.00. As he recalls, “a complete rig”.

Warren started his duck hunting with a Remington “humpback” semi-automatic but, because his friend Mr. Mitchell gunned with a Winchester pump, he decided to change. He recalls that Mr. Mitchell’s gun had been identical to one Warren’s father had shot before him, a Winchester model 98 with a 32inch barrel and a full choke.

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As the years passed, Mr. Mitchell stopped hunting. Magruder would periodically stop by with freshly killed ducks and geese to give him.

He fondly reminisces: “We would go to lunch and quite often I would bring him decoys from my collection for him to sign. My relationship with Mr. Mitchell lasted 37 years, my trips to see him were frequent”. “From time to time his daughter Madeline would take decoys from his shop and keep them stored for me until my next visit. She did this because his decoys were selling as fast as he could make them. As soon as a batch was complete hunters would arrive and scarf them up” .

The Mitchell decoys being sold in this auction were purchased directly from Madison by Magruder. Many of them were used in the Magruder gunning rig and all have remained in Magruder’s personal collection until today.

According to Jim Trimble: Mitchell’s decoy staple and ring are usually placed behind the head, which allows the decoys to ride high in the water and not get pulled down by a tight anchor line. Until the early 1950’s, he placed the staple parallel with the body, which often split the grain, especially on the cedar bodies. Eventually someone suggested to Mitchell that reversing the direction of the staple would prevent these annoying checks.

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Fine pintail hen, Madison Mitchell, Havre de Grace, Maryland. Signed and dated 1954 on underside. North-south line tie. Strong wet feather blending. 16” long. Excellent original paint; very tight neck cracks; a couple of very small rubs.

Provenance: General Magruder collection.

(1,200 - 1,800)

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2

Early pintail drake, Madison Mitchell, Havre de Grace, Maryland. Signed and dated 1949. Raised neck seat with alert head and long sprigged tail. North- south line tie. 18” long. Fine original paint; even gunning wear; some discoloration possibly from a light coat of varnish; putty missing from nail hole at top of head.

Provenance: General Magruder collection. From Magruder’s personal gunning

2

rig.

(1,200 - 1,800)

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3

Pair of goldeneye, Madison Mitchell, Havre de Grace, Maryland. Both signed and dated 1956 on underside. Both have north-south line ties. 13” long. Drake has minimal wear with a few small rubs; hen has moderate wear with neck seam separation and small areas of paint loss.

Provenance: General Magruder collection.

(1,200 - 1,500)

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4

Pair of wood ducks, Madison Mitchell, Havre de Grace, Maryland. Signed and dated 1977 on underside. Flat bottom. Both have slightly turned heads and carved crests. 13.5” long. Excellent original paint.

Provenance: General Magruder collection.

(1,500 - 2,000)

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5

Pair of widgeon, Madison Mitchell, Havre de Grace, Maryland. Both signed and dated 1955 on underside. Both have north-south line ties. 14” long. Drake has strong original paint with minimal wear, small knot has pushed slightly out of one side; hen has comb painting on head and even gunning wear, a few small scratches, rubs, and a neck crack.

Provenance: General Magruder collection.

5

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(700 - 900)

Rare pair of shovelers, Madison Mitchell, Havre de Grace, Maryland. Both are

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signed and dated 1983 on underside. Slightly turned head on drake. Good wet feather blending at top of back and sides. 16” long. Small putty crack around neck seat, otherwise excellent and original.

Provenance: General Magruder collection.

(800 - 1,200) 6

7

Pair of greenwing teal, Madison Mitchell, Havre de Grace, Maryland. Signed and dated 1977. Both have turned heads. Drake has extended head crest. 13” long. Both in original paint, unused with rub at drake’s tail.

Provenance: General Magruder collection.

(800 - 1,200)

7

8

Pair of bluewing teal, Madison Mitchell, Havre de Grace, Maryland. Both signed and dated 1977 on underside. 13” long. Excellent original paint on both; tight neck crack at one side of drake.

Provenance: General Magruder collection.

(800 - 1,200)

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Illinois River G.K. Schmidt Rig The Hunt for G. K. Schmidt by Donna Tonelli

Arguably one of the most famous decoy rigs within the decoy collecting world is the ‘G.K. Schmidt’ rig for several reasons. First and foremost is the condition of the Charles Perdew and Premier Mason Mallard decoys bearing this brand. These decoys were found at an estate auction during the late 1960’s and were in unused pristine condition. The ‘G K Schmidt’ brand is burnt into the bottom of the decoys and it looks as if it was done yesterday. Sometimes the condition of these birds had caused some would-be buyers to pass on them thinking they were contemporary reproductions.

To date 6 mallards (1 hen sleeper), 7 pintail, 2 redhead, (1 hen sleeper), 2 canvasback (1 hen sleeper), 4 greenwinged teal (1 hen sleeper), and 3 blue-winged teal (1 hen sleeper) carved by Charlie Perdew and painted by Edna Perdew and 9 Premier Mason Mallards in pristine condition with the ‘G.K. Schmidt’ brand have been found in Illinois, Wisconsin and Michigan and are now in various private collections. There are also examples of Robert Elliston mallards, pintail, canvasbacks, and Mason Pintails found with ‘G K Schmidt” brand repainted by Edna Perdew. It should be noted that there were two different ‘G.K. Schmidt’ brands one was smaller than the other.

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Decoys with the now famous G.K. Schmidt brand have fascinated collectors for decades.

Gene ‘Sandy’ Schmidt (no relation) and Bruce Miller from Rockford, Illinois were the among the first decoy collectors to learn of the G.K. Schmidt decoys. These men purchased most of the ‘G K Schmidt’ decoys from a local gun dealer during the late 1960’s. During a 1988 interview, the gun dealer explained that he had attended an estate auction in 1966 where approximately 40 decoys from the G.K. Schmidt rig was sold. The decoys were supposedly found stored in the basement of a bank and included pristine Perdew’s painted

by Edna Perdew, a dozen Mason Mallards in original paint and various decoys by Mason and Robert Elliston repainted by Edna. All had the G.K. Schmidt brand, most of the decoys but not all were bought at the sale by the gun dealer for choice at $3.75 and then $2.50. He, in turn, sold the decoys in his gun shop and had them on his table at local gun shows for $15 each or $25 a pair.

Sandy Schmidt had 10 G.K. Schmidt Perdew’s including 4 pairs with sleepers, an extra pintail hen, and an undistinguishable hen sleeper in his collection. In 1968 Joe Tonelli purchased the ‘extra’ Schmidt sleeper.

This decoy has a beautiful monotone grey paint job.

In fact, one would be hard pressed to identify its species. At the time Tonelli thought it was probably a gadwall hen. The decoy was sold to Kirt Whaley the following year. In 1974 Whaley had Tonelli sell the decoy to Dr. Richard Bick for the now modest price of $2,500. When Bick consigned the decoy to Guyette & Schmidt in April 2001, it sold to Dave Galliher just above the low estimate of $18,000. When this decoy came to auction, there was a lot of discussion as to what species the decoy was meant to represent. Collectors generally came to the conclusion that it was a gadwall because its muted grey tones. This has been the accepted identification until now. Turns out that this decoy is actually a redhead hen sleeper.

Tonelli heard in 1969 that Sandy was considering selling his entire decoy collection including the G K Schmidt decoys. At the time Tonelli didn’t have the $15,000 that Sandy wanted for his collection of roughly 500 decoys including the G.K. Schmidt decoys, so he contacted Randy Root. Together they arranged to sell the collection to Walter White. Tonelli met White in Rockford and they went to see Sandy’s collection displayed on shelves built in the stalls of a horse barn on Sandy’s land. As negotiations stalled between the asking price and a $14,000 offer, White offered to ‘flip’ for the difference and asked Tonelli if he had a coin. When the nickel landed, Walter had won the flip and celebrated by taking us all out to dinner! Several years later Walter White’s decoys, including a pair of mallards, a pair of green-winged teal, 3 blue-winged teal, a canvasback drake and 3 pintails from the G.K Schmidt rig, were purchased by Randy Root and Tom Figge.

Bruce Miller had moved to California with his decoy collection and it wasn’t until 1994 that he decided to sell his decoy collection including his G.K. Schmidt birds. He consigned a green-winged teal sleeper hen, mallard pair, canvasback pair with sleeper hen, pintail pair to be sold at the R.W Oliver’s October, 1994 sale.

All the decoys sold except for the canvasback sleeper which didn’t meet it reserve. That decoy was sold privately after the sale to Bill Risbee Since the late 1960’s, aside from the Rockford group, G.K. Schmidt decoys have been found at the Ann Arbor Flea Market, the Kane County Flea Market, an antique shop in Aurora and at an estate sale in Milwaukee, Wisconsin.

Few Illinois decoy collectors will remember early decoy collector, Bill Mann, Aurora, Illinois. He stumbled onto a couple of G.K. Schmidt decoys in a Aurora antique shop; a Perdew mallard hen and a Premier Mason

Perdew’s order book showing order of redheads and mallards from Schmidt.

Mallard drake. The redhead drake turned up at the Kane County Flea Market in St Charles, Illinois by a local antiquer. Harold Haertel was able to trade several of his contemporary decoys for the decoy which was sold with the rest of his old decoys at Guyette & Schmidt 1990 April Decoy Auction.

In the early 1990’s Joe Tonelli was chatting with fellow decoy collector, who had just returned from doing the Ann Arbor Flea Market. In the course of the conversation Tonelli asked if anything good had turned up at the weeklong event. “Nothing much, Ron Fritz had 3 Elliston decoys, a pintail and 2 mallards repainted by Edna Perdew, a mint Mason Premier mallard drake and an obvious fake Perdew green-

winged teal that looked like it was made yesterday.”

Casually Tonelli asked about the teal. “Someone even branded the teal and Mason like the repainted decoys to make them look legit. You can even see the fresh burn marks around the G K SCHMIDT.” As soon as he got off the phone, Tonelli called Fritz and asked if he still had the decoys. “Yeah, and I know they are right.

Got them out of a cabin in northern Michigan.” Long story short, Tonelli bought all the decoys sight unseen and told Fritz about the identifying ‘G K Schmidt’ brand. Fritz’s response: “I’m glad you got these decoys.

I can’t wait to tell all the ‘blankity-blank‘ decoy collectors that were at Ann Arbor and said the teal was a fake that they were wrong!” ...Continued

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During the summer of 1993, we came across an auction ad in the Action Auction News, a Wisconsin trade paper that listed a Schmidt decoy, we didn’t pay much attention to the ad thinking the decoy was probably a Benj or Frank Schmidt decoy and quite frankly forgot about the sale. A couple of days later a good friend, Art Hanson from Wisconsin called describing a nice Perdew pintail drake branded ‘G.K. Schmidt’ that he bought at the sale ‘for a song’. He consigned the decoy to Guyette & Schmidt’s 1994 April sale: selling price $12,650.

basement of a bank and why was there such a variety of species made by Perdew for one hunting rig? It was suggested that G.K. Schmidt had ordered pairs of decoys to decorated his office at the bank where he worked. Yet all the decoys were branded and rigged for hunting. There are also 6 known mallards, 7 pintail, 3 blue-winged teal and 4 green-winged G K Schmidt rig decoys. I was able to answer some of these questions because Dave Galliher had generously shared with me some of the Charles Perdew records that he purchased during the Guyette & Schmidt Perdew estate sales.

And now ‘the rest of the story’!

Joe and I have just begun to explore these records looking for any allusive clues that may lead to a better understanding of decoy history. While paging through an old ledger, we stumbled onto one of these clues. The first part of the ledger contains a

The second alluring feature of the ‘G K Schmidt’ decoys is the mysteries that surrounds them: Who was G.K. Schmidt? For a while it was speculated that Schmidt was the owner of Schmitt distilled water, but the name spelling didn’t match. Why were these decoys, sold by an auction house in 1966, found in the

9

...Continued

Outstanding mallard drake, Charles Perdew, Henry, Illinois, circa 1920. Hollow. Branded “G.K. Schmidt” on underside. Edna Perdew’s finest paint. As with the rest of the decoys from this rig, the body is slightly larger than Charlie’s standard production. 17” long. Excellent wet on wet feather blending on top of back and at wingtip edges. Tight combing on sides. Excellent original paint; near mint structurally.

Provenance: Governor Jim Thompson collection. Ex Galliher collection.

Literature: “Perdew An Illinois River Tradition,” Ann Tandy Lacy, p. 98, exact decoy pictured, p. 82-83, information on G.K. Schmidt.

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(25,000 - 35,000)

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record of Perdew’s monthly payments followed by the addresses of various businesses that he presumably received merchandise from in payment for his decoys and calls. Things like golf clubs and balls, tennis rackets, thermal ware jars, and fishing tackle. The rest of the ledger was devoted to customer orders dating from Nov.,1927 to the final decoy order from C. H Barkhausen on Feb 25, 1941. The entry that excited us the most was dated Nov 12, 1928 from Geo K. Schmidt. This was the original order for the famous G.K. Schmidt Perdew rig!

The entry documents in Perdew’s original flowing script handwriting an order for “6 canvasbacks ( 3 hens) 1 female sleeper, 6 redheads (3 hens) 1 female sleeper, 1 dozen pintails (6 hens), 1 female sleeper, 1 dozen teal ( 6 green ) (6 blue ) 1 sleeper hen each, 1 dozen mallards ( 6 hens with 1 sleeper to be female, 1 drake sleeper gratis).” More importantly Perdew recorded the order as being placed by Geo K. Schmidt, 758 W North Ave, Chicago, Illinois. Because the decoys were found in a bank and sold in Rockford, collectors assumed Schmidt was associated with a Rockford bank. WRONG!

Here I found a photo of a George K. Schmidt taken by a Chicago Daily News photographer in 1929. The caption described Schmidt as president of the Prudential State Savings Bank. Unfortunately I couldn’t find any article with the photo. According to the Historical Society the photo was part of a collection of glass plate negatives donated to them by the Chicago Daily News. They had no way of knowing if the photo was ever used in the newspaper. This could explain why the decoys were stored in the basement of a bank and presumably in this bank and not one in Rockford. But how come they remained at the bank until the 1960’s. Did he quit hunting? And the decoys were simply forgotten? We may never know.

Armed with a full name, address and date, I first searched the 1930 US, Cook County, Illinois census. I found a George K Schmidt who lived in Chicago and listed his occupation as a bank cashier, but when I searched the 1920 Census I found another George K. Schmidt, father of 1930 census George K. He listed his occupation as bank president. Now the history of the G.K Schmidt rig was becoming clearer. I found the 758 W North Ave address listed on Schmidt’s order in Perdew’s order book in the 1928 Polk criss-cross directory as the location of the Prudential State Savings Bank further confirming I had found the rightful owner of the G.K. Schmidt decoys. This building, named the Yondorf Block & Hall still stands in Chicago and is an important landmark for several generations of Chicagoans of German descent, housing cultural events and meetings of civic groups and visually anchoring one end of North Avenue when it was Chicago’s premiere shopping street for German-Americans. It was designated as a Chicago Landmark in 2001.

Apparently Schmidt had been involved in the Chicago politics since the turn of the century. He was a member of the Chicago Board of Assessors and served as vicepresident of the Chicago Board of Local Improvements.

In 1928, he was appointed the City Controller of Chicago. As city controller he probably would have been deeply entrenched in Chicago Mayor “Big Bill” Thompson scandals. Chicago in the twenties was ruled by gangsters - first Johnny Torrio, and then his successor Al Capone. Mayor Thompson was suspected of being on Torrio and Capone’s payrolls. During Big Bill’s reign as mayor, the police were ineffective in combating organized crime. Bribery and corruption were rampant.

In 1931 Schmidt resigned his position in the Thompson administration and announced that he would run for the mayoral seat on the republican slate. At the time many assumed that Thompson would step aside and back Schmidt, but at the last moment ’Big Bill’ decided to run as the incumbent mayor. I was able to confirm this was the same G.K. Schmidt by matching a photo, which ran in several Midwest newspapers announcing his plans to run for the Republican slate to the one in the Chicago Historical Society’s collection naming Schmidt as president of the Prudential State Savings Bank .

In my quest for more information on Schmidt, I searched the online records of the Chicago Historical Society.

My first inclination was to assume that since the elder Schmidt was not listed in the 1930 census, he may have died sometime soon after he picked up the decoys he ordered from Perdew in November of 1929 and this is why the decoys were never used. I found that was not the case.

...Continued

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Very rare redhead drake, Charles Perdew, Henry, Illinois, circa 1920. Hollow carved. Branded “G.K. Schmidt” on underside. Retains Perdew’s early weight with no markings. 12” long. Excellent original paint protected by an old coat of varnish; feather combing at top of back; light rub at end of tail and around front edge of bill; small dent at back of neck.

Provenance: Governor Jim Thompson collection.

Purchased privately from a Virginia resident who’s father was a physician from Evanston, Illinois.

(25,000 - 35,000)

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It was confusing that I was unable to find an obituary for Schmidt in the early 1930 Chicago newspapers.

What I did find was an obituary for G.K Schmidt, former Chicago City Controller who died in Logansport, Indiana that ran in the New York Times on Jan 2, 1939. This led me to believe that after his failed attempt to become a candidate for the mayoral election Schmidt left Chicago. This it turned out was not entirely true.

SSince the obituary listed Schmidt as a resident of Logansport, Indiana, I contacted the Logansport Historical Society and was able to get a copy of the local newspaper’s obituary for Schmidt. It verified that while Schmidt did live in Logansport, he also maintained a residence in Chicago. The Schmidt family had owned the K G Brewery in Chicago, which was started during the late 1880’s. In the 1890’s this brewery was merged with several other Midwest breweries. Newspaper reports of the merger mentioned that ‘K.G. Schmidt had already dabbled in exporting their ‘Budweiser’ brand“… interesting. This would explain why Schmidt maintained his residence in Chicago at 4228 Sheridan Road (The address listed on the 1920 census.) while he was in Logansport. In 1962 the Schmidt Chicago home was sold to neighboring St Mary Church and bulldozed into a church parking lot.

Born December 18,1869 in Chicago to Kasper and Barbara Schmidt, both natives of Germany, The obituary mentions that Schmidt was in the banking business at various times. Apparently he had remained politically active in Logansport as the county assessor and a member of the city council.

During the Prohibition Days, Schmidt was able to purchase a closed Logansport brewery and the real estate it occupied. During the 18 months prior to the repeal of prohibition, Schmidt went to Logansport and supervised the reconditioning of the brewery and the addition of modern equipment. As a young man Schmidt graduated as a Brew Master from Brewers Academy at Worms, Germany in 1890 and then served

as an apprentice at his father’s K.G Schmidt brewery.

Considering his connections with the “Big Bill’ Thompson administration it is likely the he was involved with bootlegging. In 1933, soon after Congress repealed the Prohibition Act, The K.G. Schmidt Brewery was legally operational with G.K as president, his son George K. Jr. as secretary/treasurer and his brother, Ernst as vice president. Although George K. Schmidt was stricken with a heart attack and died January 1, 1939 the K G Schmidt Brewery remained in operation until 1951. When Schmidt died his remains were waked in Logansport and the final services were held at the family home in Chicago. He is buried in Rosehill Cemetery, Chicago, Illinois This brings us back to one of the initial questions: why was the original decoy order so large? During the height of the Depression, Schmidt ordered 4 dozen Perdew decoys paying a $50 deposit and a balance of $95 on delivery a year later. The Logansport obituary mentions that Schmidt was “a true sportsman and during duck hunting season spent many days in the field. His collection of hunting guns was one of the best. This he proudly displayed to his many friends.” This apparently was a man who appreciated fine quality and would have Perdew, Elliston and Premier Mason decoys. Could it be that his newly purchased decoys were simply lost track of and forgotten in the turmoil of his exit from Chicago Politics, revamping and starting up of the brewery in Logansport? This too may never be known.

I guess the rest of the story is that not all of the original order has been found YET. According to my calculations there are 6 mallards, possibly 7 if the ‘gratis’ drake sleeper was in addition to the dozen ordered, 5 pintail, 3 blue-winged teal, 2 green-winged teal, 4 canvasback and 4 redhead ‘G.K. Schmidt’ decoys from this 1928 order still unaccounted for and presumably 3 ‘G.K. Schmidt’ Mason mallards since they were sold by the dozen. So Good Luck: The Hunt for the G.K. Schmidt brand isn’t over!

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One of three known redhead hens, Charles Perdew, Henry, Illinois, circa 1920. Two piece hollow body. Hot branded “G.K. Schmidt” on underside. Fine detail painting that includes scratch combing by Edna Perdew. 13” long. Excellent original paint; a very slight roughness at tip of bill; one small dent approximately the size of a BB in one side.

(20,000 - 30,000)

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12

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Very rare greenwing teal drake, Steven Lane, Chillicothe, Illinois. 11” long. Original paint that has crazed evenly and darkened with age; minor roughness to edge of tail and edge of bill.

Provenance: Formerly in the collection of John Dunham, Boulder, Colorado. Dunham collection stamp in underside.

(4,000 - 6,000)

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Exceptional mallard drake, Al Reis, painted by Runner Rodell, Chicago, Illinois, circa 1940.

Part of a small rig of mallards that were used along with wood ducks from one of the first movies produced for a national audience of Ducks Unlimited. A very stylistic decoy, probably influenced by a Mason premier mallard. Two piece hollow body with incised carving on wings, wing patches, around side pockets and tail. Snaky head is thrust back slightly. 17” long. Excellent original paint; a few very small marks where paint is missing; small tail chip; rub on one side of head.

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(2,500 - 3,500)

14

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Strong mallard drake, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Excellent feather painting on back and sides. Comb painting to lighter areas of grey. Two piece hollow body. 17” long. Retains original Graves weight. Original paint protected by an old coat of varnish; near excellent.

Provenance: Governor Jim Thompson collection.

(4,000 - 6,000)

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Pintail drake, Bert Graves, Peoria, Illinois, 1st to 2nd quarter 20th century. Retains original Graves weight. Branded “GSO” on underside. Fine original paint; combing on sides, breast, and back; protected by a light coat of varnish; slight edge wear around bill and tail and small area on top of head; paint rub at top of one side of wing.

Provenance: Purchased by the consignor from Alan Haid.

(3,000 - 5,000)

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Bob White b. 1936 | Tullytown, Pennsylvania

“In my lifetime I have only made about a dozen swans. This one was made specially for Bruce Williams and it is the only one I ever made with a curved neck like that.”

Bob White

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Rare Tundra swan, Bob White, Tullytown, Pennsylvania, circa 1970s. From Bob’s gunning rig. Hollow carved with fanned, fluted tail, and crossed wingtips. Head is reared back. A keel or skeg is built in to the underside of body. 25” long. Strong original paint; structurally good; crazing to white areas on portion of back.

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Provenance: Bruce Williams collection.

(4,000 - 5,000)

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Rigmate pair of gadwalls, Bob White, Tullytown, Pennsylvania. Hollow carved.

Both signed by Bob and dated 1993. Both retain Bob’s quail weights. Drake’s head is turned back with bill tucked in to feathers. Hen’s head is turned over back and extends over top of feathers. 14” long. Near mint.

(1,500 - 2,000) 19

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Rigmate pair of shovelers, Bob White, Tullytown, Pennsylvania. Both signed and dated 1993 and both retain Bob’s quail weight. Hollow carved with slightly raised wingtips and carved tails. Hen’s head is turned and in a resting pose.

Both shoveler bills are flared at tip as they should be. Drake is 14.5” long. Excellent and original.

(1,500 - 2,000) 20

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Rigmate pair of ruddy ducks, Bob White, Tullytown, Pennsylvania. Both are signed and dated 1992 in underside and both retain quail weights. Drake is in swimming pose, hen’s head is back preening with bill extended over body. Carved feathers and slightly raised wingtips. 13.5” long. Near mint.

(1,500 - 2,000)

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Rigmate pair of pintails, Bob White, Tullytown, Pennsylvania. John English style with padded weights and hollow bodies. Carved wings with separation and dropped tail. 19.5” long. Excellent original paint with light gunning wear; small crack and a few small scratchs on underside of drake.

Provenance: Bruce Williams collection.

(1,500 - 2,000)

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Hollow carved black duck, Marty Hanson, Hayward, Wisconsin. Fine detail with slightly turned head and raised, extended wingtips. Scratch feather paint detail. “MH” carved in underside. Very good and original.

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(1,750 - 2,250)

Gadwall drake, Cameron McIntyre, New Church, Virginia. “CTM” carved in underside. Hollow carved with snaky head and raised wingtips with extended tail. Fine scratch feather painting on breast, head, and back. Colors are well blended for a soft patina. 17” long. Some rubs have been added for the appearance of age.

(1,500 - 2,500)

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Brant, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. Two piece hollow body. With turned reaching head.

Carved in the style of Nathan Cobb. 17” long. Paint has been stressed and discolored to produce the appearance of age.

Provenance: Roberts collection.

(1,000 - 1,500)

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Goldeneye drake, Cameron McIntyre, New Church, Virginia. Made in 2001, Cameron has made less than 6

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goldeneye drakes in 30 years. This one exhibits influence from both Crisfield and Long Island. A stylish bird with influence from the Crisfield, Maryland area. Carved eye. Ice groove behind neck.

Shaped out shoulders and wing tips, reminescent of a Verity style.

“CTM” is carved in underside. 14” long. Excellent original paint that has been stressed for appearance of age; wear has been added to high points at head

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and tail.

Provenance: Roberts collection.

(1,800 - 2,500)

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Harlequin duck, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. This bird is a near copy of one pictured in “Decoys of Maritime Canada,” Dale and Gary Guyette. Simple incised carving.

Rusted nails securing head. 18” long. Strong original paint that has been stressed for the appearance of age.

Provenance: Roberts collection.

(1,800 - 2,500)

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Sleeping mallard drake, Mark McNair, Craddockville, Virginia. “McNair” carved on underside. Two piece hollow body with head extended over center of back. Curled tail feathers visible through split wingtips. Paint has darkened; probably with some kind of varnish to create a pleasing aged surface. 17” long. Excellent and original.

Provenance: Roberts collection.

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(1,500 - 2,000) 29

Racey red breasted merganser, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. Two piece hollow body with Inletted neck and horse hair crest. Subtle wingtip and shoulder carving. 22” long. Strong original paint has been stressed to create appearance of age.

Provenance: Roberts collection.

(1,500 - 2,000)

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Pintail drake, Mark McNair, Craddockville, Virginia. Two piece hollow body with turned head. Inset hardwood sprig tail.

“McNair” carved in underside.

Weight is stamped “1994”. 22” long. Excellent and original.

Provenance: Roberts collection.

(1,200 - 1,700)

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Maritime Canada Captain Edwin Backman 1872 - 1915 | Lunenburg, Nova Scotia In the 19th century, the economy of the Lunenburg area of Nova Scotia was centered around farming the rocky land and harvesting the sea. Born to Caleb and Emma Backman, young Charles (although he would most often go by Edwin) initially followed in his father’s agricultural footsteps. By age 18, he had no listed occupation but, since he was living with his father and mother, we can fairly assume that he worked on the family farm.

The Backman’s were a large clan and, of the 29 Backman families in the Silvers Point section in 1896, nineteen were listed as fisherman, eight as farmers, and one each of seaman and carpenter. In that year, Edwin is listed as a “b (bee?) keeper”. The lure of the sea, however, was soon to draw him away from the farm. By 1901, he had married his wife Annie Sarah (Corkum) and they had an infant son.

Edwin now supported the family as a “fisherman”, most likely cod fishing off the Grand Banks. He rapidly gained in nautical knowledge and, by 1903, he was master of the schooner Gardenia. In 1907, he found the time to join the Unity 4 (Lunenburg) Lodge of Masons. In 1908 he was master of the schooner Watauga and, by 1911, he had earned the title of “Fishing Captain -Schooner”. In 1912

Captain Edwin Backman

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he assumed the fateful helm of the schooner W. Cortada. The new vessel was 117 feet in length with a gross tonnage of 148 tons. Built by the Smith and Rhuland Shipyard, she carried freight to the West Indies and Puerto Rico. Edwin had made the trip a number of times, occasionally in as few as 13 days. On January 11, 1915, the W Cortada sailed from Lunenburg with a cargo of dried and pickled fish and lumber. Both she and her entire crew of 7 were never seen or heard from again. The ship’s owners, Zwicker and Company Ltd., believe she was wrecked in the bad easterly gale of Jan. 18th, 1915.

The loss was reported in newspapers as far south as Virginia. Edwin is listed as lost at sea.

View from Silver’s Point area looking back to Lunenburg

The mergansers of Lunenburg County, Nova Scotia, particularly the few crafted by Backman, are, without a doubt, some of the most stylish and racy examples of their kind from any of the Maritime Provinces. The heads, with their distinctive bill treatment and extended crest mounted atop a sleek, flowing body are instantly identifiable and make them the most desirable of the region’s many fine decoys. The Captain is also credited with carving a limited number of goldeneyes which equal the mergansers in their artistic merit. To add to their appeal, Backman’s decoys were beautifully painted in a manner which clearly reflects their Germanic, folk heritage. Small rigs of mergansers were the norm and most, if not all, of the region’s carvers produced rigs solely for their own use. As a result, surviving examples of these outstanding decoys are extremely rare. Only a mere handful of Backman decoys are known to have survived and fine examples very rarely appear for sale.

Schooner under construction, Smith and Rhuland shipyard, NS

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Provenance: Guyette collection. Purchased from Important merganser drake, Captain Edwin Bob Getson, Petite Riviere, Nova Scotia around Backman, Lunenburg, Nova Scotia, 1st quar1980. Bob purchased it out of a house in Lunenburg, ter 20th century. Carved eyes and exaggerated wooden crest. Head and crest are carved from

Nova Scotia along with the carved squirrel gun in

a single piece of wood. The crest is not inserted

this sale, and hid both items under his living room

into the head. Tail is concave from the under-

sofa for over 2 months in the winter of 1979 waiting

side. Around 1980 some carpenters dropped a shelf

for us to come up and buy them.

on this decoy, it cracked the crest off and cracked the end of the bill in three places. Excellent original paint with good patina and minor wear; the lower end of the crest is missing; very slight roughness to top edge of crest; three short cracks were tightened at underside of the tip of the bill, with paint touchup there; top of the crest has been broken off and professionally reattached with a thin strip of paint touchup at the crack.

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Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette, front cover and p. 69, exact decoy pictured. “Decoys: North Americas 100 Greatest,” Loy Harrell, exact decoy pictured.

(125,000 - 150,000)

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Very rare goldeneye hen, Edwin Backman, Lunenburg, Nova Scotia, 1st quarer 20th century. 12.5” long. With lifted tail. Original paint with good patina and very minor wear; head has seam has sperate slightly, mostly on one side.

Provenance: Guyette collection. The best example of three purchased from Chris Huntington in the late 1970s.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette, p. 69, exact decoy pictured on left.

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(12,000 - 15,000)

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Jess Obed 1878 - 1932 | Cape Negro, Nova Scotia When Jesse was born, his parents, James and Elizabeth, were living in Port LaTour where James, like practically all of his neighbors, worked as a fisherman. By 1891, the family had moved to Port Clyde at the head of Negro Bay where James continued in his prior line of work. By age 59, James had left the sea and was now a farmer in Cape Negro and Jesse, age 22 and single, is listed as a “farmers son” so it is possible that he too was working on the family farm (see note 1). In 1909, Jesse married “spinster” (age 21) Adelene Odessa Swayne (?) in Cape Negro. By 1911, Jesse’s mother had died and he took in his father to live with he, Odessa and their two month old daughter while he worked as a fisherman.

Relying on the harvest of the sea was a hard, dangerous, and not always reliable means of supporting a family. In 1915, Jesse seized the opportunity to become the first keeper of the newly completed, Salvages Lighthouse and Fog Alarm Station for the yearly salary of $992.50. The station was (and is) located on a ten-foot-high exposed rock ledge among the “Halfmoon Rocks”, well offshore of the tip of Cape Negro. The base of the lighthouse was constructed of thick concrete with a wooden superstructure and the station included a dwelling and a boat house. With access only by boat, Jesse’s census address was the Village of Blanche on the mainland, yet the Obeds lived in the residence at the station. Anyone familiar

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with the North Atlantic Ocean storms will realize what a perilous and sometimes horrifying existence this must have been at times. Jesse died at the station of a heart attack on April 18, 1932 and he is buried in the Seaside Cemetery at Cape Negro, now joined by Odessa.

Jesse Obed is remembered today for his remarkably artistic eider decoys which are widely considered to be among the finest of their kind from Nova Scotia.

Patricia Fleming in “Traditions in Wood” and “The Great Book of Decoys” declares his eiders “serviceable – elegant – and among the best of the eider decoys – “. His eiders are sturdy with undulating bodies and a mortised, beautifully carved, restful head which very accurately portray the live bird. His production was extremely limited, and he is known to have produced only two rigs for a total of twenty-four decoys, about half of which are hollow. His eiders were carved at the station and, undoubtedly, shot over there. Neighbors were quick to appreciate the quality of his carvings and their graceful and realistic style earned him the local nickname of “king of the decoy carvers”. His work was the inspiration for numerous other makers from the Cape Negro region, notably Everett (“Happy”) Hersey and Lloyd Perry.

Jesse Clayton Obed’s eiders are prominently pictured in every major reference on Maritime decoys and

rightfully should be considered jewels in any mature collection.

As pointed out in “Decoys of Maritime Canada”: “The eider decoy of Nova Scotia is usually a muchused veteran of the hunt. The salt water wreaks havoc on the paint so they must be repainted frequently.

Consequently, it is the exceptionally well cared for, or seldom used old eider decoy which does not have layers and layers of paint”.

Make do hunter’s repair

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Rigmate pair of eiders, Jess Obed, Cape Negro, Nova Scotia. 15.5” long. Inlet heads, detailed bill carving, and flipped up tails. Original paint; minor discoloration and wear; drake has a small old working repair that has is a tin strip tacked over a crack; several other cracks and dents.

Provenance: Guyette collection. The pick of seven pairs obtained in a trade for two Brown Bess flintlock pistols. From a man’s garage in Shelbourne County, Nova Scotia around 1980.

Literature: “Decoys of Maritime Canada. Dale and Gary Guyette, front cover drake and p. 76 pair, exact decoys. Also mentioned in “Bonfire of Swans,” Gene and Linda Kangas and Don Kirson. “Traditions in Wood,” Patsy Fleming, p. 44, hen pictured.

(17,500 - 22,500)

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Lindsay Levy 1892 - 1980 | Little Tancook Island, Nova Scotia

South shore of Tancook Island

Lindsay and Idella Levy

Located at the mouth of Mahone Bay, Little Tancook and its adjoining big brother, Tancook, are the two largest of the approximately 365 islands (some mere rocks) that dot the Bay. At only about 1 mile by 2/3’s of a mile in size, the island has always supported a tiny year-round population that is almost completely reliant upon fishing and lobstering. The Levy family has always been the predominant one on the Island and the small cemetery there contains 54 graves, 49 of which have that surname.

Born to Alexander (“Sandy”) Levy and his wife, Ester, he was given the name Lindsay, and not Lindsey, as has been previously reported. It was predestined that he would follow in the family tradition and become a fisherman and every census and voter registration between the dates of 1911 and 1963 does record this as his occupation until, finally, in 1968 at age 77, he is listed as “retired”. At some point prior to 1921, he married Idella Grace who was seven years younger than Lindsay but no record can be located of their ever having any children. The couple lived on the south shore of the island and both husband and wife are buried in the small cemetery on Little Tancook Island.

Lindsay came to decoy carving naturally. His grandfather, George (1843 – 1926) taught his father, Sandy (1864 – 1927) how to carve and it is they who are believed to have developed what would become known as the Tancook style. This is typified by a simple, sturdy design with unadorned, attractive heads usually pegged to the body. The style typically exhibits a nicely protruding tail displaying a flat top with a rounded bottom and tail edge. The rounded tail, as anyone who has observed seaducks in the surf will attest, was said

46

Fishstore” in SE Cove Little Tancook

to imitate the young birds as they fed near the rocks, often getting tossed in the waves with damage to their tail feathers being a common result. Lindsay benefited from his family’s tutelage and perfected the style so that his are now considered the best of their kind.

There were two small boatyards on the Island in Lindsay’s day, and he would have, almost assuredly, had access to the tools necessary to carry out his carvings. Fishing is both a seasonal and weather dependent occupation, so Levy also had the time needed to do this work. His decoys all possess a nicely finished surface with a simple, crisp, and accurate paint pattern that, while somewhat minimalistic, captures the essence of the intended species and would have been relatively easy to repaint when such became necessary. Excessive carving detail would have been considered superfluous and was avoided in favor of a ruggedness that would offer the decoys some degree of physical protection when being deployed or retrieved along the Island’s wave swept rocky shores.

Lindsay is known to have produced decoys for a number of species common to the area and, in addition to birds for his own use, a number were sold or bartered to neighbors or the occasional visiting hunter.

He learned from his predecessors and in turn, his work was influential in the carvings of other Levy’s on Little Tancook such as William, Raymond, Harry, Kingsley, Albert and Milford. On adjoining Big Tancook carvers such as Stevens, Young and Cross also produced birds in the style mastered and perfected by Lindsay. To be considered complete, any representative Canadian Maritime collection should certainly contain examples of the best of the Tancook style and that would mean the work of Lindsay Levy.

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Pair of old squaw, Lindsay Levy, Little Tancook Island, Nova Scotia. 13” long. Original paint; minor

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Rigmate pair of goldeneye, Lindsay Levy, Tancook Island, Nova Scotia. Hen is 12.5”

wear and good patina; drake has a couple of hairline

long. Original paint with minor wear and good pati-

cracks in underside.

na; hairline crack in the underside of each.

Provenance: Guyette collection. Drake was purchased from Ron Korman at the Niagara Falls decoy collectors show in 1981.

Provenance: Guyette collection. Formerly in collection of Laurie Jordan, Kentville, Nova Scotia.

Literature: “Decoys of Maritime Canada,” Dale and

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

Gary Guyette.

(3,000 - 5,000)

(5,000 - 7,000)

47

Nautical chart of Mahone Bay

34 Detail

48

36

Merganser hen, Lindsay Levy, Little Tancook Island, Nova Scotia. 15.5” long. Original paint with minor wear; very slight wear to the wood on end of bill otherwise structurally good.

Provenance: Guyette collection. Formerly in the collection of Laurie Jordan, Kentville, Nova Scotia.

(2,000 - 3,000)

36

37

Pair of goldeneye, Willard Robertson, Lockport, Nova Scotia, circa 1940. Drake has turned head, hen is in preening pose.

Robertson obtained Joel Barber’s decoy book in the late 1930s and carved decoys from the patterns of different makers that were illustrated in the book. For these two decoys, he used Stratford, Connecticut decoy patterns. Near mint original paint; structurally very good.

Provenance: Guyette collection.

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

38

(1,250 - 1,750)

37

Goldeneye hen, Percy Shupe, Western Shore, Nova Scotia. 13.5” long x over 7” wide with relief wing carving and uplifted tail. Old in use repaint by Shupe; hairline crack in underside.

Provenance: Guyette collection.

(1,000 - 1,400)

38 39

Goldeneye hen with paddle tail, Frank Selig, Voglers Cove, Nova Scotia. 14.5” long. Original paint with minor wear; age split in underside.

Provenance: Guyette collection. Formerly in collection of Peter Brown. From Hugh Valiant who purchased it from Jamie Stalker.

(1,000 - 1,400)

39

49

40

Working loon decoy from Shelburne County, Nova Scotia, unknown maker, 1st quarter 20th century. 24” long with inlet head carved eyes, and paddle tail. Original paint; minor discoloration and wear; small cracks; age split in underside; two chips missing from tail; professional repair to a chip at one side of bill.

Provenance: Guyette collection. Purchased from Carmen Hertle, Lunenburg County, Nova Scotia in the late 1970s.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette, p. 74, exact decoy pictured.

(8,000 - 12,000)

50

51

52

41

Working loon decoy from Sandy Point in Shelburne County, Nova Scotia, unknown maker, 1st quarter 20th century. 26” long with inlet head and marbles used for eyes. Weighted with three horse shoes and a couple of pieces of iron. Old in use repaint; roughness to tail; bill chip repair; working repair to the bill where several nails were added to strengthen area with a crack.

Provenance: Guyette collection. Purchased from Carmen Hertle, Lunenburg County, Nova Scotia in late 1970s.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette, back cover and p. 11, exact decoy pictured.

(7,000 - 9,000)

Underside of 41

53

John Ramsay 1858 - 1934 | Summerside, Prince Edward Island John Ramsay was a commercial carver and hunter from Summerside, Prince Edward Island. He worked most of his life at Hall Manufacturers, a Summerside based threshing mill producer, but in his spare time carved Canada geese, brant, black ducks, and plover in the early 1900s. Many of his goose and brant decoys were carved in animated positions, such as preening, swimming, alert, and attack. Quite a few of his decoys are branded “J.B.” for Freeland, Prince Edward Island carver and hunter, John Brookes. Others have an “AH” carved in them for St. Elenors, Prince Edward Island market hunter, Art Holland.

Market hunter Art Holland (1884-1979) with a few of his John Ramsay decoys.

54

42

Important breast preening brant on iron legs, John Ramsay, Summerside, Prince Edward Island, 1st quarter 20th century. 17.75” long. Unusual carving with the head and body all carved from one piece of wood. Original paint with minor to moderate wear; several thin cracks in back and sides; age split in underside.

Provenance: Guyette collection. Purchased from a farmer on the western side of Malpeque Bay in the late 1970s. This decoy was one of around 40 Ramsay brant with normal head poses, all but this one had the heads damaged or broken off and were redheaded by John Brooks. The famer wouldn’t sell this one alone so we wound up buying them all to get it.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette, front cover and p. 115, exact decoy pictured.

(12,500 - 17,500)

55

43

43

Hollow carved Canada goose, John Ramsay, Summerside, Prince Edward Island, 1st quarter 20th century. Tack eyes. From the hunting rig of John Brooks, branded “JB” in underside. Old in use

Very rare hollow carved Canada goose in hissing pose, John Ramsay, Summerside, Prince Edward Island, Canada, 1st quarter 20th century. Made for hunting on the ice flows of Malpeque

repaint on white and black areas; original paint with

Bay. 33” long. Old in use repaint with some original

minor wear on back and sides; body seams have

showing on the back and sides; small cracks.

separated somewhat; crack in one side of the breast; hairline cracks in breast.

Provenance: Guyette collection. Purchased from 1980.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette, p. 116 and 117, exact decoy pictured.

(2,000 - 3,000)

56

an antique collector in Amherst, Nova Scotia around

Provenance: Guyette collection.

44

44

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette, p 116 & 117 exact decoy pictured.

(2,000 - 3,000)

John Brooks 1879 - 1962 | Freeland, Prince Edward Island

45

Hollow carved hissing Canada goose on ice platform, John Brooks, Freeland, Prince Edward Island. 36.25” long. Branded “JB” in underside. Original paint with minor wear on most of the decoy; moderate wear on underside; small cracks.

Provenance: Guyette collection.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette, p. 80, exact decoy pictured.

(6,500 - 9,500)

57

46

Impressive full size flying Canada goose, Stacey Bryanton, Kennsington, Prince Edward Island 2nd half 20th century. Glass eyes with applied wings, hollowed from underside. Applied carved feet.

Sculpted tail. 43” long. Mounted on artistic base, measuring 77” tall. Original paint with age cracks; small areas of filler loss. (1,000 - 1,500)

46

47

Pair of Canada geese field decoys, Wilbur Roy Mill, Kennsington, Prince Edward Island. His middle carving period.

Sentinel is 24” tall. Both have tack eyes and carved wingtips. Original paint on most of each decoy; light gray and white on underside has been repainted on sentinel and breast has been repainted on feeder; cracks in underside of feeder; crack through most of sentinel’s neck and back.

Provenance: Guyette collection.

Formerly in collection of Laurie Jordan, Kentville, Nova Scotia.

Literature: “Decoys of Maritime

47

Canada,” Dale and Gary Guyette.

(1,250 - 1,750) 48

Swimming brant from the New London area of Prince Edward Island, circa 1900. 23.25” long.

Deeply carved wings with crossed wingtips. Tack eyes. Original paint; minor to moderate wear; old touchup to small worn areas on head and neck; small dents; both tack eyes have mostly rusted away; lightly hit by shot.

Provenance: Guyette collection.

Purchased from Ellen Huntington in late 1970s.

48

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

67, exact decoy pictured.

58

(1,750 - 2,250)

49

Two flying decoys with metal wings.

John Smith, Barrington Passage, Nova Scotia. 13” long. Part of a group of around 20 male ducks carved by Smith for display at a hunting lodge in Yarmouth County, Nova Scotia. Very good and original.

Provenance: Guyette collection. Formerly in collection of Peter Brown.

(800 - 1,200)

49

50

Goldeneye drake from Lunenburg, Nova Scotia. Similar, but simpler to the work of Edwin Backman. 13.75” long. Old in use repaint; small chip in one side of bill.

Provenance: Guyette collection. Old tag on underside indicates decoy was purchased at a Chris Huntington auction, Blackhouse, Nova Scotia in 1979 and sold as attributed to Edwin Backman.

(800 - 1,200) 50

51

“Turtleback” style eider drake, Harold Burke, Drumhead, Nova Scotia, circa 1930. 18.25” long x 9.5” wide. Carved bill. Appealing old in use repaint; structurally good.

Provenance: Guyette collection.

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

(650 - 950)

51

52

Half size merganser drake, Kingsley Levy, Little Tancook Island, Nova Scotia. 9.75” long. Very good and original.

Provenance: Guyette collection.

(600 - 900)

52

59

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

54

53

53

Rare peep, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. 8.5” long. Original paint with slight wear

54

Black bellied plover, Harry V. Shrouds, Tuckerton, New Jersey. 9.75” long. Original paint with minor discoloration

and minor discoloration; structurally very

and wear; small in the making crack in one

good.

lower side.

Provenance: Bruce Williams collection.

(8,000 - 12,000)

Provenance: Matthew estate. Purchased form the collection of Ralph C. Lasbury, East Windsor, Connecticut, March 1965.

(3,000 - 5,000)

60

Captain Dan Showell 1833 - 1921 | Absecon, New Jersey

56

57

55

55

Rare ruddy turnstone, Captain Dan Showell, Absecon, New Jersey, last quarter 19th century. 10” long. Original paint with good patina

Robin snipe in spring plumage, Captain Don Showell, Absecon, New Jersey, last quarter 19th century. Wire bill. 10.25” long. Original

and slight wear; small short crack and tiny chip

paint with minor wear; age split in top of head;

where bill joins head.

several small shot marks.

Provenance: Bruce Williams collection.

(3,000 - 5,000) 56

57

Provenance: Bruce Williams collection. Purchased from Somers Headly.

(3,000 - 5,000)

Black bellied plover, Captain Dan Showell, Absecon, New Jersey, last quarter 19th century. Wire bill. 13” long. Original paint with good patina and minor wear; old repair to a small chip at the top of the head.

Provenance: Bruce Williams collection. Formerly in the collection of Somers G. Headly. (3,000 - 5,000)

61

59

60

58

58

Curlew, John McCanney, New Gretna, New Jersey, circa 1900. 15” long. Good

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr., p. 161, exact decoy pictured.

(2,250 - 2,750)

feather paint detail. Original paint with very slight wear; very small, shallow hole in one side.

Provenance: Bruce Williams collection.

60

Purchased from Somers Headly in the mid 1980s.

(2,500 - 3,500) 59

shoulder carving along with dropped split tail.

Good feather detail, especially near end of tail

Large curlew, Cape May, New Jersey. Hat

area. Original paint with mild flaking on bill,

pin eyes with painted wing outline. Extensive

small areas on body.

writing on underside with identification. 14” long. Strong original paint; separation between what appears to be an old bill replacement and the face; some paint loss and chip near one eye; crazing to black paint around wing.

62

Provenance: Bruce Williams collection.

Early style curlew, Daniel Lake Leeds, Pleasantville, New Jersey, last quarter 19th century. A bold large body bird with wing and

Provenance: Bruce Williams collection. Ex collection of William Berry.

(3,000 - 5,000)

62

61

61

Black necked stilt from New Jersey, last quarter 19th century. 13.75” long. Old in use repaint; crack in underside; string was wrapped around a crack in the bill a long time ago.

Provenance: Matthew estate. Purchased from Adele Earnest in 1955.

Literature: “The Art of the Decoy,” Adele Earnest.

(3,000 - 4,000) 62

Curlew, Captain John McCarthy, Wildwood, New Jersey, last quarter 19th century. 13.5” long. Fine paint detail. Shoe button eyes. Near mint original paint; a few small scrapes on head; two small dents in one side, otherwise structurally very good.

62

Provenance: Bruce Williams collection.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr. (6,000 - 9,000)

63

63

63

Impressive rig of shorebirds, New Jersey, 1st half 20th century. All yellowlegs, both lesser and greater. All have been mounted to piece of driftwood, which makes for a great display.

Painted eyes with iron bills. 36” long. All original paint with some paint flaking to several birds.

63a

Provenance: Bruce Williams collection.

Hudsonian curlew, Captain Jess Hepron, Cape May County, New Jersey, circa 1900. Applied wings

(3,000 - 5,000)

with strong original paint. Transition tones form light to

Rare robin snipe in spring plumage, Sam Shute, Cape May, New Jersey, last quarter 19th century. 9.75” long. Relief wing carving and carved wing-

dark extend from head over back of body. 15” long.

tips. Original paint with minor flaking and wear; struc-

63b

turally very good.

Provenance: Purchased directly from Isabelle Hillman, August 1, 2006 form her home in Seagirt, New Jersey.

Provenance: Bruce Williams collection. Formerly in the collection of John Hillman.

Literature: “Classic New Jersey Decoys,” James R. Doherty Jr., p. 181, similar example. “New Jersey Decoys,” Henry Fleckenstein, Jr., p. 34, similar example.

(6,000 - 9,000)

64

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr. (3,000 - 5,000)

65

64

64

Rare and desirable peep, Joel Barkelow, Forked River, New Jersey, 2nd half 19th century. Classically pinched neck

Golden plover, Daniel Lake Leeds, Pleasantville, New Jersey, last quarter 19th century. 10” long. Relief wing carv-

with unusual shaped head. Bill is splined

ing. Original paint; minor wear, moderate

through back of head. Eyes are carved. 6.5”

wear to white areas; bill is a replacement.

long. Original paint on body with one shot scar and some paint loss at splined bill hole at back of head.

65

Provenance: Bruce Williams collection.

(4,000 - 6,000)

Provenance: Bruce Williams collection.

(4,000 - 6,000)

65

Mason Decoy Factory 1896 - 1924 | Detroit, Michigan

66

66

Important pair of pintails, Mason Decoy Factory, Detroit, Michigan, circa 1890s. Both have painted “JSM” on underside. Drake is 20.75” long. Original paint; very minor shrinkage and wear; a few tiny dents; hen has a small amount of touchup at neck seam, crack in tail was stabilized with two small nails from the underside a long time ago.

Literature: “Mason Decoys,” Russ Goldberger and Alan Haid. “Decoying - St Clair to the St Lawrence, Barney Crandall.

(35,000 - 45,000)

From a page in the Mason Factory catalog

67

67

Rigmate pair of mallards, Mason Decoy Factory, Detroit, Michigan, circa 1910. Hollow premier grade hollow. Both branded “G.K. Schmidt” with the early larger brand. One of six known pairs. Both show newspaper marks from original factory wrapping. 17” long. Excellent original paint on both; two dents on back of hen and one small rub at top of head; tip of drake’s bill had puppy chews that have been restored.

Provenance: Governor Jim Thompson collection. Purchased privately from a Virginia resident who’s father was a physician from Evanston, Illinois.

(20,000 - 30,000)

68

69

68

69

68

Very rare bufflehead hen, Mason Decoy Factory, Detroit, Michigan. Early challenge grade model, circa 1910. 12.5” long with good loop feather paint detail. Some of the neck filler is missing; several tiny dents.

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

(4,000 - 6,000)

69

Incredibly rare wood duck hen, Mason Decoy Factory, Detroit, Michigan, circa 1900. Tack eye model. Feather painting on back. 13” long.

Original paint; light wear at top of back and evenly around head; knot at tail; tip of bill has been blunted slightly.

70

(4,000 - 6,000)

69a

69b

69a

Bluewing teal drake, Mason Decoy Factory, Detroit, Michigan. Hollow, premier grade. 12.75” long. Original paint with pleasing tone and very slight wear.

Provenance: Formerly in collection of David Campbell. “DSC” stamp in underside.

(4,000 - 6,000)

69b

Goldeneye drake, Mason Decoy Factory, Detroit, Michigan. Premier grade. 15” long. Original paint with minor wear; a few small dents; chip missing from underside where the tie strap was attached.

Provenance: Formerly in the collection of William J. Mackey, Jr. Mackey collection stamp on underside.

(4,000 - 6,000)

71

69c

69d

69c

69e

Canada goose, Mason Decoy Factory, Detroit, Michigan, circa 1900. Premier grade with solid

69d

Widgeon drake, Mason Decoy Factory, Detroit, Michigan, circa 1905. Glass eye model with slightly

body, as all of the geese are. 24” long. Original

turned head. 13” long. Original paint; several shot

paint; with even wear; a few tight cracks in body;

scars; paint loss around knot in back; a few tiny rubs

professional restoration to one crack at side that runs

at tail and on body; dent at bill; neck filler replaced;

approximately 9”; head has been resecured with

white area on sides has darkened.

(800 - 1,200)

glue; rub marks exposing some bare wood around 69e

chin and breast.

Provenance: Roberts collection.

(4,000 - 6,000)

Pintail drake, Mason Decoy Factory, Detroit, Michigan, circa 1910. Feather and swirl painting on back. Glass eyes. 16” long. Excellent original paint; slightly darkened and stained; a few small scratches; minor loss at neck filler.

72

(800 - 1,200)

70

Branded rigmate pair of canvasbacks, Mason Decoy Factory, Detroit, Michigan. Premier grade.

Seneca Lake model. “AHK” branded in underside of each.

16” long. Both are in original paint; moderate gunning wear; a few shot scars; paint missing from backs of each head.

Provenance: Roberts collection.

(3,000 - 4,000)

71

70

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

Two piece hollow body. 14” long. Strong original paint protected by a coat of varnish that has darkened slightly; light wear with some loss of neck filler.

Provenance: Roberts collection.

(1,800 - 2,500) 71 72

Pair of canvasbacks Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade.

Seneca Lake models. 16” long. Drake has original paint with heavy wear, shot scars, crack in neck, filled crack length of body, areas of paint loss, and damage near neck seat; hen has original paint, heavy wear, shot scars, and paint loss.

73

(1,500 - 2,500)

72

Early style black duck, Mason Decoy Factory, Detroit, Michigan, circa 1900. Two piece hollow body.

Premier grade. Early style head and bill carving. 18” long. Strong visible feathering on much of body. Original paint; separation and small crack at neck; a few small dents and professional tail chip repair to approximately .25” at one edge.

Provenance: Roberts collection.

(2,000 - 3,000)

73

73

74

Rigmate pair of bluewing teal, Mason Decoy Factory, Detroit, Michigan. Premier grade. 12” long. Strong original paint; very slight wear; structurally very good; two shot scars on one side of hen.

74

(8,000 - 10,000)

75

Excellent black duck, Mason Decoy Factory, Detroit, Michigan. Premier grade hollow. Last sold at the Guyette & Schmidt/Sotheby’s McCleery auction in New York, Sotheby’s lot 262 sticker with McCleery stamp remains on underside. Fine feather looping. 18” long. Excellent original paint; small dent in back, prior to when decoy was painted.

(5,000 - 8,000)

75

Miniatures by Elmer Crowell 1862 - 1952 | East Harwich, Massachusetts Dating Crowell Mini Carvings While admittedly very difficult to accomplish, there are some general guidelines to dating Crowell miniature carvings. The best reference is provided by Joseph Ellis in his book “Birds in Wood and Paint”. The timeline provided below is an abbreviated version of Ellis’s important research. It is important to remember that there are so many exceptions to the rule that Brian Cullity warns, “dating Crowell carvings has always been somewhat of an arbitrary and futile business” from “The Songless Aviary”, The World of A. E. Crowell & Son. • • •

• • • •

The earliest style miniatures or “pre-stamp” were mounted on rectangular bases and had short wire legs, circa 1900.

Once the Semispherical or rock base was adopted, clues for dating begin to appear: 1900-1912- Usually unpainted on the underside, block lettering was common sometimes the word “Maker” was written. The earliest versions exhibit sponge painted birds.

Around 1912 – Round and oval ink stamps with “MFR” appear.

1915-Following the stamps, he experimented with a blue paper label.

In the mid 1920’s he began regularly numbering ducks in a series of twenty five.

The rectangular stamp begins in 1928.

An interesting variant appears in his early work. The use of priming the underside of the base with the same white the bird is primed with. These seem to date prior and up to the time he received his round stamps, 1915. They are rare and quite often exhibit his fine quality painting traits. Early collectors like Joe French thought enough of the white label minis that he specialized in collecting them.

76

Examples from this sale.

Lots 83, 91, 94, 95

Exceptional miniature pintail drake, Elmer Crowell, East Harwich, Massachusetts, 2nd quarter 20th century. Crowell’s rectangular stamp in underside.

Mounted on chip carved base with painted feet. Head is extended over more than half of body. Wings are raised. Tail is slightly dropped. 3.75” tall. Very fine crazing on head, otherwise near mint.

76

76

(5,000 - 7,000)

77

Rare double mount pair of mallards, Elmer Crowell, East Harwich, Massachusetts. Crowell’s circular ink stamp is on the underside. Also stamped “Donald B. Howes”. Drake is 5.75” long.

Feet are painted on driftwood base. Very good and original.

(2,500 - 3,500)

77

78

Miniature pair of red breasted mergansers, Elmer Crowell, East Harwich, Massachusetts, circa 1905. Early white base underside period with “red breasted merganser” written in pencil on underside of each. Both are leaning forward, have carved crest and excellent Elmer paint. Drake measures 5.5” long. Near mint.

Provenance: Nancy and Randy Root collection.

Literature: “American Decoy,

78

The Invention,” curated by Peoria Riverfront Museum Exhibit, p. 55, drake pictured.

(5,000 - 7,000)

79

Very rare and early miniature eider drake, Elmer Crowell, East Harwich, Massachusetts, circa 1910. White base underside. Signed “A.E. Crowell, Cape Cod Sea duck.” 4” long. Excellent and original.

Provenance: Nancy and Randy Root collection.

Literature: “American Decoy, The Invention,” curated by Peoria Riverfront Museum Exhibit, p.

55, exact decoy pictured.

(3,000 - 5,000)

79

77

80

Early pair of miniature canvasbacks, Elmer Crowell, East Harwich, Massachusetts, circa 1915. “Canvasback” written on underside. Drake is in Crowell’s classic feeding position. Drake measures 5”. Both are excellent and original.

Provenance: Nancy and Randy Root collection.

Literature: “American Decoy, The

80

Invention,” curated by Peoria Riverfront Museum Exhibit, p. 55, exact decoys pictured.

81

(4,000 - 6,000)

Pair of miniature bluebills, Elmer Crowell, East Harwich, Massachusetts, circa 1920. Maker stamp on underside. 3.5” long. Excellent and original.

Provenance: Nancy and Randy Root collection.

81

82

Excellent pair of miniature goldeneye, Elmer Crowell, East Harwich, Massachusetts. Early pre stamp models. Both have darkened slightly.

4.5” long. Very good and original.

Provenance: Nancy and Randy Root collection.

Literature: “American Decoy, The Invention,” curated by Peoria Riverfront Museum Exhibit, p.

55, exact decoys pictured.

(3,500 - 4,500)

82

83

Early miniature bufflehead drake, Elmer Crowell, East Harwich, Massachusetts, circa 1900. “Bufflehead” written on underside of base in pencil. Very simple and effective dry brush painting. 2.5” long. Strong original paint; a few tiny spots where varnish has darkened, mostly near one leg.

Provenance: Nancy and Randy Root collection.

Literature: “American Decoy, The Invention,” curated by Peoria Riverfront Museum Exhibit, p.

55, exact decoy pictured.

78

(1,800 - 2,200)

83

(3,500 - 4,500)

84

Miniature widgeon drake, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Species written in pen on underside, along with the number 4, as part of the set of 25.

3.5” long. Excellent and original.

Provenance: Jim and Pat Doherty collection.

(1,800 - 2,200)

85

84

Early miniature redhead drake, Elmer Crowell, East Harwich, Massachusetts, circa 1915. White paint on bottom of base with “redhead” written in pencil. 4” long. Strong original paint that has darkened; coat of varnish.

Provenance: Nancy and Randy Root collection.

Literature: “American Decoy, The Invention,” curated by Peoria Riverfront Museum Exhibit, p.

55, exact decoy pictured.

(1,800 - 2,200)

85

86

Miniature goldeneye drake, Elmer Crowell, East Harwich, Massachusetts. Rectangular stamp on underside of base with “goldeneye” in ink and number “27”. 2.5”’ tall. Excellent original paint.

87

86

(1,500 - 2,000)

Miniature greenwing teal hen, Elmer Crowell, East Harwich, Massachusetts. Rectangular stamp on underside of base. 3” tall. Excellent original paint.

(1,800 - 2,200)

87

79

90

88

89

88

91

Miniature greenwing teal drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular

90

Miniature wood duck drake, Elmer Crowell, East Harwich, Massachusetts. Rare early tucked

stamp is in the underside. 4” long. Very

head design with nicely carved crest.

good and original.

Rectangular stamp on underside of base.

(1,250 - 1,750)

2.5” tall. Fine original paint; small amount 89

Early miniature hooded merganser drake, Elmer Crowell, East Harwich, Massachusetts, circa 1910. Plain

of touchup at sides of base. (2,500 - 3,000)

long. Protected by a coat of varnish; some

Miniature old squaw drake, Elmer Crowell, East Harwich, Massachusetts, circa 1925. Crowell’s circular ink stamp

very minute areas of restoration around the

on underside. “Oldsquaw male” writ-

neck area and head; very small area of

ten along with number 22 on base. 3.5”

damage to tip of bill.

long. Excellent and original.

91

wood bottoms. Fine dry brush painting. 3”

Provenance: Nancy and Randy Root collection

80

(1,500 - 2,000)

Provenance: Nancy and Randy Root collection

(1,800 - 2,200)

92

94

93

92

95

Miniature ruddy duck drake, Elmer Crowell, East Harwich, Massachusetts. Rare early tucked head

94

Miniature redhead drake, Elmer Crowell, East Harwich, Massachusetts. Excellent paint detail.

design. Rectangular stamp on underside of

From the white painted underside period.

base. Also number 8 for ruddy in Crowell’s

Also retains remnants of Crowell’s rubber

handwriting. 2.5” tall. Strong original paint;

ink stamp and word “redhead” written on

very light wear.

underside. 3” tall. Very tiny rub to right

(1,800 - 2,500)

edge of bill otherwise near excellent.

93

Miniature old squaw drake, Elmer Crowell, East Harwich, Massachusetts, 2nd quarter 20th century. Crowell’s

(1,800 - 2,500)

rectangular stamp on underside along

Miniature redhead hen, Elmer Crowell, East Harwich, Massachusetts. 4.25”

with the number 22. Hand written on tag,

long. Crowell’s rectangular stamp is in the

“Old Squaw”. 4.25” long. Excellent original

underside. Very small paint scrape on one

paint; surface has mellowed slightly.

side of neck, otherwise very good and

(1,800 - 2,200)

95

original.

(1,250 - 1,750)

81

Elmer Crowell 1862 - 1952 | East Harwich, Massachusetts

96

Very rare working pintail hen, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Crowell’s oval brand is in the underside.

Slightly turned head and fine feather paint detail.

16.25” long. Original paint with very slight wear; professional restoration to crack in neck; short, in the making, thin crack in underside.

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

82

(8,000 - 12,000)

97

Goldeneye hen, Elmer Crowell, East Harwich, Massachusetts. Crowell’s regtangular stamp on underside. 12.75” long; with finely carved crossed wing tips; flutted tail; glass eyes; rasping on head and good feather detail; .75” circular weights in underside. Thin crack in one eye; original paint with very slight wear; 3 tiny spots of touch up; small flake of paint missing from one side of neck; one on lower side; one above one eye and lower side of bill.

Literature: New England Decoys, John and Shirley Delph

(4,500 - 6,500)

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98

Goldeneye drake, Elmer Crowell, East Harwich, Massachusetts. 14.5” long. Underside is unpainted and has two of Crowell’s rectangular stamps. Decoy has been drilled for inset circular weight but never put in. Near mint original paint; structurally excellent.

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(5,000 - 7,000)

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Black duck, Elmer Crowell, East Harwich, Massachusetts. Retains Crowell’s rectangular stamp. Head is turned. Wet on wet blended feather painting. 15” long. Very good and original; a couple of tiny dents in back and mild rub to one side of bill.

Provenance: Roberts collection.

(4,000 - 6,000)

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Ontario Tom Chambers 1860 - 1948 | Dunnville, Ontario

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Rigmate pair of long body style canvasbacks, Thomas Chambers, Toronto, Ontario. 17” long. Hollow with bottom board. Detailed bill carving and raised neck seats. Hen retains rare light feather painting on body. Original paint with light wear to both; hen has been hit by shot, mostly on one side and has light rub to darkened wood at head and near tail area

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

(12,000 - 16,000)

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Exceptional redhead hen, Markham rig, Markham Ontario, circa 1900. Hollow with bottom board. Classically carved jowels and very wide bill. 16” long. Excellent original paint; visible painted wing patch; two drops on back where paint remover hit the surface, as it did with many decoys in this rig; otherwise excellent and original.

(10,000 - 14,000)

88

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Strong canvasback drake, Tom Chambers, Toronto, Ontario, 1st quarter 20th century. Long body style. Hollow with bottom board. Tight detailed feather combing across back and side pockets.

17” long. Strong original paint; light wear; a few small spots where wood grain is exposed because of knots or tight crack.

Provenance: Roberts collection.

(4,000 - 6,000)

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Extremely rare goldeneye hen, Tom Chambers, Toronto, Ontario, 1st quarter 20th century. One of only two or three known. Hollow with bottom board. Wet on wet paint blending was used to create wings on side. 15” long. Strong original paint that has crazed tightly, mostly on head area; small amount of wear at tail and one side of body; two areas were professionally darkened by Russ Allen, one at bill and one around one side of eye.

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(5,000 - 8,000)

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Rare canvasback drake, Isiah Brown, Long Point, Ontario, 2nd half 19th century. Used at the Toronto Big Creek Club. Brown was the manager and decoy maker at the Toronto Big Creek Club. Branded “JA” for Joe Tonelli, “T.BC” and “C”, also stamped with the Donal O’Brien collection stamp. High alert head. Hollow with bottom board. 16” long. Original paint with a very aged dry surface; several rubs and a shot scar with moderate gunning wear. (5,000 - 8,000)

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Ward Brothers Crisfield, Maryland

Dr. Edgar Gustave Albert Burke | 1889 – 1950 | Jersey City, New Jersey

Edgar Burke was born in Germany to Charles and Louisa Burke. The family immigrated to the United States in 1897. His father soon became a successful stockbroker and the family was living on Montrose Ave in Orange, NJ with a domestic staff of three.

By 1910, the family had moved to larger quarters on Vose Ave in Orange complete with a governess, butler, launderess, cook and waitress – Edgar Burke was a student at the time and obviously accustom to the finer things in life. Between 1910 and the 1920’s he traveled back to Germany and little is known about his life during this period. During the 1930’s and 40’s Dr Burke was a practicing surgeon at the Jersey City Medical Center in Jersey City, ultimately becoming the Assistant Medical Director at that institution. Upon his retirement he moved to Litchfield, Connecticut. He died and is buried there.

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Dr. Burke was first and foremost a physician. He was responsible for the lives of his patients and obviously was devoted to his work. He did a number of medical illustrations which were the topic of a presentation

by Rutgers University and the Medical History Society of NJ in 1917. As a surgeon, and being a lifelong bachelor, he apparently lived a good portion of his professional life on the grounds of the hospital.

When not working, he became an avid, multifaceted sportsman, occupying his time hunting (especially waterfowling), angling (particularly fly fishing) and racing award winning pigeons. Somehow, he also found the time to become interested in archeology, with a particular interest in the Mississippi Valley.

Due to his artistic talents he became a recognized sporting painter, illustrating many of today’s outdoor literary classics. He was friendly with a number of the well known sporting celebrities of his day especially Eugene Connett (1891 – 1969), himself an author and publisher of the well-known Derrydale Press series of books as well as a number of additional titles. Burke either wrote portions of, or illustrated, many of Connett’s writings. The doctor also wrote independently with titles such as his “American Dry Flies and How to Tie Them”. Some of his flies are,

today, considered classics such as his “Dr Burke” streamer. He was well traveled and often hunted and fished far from his home in New Jersey. He enjoyed his time at, among other locations, the Green Island Club in Ocracoke, North Carolina.

He wrote the chapter on “Making and painting decoys” in Connett’s “Duck Shooting Along The Atlantic Tidewater”, so it is a safe assumption that he used his own decoys when he went afield. In his journeys he met a number of the respected sportsmen and carvers of his day and his work soon received wide acclaim.

Dr. Burke befriended the Ward brothers and greatly admired their work. He personally owned a number of decoys by this well known carving

team including the exceptional pair of redheads being offered in this auction. Additional Wards that were in his collection are pictured opposite page 129 in “Duck Shooting Along the Atlantic Tidewater” (Note; Interestingly, at the time of the writing of the book, they were labeled as ‘contemporary’). The friendly relationship between the three men must have been mutual and the Wards so appreciated Burke’s art that they traded him a pair of their decoys for a small painting which hung in their shop for many years.

It is believed that, upon Mr. Burke’s passing, his decoys, including his Ward’s, were acquired by William Mackey Jr.

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Important pair of 1936 model redheads, Ward Brothers, Crisfield, Maryland. Painted Ward Brothers banner on underside of hen. Banner on underside of drake reads “Dr. Edgar Burke with the maker’s compliments LT Ward”. Exceptionally well sculptured and slightly turned heads. Fine feather paint detail. Original paint; minor discoloration and very slight wear on drake; very minor paint shrinkage on small area of the drake’s bill; hen has original paint with minor shrinkage on part of the back; and some wear to the stippling; hen has a thin crack in the underside that someone put glue into.

Provenance: Matthew estate. Leila Matthew purchased decoys from Bill Mackey, and she most likely got this from him in the early 1950s.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath.

(50,000 - 80,000)

95

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Swimming mallard drake, Ward Brothers, Crisfield, Maryland. Signed and dated 1963. From the Ellery Clark collection, with “To our close friend Norris Pratt” with the compliments of the makers Lem and Steve Ward 1963” on underside. Cedar body with extended paddle tail. 17” long. Excellent original paint; struc-

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turally good.

Provenance: Roberts collection.

(3,000 - 4,000)

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Stylish black duck, Ward Brothers, Crisfield, Maryland. 1954 model with insert wooden tail. Made of pegged balsa. Head is turned. Exceptional head and bill carving. Fine feather paint detail. What some call the “high butt” style. 17.5” long. Some professional restoration to approximately 1/2 of insert hardwood piece at tail.

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108

(2,000 - 3,000)

Canada goose, Ward Brothers, Crisfield, Maryland. 1948 model with balsa body, inserted cedar tail and slightly turned cedar head.

26” long. Signed and dated 1948.

Second coat of paint by the Ward Brothers, circa 1970; seam in balsa has opened slightly on the underside and under the tail; several small dents.

(2,000 - 3,000)

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1948 model canvasback hen, Ward Brothers, Crisfield, Maryland. 16.75” long. 1948 model with slightly turned cedar head and inserted cedar tail and balsa body. Original paint with minor wear; small dents in balsa; slight separation at neck seam; old in use repaint on underside.

(1,500 - 2,000)

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110 Print

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Mallard drake, Ward Brothers, Crisfield, Maryland. Signed and dated 1945. Stamped “MD Mort

Literature: “Decoy Ducks,” Bob Ridges, p.33 and 157, exact decoy. “The Story of Lem Ward,” Glenn Lawson, p.

23 and 117, exact decoy pictured.

Kramer collection.” A slightly tucked swimming head that is turned. Balsa body with finely detailed paint. Decoy is

(5,000 - 7,000)

series from 1945 illustrated with this exact decoy. Strong

Rigmate pair of buffleheads, Ward Brothers, Crisfield, Maryland. Both signed and dated 1969. Stamped

original paint; excellent blending, particularly around

“Collection of RH Richardson”. Both have turned heads

speculums; tail has been blunted slightly at one side; light

and relief wingtip carving. Hen’s head is slightly tucked.

gunning wear.

12” long. Strong original paint that has mellowed nicely;

accompanied by a print that was part of a Ward Brothers

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structurally good.

Provenance: General Magruder collection. (4,000 - 6,000)

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Midwest

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Very rare greenwing teal drake, Duncan Ducharme, St. Ambrose, Manitoba. Signed 1966 on underside. A

with bottom board. “BG2” painted under tail.

by conservationist and James Ford Bell Duck Club manager,

Formerly in the Vic Bracher collection. Feather

Peter Ward, 1920-2012. Signed in pencil “Ward” on under-

and tail carving. 23” long. Original paint; wear

side. 11.5” long. Original paint with a few small possible shot

at edges, tail, high spots at body, breast, and

marks; bill has been broken and reset with the original piece,

around bill.

Provenance: Recently found in a diner in Manitoba.

(3,000 - 5,000)

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Rare blue goose, Ben Schmidt, Detroit, Michigan, circa 1950. Two piece hollow body

decorative and almost impressionist paint pattern applied

small amount of touchup in that area.

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Provenance: Roberts collection.

(4,000 - 6,000)

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Mallard drake, Ben Schmidt, Detroit, Michigan, possibly 1930s. Hollow with bottom board. Ben’s early carving around wingtips with some feather stamping; Head is turned. A fine early example of Schmidt’s work. 18” long. Excellent original paint; two very tight cracks in body.

Provenance: Roberts collection.

(2,000 - 2,500) 114

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Early and well carved bluewing teal drake, Ben Schmidt, Detroit, Michigan, circa 1945. Tilted and turned head. With protruding breast. Good early feather stamping. Wing and tail carving. 11.5” long. Very good and original.

Provenance: Roberts collection.

(2,000 - 2,500)

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Pintail drake, Ben Schmidt, Detroit, Michigan. Slightly turned head with inserted metal tail. Underside notation indicates from the Don Buchanan collection. Feather stamping and carving at both wingtips and tail. 17” long. Near mint.

Provenance: Roberts collection.

(1,500 - 2,000)

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Widgeon drake, Ben Schmidt, Detroit, Michigan. Alert head that is slightly turned. Excellent feather stamping and raised split wingtips. 13.5” long. Very good and original.

Provenance: Roberts collection.

(1,200 - 1,800)

117

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Ferdinand Bach 1888 - 1697 | Detroit, Michigan

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Classic style wide or pancake body canvasback drake, Ferdinand Bach, Detroit, Michigan, 2nd quarter 20th century. Signed “F. Bach” in underside. Primary and secondary wingtip carving with fluted tail. 15” long. Most of the body is a second coat by Bach; some paint in shot scars shows he likely improved the decoy at the end of the season; several dents and imperfections in the wood.

Provenance: Roberts collection.

(12,000 - 18,000)

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Oscar Peterson 1887 - 1951 | Cadillac, Michigan

Wizard With Wood and Paint Gary L. Miller, Copyright December 26, 2020

His family once described him to me as “clever” but that somehow seems grossly inadequate to describe a man who has become one of the acknowledged doyens of the folk art world. I’ve struggled to find just the right word that would capture the true sense of the man, much in the same way that he must have struggled to portray the essential truth of the fish that he carved. My thesaurus proffers words like virtuoso, genius, expert, maestro, prodigy, star, etc., most of which seem either pretentious or inadequate to describe his true genius. In the end it seems sufficient to say that to know his work is to love it.

Like the man himself, the exact circumstances of Oscar Peterson’s early life are obscured by the period’s lack of accessible reliable records. It’s somewhat like trying to view an old filmstrip that has been broken and spliced numerous times with sections missing. What remains flickers and bumps along erratically.

We believe that Oscar’s family immigrated to the U.S. from Hallsberg, Örebro, Sweden in the late 1880s. It appears that Oscar’s birth roughly coincided with the family’s year of immigration. Dates for both are variously reported from 1882 to 1890. His place of birth is likewise indeterminate being reported either as Grayling, Lake City or Roscommon, Michigan.

Anecdotal evidence suggests that they first settled in the Jennings, Michigan area where Andrew Peterson, Oscar’s father, no doubt went to work for the Mitchell Brothers mill there. Mitchell Brothers, a big lumbering concern, which also had mills in Cadillac and other Michigan cities, all but owned the whole town of Jennings and everything and everybody in it. Nearly everyone in Jennings lived in company houses, which were rented to the workers and their families, worked for the company in some capacity or another and did all their shopping at the company store. Jennings lies on the shore of Crooked Lake (a popular spearing lake) about 10 miles NE of Cadillac, Michigan.

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Oscar Peterson with two of his trade signs mid 1930s.

Photo author’s collection.

Sometime in the late 1890s the family moved to Cadillac where they took up residence at 223 E. North Street. This is the address that appears on Oscar’s trap tags which were sometimes affixed to his fish plaques and trade signs and serve as signatures. He would continue to use this same address until his death in 1951. He did for awhile in the 1940s report his address to be on 13th Street just NE of the city in Haring Township. He and his brother George had a cabin there, which they used as a base for their landscaping business, Peterson Bros. Landscape Gardeners. It has been described as a “shack”. We might think of it today as sort of a “boar’s nest” or “man cave.”

Cadillac, Jennings and environs were populated largely by immigrant groups with the Swedes predominant. The northern Michigan climate suited

them well as did the work. Employment was principally in the forest products industry. First the stands of virgin White and Norway Pine were cut to produce lumber to build the burgeoning metropolises of the Midwest such as Detroit and Chicago. Once the pine was gone they turned to the hardwoods. Cadillac was brimming with wood products concerns such as sawmills, shingle mills, flooring mills, handle factories, furniture factories, turpentine and chemical plants. All of these produced a mountain of waste and wood scraps. Everywhere you looked there were wood throw-outs, all free for the taking. Oscar’s sister Alma worked at Northern Chair Co. and he also had a good friend who was employed with the St. Johns Table Co. Both reportedly kept him supplied with wood scrapes. Additionally, the cutover pine lands in and around Cadillac were littered with vast quantities of stumps slowly rotting away. Cadillac even had, what was referred to by the locals as “Stump Mountain”, a pile of 20,000 pine stumps, 8,000 wagon loads, waiting to be processed into turpentine and other by-products. One story has it that Peterson harvested these abundant White Pine stumps by knocking them apart to get the curved pieces that ran up from the roots. By splitting the bolts out instead of sawing them he preserved the crook grain needed for the curve in the decoy and avoided cross-grain that might be more easily broken.

Both Jennings and Cadillac were situated on the shores of good fishing lakes; Crooked Lake at Jennings and Lakes Cadillac and Mitchell in Cadillac. And, of course, the Swedes were no strangers to ice fishing, which they had practiced in the old country. However, there is no evidence that they had any familiarity with dark house spearing with decoys before immigrating to Michigan. That skill had been learned by earlier settlers from Native Americans and passed on to the new arrivals. These and other factors made Cadillac the ideal incubator for the manufacture of fish decoys.

It’s unknown exactly when Oscar Peterson first began to carve fish decoys or where he learned the craft.

However, based on 40 years of research and interviews with numerous fish decoy carvers it appears that it was common for young boys to carve their first decoys at around age 10 or 12 at about the same time they got their first gun. That would have put Oscar’s first efforts at around 1900. He probably picked it up from older kith or kin. One source reported that Oscar’s father, Andrew, was a fisherman.

The Peterson family worked at a variety of common labor jobs in the forest products industry in and around Cadillac; teamster, porter, sawmill laborer. Father Andrew and brothers Oscar, Wilfred and George worked together seasonally in the family’s landscaping business, cutting grass, trimming trees, laying sod, etc.

The rest of the year they picked up assorted odd jobs, trapped, hunted, fished and occasionally worked as guides. It’s said they were particularly adept at trapping foxes. Sister Linda worked as a domestic while Alma was employed as a telephone operator and later as a finisher in a chair factory. After the death of their father in 1923 Oscar and George continued in the landscape business under the name of Peterson Bros.

Landscape Gardeners. (Brother Wilfred had died in 1912 of pneumonia.) At best, the landscaping business provided only seasonal employment. In the 1940 Census Oscar and George reported that they were partners and that in 1939 they had worked a total of six weeks and made $300 each. They also indicated that they had other income, presumably from the fish decoy business, trapping, etc.

Friends and acquaintances have described Peterson as a shy man who was kind and generous, often giving gifts of his carvings to friends. He also apparently had a sense of community as a 1935 news clipping tells of his gift to the Cadillac High School of a large carved panel depicting a Viking ship. “The Vikings” was the school’s team nickname. He was something of a local character and as was common in those days was known affectionately by many colorful names; PeeWee, Pelee and Pelio Pete. But, by all accounts, he

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suffered from a lifetime of alcohol addiction sometimes so severe that he had delirium tremens. He frequented the downtown saloons in Cadillac and was known to trade his decoys for the price of a drink. One local hardware / sporting goods store owner recounted how Peterson would come in shaking with the DTs and sell him decoys for 30 cents each which was, at the time, about the cost of a shot. They would sell later in his store for around a $1.00. One time he says he bought a huge in-the-round store trade sign from “Pelee” for “a couple bucks.” Another acquaintance told about how after Oscar received a U.S. patent in 1927 (pat. # 1,627,455) for a fish lure that he had invented, he tried to raise capital to manufacture it but couldn’t attract investors because of their reluctance to “go into business with an alcoholic.” My favorite Peterson story involves Oscar and his fondness for cats. It seems he had a habit of stopping off on his way home at night after the bars had closed at a friends home who had a morning milk route. Oscar would slip into the milk wagon that was all loaded and waiting to make the morning deliveries and “borrow” some cream for his cats. The milkman’s wife said that even though he always came by the next day and paid for it she got very upset with him because he caused them to be

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short of product to fill left orders and she had to deal with the calls from angry customers. She determined to put an end to Oscar’s pilfering. So, one night she hid in the milk wagon and when Oscar came sneaking in she beat the daylights out of him with her broom. “He took it like a man” but didn’t come around any more after that.

Small of stature at only five foot tall, Oscar Peterson seemed to be possessed of a gigantic innate talent with a keen eye for form and color. As far as is known, he had no formal artistic schooling. He had only an 8th grade education, which was fairly typical for men of his generation and circumstances. Despite his lack of training his brilliant executions of the fish decoy genre have received wide acclaim. In 1949 some of his fish decoys and plaques were part of an exhibition held in the Rackham Building at the University of Michigan in Ann Arbor. He reportedly received “high praise” and was invited to return the following year and give a live demonstration of his methods. It’s not presently known if he accepted that invitation. He was quoted, at the time, as saying that he, “has been carving for several years and can reproduce anything of which he has a picture, uses no special tools, just ordinary chisels, drawshave, pocket knife and sandpaper… & paints the finished articles in natural colors.” A friend of his told me in a 1981 interview that Oscar, “was as good with a lather’s hatchet as anyone else with knives and chisels – a true wizard with wood and paint.”

After Peterson’s death in 1951 he seems to have been largely forgotten outside of a small circle of family & friends. Since his rediscovery by collectors his works have had a rather impressive exhibition history: “Oscar W. Peterson” Wexford County Historical Museum Cadillac, Michigan June 12-13, 1981 “Hooked On Carving: Oscar W. Peterson” Michigan State University Museum East Lansing, Michigan October 24, 1982 - April 10, 1983

“Beneath the Ice: the Art of the Fish Decoy” Museum of American Folk Art New York City, New York February 15 - April 17, 1990 Note: This exhibition traveled internationally to 8 other venues over a period of 2 years. A partial travel schedule was as follows: Cleveland Museum of Natural History Cleveland, Ohio Nov. 5 - Dec. 31, 1990 Milwaukee Public Museum Milwaukee, Wisconsin Jan. 21 - Mar. 18, 1991 There are perhaps a hundred or so Oscar Peterson works in the permanent collections of these and other major American museums: Brooklyn Museum of Art - Brooklyn, New York Milwaukee Art Museum - Milwaukee, Wisconsin The Museum, Michigan State University

A great many of the Peterson pieces featured in these museum exhibitions had been acquired directly from his extended family. He had relatives in the Chicago area and it had been their custom for many years for the children to spend their school vacations at the parental home in Cadillac with Oscar and his siblings.

They alone had the unique opportunity to observe first hand Oscar’s creative process. At the end of the summer they were loaded up with gifts of plaques and other pieces to take back home with them as gifts for themselves and other family members. After brother George’s death in 1970 all the remaining items from Oscar’s estate also reverted to the Chicago relatives.

Several major pieces in collections today can be traced back to these family holdings.

I’ve struggled to describe just what it is that makes Peterson’s work so appealing. Much has been written using a lot of pretentious art-speak that really doesn’t get to the heart of it. Mere words won’t do. It’s more of a visceral thing. They are not all masterpieces, of course, but there are many that evoke a long ago memory. A memory of the thrill of that first fish caught as it flopped out onto the ice or bottom of the boat.

As a painter Peterson is more of a fish portraitist. Like the portrait painter he seeks to portray the essential fishness of his subject but not in a literal way. His depiction is of but an instant in time, perhaps that instant that the fish first breaks water, twisting and turning, flopping about, the light reflecting off the fish and water, the colors true, the shiny wetness of it all.

Every fish is different, every fish is an individual but more than that every fish is unique at that instant in time. It’s this glimpse, as fleeting as it may be, that Peterson at his best somehow manages to capture.

If we believe as Monsieur Riahi did, “that there are sublime moments of human achievement in different times and cultures”, the folk carvings of Oscar W. Peterson of early 20th century Michigan surely must represent one such moment.

Museum of American Folk Art - New York, New York Philadelphia Museum of Art - Philadelphia, Pennsylvania Museum of New Mexico - Santa Fe, New Mexico Shelburne Museum - Shelburne, Vermont Smithsonian National Museum of American Art Washington D.C. South Street Seaport Museum - New York, New York

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119

Possibly the most important fish decoy carved by Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. This is the largest known fish decoy to have ever been made by Peterson. Carved eye perch

Provenance: Randy Singer collection. Ron

with carved mouth, gills, and additional fancy dot painting along the seven black bars on the body. 20” long x 4.5” tall x 2.25” wide. Excellent original paint; protected by Peterson’s typical

Fritz collection. Appears to have come out of Oscar’s estate during the time that it was under the control of George Peterson and his stepchildren in the late 1960s.

coat of varnish; front left fin appears to have Literature: “Oscar Peterson, “ Ron Fritz. been broken and put back in; professional tail chip restoration to a small area of lower tail.

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(40,000 - 60,000)

107

108

120

Very rare and wonderful carved fish vase, Oscar Peterson, Cadillac, Michigan. One of only a handful of vases known to exist by Peterson. This vase displays four pan fish with negative space carved between fish and tail area.

Fancifully decorated and varnished, which has aged to create a wonderful patina. 4” tall x 3.25” wide. Strong original paint protected by a light coat of varnish.

Provenance: Michaan collection.

Literature: “Beneath the Ice,” Steven Michaan, p. 67, exact carving. “Michigan Master Carver, Oscar Peterson, 1887-1951,” Ronald Fritz, p. 97, exact vase pictured.

(12,500 - 17,500)

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Rainbow trout trade sign, Oscar Peterson, Cadillac, Michigan, circa 1930. Detailed carving under gills and mouth. Carved eyes. Metal strip to reenforce back of tail. This sign would have been given to a bait shop that sold Oscar Peterson fish decoys. Measures an impressive 50” long. Original paint which was protected by an old coat of varnish has mellowed and crazed along with the paint; slight fading; flakes of missing paint; two fins are professional replacements by Russ Allen.

Provenance: Hung in the State Cafe at 308 N. Mitchell St. in Cadillac, Michigan. It is said that Oscar had traded it to George Nichlas, the cafe’s owner, for a month’s free meals.

(12,000 - 18,000)

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Brown trout fish decoy, Oscar Peterson, Cadillac, Michigan. An early tack eye model with yellow eyebrows. Measures 9” long x 2” tall x 1” wide. Original paint protected by a coat of varnish; some small areas of flaking on sides of body and underside near belly weight and

coat of varnish; small area of paint loss at top; one imperfection near side of belly; varnish flaking near tail.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 70, exact fish pictured. “Beneath the Ice,” Steven

bottom of fins.

Michaan, p. 73, exact fish pictured. “Michigan Master

Provenance: Michaan collection.

Carver, Oscar Peterson, 1887-1951,” Ronald Fritz, p. 56, exact fish pictured.

Literature: “American Fish Decoys,” Steven Michaan, p.

88, exact fish pictured. “Michigan Master Carver, Oscar Peterson, 1887-1951,” Ronald Fritz, p. 57, exact fish pictured.

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(4,000 - 6,000)

(4,000 - 6,000)

A very rare and desirable early trout, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Large carved eye with carved gill and mouth. A

Sucker fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. An early style fish

salmon colored belly. White spots along darkened back.

with painted eyes and rare scratch painting on body. 7.5”

varnished. 9.5” long. Originally paint; some flaking on fins;

long x 1.5” tall x 7/8” wide. Original paint protected by a

tail chip restoration.

It is rare to find Oscar Peterson fish that have never been

Provenance: Randy Singer collection.

(4,000 - 6,000)

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126

126a

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Stylish and unusual perch fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Large domed tack eyes. With extra fancy paint and

Literature: “American Fish Decoys,” Steven Michaan, p.

47, exact fish pictured. “Michigan Master Carver, Oscar

dot application against the seven bars at side of body.

Peterson, 1887-1951,” Ronald Fritz, p. 52, exact fish pic-

4.5” long x 1” tall x 5/8” wide. Excellent original paint;

tured.

small chip in bottom of tail; very small area of paint loss at edges of fins.

126a

Provenance: Michaan collection.

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for a fish this size. 6.5” long x 1” tall x 5/8” wide. Original paint protected by a coat of varnish; small areas of flaking; some holes drilled in both sides of lower body.

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Very rare musky fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Painted .5” wide. Strong original paint protected by a coat of var-

(2,500 - 3,500)

Walleye fish decoy, Oscar Peterson, Cadillac, Michigan. An early carved eye model, which is unusual

(2,500 - 3,500)

eye model. With carved gills and mouth. 7.25” x 1” tall x

Literature: “American Fish Decoys,” Steven Michaan, p.

56, exact fish pictured.

Provenance: Michaan collection.

nish; some loss of paint at underside of fins.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p.

102, exact fish pictured.

(2,500 - 3,500)

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Albino trout fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Possibly the smallest Peterson fish decoy on record. 3.5” long x .5” tall x .5” wide. Excellent original paint protected by a light coat of varnish; small wear at tip of tail and front of mouth.

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Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p.110, exact fish. “Beneath the Ice,” Steven Michaan, p. 74, exact fish.

“Michigan Master Carver, Oscar Peterson, 1887-1951,” Ronald Fritz, p. 33, exact fish pictured.

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(1,800 - 2,200)

Perch fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Tack eye model. 6” long x 1.25” tall x .75” tall. Carved gills and mouth. Strong original paint protected by a coat of varnish; paint loss at belly weight

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and underside of fins.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 54, exact fish pictured.

(1,800 - 2,200)

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Brook trout, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Domed hexagon tack eyes. 9” long x 1.5” tall x .75” wide. Strong original paint protected by a coat of varnish; tiny chip at top of tail; paint loss at bottom; moderate even wear with small flaking at fins.

(1,500 - 2,000) 129

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Perch fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. A unique example that has not been weighted. Carved eye. 4.75” long x .75” tall x .5” wide. Original paint protected by a coat of varnish; rough area at one edge of tail; one small scratch in body.

Provenance: Michaan collection.

(1,500 - 2,000)

130

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Lake Chautauqua Fish Decoys

Ed Irwin in one of the double ender boats he built.

Born July 1st 1843, it has been said that Ed Irwin caught more musky on Lake Chautauqua than any other man, past or present.

Raised on what is now known as the Chautauqua Institute property, Irwin loved to hunt and fish. Around 1860, he left the area to attend Bryant & Stratton Business College in Buffalo, New York. Upon his return to the Chautauqua area, he accepted a job in Mayville as a bookkeeper for a local mill. The call of the wild was too much for Irwin to manage.

He eventually gave up his job at the mill to become a full time hunter and fisherman.

Ed Irwin

In the fall, Irwin would travel to the Kankakee Marsh in Indiana to hunt ducks for the Chicago market. He would then return to his home on the north end of Chautauqua Lake to ice fish throughout the winter, then fish and guide for musky in the spring and summer months. Irwin began to gain a local reputation for his spearing decoys, casting spoons, and double-ended rowboats. He chronicled each fish he caught and in one season his total muskellunge haul was 300. An undated newspaper clipping from the Mayville Sentinel found in the Mayville Historical Center related that Ed Irwin captured no fewer than 14,219 muskellunge from the waters of Lake Chautauqua since 1872.

“Saving Chautauquas Muskies”, Fletcher Ward

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Important fish decoy, Ed Irwin, Lake Chautauqua, New York, 2nd half 19th century. Wonderful cross hatch carving on lower side of body similar to those found on the famous sucker fish, also made by Irwin. Copper domed eyes with a very pleasing content carved mouth and gill. Line tie is run through the body. Classic leather tail. 7.5” long. For a similar example see Guyette & Deeter’s April 2013 sale, selling for $28,750. Strong original paint; some scratches on fins; lower portion of tail is bent slightly.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 25, exact fish pictured.

(22,000 - 27,000)

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Rare and important sunfish decoy, Harry Seymour, last quarter 19th century, Lake Chautauqua, New York. Classic leather tail with tack eyes, carved mouth, and finely painted scale pattern.

This is one of very few sun fish decoys found in Lake Chautauqua.

Line tie hole is drilled through upper portion of body. Gills are carved and painted red. 6.5” long. Strong original paint; very minute spots of flaking at one side; some loss mostly at edges of fins.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 12, exact fish pictured. “Beneath the Ice,” Steven Michaan.

Harry Seymour

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(22,500 - 27,500)

133

Excellent fish decoy, Harry Seymour, Lake Chautauqua, New York, last quarter 19th century. A near perfect example of Seymour’s highly detailed paint with this fish representing a perch.

Line tie is drilled through back of body. Tack eyes. Carved gill and mouth. Classic Chautauqua leather tail. 7.5” long. Excellent original paint; some of which has flaked off of tack eyes.

Provenance: Randy Singer collection.

(5,000 - 7,000)

117

Stevens Brothers Weedsport, New York

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Exceptional widgeon drake, George Stevens, Weedsport, New York, 2nd half 19th century. Branded “G.W. Stevens Weedsport, New York.” Head turns at neck seat as it should. Exceptional comb painting under black feathering on back. 15” long. Excellent original paint; a few very small chips and rubs at tail and bill.

Provenance: Jim and Pat Doherty collection. Doherty collection sticker on underside.

(15,000 - 20,000)

119

135

Very rare tack eye model redhead drake, Harvey Stevens, Weedsport, New York, last quarter 19th century. Comb painting on back. Head turns at neck seat as it should. 14.5” long. Original paint that darkened and discolored slightly; wood imperfection at one side of lower body has been filled with putty in the making; paint has rubbed off area of underside; some paint loss near dowel at top of head.

120

(4,000 - 6,000)

136

Rare redhead hen, George Stevens, Weedsport, New York, 2nd half 19th century. Stamped “GW Stevens Standard Decoys” on underside. Also stamped “TJF”. Head turns at neck seat as it should. 15” long. Strong original paint with a few areas of flaking, one on back one on side; edges of tail and bill; in the making nail was applied to one edge to secure a chip from occurring.

Provenance: Jim and Pat Doherty collection. Collection sticker on underside.

(4,000 - 6,000)

137

Exceptional rigmate pair of bluebills, George Stevens, Weedsport, New York, last quarter 19th century. Both have “GW Stevens Standard Decoys” stencil on underside. First place winners at the Ohio Decoy contest Westlake, Ohio, 2006. Blue ribbon is included. Very bold feather paint detail with combing on drake’s back. 15” long. Small amount of touchup at edges of knot at one side of drake’s tail; hen has one eye professionally replaced; very small amount of darkening near nostril; a few small very tiny spots were darkened on head.

Literature: “Stevens Decoys,” Shane Newell.

(15,000 - 25,000)

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138

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Goldeneye drake, George Stevens, Weedsport, New York, 2nd half 19th century. Stamped “GW Stevens Standard Decoys” on underside. Head turns at neck seat as it should. 15” long. Strong original paint; moderate wear; some scratches and flaking; one very small gouge at edge of bill.

Provenance: Jim and Pat Doherty collection. Doherty collection sticker on underside.

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(3,000 - 5,000)

Rigmate pair of goldeneye, Frank Coombs, Clayton, New York. 14.5” long. Good form with heads in alert pose. Good feather paint detail on hen. Original paint with very minor wear; mostly on one side of hen’s bill; drake has been lightly hit by shot.

139

124

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

(4,000 - 6,000)

140

Extremely rare wooden goldeneye drake, George Robert, Long Island, New York, circa 1900. 12.75” long and 7.5” wide.

Fine carving detail. Branded “CS Robert” in underside. Original paint with good patina and minor wear; hairline surface crack partway down back; thin crack in underside; very lightly hit by shot.

Provenance: Matthew estate.

(2,500 - 3,500)

140

141

Pair of goldeneye, Roy Conklin, Alexandria Bay, New York. Slightly turned and alert head pose. Measure 14 ¼” long. Minor discoloration on breasts, otherwise very good and original.

Provenance: From the collection of Frank Ash. Consigned by the family.

(2,000 - 3,000)

141

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Low head bluebill hen, Chauncey Wheeler, Alexandria Bay, New York, 2nd quarter 20th century. 15.5” long with good feather paint detail. Near mint original paint; several small shot marks; wear on underside.

(1,500 - 2,500)

142

125

John Tax 1900 - 1967 | Osakis, Minnesota John Tax was born in Osakis, MN and lived his entire life there. His family were devout Catholics and, since there were no Catholic parishes near his home, his parents traveled to nearby West Union to have John baptized. His childhood must have been very traumatic. His mother, Helene, died when he was only five years old. His father, Anton, remarried in 1901 and Susanna Henges, his new wife, would help raise John and his brother and sister. Tragedy struck again when Anton died of a stroke in 1905. The children were still very young and, in 1906, Susanna remarried, and she and Samuel Eugene Erwin (one of Anton’s employees) would raise the children. His biological grandfather Andrew Konczak (Helene’s father) was a carpenter and a hunter/fisherman who would also help by taking the young John under his wing. Tax attended school through the 8th grade but did not attend high school because there was no such institution near his home.

As has been reported, John’s biological father, Anton, was a harness maker but it is very doubtful that John, at age eleven, had mastered much of the trade by the time of his father’s death. His adopted father Mr. Erwin, however, was an experienced harness maker and shoe repairman and it is likely that it was he who taught Tax the leather working trade. During World War I, between 1917 and 1919, John served in the U.S Navy as a Cook, 2nd Class.

Immediately after his discharge, he returned to Osakis and worked for a short time as a “second miller” in a local flour plant.

John Tax constructing a decoy body

126

John and Ada Tax

In 1922, John married Ada Luella Junkin who brought a son of her own into the marriage. The union would result in their having three additional children, John Jr., Herbert A and Ramona H. Apparently the flour mill was either a second job or it did not appeal to John for future census records record him as a harness maker, reportedly taking over his stepfather’s harness business in 1928. The shop must have been a family-oriented operation for in 1930, Ada was listed as a “cobbler – shoe repairing” and in 1940, she appears as an “apprentice – shoe repairer” while John Jr is listed as an “apprentice harness maker”. While contemporaries recall Tax as being outgoing and jovial, his son remembers him as being quite strict and demanding. The family led a very frugal lifestyle. John Jr. recalls that, in the frigid Minnesota winters, only the kitchen and seating room were heated to conserve funds and indoor plumbing was not installed in the family home until the early 1940’s. In 1947, the Tax leather shop burned, and John went to work for the Osakis hatchery.

Tax’s frugality again becomes apparent in his decoys.

He very rarely used new wood and relied heavily on salvaged basswood, pine, and cedar scraps. Since large pieces of wood were not readily available, he laminated his birds and carefully hollowed out each of the multiple sections prior to assembly. The finished birds were protected by up to four coats of primer and paint. His body styles and painted plumage patterns closely follow the images in his set of Audubon’s works which he considered one of his cherished possessions.

His leather working tools and experience were the inspiration for his production of canvas covered decoys which he received a patent for in 1941. The canvas birds were all constructed at the harness shop, but all the wooden decoys were made (surely to Ada’s frowns) in the family home. His wooden ducks were sold for $4 each and the geese were priced at $6. His canvas birds were half these amounts. In

addition to waterfowl decoys, he also carved fish decoys, decorative fish plaques and other assorted novelty and full-size furniture items. Perhaps his crowning folk art achievement was his unique sunfish birdhouse which was sold in May of 2020 by Guyette and Deeter Inc for $13,000. His total output was not large. In addition to the few decoys for his own use, he is known to have produced a “full shooting rig” for a gun club in Osakis as well as lesser amounts for area residents.

Tax harness shop c1910, Tax (m) Samuel Erwin (r)

127

Tax was considered an excellent fisherman who knew the waters of Osakis well and he guided for both the Elkhorn and Raymond families on the lake. As his decoys became popular, Tax came to hold the collecting community in low regard, upset that they were profiting from his hard work.

John Tax’s legacy is largely due to his remarkable field ducks and geese, all of which must be considered extraordinarily rare. These consist of a very limited number of mallards, Canada and snow geese and his two very rare specklebelly geese. These stickups have been universally applauded as the finest of their kind to emerge from the Prairies and have been prominently displayed in a number of the most selective collections in the country.

At one point, Tax is said to have remarked to a Catholic priest that his love for the outdoors stemmed from the fact that he “must have been baptized with slough water”. He and Ada are buried in Lakeside Cemetery in Osakis.

Photo credit Gene Kangas

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143

Important reaching, hollow carved Canada goose, John Tax, Osakis, Minnesota. Laminated construction. Original paint with very minor wear; very slight separation at a few of the seams in the underside.

Provenance: Formerly in the collection of Jim and Diane Cook.

Literature: “Decoys of Mississippi Flyway,” Alan Haid. “Last of the Prairie Carves,” John Lindgren and Cliff Traff.

(65,000 - 95,000)

129

At one time, Heron Lake, nestled in southwestern Minnesota, was known as the Chesapeake of the west. Spanning an area of 12 miles long and about two and a half miles wide at the turn of the century, it was home to between 25 and 30 market hunters and several duck clubs.

Vast numbers of puddle ducks and divers were drawn to the areas wild celery beds.

In 1880, hunters recorded flights of canvasbacks numbering in the tens of thousands. Abe Nelson was known as one of the area’s best hunters. His specialty was shooting canvasbacks for market. He is also thought to be the first known decoy maker on the lake. At the time, wild game brokers were paying 50 cents for canvasbacks, and all other ducks brought much less. Nelson’s decoying methods were so successful that there was actually a push by the government to ban decoy hunting on the lake.

Reference: Decoy Magazine, article by Donna Tonelli, July 1992.

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144

145

Canvasback drake, Joseph Marr, Heron Lake, Minnesota, 1st quarter 20th century. Classic “horse

145

Important canvasback hen, Joseph Marr, Heron Lake, Minnesota, 1st quartet 20th century. Classic,

head” style construction with slightly humped back,

“horse head” style construction with low rise body.

glass eyes, carved bill, and wooden peg through

Glass eyes, carved bill, and wooden peg through

top of head. Original wooden keel and leather loop.

top of head. Original wooden keel and leather loop.

Branded “PGC” for the Pohlman Gun Club, located

Bottom marked “FM”. Wood patch in back of body

on the southeast side of North Heron Lake. 13” long.

appears to have been done in the making. 12.5” long.

Original paint on white area of body and head; areas

Some paint has been removed form keel; keel may

of black have been strengthened; portion of underside

be a later replacement; thin old paint which is a mix

of bill is missing and paint was added to that area.

of original and old gunning paint; small areas of flakes

Literature: “Minnesota Duck Decoys,” Doug Lodermeier, p. 333.

(2,500 - 3,500)

and shot scars.

Literature: “Minnesota Duck Decoys,” Doug Lodermeier, p. 333.

130

(2,500 - 3,500)

146

Rare pair of bluewing teal, Paul Lipke, Whiting, Indiana. His much rarer, early carving style. Drake is 12” long. Original paint with good detail and very minor wear; small scuff to hen’s bill and top of head; several small scuffs on body; drake has had a professional repair to three cracks in bill by Russ Allen.

(5,000 - 8,000)

146

147

Early mallard drake, from the Kankakee Marshes, Indiana, last quarter 19th century. Attributed to Herman R. Trinosky (1874-1956). Hollow carved and 16” long. Glass eyes. Mason factory weight is on the underside. Original paint; minor flaking and wear; several tiny dents.

(5,000 - 7,000)

147

146

147

131

148

Oversize goldeneye drake, John Zachman, Detroit, Michigan. Hollow carved with bottom board. Note on underside reads, “1961 first place diver, Midwest contest. First goldeneye I made.” Additional notes on underside state this decoy was judged by Joel Barber at Pt. Moulle decoy contest. This was his last show as he died two weeks later of pneumonia. 19” long. Excellent original paint; wing and feather carving; rasping on head; small areas of

148

flaking around bottom board with some discoloration in that area.

Provenance: Donal O’Brien collection stamp on underside.

149

(1,200 - 1,800)

Very early black duck, Porter rig, Sandusky Ohio, 2nd half 19th century. Hollow carved two piece body.

Ice grooving behind neck, standard for decoys from the Porter rig. Shallow eye groove carving in head. 14.5” long. Very thin original paint with subtle feathering still visible; small areas of

149

flaking have exposed bare wood; some rubs around edge of body.

(1,500 - 2,000)

150

Rigmate pair of canvasbacks, Christie Brothers, Saginaw, Michigan, 1st quarter 20th century. 17” long. Strong original paint; light gunning wear and a few shot scars.

(1,500 - 2,500)

150

151

Redhead drake, Paul Lipke, Whiting, Indiana, 2nd quarter 20th century. Two piece hollow body. From Paul Lipke’s own hunting rig, weight on underside is stamped “P.L.” Fanciful painted with wet on wet blending.

Stately carved head with bold cheeks.

14” long. Strong original paint; two small rubs; one area of paint loss near body seam, otherwise very good and excellent.

Provenance: Roberts collection.

(2,000 - 3,000)

151

132

152

Rigmate pair of canvasbacks, Joseph Kempinger, Oshkosh, Wisconsin, circa 1930. Possibly the finest rigmate pair known by this maker.

Found in an attic of a Green Bay, Wisconsin home unused and unrigged.

Swirl feather painting with exaggerated wing patches on both. 15” long. Strong original paint; small rubs, mostly on drake near one side of back and head.

(6,000 - 10,000)

133

Otto Meyer rig

Sample of Perdew’s gifts to Meyer

In mid October, 1956, the temperature outside of Chicago, Illinois dropped to a low of 39 degrees. In nearby Henry, Charlie and Edna Perdew (ages 82 and 74) were becoming increasingly aware of the fact that their patched and repatched furnace was definitely, as the saying goes, “on its last legs”. Their home was becoming increasingly more and more uncomfortable and the noxious smell of coal gas in the home was slowly getting worse. Charlie had hoped to rectify the problem by ordering a brand-new furnace from the Sears Roebuck mail order catalog for the princely sum of $165.00. Free cash must have been a little tight and Charlie planned to finance the purchase using the convenient credit application in the back of the catalog. Unfortunately, the fine print on the form indicated that a minimum purchase of $250.00 was needed to qualify for the credit under the company’s “Operation Home Improvement Program”. As Charlie and Edna piled on additional sweaters, they pondered their next move.

134

Otto Meyer was a Chicago policeman who had ordered a dozen of Charlie’s mallards for $36 to add to (and hopefully improve) his rig of Pascagoula decoys.

Charlie was getting older and his health was becoming an issue. Orders were backed up and Otto would occasionally drop by to check on the progress of his decoys. These meetings resulted in a good friendship developing between the two men. In the Fall of 1956, Meyer became aware of the Perdew’s plight and took it upon himself to solve the problem. Without being asked, he purchased a new coal and wood burning furnace from the Montgomery Ward store in Chicago and, with the help of fellow Chicago policeman and duck hunter Cline McAlpin, trailered it to Henry and installed it in Charlie’s basement. The show of care and support struck Charlie and he emotionally asked Meyer what he owed him. Meyer’s response was simply, “if you get a chance, make me something”. Charlie went on to, indeed, make him something!

When Meyer’s initial order of mallards was finally ready, it also included a dozen black ducks and an extra black duck sleeper, all gratis. Soon, pintails, teal, widgeon and pigeons would be added to the flock. When Meyer ordered some crows, Charlie included a magnificent mechanical owl. Eventually, additional decoys, calls, book ends, miniatures and decoratives would be gifted to Otto as Perdew’s way of paying off his furnace debt.

Perdew greatly appreciated Meyers generous gesture and Otto felt likewise.

In a 1957 letter Meyer told Charlie: “When I sit down to write you and all my little ducks are looking at me, I get the feeling I’m sitting right down there with you. How I treasure them you’ll never know. - - - If surroundings like that don’t put you in a good frame of mind, what will”.

The above is a condensation of an article that Donna Tonnelli wrote for Decoy Magazine, Jan/Feb 2013. Guyette and Deeter would like to thank the Tonelli’s for permission to summarize it here.

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135

153

Large and important working owl decoy, Charles Perdew, Henry, Illinois, 2nd half 20th century. The only owl decoy made by Perdew. Part of the Otto Meyer friendship exchange.

Masterful and meticulous design. Body is carved wood and two piece hollow. Articulated wings are applied and made to flap. The mechanics are initiated when a string is pulled. The carved wooden head spins to the right as the wings move creating the most realistic impression of a live great horned owl.

Detailed claws and thigh carving with bold shoulders and a narrow waist.

Pheasant feathers have been applied around glass eyes, bill, and neck. Stands 30” on base. Excellent and original.

Provenance: Formerly in collection of Otto Meyer.

Literature: “Perdew: An Illinois River Tradition,” Ann Tandy Lacy, p. 56, exact owl pictured.

136

(50,000 - 70,000)

154

Pair of pintails, Charles Perdew, Henry, Illinois. 16” long. Drake has slightly tuned head. Mint original paint; both heads and necks are protected by their original coat of varnish.

Provenance: Formerly in collection of Otto Meyer.

(6,000 - 9,000)

137

155

Exceedingly rare sleeping black duck, Charles Perdew, Henry, Illinois. 14.5” long. One of three sleeping black duck known to have been made by Perdew. Mint.

Provenance: Formerly in collection of Otto Meyer.

Literature: “Perdew: An Illinois River Tradition,” Ann Tandy Lacy, p. 243, exact decoy pictured.

138

(17,500 - 22,500)

139

156

Extremely rare widgeon hen, Charles Perdew, Henry, Illinois. 13.5” long.

Slightly turned head. Near mint original paint protected by its original coat of varnish; structurally excellent.

Provenance: Formerly in collection of Otto Meyer.

(5,000 - 8,000)

140

157

Pair of mallards, Charles Perdew, Henry, Illinois. 15.5” long.

Both have slghty turned heads. Extra feather paint detail on lower sides of hen. Mint.

Provenance: Formerly in collection of Otto Meyer.

(5,000 - 8,000)

141

158

Black duck drake, Charles Perdew, Henry, Illinois. 17” long. One of a rig of 12. Near mint original paint; structurally excellent.

142

Provenance: Formerly in collection of Otto Meyer.

(3,000 - 5,000)

159

Rare pigeon decoy on wire legs, Charles Perdew, Henry, Illinois. 12” long. Raised wingtips and glass eyes. Near mint original paint; structurally excellent.

Provenance: Formerly in collection of Otto Meyer.

Literature: “Perdew: An Illinois River Tradition,” Ann Tandy Lacy, p. 240, similar examples.

(4,500 - 6,500)

159

160

Dove, Charles Perdew, Henry, Illinois. On wire legs. 10” long.

Relief wing carving with raised wingtips. Excellent and original.

Provenance: Formerly in collection of Otto Meyer.

Literature: “Perdew: An Illinois River Tradition,” Ann Tandy Lacy, p. 240, similar examples.

(3,000 - 4,000)

160

143

Items of Interest

161

161

162

Pair of nesting Nantucket baskets. Oval shaped

Swing handle style Nantucket basket. Tightly

with swing handles. Smallest is 6.75” wide, largest is 9.25”

woven. 11.5” wide x 11” tall. One very small strip is miss-

and 7” with handle up. Largest has break at top weav-

ing a chip, otherwise appears to be very good.

ing; smallest does not have visible damage.

162

Provenance: Dinan collection.

Provenance: Dinan collection.

(1,500 - 2,500)

(1,500 - 2,000)

163

Carved wooden oversize Canada goose, Made as a rocking horse, Casey Edwards, Wisconsin. Glass eyes.

Dove tailed neck construction and carved feathers and tail. Stands 28” high and 39” long. Very good and original.

Provenance: Roberts collection.

(1,200 - 1,500)

163

164

Functional Rocking horse in image of a swan, Jim Brockman, Pungo, Virginia. Hollow body swan with floral decoration and carved saddle. “Anserini caroselus” painted on side. Incredibly well carved, a great gift for grand children.

Intricate grooving to emulate feathering.

48” x 37” tall.

Provenance: Roberts collection.

(2,500 - 3,500)

164

144

165

Lot of 16 oyster jugs from Maine. Includes three different size jugs (physical measurements are average, and volumes are approximate). Half Gallon (½ Gal) (8” x 5 ½”): Quart (Qt) (6” x 4 ¼”): Pint (Pt) (5” x 3 ½”).

(1) Walker Bros. Qt, (3) Geo A. Young Co, Portland. 1 ½ gal, 1 qt, 1 pt, (2) John Leveitt & Co. Fish Dealers, Portland. 1 qt, 1 pt, (2) Sargent and Co, Congress Sq Fish Market, Portland. pts (2 different colors) 1 w/ surface crack rear, (1) Jerry Murphy Oysters, Auburn. Qt, (2) C C Porter Fish Co., Bangor. (1) pt, (1) ½ gal w/very tiny rim chip, (1) Jones Oyster House, Bangor. Pt, (3) E Swasey & Co, Portland Maine. 1 ½ gal (small darkened rim chip), 1 qt “pine tree”, 1 pt, (1) Unmarked. Qt. Overall condition very good to excellent. Some with typical crazing to surface and few with small rim chip or surface crack as noted.

H.A. Harding Oyster House, Portland 1892 (Courtesy collections Maine Historical Society)

The oyster has been a culinary staple in Maine since prehistoric times. The native tribes utilized them in such great numbers that their shell heaps reached depths of thirty feet. The bivalves remained very abundant through the 1600 and 1700’s but the beds were so mercilessly raked over by the early nineteenth century that Maine schooners began harvesting seed oysters from Massachusetts, Rhode Island, Long Island Sound, and later, the Chesapeake, for transplanting into their home waters.

The popularity of the oyster, however, never dimmed. Rather, demand continued to increase, aided in part by the improved canning industry and the availability of the railroad to speed transportation and expand the market demand inland.

Eventually, practically all of the oysters sold in Maine originated from other waters. Portland and Bangor both became shipping hubs in the oyster trade for a large portion of Canada, New Hampshire, and the rest of Maine. By the late 1800’s and early 1900’s the oyster frenzy peaked. Numerous Oyster Houses and Bars became popular and no festive occasion was complete without the addition of some form of oyster on the menu.

Consumers discussed the merits of particular oyster sources as they would the vintages of wines.

Eventually, a series of events, such as pollution of the beds, sedimentation and, ultimately, the occurrence of the oyster borne typhoid in the winter of 1924-25, was said to cause the

(2,750 - 3,250)

demand for oysters to plummet 50 to 80% worldwide. In Maine, two generations of oyster eaters slowly forgot such a delicacy even existed. They all but dropped from the menus of celebrated restaurants and the oyster became a specialty food. Today, oysters are making a remarkable recovery and, once again, grace the tables of Maine’s diners.

The use of “jugs” as containers for oysters was a somewhat uniquely New England practice and they are seldom found south of that area. In the Chesapeake, cans were the preferred containers and occasionally glass jars are found from both areas. This preference for “jugs” was likely heavily influenced by the long-standing Yankee tradition of preserving foodstuffs in stoneware crocks. A number of manufacturers in New England had long supplied these vessels and it would have been a simple transition for them to begin forming these containers with wide, straight mouths to accept the oyster. One of the largest of these manufacturers was E. Swasey and Co. of Portland, Maine. At one point, this company was the most prolific pottery works in New England. They produced the jugs both under their own name and, as a marketing tool, large numbers were specially ordered to include a dealer or fish market’s name.

Years in the making, this collection, includes some of the rarer, larger size. jugs.

Alfred Jones bldg. on Bangor waterfront

E. Swasey bill for containers

165a 165a

166

167

Hepplewhite tapered leg stand, New England, circa 1790. 27.25” tall. Top is 16.75” x 21”. Dove tailed drawer.

Appears to be maple construction with inside of drawer pine. Drawer bottom is champhered. Original buttermilk

Carved triangular decoration at cuff edge. Original with minor wear; slight wear to wood on one.

Selig, Bridgewater, Nova Scotia in the late 1970s. He

red paint that has been strengthened in several worn

bought a sea chest that was mostly rotten while picking

areas on top; crack in one side of drawer; chip missing

on the eastern shore of Nova Scotia, and took the beck-

from same side; pull is a make due replacement.

ets off.

Provenance: Guyette collection. Purchased from Don and Brenda Frost, Farmington, Maine in the late 1970s.

Provenance: Guyette collection. Purchased from Doug

167

(700 - 900)

Candle stand, circa 1800. From Southern Maine.

28.5” tall. Top is pine and 13.5” x 17.75”. Bottom edge of

(700 - 900)

top is champhered, base is hardwood. Thin crack part of 166

Set of leather, wood, and woven string beckets, circa 1890s. From Muskadoboit Harbor, Nova Scotia.

10.25” long. Both are made with carved wooden hands

the way through top; paint appears to be original.

and Jackie Davis, Farmington, Maine around 1980.

as the blocks for attachment for attaching to sea chest.

168

168

Provenance: Guyette collection. Purchased from Joe (400 - 600)

169

170

Two Mic Mac Indian baskets from Nova Scotia. Both

faded; very minor damage to quills; one birch bark cor-

show good age. A sweet grass and fine ash splint basket

ner has opened.

made in the form of a pitcher. 6.5” tall x 4.5” at its widest point near the bottom. The other is a covered split ash

Provenance: Guyette collection.Purchased form Chris Huntington, Blockhouse, Nova Scotia in late 1970s.

storage basket with handles, top is 7.1” in diameter.

(350 - 450)

Provenance: Guyette collection. Pitcher basket purchased from Dennis Teakle, Ontario, Canada. We met him on the Trans Canada highway in New Brunswick to

170

storage, shorter was set up for six spools of thread inside

see if he had anything we could buy. Covered basket

with small holes through the sides to unwind and use the

from Chris Huntington, Blockhouse, Nova Scotia both around 1980.

169

thread. 10.5” and 6.25” tall. Thread dispenser has circular

(250 - 350)

decoration turned in the top. Original paint; minor wear; structurally good.

Mic Mac quill work storage box. Woven birch bark and porcupine quill construction. Wooden bottom board.

5.5” x 6.5” and 4” tall. Some of the color in quill work has

Two early pieces of treen. Tall one is for tobacco

Provenance: Guyette collection. Purchased from Chris Huntington, Blockhouse, Nova Scotia, late 1970s.

(300 - 400)

146

170a

170a

170a

Impressive 11’ long rifle trade sign, possibly 2nd half 19th century. Made in the shape of a rifle with mounted sights and copper revolving style magazine.

Meticulously applied metal, both iron and copper strapping at butt of gun, trigger guard, sights, and ramrod (indicating it may be a transitional piece created while black powder use with ramrod was still popular).

Original paint that has worn with scuff marks and rubs, mostly on edges; copper has a fine aged patina; iron shows aged, pitted natural rust and deterioration.

Provenance: Consignor purchased directly from Pennsylvania dealer, Fred Kramer.

170b

170b

(5,000 - 8,000)

Miniature pine 2 drawer blanket chest, 1st quarter 19th century. 9.125” x 7.25” x 3.5”, Light brown, buttermilk paint with swirl decoration and period hinges. Original paint; structually very good; each back foot has a thin crack.

Provenance: Guyette collection. Purchased from Greg Willet, late 1970’s. Greg purchased it at the Manchester, Maine antique shop around 1980.

(650 - 950)

170c

Pine document box with dome top and raised wooden liner. Southern Maine. 1st quarter 19th century 4.25” x 9.75” x 5.5”. Square nail construction

170c

with period wire hinges. Original paint with slight wear; some tiny dents; one hinge was replaced.

Provenance: Guyette collection. Purchased from Don and Brenda Frost, late 1970’s.

170d

(650 - 950)

Document Box, Southern New Hampshire, last quarter 18th century. 6.5” x 9” x 17” dove tail construction with hand forged lock and latch, period wire hinges. Period brass handle on top. Dark blue paint with mustard yellow floral and drape design. Original paint with minor fading and wear; numerous tiny dents.

Provenance: Guyette collection. Purchased from Steven Rowe around 1980.

(650 - 950)

170d

147

170e

170e

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.

170f

170f

170g

(2,500 - 3,500)

170h

Outstanding owl decoy, Leonard Doren or John Hiatt, Illinois. Glass eyes. Balsa body. One of the best

11” high. Lamp is in working condition; very good and original.

examples we have seen. 16” tall. Near mint original paint;

a few small rubs.

Provenance: Governor Jim Thompson collection.

Purchased from Mrs. Thorpe, John Hyatt’s granddaughter,

Pekin, Illinois, 2014.

Provenance: Governor Jim Thompson collection.

(1,800 - 2,500) 170h

170g

A bird tree lamp, John Hyatt, Pekin, Illinois, 2nd half 20th century. Eight songbirds carved and mounted on

Full size carved pheasant, John Hyatt, Pekin, Illinois, 2nd half 20th century. Rooster with glass eyes, feather stamping on head and body. Mounted on a

branches made into a lamp. Finch, cardinals, bluebirds,

carved wooden log. Laminated body construction. 17”

woodpecker, and chickadee on a nest. Each bird stands

tall. Strong original paint; a few small spots of wear and

approximately 2.5” high and is 4” long. Carving measures

filler cracking where wings were applied to body.

148

(800 - 1,200)

Provenance: Governor Jim Thompson collection.

Purchased from Jay Tonelli in 2011.

(1,500 - 2,500)

171

Very rare set of six step down Windsor chairs, made in Whitefield, Maine, circa 1830s. In original buttermilk red paint. 36” tall. Original paint with minor wear; a few small dents.

Provenance: Guyette collection. Purchased from David Jewell, Skowegan, Maine around 1990.

(3,000 - 4,000)

149

Decoratives by the Ward Brothers Crisfield, Maryland

172

Exceptional preening Canada goose, Ward Brothers, Crisfield, Maryland. 23” long. Mounted on burl base. With lifted wings. Carved primaries and secondaries. Fluted tail. Ward Brothers metal label on base. Dated 1969. Extra fine feather paint detail. Very slight shrinkage on part of one wing, otherwise excellent and original.

Literature: “The Story of Lem Ward,” Glenn Lawson, p. 106, exact carving pictured.

(15,000 - 20,000)

150

151

173

174

173

Hollow carved special order Canada goose, Ward Brothers, Crisfield, Maryland. Made as a

174

Christmas present by the Wards for their good friend

by Lem Ward 1965 quotes “Made for Somers Headly”.

Dr. Kramer. Inscription on underside dated 1968. Also

Decoy features are exaggerated, puffed cheeks, wide

small “MK” brand. 27” long. Head is in unusual, slightly

bill, bold shoulders, and perforated breast. A special

turned, calling pose with open bill. Ice groove behind

made gift for a special friend of the Ward Brothers.

neck. Detailed feather paint. Very good and original.

Stippled painting on sides and back. Wet on wet blending on other areas. Head is turned and tucked.

Literature: “Ward Brothers,” Brian McGrath and Ron Gard.

13.5” long. Excellent original paint with crazing at red

(5,000 - 7,000)

areas of head.

152

A plump and wonderful redhead drake, Ward Brothers, Crisfield, Maryland. Signed and dated

Provenance: Roberts collection.

(4,000 - 6,000)

175

176

175

Highly decorative widgeon, Ward Brothers, Crisfield, Maryland. Dated 1963.

176

Pair of decorative mergansers, Ward Brothers, Crisfield, Maryland. Hollow.

Head is turned. Primary and secondary wing-

Signed “Made special for Dr. James Thompson

tips are raised approximately 2” above a

collection Lem Ward 1967.” Both have turned

dropped carved tail. Wing patches are fluted.

heads, drake’s is lifted slightly. Both have

Vermiculated carving on back and side pockets.

carved primaries and secondaries as well as a

12” long. Excellent and original.

fluted tail. 16” long. Very good and original.

Provenance: Roberts collection.

(4,000 - 6,000)

Provenance: Herrington collection. Formerly in the Thompson collection.

(6,000 - 9,000)

153

177

Full size decorative snow goose, Ward Brothers, Crisfield, Maryland. 19” long. Slightly turned head. Feather carving on neck and back of head.

Raised, carved primaries and secondaries. Fluted tail.

Inscription on underside reads, “Dr Morty Kramer collection Lem Ward 1968”. Very good and original.

Literature: “The Story of Lem Ward, Glenn Lawson, p.

107, exact decoy pictured.

154

(6,500 - 9,500)

178

179

178

178

179

Black duck, Ward Brothers, Crisfield, Maryland. Signed and dated 1958, with quotes “Best Grade Female Black duck”. Balsa body with turned head and exaggerated, raised, crossed wingtips.

Secondaries are relief carved. A delicate and complicated feather pattern showing the skillful hand of the Wards quality. 16.5” long. Excellent original paint;

179

Large merganser drake, Ward Brothers, Crisfield, Maryland. Signed and dated 1970. 17” long with slightly turned head. Relief wing carving with raised carved wingtips and fluted tail. Small sap bleed next to one wing; minor discoloration on one lower side.

(4,000 - 6,000)

structurally good.

Provenance: Roberts collection.

(4,000 - 6,000)

155

Sporting Art George Browne 1918 - 1958 Born in New York City in 1918, George Browne was the son of the noted artist, mountaineer, and sportsman, Belmore Browne, 1880-1954. In the late 1940s, he established a reputation as a painter of game birds, executing such pictures as Startled Mallards and Canvasbacks Swinging the Channel: Chesapeake Bay. In 1950, he had his first one-man show at a prominent gallery in New York City, and he made connections with other galleries in the following years. In 1954, he moved from California to Connecticut in order to be closer to galleries in New York City and Boston, and to upland game and waterfowl habitats of the MidAtlantic states and New England. Though a premature death resulting from a firearms accident at the age of 40 cut short his promising career, George Browne is acknowledged by collectors today as one of the century’s finest sporting artists and bird painters.

George Browne with his dog “Kelly” (from Ordeman & Schreiber, 2004)

156

180

Excellent oil on canvas, George Browne (1918-1958). Image depicting alert ruffed grouse perched in tree on edge of New England hillside and rock out cropping. Impressive and interesting depth to painting. Signed lower left. Grouse is front and center, well executed with fanned tail and tufted head. Professionally framed. Image size 24” x 29.5”. Excellent and original.

(15,000 - 20,000)

157

181

Oil on board, David Maass (b.1929). Of pintails in flight. Signed and dated lower right, 1954. an

181

early and well executed painting by Maass. Three pintails are taking flight over water’s edge with wind blown cattails at lower left.

Painting has been perfectly preserved behind piece of artist glass and is professionally framed. Image measures 11” x 15.5”. Excellent and original. (5,000 - 7,000)

182

Oil on board, David Maass (b.1929). Of grouse in apple tree on a partly sunny day.

Signed lower left. Image measures 23.5” x 20”. Excellent and original.

158

(7,000 - 10,000)

182

183 183

“Scouting the Coast Common Eiders,” an oil on board by David Maass. Signed. Professionally framed. Image size 23.5” x 32”. Very good and original.

(3,500 - 4,000)

184

Oil on canvas, Richard Bishop, Philadelphia, Pennsylvania (1887 1975). Titled “Flights In”.

184

Image of strutting prairie chicken and bundled hay stacks in field under a blue sky. Image size 24” x 26 1/4”.

Professionally framed. Signed “Richard E. Bishop” in lower right with copyright. Small line visible at top where canvas may have rested against frame otherwise very good and original.

(4,000 - 6,000)

159

Lynn Bogue Hunt 1878 - 1960

185

Important and impressive oil on canvas, Lynn Bogue Hunt, circa 1920s. Powerful image of mallards in flight at early morning or perhaps dusk. Hunter is set in sneak boat with decoys in water at shore’s edge. Measures an impressive 48” x 29.5”. Very slight craquelure in some areas of the sky; a few tiny spots of inpainting.

Provenance: Private Louisiana collection. Ex collection of Robert Petersen, Los Angeles, California.

(15,000 - 25,000)

Original illustration used for this 1927 calendar.

160

185

161

187

Oil on board, Elmer Crowell, East Harwich, Massachusetts (1862-1951). Signed and dated “A.E. Crowell 1951.” Perhaps one of Crowell’s last works of art, as he died in the same year.

An image of the sea shore on Cape Cod with geese, goldeneye, gulls, and mallards enjoying the marshy shoreline. Image measures 9.5” x 11.5”. Very good and original.

162

Provenance: Dinan collection.

(8,000 - 12,000)

188

Oil on canvas, Henry William Machen, Toledo, Ohio, 1st quarter 20th century (1832-1911). Large and impressive execution depicting a brace of mallards hen and drake. Strapped by square nail and twine.

Signed lower right, “Machen.” Image size 29.5” x 24.5”. Some restoration to the canvas along the top left and top right corners, as well as top edge, two small thin spots of inpainting, one on drake and one on hen show up under UV light.

Provenance: Governor Jim Thompson collection.

(5,000 - 8,000)

163

188a

188a

Watercolor, James Sessions (1882 - 1962). Signed in the lower left. Two fishermen in canoe with hooked musky jumping. Professionally framed and matted. Image size 20” x 28”. Excellent and original.

Provenance: Governor Jim Thompson collection.(4,000 6,000)

189

189

Oil on board of eagle flying through pine forest, John Seerey-Lester. Signed lower right, “Seerey-Lester,” copyright 1993. Highly detailed.

Image measures 23.5” x 35”.

Professionally matted and framed. Very good and original.(2,500 - 3,500)

164

189a

189a

Watercolor on paper, Lewis Agassiz Fuertes (18741927). Signed and dated lower left, 1921. Rocky mountain elk standing atop of grassy foothills. A royal bull or 7x7 looking into the valley. Mounted in a hand carved period frame.

Image measures 22” x 22.5”. Excellent and original.

Provenance: Deaccessioned from a New England museum.

(5,000 - 8,000)

165

189b 189b

Two individually executed watercolors on paper. Framed and mounted together as companions. Both signed lower left. “Lewis Agassiz Fuertes”. Top image is of a ram and Ewe of big horned sheep. Bottom is mountain goat standing at cliffs edge. Both images measure 5.5” x 8”. Frame measures 20” x 15”.

Provenance: Deaccessioned from a New England museum.

189c 189c

(4,000 - 6,000)

Two individually executed watercolors on paper. Framed and mounted together as companions. Both signed lower left. “Lewis Agassiz Fuertes”. Top image is of a mink, bottom is of two weasels. Both images measure 5.5” x 8”. Frame measures 20” x 15”.

Provenance: Deaccessioned from a New England museum.

166

(2,500 - 3,500)

189d

Well executed oil on board, David Maass, Minnesota (b.1929).

Image depicting landing broadbills at lake’s edge with many more ducks in flight. Wind blown clouds and ice forming on open water. Signed Maass lower left. Image size 24” x 35.5”. Professionally mounted and framed.

Titled “First Snow”. Very good and original.

Provenance: Retains original Cross Roads of Sports Gallery sticker on back.

(7,000 - 9,000)

167

189e

189e

Watercolor and gouache on paper, J.D.. Shoots. Of leaping brown trout hooked by fly in forested stream. Artist has decorated the matting and titled the painting Home of the Brown Trout.” Signed lower right, J. D. Shoots, 33”. Frame is decorated with geometrics and two fly’s.

A well executed painting.

(800 - 1,200)

189f

189f

Colorful oil on board, Marcel Bordei (b.1955). Image of two Alaskan bull moose and one cow along marshes edge. Signed and copyrighted middle left. Image size 24” x 36”. Professionally framed. Excellent and original.

Provenance: Deaccessioned from a New England museum.

(800 - 1,200)

189g 189g

Oil on board, Canada geese in flight, Harry Antis (1942-2002). Signed lower left.

Dated 1982 with copyright. Large image, measures 29.5” x 19.5”. Well executed fine detail on geese. Professionally matted and framed.

(1,500 - 2,500)

168

190 190

“Woodcock, Early Morning”, Aiden Lassell Ripley (18961969). Watercolor of two flying woodcock. Signed lower right and dated 1936. Professionally framed and matted. Image measures 9 3/8” by 13 3/8”. Very good and original.

Provenance: Former collection of Guido Perera.

191

“Trap Boat”, Robert Charles Gruppe (b.1944). Oil on canvas. Signed lower right. Titled and dated 1969 on the

(2,500 - 3,500)

191

back of frame. Image measures 20” by 30”. Very small puncture in lower image, otherwise excellent and original.

Provenance: Dr John Dinan collection.

(2,000 - 3,000)

192 192

Watercolor on paper, Milt Weiler (1910-1974). Hunter setting decoys from sneak boat. Mallards in flight and a second hunter in the background closer to shoreline. Signed lower right “M.C. Weiler”. Professionally matted and framed. Image measures 17.75” x 25”. Very good and original.

(2,000 - 3,000)

169

New England Albert Laing 1811 - 1886 | Stratford, Connecticut

193

White wing surf scoter, Albert Laing, Stratford, Connecticut. Branded “Laing” in underside. Hollow two piece body with head position extended over middle of back. Detailed scoter bill carving. Slight ice groove carved in back and neck seat at Laing’s 30 degree angle. Very old working paint; professional restoration to bill as most of this rig was transitioned to black ducks at one time and then back to scoters.

(10,000 - 15,000)

170

194

Very early hollow carved black duck in sleeping pose, Albert Laing, New York, New York and Stratford, Connecticut, mid 19th century. Branded “Laing” in underside. 14” long. Old in use repaint probably by Shang Wheeler; one glass eye replaced; some minor damage to the top of the head, overall good structurally for a decoy of this age.

Provenance: Richard Bourne decoy auction, February 1985.

Literature: “Decoy Magazine,” July/August 1995.

“Albert D. Laing: A Decoy Maker Unequaled in his Day,” article by Ron Swanson, pp. 8-16. “Connecticut Decoys,” Henry Chitwood.

(12,000 - 18,000)

171

195

Surf scoter, Shang Wheeler, Stratford, Connecticut, circa 1940. Hollow carved with bottom board. Retains original identification dated 1947 from Tom Marshall.

Well carved scoter style bill with glass eyes and slightly turned head.

16” long. Original black paint; what appears to be two coats of white paint at circles on head, both of which may be original to making of decoy.

195

196

(4,000 - 6,000)

Rare old squaw drake, Shang Wheeler, Stratford, Connecticut, 1st half 20th century. Balsa body.

Branded “DWS” for Don Snider. Note on underside reads, “I authenticate that this decoy was made by Shang Wheeler in early 1940s. Thomas C Marshall” and signed by Marshall. An old second coat of working paint; a few small dents and rubs at end of tail and bill.

(2,000 - 3,000)

196

197

Hump back scoter from Deer Island, Maine, Attributed to Eben Weed Eaton, last quarter 19th century. Inlet head. “HEA” carved in underside. 15” long. Old working repaint; numerous shot scars; crack in neck; professional restoration to approximately 1/3 of lower bill.

(1,500 - 2,000)

197

198

Goldeneye hen, Oscar Bibber, South Harpswell, Maine. Solid body. Slightly turned head. 16” long. Original paint with minor wear mostly on underside; structurally very good.

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

198

172

200

Cork body black duck, Lou Rathmell, Stratford, Connecticut. Slightly turned wooden head and inserted wooden tail. 17.5” long. Good feather paint detail. Ice groove behind neck. Near mint original paint; structurally very good.

Provenance: Matthew estate.

(5,000 - 8,000)

173

201

202

201

Eider drake, attributed to Eben Weed Eaton, Deer Island Maine, 1st quarter 20th century. Inlet neck seat. With carved crest and relief carved bill. Typical hump and upswept tail. 18” long. Multiple coats of old paint; some flaking around neck area; several shot scars; small chip missing from tip of bill; rough area at tail with missing chips.

Provenance: Dinan collection.

201

202

(3,000 - 4,000)

Rigmate pair of goldeneye, George Huey, Friendship, Maine, 1st quarter 20th century. “GR Huey” carved in underside of drake. Both have inlet heads, carved eyes, and slight carving at bills. Hen has two staples in side of body, probably used as part of a rigging system. 15” long. Thick original paint on both; has

174

crazed mostly over white areas; a few shot scars in both; moderate gunning wear.

(3,000 - 3,500)

Leigh Floyd Witherspoon 1899 - 1971 | Vinal Haven, Maine

203

Merganser hen, Leigh Witherspoon, Vinal Haven, Maine. 16.5” long. Open bill and carved wooden crest. Feather carving at wingtips and tail.

As with all Witherspoon mergansers, the head is attached with a false inlet. Near mint original paint; numerous small, faint marks on side of head from something being spilled on it; both bill tips are professional replacements.

(7,000 - 9,000)

175

Willie Ross 1878 - 1954 Chebeague Island Maine

176

204

Rare rigmate pair of mergansers, Willie Ross, Chebeague Island, Maine, 1st quarter 20th century. Drake is 16.75” long.

Both have inlet heads that are attached with wooden pegs. Very good form and patina. Near mint original paint on the drake; the hen has several very small scuffs on the back; both ostrich plume crests are missing; each has had a bill crack profesionally repaired

by Russ Allen, with a very small amount of touchup in that area.

(12,500 - 17,500)

177

Shorebird decoys Obediah Veriy 1813 - 1901 | Seaford, New York

178

205

Black bellied plover, Obediah Verity, Seaford, New York, 3rd quarter 19th century. 10.5” long. Deep wing carving and carved eyes. Eyes are facing somewhat forward on beetle style head. Original paint with minor discoloration and wear; hit by shot; two shot scars, one of which has old touchup in part of it.

Provenance: Purchased by the consignor directly from Bud Ward.

(20,000 - 25,000)

179

205a

Greater yellowlegs, Charles Clark, Chincoteague, Virginia, last quarter 19th century. 11.25” long. Extremely fine form with wide beetle head and dropped tail. Original paint with slight wear on the off white area, moderate wear on the brown; thin crack partway through head.

Provenance: Matthew estate.

180

(6,500 - 9,500)

206

207

206

Very plump black bellied plover by a member of the Verity family. 11.25” long x 3.5” wide with relief wing carving and carved

Sandpiper, Dave “Umbrella” Watson, Chincoteague, Virginia, last quarter 19th century. 6.5” long. Raised wingtip carv-

eyes. Most of bill is a professional replacement

ing. Original paint with minor wear; crack in

by Russ Allen; old in use repaint on breast and

one side; hit by shot on other side; flaked paint

underside; most of the paint on the rest of the

at top of head.

207

(3,500 - 4,500)

decoys is original with minor discoloration and wear; moderately hit by shot on breast.

Provenance: Matthew estate. Purchased from Adele Earnest in the late 1950s.

(3,000 - 5,000)

181

208

209

208

Rare red knot from Accomack, Virginia. Carved eye with incised wing

wing carving and inserted hardwood bill.

back. 8.5” long. Strong original paint; sev-

Fine loop feather painting on back. 11.5”

eral shots scars mostly on back and one

long. Original paint with flaking on the bill

side; bill appears to be original, but is bro-

and minor wear mostly around tail; rough

ken away from splined extension through

area at one side of tail.

front of face.

Provenance: Formerly in the Sam Dyke collection, acquired from John Levinson in

Literature: “Southern Decoys,” Henry Fleckenstein, Jr., p. 123-124. “American Brid Decoys,” William J. Mackey, Jr., p. 158.

(5,000 - 7,000)

182

Balsa yellowlegs, Ira Hudson, Chincoteague, Virginia. Raised “V”

carving and split tail. Feather painting on

back of head and has been reglued to

209

1971. Dyke collection stamp on underside.

(4,000 - 6,000)

209a

Running curlew, Alma Fitchett, Smith Island, Virginia, last quarter 19th century. A serifed “F” is carved in the underside behind stick hole. Also retains the Joe French collection stamp and number “41” stenciled in underside. Carved eyes with hardwood bill splined through back of head. 16” long. Original paint; rough area at one side back of body and tail has been darkened; tip of tail is partially worn off; very small chip at tip of bill.

Provenance: From Joe French’s notes - Bill Mackey found this decoy in Nags Head, North Carolina. French purchased it from Mackey in 1954.

Literature: “Wings of Wonder,” Dr. Lloyd Newberry. “Decoy Magazine November/Dec 2009 article by Jack Marsh.

(12,000 - 18,000)

183

210

Golden plover, John Dilley, Quogue, Long Island, New York, last quarter 19th century. Fall plumage with glass eyes. A more simple version of Dilley’s work.

Carving marks are still visible. Paint is more simple, but the elegance of his work is still apparent. 10.5” long. Original paint; wear at back of head, bill, and tail, structurally good.

(3,000 - 5,000)

210

211

Large Verity Family black bellied plover, Seaford, Long Island, New York, last quarter 19th century. Relief wing carving and carved eyes. 12.5” long. Original paint with minor discoloration and wear; several tiny shot marks; small blood stain near one side of face; protected by very light coat of varnish.

(3,000 - 5,000)

211

212

Running yellowlegs, Thomas Gelston, Quogue, Long Island, New York, last quarter 19th century. Just under 15” long. Shoe button eyes. Relief wing tip carving. Appealing old in use repaint with some original on the breast; several shot scars in the underside that were filled a long time ago; bill has been broken off but was repaired a long time ago with fish line; filled shot scar in underside approximate area of a dime that has been touched up with the touchup extending outward roughly half inch all round the filled area.

212

184

Provenance: Matthew estate.

(1,500 - 2,500)

213

Curlew, Charles Clark, Chincoteague, Virginia, last quarter 19th century. 14” long. “W” carved near the stick hole. Original paint; minor discoloration and wear; bill is a professional replacement.

(3,500 - 4,500)

213

214

Plover from Assateague, Virginia, last quarter 19th century. 9 3/8” long. Raised V wingtip carving. Original paint with moderate wear; crack in one side; saw cut mark on underside; slight roughness to tip of tail; lightly hit by shot.

Provenance: Matthew estate.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr. (2,000 - 3,000)

214

185

New Jersey

186

Great Blue Heron (Ardea herodias) The Great Blue Heron is the largest of our wading birds. It is usually seen along the Atlantic coast either standing alone, motionless, near the shore or slowly prowling the shallows in search of its next meal. Why would a hunter make such a large decoy and then carry the bulky object across mudflats or sand? There are a few possible answers: (A) the birds or their feathers have had monetary value, (B) they were considered good to eat or (C) the decoys had some other useful purpose.

Feathers were in high demand to adorn women’s hats, a very fashionable trend in the late 1800’s and early 1900’s. As noted in numerous publications, “Frank Chapman, a society columnist in the 1890’s did some bird watching one fall afternoon in New York’s City Hall Park: He counted forty different specimens of birdlife – fixed on ladies bonnets.”

Some Blue Herons were shot for their plumes, but this would have occurred primarily on their breeding and rookery grounds where decoys probably would have been of little value.

Decoys for these large birds did, however, perform a function which would justify their construction and use. As noted in Forbush: “(The heron’s) great height, telescopic sight and acute hearing give it an advantage over all other denizens of the marsh.” The great blue’s reputation for wariness is legendary and

hunters were quick to use this trait to their advantage by placing a decoy resembling them near their rigs to instill a sense of calm and safety to incoming ducks or shorebirds. Using this logic, it is fair to assume that the vast majority of the very few heron decoys that were made were indeed meant to be used as confidence decoys.

Useful in their day, today they are treasured for their great rarity and admired for their wonderful sculptural form and imposing presence. The example being offered here from the renowned Mackey collection is perhaps the finest of its kind ever to have survived.

It was a personal favorite of Mr. Mackey and has remained in the family until today. It is the subject of Color plate I in “American Decoys”; it is featured as a full page photograph in Colio’s “American Decoys” and it graces the full cover of the Sept/Oct 1991 issue of Decoy Magazine. Mr. Mackey was asked to exhibit the bird a number of times, perhaps most notably at the 1966 (now) famous IBM exhibit in New York City.

Mr. Mackey accurately describes the beauty and importance of this bird when he proclaimed that it will: “take command of any collection”

From left to right (Decoy Magazine - color plate I in Am Bird Decoys - p 82 in Colio

187

This note card provided by Collector Dick McIntyre shows notes by early collector Harry Megargee where he remarks that Mackey has the only other similar example to Megargee’s heron. Both by the same maker.

188

215

The best and most important great blue heron decoy to ever be offered at auction, 2nd half 19th century, an unknown carver from New Jersey. Hollow body, meticulously assembled from four pieces of wood. Neck is a long, elegant separate branch doweled on one end, carved and twisted to create a most perfect position for a separate one piece applied head that has a carved crest and perfectly carved heron like bill. 44” tall on base. This important piece shows tremendous age, while maintaining well worn but original paint; where paint is missing, mostly on body and neck, a warm patina of oxidized wood has created a very desirable surface; hunter repair at base of neck; tight crack in head; separation in wood seams at body; pieces of wood underneath back half of tail have deteriorated and left the hollow body exposed; Russ Allen has created a base and leg that compliments this magnificent sculpture.

Provenance: William J. Mackey, Jr. collection. Mackey stamp twice under tail and breast. Consigned by a member of the Mackey family.

(40,000 - 60,000)

189

Seagulls are one of the rarities in the decoy world.

Those that were made were intended as confidence birds, meant to instill a sense of calm and security to incoming targets. Not every hunter used a confidence decoy and those few that did only required a single example. Bill Mackey felt that: “There is only one bird that is not shot in its own right and is helpful in luring birds of another species within gunshot. - - - The only true confidence decoy is a gull decoy”. Gulls are occasionally found elsewhere along the flyway, but some of the finest, early examples, from the collections of Mackey, Barber and Starr, were all from Long Island.

When discussing an example from the south shore of Long Island in his own collection Mackey wrote: “In this region, if anywhere, were made the perfect gulls from

190

the collector’s standpoint” and “Generally, gull decoys from Long Island - - are real prizes - - “.

Earlier, Barber, who owned three Long Island examples, felt that some of the sea gulls from this area represented “fine examples of the decoy makers art”.

A rigmate to the gull being offered here was proudly included in the Doc Starr collection and is prominently pictured both on the cover and in color plate 31. His gull was a gift from a gentleman on Long Island who told Starr that he had found the bird in a barn in Southampton and that “Nothing of (its) early history is known”.

A little math indicates that this gentleman found the bird c1935 or perhaps earlier. Starr obviously greatly admired this gift, and he describes it in his book as follows: “The body is solid and bears no marks of identification, and the low lines contrast with the stately erect head. The carving is deep and sure. The great crossed primaries stand free of the broad, flat tail. The paint is original and covered now with a fine crackle effect from exposure to weather”.

Starr goes on to write that, shortly after receiving his gull, a rigmate was found in a New York antique shop that he felt sure was “by the same hand”, again with no history attached. It is unclear if Starr acquired this (antique shop) gull but neither example was included in either the 1983 Willis Henry “boat yard sale” nor the 1986 Bourne sale of the Starr collection. There is a distinct possibility that the gull being offered here is this second gull referenced by Doc Starr. It would be a genuine prize in any mature collection.

215a

Oversize confidence herring gull, Long Island, New York, unknown maker 1st qtr. of the 20th century. Carved shoulders, split tail, and carved extended wingtips. 26” long.

Original paint with even wear; scratches and rubs have exposed bare wood; some cracking at tail where a small piece has discolored but is still intact; an early split in underside; shows good age and oxidization.

Provenance: Rigmate sold in the Guyette & Deeter July 2015 sale.

Literature: This decoy is a rigmate to the gull pictured on “Decoys of the Atlantic Flyway,” George Ross Starr.

(15,000 - 25,000)

191

216

Black duck, Harry V. Shourds, Tuckerton, New Jersey. Two piece hollow body with tack eyes.

Scratch feather painting on back. 17” long. Original paint; light gunning wear that is worn evenly over body; finish nails were added to secure break in neck; some nail holes are visible mostly on one side that were used to secure the body.

Provenance: Roberts collection.

(1,500 - 2,500)

216 217

Merganser drake, Bill Hammel, Absecon, New Jersey, circa 1900.

Two piece hollow body. Delicately carved crest, carved eyes, and raised neck seat. Weight is inlet into the body.

Eye hook has been screwed into the bottom of the bill so that a hunter could pull the decoy with a string to invoke motion.

16” long. Original paint on breast and bill; black and white areas are old gunning repaint that has worn evenly.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr., p. 19, similar example.

(3,000 - 3,500)

218

Rare Canada goose, Lloyd Parker, Tuckerton, New Jersey, circa 1900. 23.5” long. Small “JJ” stamped near weight. Original paint with minor flaking and wear; several tiny dents; working repaint on back.

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

(1,750 - 2,250)

218

219

Canada goose, Jess Birdsall, Point Pleasant, New Jersey, last quarter 19th century. 24” long. Original paint with minor flaking and wear; old repaint on brown area of back and sides; structurally good.

219

192

(1,750 - 2,250)

220

Important early style broadbill drake, Harry V. Shourds, Tuckerton, New Jersey, circa 1900. So called drop tail style. Probably made as a mantle piece because a inset weight was never added. A very fine thin extended tail and two piece delicately hollowed body. Bill is exaggerated and splayed out. 15” long. Fine original paint shows great age; has darkened and lightly crazed; some discoloration to white area; stipple feathering is visible at top of back; reglued crack at one side of neck; small area of paint loss near body seam under tail at front of breast.

(7,000 - 10,000)

193

221

222

221

Rare merganser drake, Charles McCoy, Tuckerton, New Jersey, 1st quarter 20th century. 16” long x 7.75”

Rare bufflehead hen, Harry V. Shourds, Tuckerton, New Jersey. Hollow carved. 11” long. Original paint

tall. Carved wooden crest. Original paint with minor wear

with light wear and flaking to one side of body; white area

and good patina; structurally good.

on underside and cheek patches have been profession-

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr. (3,000 - 4,000)

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222

ally cleaned by Russ Allen; bill has an old working second coat; tight crack through neck.

(4,000 - 6,000)

223

Red breasted merganser hen, Harry M. Shourds, Ocean City, New Jersey, 1st quarter 20th century. Hollow. 16.5” long. Original paint; paint appears to have been removed from speculum area; restoration to bottom three combs of the crest; tight vertical crack near neck seat; a few areas of wear; natural wood is exposed.

Provenance: Ex collection of Joe French.

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

(8,000 - 12,000)

195

224

227

225

228

226

229

224

Early hollow carved brant, attributed to James Parker, Tuckerton, New Jersey. Like the goose in this

227

Rigmate pair of Bluebills, Stanley Grant, Barnegat, New Jersey. 14 1/2” long. Both have inset rectangular

sale it is also branded “J.W.P. & Bro”. James Parker and

weights with SG stamped in them. Near mint original

his brother had a large oyster and clamming business

paint, minor discoloration on white areas of drake; hairline

in Tuckerton at the turn of the last century. Swimming or

crack through hen’s neck, appears to been the making.

feeding head position. 18” long. Multiple coats of old paint have dried and flaked; end of tail is rubbed.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr. (1,000 - 1,400)

(1,500 - 1,800) 225

A very rare and early hissing Canada goose, attributed to James Parker, Tuckerton, New Jersey. Two

228

ation and wear.

piece hollow body with hissing style neck. Branded “JW Parker Bro” on underside near inlet weight. 26” long.

body seam; crack in neck; imperfections in wood at top

226

196

(800 - 1,200)

Provenance: From the Furlow rig and so branded.

(600 - 900)

Multiple coats of old paint have crazed; separation at of back.

Bluebill drake, Bill Brown, Tuckerton, New Jersey. 14.75” long. Original paint with minor discolor-

229

Swimming brant, Nate Birdsall, Point Pleasant, New Jersey. Branded “B. &”. Birdsall was a boatbuilder at

Greenwing teal hen, John McAnney, New Gretna, New Jersey. Good feather paint detail. 11.25”

Johnson Boat Works. Dowel from factory was used to

long. Original paint with minor flaking and wear, mostly

minor discoloration and wear; crack in one side near tail;

on weight; structurally good.

three small areas of old touchup under tail. (1,000 - 1,500)

(1,250 - 1,750)

strengthen neck of bird. 18” long. Original paint with

230

Bluebill drake, Harry V. Shourds, Tuckerton, New Jersey. Hollow carved with inlet weight. 15” long. Thin original paint; discoloration to white areas on sides; paint loss at knots and one rub; restoration to crack in neck.

(4,000 - 6,000)

230

231

Excellent hollow mallard drake, Ellis Parker, Beach Haven, New Jersey, circa 1920. Tack eyes. Two piece hollow body. 17” long. Very strong original paint; minor wear; structurally good.

Provenance: Roberts collection. Ex collection John Hillman, retains Hillman collection stamp on underside.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr. p. 150, exact decoy pictured.

(2,500 - 3,500)

232

231

Very rare canvasback drake, Joe King, Manahawkin, New Jersey. Branded “J.B. Jackson” in underside. Inset weight with two piece hollow body and carved eyes. Scratch painting to white areas of back. Only a small rig of these Joe King canvasbacks are known to exist. 17” long. Original paint with mild gunning wear; small area of rubs; tight crack in bill; separation at body seam; a few shot scars.

Provenance: Bruce Williams collection.

(2,000 - 2,500) 232

197

Ontario Ken Anger 1905 - 1961 | Dunnville, Ontario Ken Anger lived in Dunnville on the banks of the Grand River, a few miles north of where it enters the north shore of Lake Erie at Port Maitland, Ontario. Dunnville with its river, marshes, and proximity to Hamilton Bay in Northeast and Long Point Bay to the Southwest was an area where quality decoys were in demand. Ken was an avid fisherman and hunter; duck and woodcock hunting with his cocker spaniels was his passion. Ken became a commercial decoy maker in the late 1930s. As with most prolific carvers, his style changed quite dramatically between the 1930s until his death in 1961.

Dunnville’s other internationally renowned carver, Peter Marshall Pringle (187801953) is said to have influenced Ken’s work, particularly his use of heavy texturing with the wood rasp. Ken entered the “National Decoy Contest” in New York, USA in 1948, and again in 1949, taking multiple first place Blue Ribbons each year. American sportsmen and collectors had found Dunnville’s Ken Anger. The international demand for Anger decoys continues to this day.

In addition to his gunning blacks, mallards, redheads, canvasbacks, bluebills, whistlers, buffleheads, teal, and pintails, collectors were now commissioning decorative species – wood duck, shovelers, mergansers, and old squaw.

Ken made several thousand gunning decoys for local sportsmen from Dunnville, Long Point, Hamilton Bay, Niagara, and Buffalo areas. As his fame spread, his distribution area increased, especially for his decorative work in the mid-1950s until his death.

Ken’s gunning decoys were hollow using the best materials, including Japanese oil paint. The wood was always rasp textured, especially the head. His decoys were on the large size; highly visible; extremely durable structure and paint; true to species and species’ profile. They were a serious duck hunter’s decoy – no thin bills to break or fragile tails to chip.

They were expensive, but they were quality. It is believed that Ken made several thousand gunning duck decoys, a few geese, possibly a hundred decorative decoys, plus wall plaques and book ends featuring ducks and upload birds.

Ken “The Rasp Master” Anger’s decoys are still highly sought after some 60 years after construction.

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233

234

233

Widgeon drake, Ken Anger, Dunnville, Ontario, 2nd quarter 20th century. An earlier

234

style widgeon. 13.5” long. Very good and original.

Provenance: Roberts collection.

Rigmate pair of pintails, Ken Anger, Dunnville, Ontario. Both have slightly turned heads. Rasp carving on body. Carving on drake’s side and back. 16” long. Both near mint.

(4,000 - 6,000)

Provenance: Roberts collection.

(5,000 - 7,000)

199

235

236

235

200

Rigmate pair of redheads, Ken Anger, Dunnville, Ontario, 2nd quarter 20th century. Earlier style model

236

Greenwing teal drake, Ken Anger, Dunnville Ontario, 2nd quarter 20th century. Rasp carving on

with rasp carving over body and head. Each is stamped

head. Hour glass carving in back. Thick comb painting to

“F.A.D.” on underside. 14” long. Both have light gunning

white areas on sides and back. 11” long. Excellent and

wear; strong original paint.

original.

Provenance: Roberts collection.

(2,500 - 3,500)

Provenance: Roberts collection.

(4,000 - 6,000)

237

Excellent rigmate pair of mallards, Ken Anger, Dunnville, Ontario, circa 1950. Fine rasping on head. Hollow body. With typical hour glass carving on back. 16” long. Near mint original paint; hairline crack near top of hen’s bill.

(1,200 - 1,800)

237 238

Hollow carved black duck, Harry Townsend, last quarter 19th century. 15” long. Original paint with slight wear; several tiny dents scratches and shot marks.

(1,750 - 2,250)

238 239

Rigmate pair of early Nichol bluebills, Smith Falls, Ontario, 1st quarter 20th century. 14” long.

Relief carved wingtips. Original paint; drake has a thin crack through the neck.

Literature: “Nichols Decoys,” Larry Lunman, p. 170 and 171, exact decoys.

240

(2,000 - 3,000)

Excellent black duck, Fred Croft, Belleville, Ontario, 1st quarter 20th century. Stamped “FC” four

239

times on underside. Very hollow with bottom board. Heavily detailed scratch painting. Head is set back on body. Reflecting a very content well fed pose. 13.5” long. One of the finest examples we have handled. Excellent original paint; structurally very good; very light gunning wear; small rub at one edge of tail.

Literature: “The County Decoys - The Fine Old Decoys of Prince Edward

240

County, Ontario,” Jim Stewart.

(2,000 - 4,000)

201

240a

242

241

240a

243

Redhead drake, Tom Chambers, Toronto, Ontario. Bottom board hollow. Branded “Thos. Chambers

242

Bluebill drake, Buck Crawford, Smith Falls, Ontario. Scratch comb painting over back and tail por-

maker” also branded “J.T. McMillan”. 16.5” long. Dark

tion. Hollow with bottom board. 13” long. In the making

original paint; worn areas and exposed wood, mostly on

patch repair to a crack in back and breast area; original

back; light edge wear top of head and tail.

paint; moderate gunning wear; rubs at tail, bill, and head;

Provenance: Roberts collection.

241

Large black duck, Charles Buchannan, Gananoque, Ontario. 17.25” long. Turned head and scratch loop feather paint detail. Original paint with very minor wear; thin crack though neck.

minor crazing, mostly to black areas.

(1,000 - 1,500)

(500 - 800)

243

(700 - 1,000)

Early model black duck, Nichol, Smiths Falls, Ontario. 16” long. Raised carved wingtips. Original paint with minor wear; several shot marks; two thin cracks through neck; minor roughness to edge of tail.

Literature: “Nichols Decoys,” Larry Lundman, p. __, exact decoy pictured.

202

(1,000 - 1,400)

244 244 244

54” long muzzle loading small caliber squirrel gun. Colchester.

Game birds are on lock plate.

Carved dragon head on underside of stock. Clam shell cap box in stock. Good.

Provenance: Guyette collection.

Purchased from Bob Getson along with the Edwin Backman merganser in the late 1970s.

(1,200 - 1,500)

245

245

Bronze, William J. Koelpin Titled “Opening Day”. Dated 1991. Number 17/24.

Artist name and title engraved in lower base. Image of hunter poling a sneak boat in rough water with lab and shotgun in boat. Measures 30”. Very good and original.

Provenance: Governor Jim Thompson collection.

(4,000 - 6,000)

203

249

246

247

250

248

251

246

Swing handle Nantucket basket. No brass insert

body with relief wing carving with feather detail. 10” long.

at swing handle. Dry surface. Diameter is 7.5” x 8.75”

In what appears to be original scabbard. Discoloration

tall. One break at wrap around top of basket; four small

and wear small cracks at eagle’s tail; scabbard has

areas of breaks within weaving.

opened slightly at the top.

Provenance: Dinan collection.

247

Swing handle Nantucket basket. “Folger” stamped

(800 - 1,200)

Provenance: Guyette collection. Purchased from Chris Huntington, Blockhouse, Nova Scotia in late 1970s.

(200 - 300)

on underside. Brass insert inset into swing handle. 7.5” wide x 10.5” tall. Appears to be in excellent condition.

Provenance: Dinan collection.

248

Swing handle Nantucket basket. Brass insert extends

(800 - 1,200)

in to swing handle. 6.5” wide x 6” tall. Two small areas of damage, dry surface, light color.

Provenance: Dinan collection.

249

204

250

Well carved eagle on wooden base with a carved rabbit in its talons. 16” tall. Appears to be from the 1930s. Good feather detail. Crack in one of the rabbit’s ears.

251

(600 - 900)

Early American checker board. Three color: mustard, green, and maroon. Decorative motif in corners and on

(400 - 600)

Knife with bone handle from Lunenburg County, Nova Scotia. Handle is carved as an eagle head and

painted board. Original paint; covered by a coat of varnish that has darkened; frame around board is partially worn away on one piece; scratches and dents as one would expect with age.

(500 - 800)

252

Century old (circa 1920) museum quality kayak model made by a skilled Inupiaq craftsman on King Island, Alaska. Seal skin. Made with animal skin stretched over wooden frame. 23.5” long. Original and good.

Provenance: Formerly in collection of Roger Young.

(1,500 - 1,800)

252

253

253

255

254

Indian figure holding cigar bunch in hand. In primi-

256

255

Queen Anne side chair, 2nd quarter 18th century.

tive dress attire. Painted on board in oil paint with thick

42” tall. Front of seat is 19” wide. Paint has been restored;

lead primer to create texture. Probably circa 1940.

chip missing from one foot.

Possibly used as a cigar figure or a circus sidecar decoration. 46” tall. On back is written “Powhattan”. Original

Provenance: Guyette collection. Purchased from Joe and Jackie Davis, Farmington, Maine in the late 1970s.

paint; small areas of flaking at edges; a few small dents.

(300 - 400)

(1,200 - 1,500) 254

Unique flying spread wing eagle on decorative base. Probably carved wood was then covered in very

256

nal finish; structurally very good.

fine layered pieces of metal which have worn to create a rusted patina. Wingspan measures 34”. Original and good.

Child’s Fire House bow back Windsor arm chair, last quarter 19th century. Splayed legs. 22” tall. Old origi-

Provenance: Guyette collection.

(250 - 350)

(1,500 - 2,500)

205

Factory decoys

257

258

257

259

Rare Canada goose, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. 20.25”

258

long. Strong original paint on most of the decoy; paint loss to the white area on both lower sides; some neck filler replacement and touchup at both the neck/body seam

Rare owl decoy, Swisher & Soules, Decatur, Illinois. Brown flocking and extendable wing model.

Mounted on base. 13” tall. Very good and original.

Provenance: Governor Jim Thompson collection.

(800 - 1,200)

and the head/neck seam.

Literature: “Dodge Decoy Dynasty,” Ron Sharp and Bill Dodge.

259

(5,000 - 7,000)

Owl decoy, Swisher & Soule, Decatur, Illinois. Rare snowy owl model with glass eyes. Mounted on base. 17” tall. Very good and original.

Provenance: Governor Jim Thompson collection.

(1,000 - 2,000)

206

260

Desirable pair of bluewing teal, Evans Decoy Factory, Ladysmith, Wisconsin, 1st quarter 20th century. Drake retains Evans stamp on underside. Both have scratch painting and very light gunning wear. 14” long. Original paint; a very thin grey wash was applied to drake’s head at an area that must have had a light rub.

(5,000 - 8,000)

260

261

Rigmate pair of hollow mammoth grade canvasbacks, Evans Decoy Factory, Ladysmith, Wisconsin, 1st half 20th century. Two piece hollow body.

Evans decoy stamp on underside. 18” long. Excellent original paint; with some areas on head and bill where some type of possible varnish may have splattered, it remains nearly transparent.

(4,000 - 6,000)

261

260

261

207

Contemporary carvings

262

262

263

Turned head curlew, Mark McNair, Craddockville, Virginia. Hat pin eyes. “McNair” carved in underside.

body. Carved eyes. Stressed to create an aged look.

11” long. Strong original paint that has been stressed for

Mounted on original base. 34” tall. Paint is original; tight

the appearance of age, including a few shot scars.

crack in one side of neck.

(800 - 1,200)

264

Provenance: Roberts collection.

(1,500 - 2,500)

265

Robin snipe, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. Made in the

265

Verity style peep, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. Carved shoul-

style of Cobb Island decoys, with carved eye, split

ders and wingtips and eyes. Bill is splined through back

dropped tail, and carved shoulders. Decoy has been

of head. Paint and wood has been stressed to create

stressed to create the appearance of age. 9” long. Stand

appearance of age. 7.5” long. Stand included.

included. Original paint with several shot scars. (600 - 700)

208

Sculptural egret, Mark McNair, Craddockville, Virginia. Two piece with neck that has dowel insert to

Shoulder carving with raised wingtips that are separated.

Provenance: Roberts collection.

264

263

(600 - 700)

266

269

267

270

268

271

266

267

Carved wood leaping pickle frog, Steve Weaver, Cape Cod, Massachusetts. Suspended in flight with

Provenance: Roberts collection.

arms reaching into the air. Mounted by post to one leg.

269

Base is a piece of driftwood with growing grass. Signed

Pair of pintails, Barry Chauvin, Larose, Louisiana. Drake is 17” long. Both have Chauvin’s stamp

“SW”. Underside of base reads, “Too close for comfort

in the underside. Both have slightly turned heads, glass

Steve Weaver 2016”. Frog measures 6” long. Very good

eyes, and lifted tails. Near mint original paint; structurally

and original.

very good.

(800 - 1,200)

(1,000 - 1,500)

(800 - 1,200)

2020. Titled “Shoreline Stalker”. Bird is walking with leg

Pair of hollow carved mallards, carved in the style of the Caines Brothers, Frank Finney, Cape Charles, Virginia. Each have serifed “F” in weight. 19” long with

lifted and posed for the next step. Weaver has included a

raised carved wings. Original paint that has been aged;

feather carved and painted laying on the shoreline made

a few small dents.

Miniature long billed curlew, Steve Weaver, Cape Cod, Massachusetts. Signed and dated on underside,

270

from a carved wooden base. Light feather and tail carving. Glass eyes. 5” tall. Excellent and original.

271

(1,000 - 1,500)

(800 - 1,200)

Ruddy turnstone, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. Carved in the Obediah Verity style with splined bill through back of

268

Bufflehead drake, Mark McNair, Craddockville, Virginia. Carved “McNair” in underside. Two piece

head, carved eye, shoulder and wingtip carving. 8.5”

body carved in the style of Nathan Cobb. Inlet head. 14”

of age.

long. Strong original paint that has been stressed to produce the appearance of age.

long. Strong original paint has been aged for appearance

Provenance: Roberts collection.

(700 - 900)

209

272

275

273

276

274

277

272

Large curlew, Pete Peterson, Cape Charles, Virginia. Branded, signed, and dated 1982. Bill is splined

275

Black bellied plover, Mark McNair, Craddockville, Virginia. Brass tack eyes. “MJM” is carved in underside.

through back of head. Glass eyes. Made in an eastern

Carved shoulders, split raised tail. Carving marks have

shore style. 17” long. Excellent and original.

been left visible. 9.5” long. Strong original paint that has

(500 - 700)

been stressed for the appearance of age.

273

Black bellied plover, Pete Peterson, Cape Charles, Virginia. Branded “Pete” on underside.

Signed “E.J. Peterson 1980 Cape Charles, Virginia.” 10” long. Outstanding original paint; small area of pitch bleed on front of neck.

274

Provenance: Roberts collection.

276

Dove, Mark McNair, Crooksville Virginia. Signed.

12.75” long. Raised carved wingtips. Original paint that

(500 - 700)

Golden plover, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. Made in the

has been aged; structurally good.

277

style of Cobb Island decoys, with carved eye, split

(650 - 950)

Willet, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. Glass eyes.

Carved shoulder and wingtips. Bill is splined through back

dropped tail, and carved shoulders. Decoy has been

of head. 10” long. Strong original paint has been stressed

stressed to create the appearance of age. 9” long. Stand

for appearance of age.

included. Original paint with several shot scars. (600 - 900)

210

(1,200 - 1,500)

Provenance: Roberts collection.

(700 - 900)

278

Wood duck drake, Ben Heinemann. Two piece hollow body with raised, crossed wingtips and carved crest. Comb painting on sides. Head is turned slightly.

Signed by maker on underside.

14” long. Mint.

Literature: “Decoys, 60 Living and Outstanding American Carvers,” Loy Harrell, exact decoy pictured, number 27.

(600 - 800)

278

280

279

279

Wood duck, Roy Legaux, Sr. Meraux, Louisiana. Made from a light wood, perhaps

280

Wood duck drake, Pat Meneely, Minneapolis, Minnesota. Signed on underside. Head is slightly

cypress. Carved feathers and raised, crossed wing-

turned. Carved crest and tucked head. Raised

tips. Signed by maker on underside. 18” long. Mint.

wingtips. Combing on sides. 14” long. Mint.

Literature: “Decoys, 60 Living and Outstanding

Literature: “Decoys, 60 Living and Outstanding

American Carvers,” Loy Harrell, exact decoy pic-

American Carvers,” Loy Harrell, exact decoy pic-

tured, #35.

tured, #39.

(400 - 600)

(300 - 400)

End of session one 211

SESSION TWO Saturday, May 1, 2021

Decoratives Tan Brunet Galliano, Louisiana

Tan, Jett and Jude Brunet at the Ward World Championship in 1994, Ocean City, Maryland.

Andrew “Tan” Brunet and his two sons, Jett and Jude are the most highly acclaimed and frequently honored decoy carving family of all time. Each of these three men has won the Ward World Championship in “Decorative Decoy Pairs” more than once. Tan won this prestigious award five times, starting in 1977, and again in 1978, 1981, 1982, and 1983. Winning the championship three years in a row is an unheard-of accomplishment that no one has come close to before or since. Jett won in 1985 and 1987, and Jude followed in 1993 and 1995.

281 hen

212

281

Pair of magnum mallards, Tan Brunet, Galliano, Louisiana. Drake is 18.25” long. Both have slightly turned heads and relief wingtip carving.

Both are signed, the drake with the inscription, “This is the largest decoy I have ever made, made especially for Curt Fabre, Tan Brunet 7/87.”

Hen was made as a companion piece and is signed, “10/1991 hen Cyprus root mallard for my friend Curt Fabre, Tan”. Fine feather paint detail. Near mint original paint; drake has several tiny spots of discoloration on one side of head; hen has a tiny scrape on one lower side.

(5,000 - 8,000)

281 drake

213

282

283

282

214

Greenwing teal hen, Tan Brunet, Galliano, Louisiana. Signed, “To my friend Curt. From

283

Scaup hen in resting pose, Jett Brunet. Signed and dated 5/25/88. Also

1982-May 1986, Tan”. The decoy sat unfinished

burned in underside is, “Carved for my friend

for four years. 11” long with slightly turned

Curt, a replica of my 1987 world pair do-gris

head, raised carved wingtips. Fine paint

hen.” Head is tucked and turned with sleepy

detail. Tiny scratch on back of head, otherwise

eyes. Raised carved wingtips. Fine feather paint

excellent and original.

detail. Excellent and original.

(2,000 - 2,400)

(2,000 - 2,400)

284

285

284

Shoveler hen, Jude Brunet, Galliano, Louisiana. Tucked head, which is slightly

285

Surf scoter drake, Pat Godin, Paris, Ontario. Signed and dated 1989. 16.5” long.

turned. Raised and crossed wingtips. Side

Slightly turned head. Raised, carved primaries

pocket carving. Classic wide carved shoveler

and secondaries. Near mint original paint; struc-

bill. Hollowed from the underside. Signed “Jude

turally excellent.

(2,000 - 3,000)

Brunet 2018” and “Shooting Rig”. 12.5” long. Exc ellent.

(1,750 - 2,250)

215

286

Pair of shovelers, Jimmie Vizier, Galliano, Louisiana. Signed and dated 1999. Both have slightly turned heads and raised carved wingtips. Excellent and original.

(2,500 - 3,500)

286

287

Pair of wood ducks, Jimmie Vizier, Galliano, Louisiana. Signed and dated 8/05. 12.5” long with turned heads and raised carved wingtips.

Good paint detail. Very good and original.

(2,000 - 2,500)

287

288

Pair of cork body mergansers, Jimmie Vizier, Galliano, Louisiana. Signed and dated 2001.

Both are in swimming pose with slightly turned and lifted heads. Good form. Reglued crack in hen’s bill, otherwise very good and original.

(1,750 - 2,250)

288

289

Swimming widgeon drake, Jim Foote, Gibraltar, Michigan. 17.25” long. Slightly turned, reaching head.

Detailed feather carving on primaries, secondaries, and tail. Signed. Very good and original.

Provenance: Miller collection.

(1,500 - 2,000)

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216

290

Rare and possibly the only pair of full size flying mallards, Hec Whittington, Oglesby, Illinois, circa 1950. Both have fully extended wings with dropped feet. Carved feather detailing on top side of wings. Drake has curled tail feathers. Fine feather painting on both. Drake has combing on sides and back. 23” long wide. Strong original paint that has crazed on body, mostly on hen; tight crack at wing of hen has been professionally restored.

(8,000 - 12,000)

217

William Gibian Onancock, Virginia

291

Excellent pair of full size standing canvasbacks, William Gibian, Onancock, Virginia. Both are hollow.

Perfectly detailed feathers, wingtips, and tail carving. Comb painting on back and sides of drake and comb painting on sides of hen. Each has raised alert head.

Both are mounted on wooden base, and signed “Gibian” under the belly. 18” long. Excellent and original.

(4,000 - 6,000)

291

292

Full size red tail hawk on wooden base, William Gibian, Onancock, Virginia. It appears as if the artist is sending a message with this piece, the hawk has captured the poisonous and deadly coral snake, while the friendly and helpful king snake goes about his business.

Hawk is 20” tall. The whole unit is 48” tall. “Gibian” is carved on underside of hawk. Finely detailed feather carving with carved, lifted primaries and secondaries. Good feather paint detail. Very good and original.

Provenance: Governor Jim Thompson collection.

(2,500 - 3,500)

292

218

293

Well executed double mount carving of birds of paradise, William Gibian, Onancock, Virginia. Each has Gibian’s name carved in underside. Male has raised and flared wings and mouth open in calling position, possibly ceremonial mating position.

Female staggered and mounted on base directly beneath.

Entire piece measures 22” long. Excellent and original.

(4,000 - 6,000)

293

293a

Impressive lifted wing and preening marbled godwit, William Gibian, Onancock, Virginia. Gibian’s card is signed and glued to underside of base.

Carving has lifted wing, bill tucked under, in a moment of light grooming; a few feathers lie between the open bill. Individual feather carving is done on the back side. Carved tail and feather on the rest of the bird. 18.5” tall.

Excellent and original.

(3,000 - 5,000)

293a

219

Robert Elliston 1847 - 1925 | Bureau, Illinois

Rare Robert Elliston Decoys Found in Indiana Attic

by Donna Tonelli At G&S’s 2010 Spring Auction, former Illinois Governor Jim Thompson purchased a preening Elliston mallard hen decoy for $100,625 beating out several other bidders. Robert Elliston (1847-1911) Bureau, Illinois is recognized as one of the top master decoy carvers in Illinois. His decoys are hard to find in any condition and this decoy was in excellent original condition and an exceptionally rare example with its head turned off to one side as if the duck was ‘preening’ its feathers.

Another pair of Elliston mallards with a turned head sleeper hen ( grossed $40,250) was also sold for the same consignee. And now the rest of the story: Back in July, 2009, Joe Tonelli was contacted by a young couple who had found these decoys and seven other Mason Factory decoys in the attic of an old house they were remodeling in Indiana. The decoys still had string and weights wrapped around their necks and were probably put up in the attic at least 60 or 70 years prior and forgotten. Tonelli believes the Elliston decoys were most likely purchased directly from Robert Elliston for 50 or 75 cents each by a hunter who hunted the Kankakee Marsh in Indiana. Ellsiton stamped the Raymond Lead strip ballast weight that he added to the bottom of his decoys, “THE ELLISTON DECOY”.

A google search led the young couple to Tonelli’s

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website www.edecoy.org where an article about Robert and Catharine Elliston was posted.

After the young couple emailed Tonelli a photo showing four of the decoys they had found, arrangements were made for Joe to meet the couple in Champaign. The decoys were bone dry and the Ellistons were in pristine original condition. Tonelli explained how the preening decoy was exceptionally rare and if they were not in any hurry to sell the decoys, they would get the best price by putting the decoys in the Guyette & Deeter Annual Spring Decoy Auction. They said they were hoping to get $5,000 to help pay for their remodeling project. Tonelli’s laughed and said , “No way, you’ve probably got enough to finish it and build a new garage! I’d give you $50,000 myself right now!”. Tonelli was able to help the couple consign their decoys; setting fair estimate of their value and arranging to have the decoys shipped directly to Guyette & Deeter.

Fast forward to April 2010: When the G&D catalog came out Governor Thompson and his assistant, John Frier, called Tonelli to ask him about the preening Elliston decoy. Governor Thompson started collecting Illinois River decoys about 8 years earlier and the only

major Illinois River master decoy carver that was not represented in his collection was Robert Elliston. Since Elliston decoys predate most of the master Illinois River decoy carvers like Charles Perdew, Bert Graves, and Charles Walker, few are found in original paint and even fewer in excellent condition. In an interview after the G&D auction Governor Thompson said; “Up came this ( Elliston), not only in wonderful condition but it’s a rare one, a preener. Okay, this is the one I’ve been waiting for.”

Tonelli advised Governor Thompson that this Elliston was also special because it was Elliston’s earliest style with a rounder deep body and probably pre-date 1900.

Tonelli honestly felt the catalog estimate was way too low at $12,000-$15,000 and that the preener was “the finest duck decoy in the auction. When the bidding on

this decoy began, Governor Thompson found himself in a bidding match with two ‘big hitters’; a man from New Jersey on the phone, and one from Iowa in the audience. Governor Thompson was thrilled to be able to install the decoy in his collection in Michigan.

And the young couple were thrilled when after the sale was over, they realized close to $200,000 for seven old decoys they found in an attic!

For over a decade this fine preening mallard hen

by Robert Elliston decorated the shelves of the passionate collector and Governor, Jim Thompson.

The collecting community is thankful for his participation as a regular attendee to the Midwest show in his beloved state of Illinois.

294

221

“Robert Elliston, is certainly regarded as one of the first Illinois River commercial decoy makers and because of the quality and quantity of his output as one of the best.

He traveled the Midwest until he settled in Lacon, Illinois, where he started a career of full time decoy carving while in his thirties.

Later he moved to Bureau where he lived the rest of his life.

294

Rare and important back preening mallard hen, Robert Elliston, Bureau, Illinois, circa 1900. Retains original Elliston weight. Hollow body with remnants of “CARL” stenciled on underside. 14” long. Strong original paint; dry rubbed feather detailing on back by Catherine Elliston; edge wear around tail and bill and top of head; shot scars to one side; professionally cleaned and

Elliston’s decoys were made of the finest white pine with the bodies hollowed out of two equal pieces. The heads were well carved with a very detailed bill and had eyes set very high giving a frog eyed look.

The painting was superbly done by his wife Catherine and set a high standard for other Illinois River carvers that came later. He made mallards in the greatest number, but also made pintails, teal, bluebills, redheads, canvasbacks, ringnecks, coots and Canada geese. The decoys were weighted by a lead strip on the bottom that was stamped “THE ELLISTON DECOY”. Robert was the first to make turned head sleepers. By all standards, Robert Elliston rates as a classic maker.”

222

repair to chip in tail by Russ Allen, who also removed small amount of glue at neck seam.

Provenance: Governor Jim Thompson collection. One of a group of five Elliston’s and seven Mason decoys found in a house in Indiana.

(60,000 - 90,000)

223

295

296

295

Greenwing teal drake, Robert Elliston, Bureau, Illinois, circa 1900. Hollow.

Retains original Elliston weight stamped with “The Elliston Decoy.” 12” long. Original paint that appears to have been cleaned; restoration at lower part of neck where a crack was repaired.

Provenance: Governor Jim Thompson collection.

296

Bluewing teal hen, Robert Elliston, Bureau, Illinois, circa 1900. Hollow body

(3,000 - 5,000)

with original Elliston weight. 12.5” long. Original paint protected by a coat of varnish; professional bill restoration to 1/3 of bill; moderate gunning wear; flaking and shot scars and small dent in back.

224

(2,500 - 3,500)

297

Bluebill drake, Robert Elliston, Bureau, Illinois. Retains Elliston weight on underside. Combing on side and back. Well blended swirl patterns between neck and breast. 14” long. Original paint protected by a very light coat of varnish; light wear with a few rubs and areas of paint loss that expose bare wood.

Provenance: Roberts collection.

(6,000 - 9,000)

225

298

Incredibly rare and important sleeping canvasback hen, Robert Elliston, Bureau, Illinois, circa 1900. Two piece hollow body, with head secured over one side of back. Elliston’s feather painting is still visible on back. “L.D.” is painted on underside. 14” long. It appears as if paint has been taken down to original surface; body seam has slightly shifted.

Provenance: Governor Jim Thompson collection. Only known canvasback sleeper that exists. Found with a rig of Elliston canvasbacks in southern Illinois. Randy Root purchased when the rig was found, then sold to Governor Thompson.

226

(4,000 - 6,000)

299

Mallard drake, Oscar Alford, Beardstown, Illinois, 1st to 2nd quarter 20th century. Turned head. 13” long. Original paint protected by a thick coat of varnish that has darkened and crazed; a few small dents in back; rough areas at tail.

Provenance: Governor Jim Thompson collection.

(3,000 - 4,000) 299

300

Mallard drake, Doug Mosley, Princeton, Illinois, 1st quarter 20th century. “D.M.” painted on underside. Head is slightly turned. Thick paint has been combed on back and sides of wings. Two piece hollow body.

15” long. Original paint with slight discoloration to white areas on sides; rubs on head and body.

Provenance: Governor Jim Thompson collection.

300

(2,000 - 3,000) 301

Canvasback drake, Bert Graves, Peoria, Illinois, 1st to 2nd quarter 20th century. Retains original Graves weight. Two piece hollow body.

Comb painting to white areas on side. 16” long. Original paint protected by a coat of varnish; light wear with a few small rubs.

Provenance: Governor Jim Thompson collection. Purchased from Alan Haid in 2010 at the

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Midwest Decoy Show.

(2,000 - 3,000) 301a

Rigmate pair of redheads, Ed Keller, circa 1930. Both have “EK” painted on underside. Two piece hollow. 14” long. Original paint with light gunning wear; rubs and edge wear on both.

Provenance: Governor Jim Thompson collection.

(2,500 - 3,500) 301a

227

Hiram Hotze 1886 - 1958 | Peoria, Illinois

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Exceptional pair of mallards, Hiram Hotze, Peoria, Illinois, 2nd quarter 20th century. Outstanding original paint covered with a thin coat of varnish; one small rub above hen’s eye.

Provenance: Governor Jim Thompson collection. Hotze made this pair for his dentist in exchange for dental work, they have never been in the water and are considered to be among the finest pairs of mallards by Hotze. Ex Van Tright collection.

228

(10,000 - 15,000)

229

Bert Graves 1887 - 1956 | Peoria, Illinois

303

Exceedingly rare hollow carved brant, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Wonderful alert, high neck, Pacific black brant. Hollow, five piece laminate construction.

Weight holes were drilled, but it appears that it was never weighted. As is with all three of his brant decoys, a glue seam is visible around the base of the neck. Mint original paint; unused; structurally sound; slight wear to edge of bill and one cheek.

Provenance: Governor Jim Thompson collection.

(8,000 - 12,000)

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Without a doubt this is an opportunity to own one of the rarest bird species made by one of Illinois’ most famous decoy carvers. One of just three know. This stylistically carved and painted Pacific Black Brant in a sentinel position is in unused condition.

As the story goes, around 1974 Joe Tonelli received a call from Bob Weeks of Bueau, IL, telling him that someone had just dropped off three Graves Brant and wanted them repainted as Canada Geese. The owner of the brant recently found them in the house he had just bought and thought they would be a better addition to his decoy rig if they were painted like Canada geese. Joe ended up buying the decoys from Weeks for $100 each and kept them in his collection for a several years.

Graves made the decoys prior to his death with the plan of moving to California.

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303a

303b

303a

Rigmate pair of mallards, Bert Graves, Peoria, Illinois. Both gray sided style and retain original Graves

303b

Impressive one of a kind sculpture, Frank Finney, Cape Charles, Virginia. A full size hollow carved chick-

weights. Hollow two piece body. 17” long. Strong original

en on nest with a hollow carved strutting rooster. Rooster

paint; light gunning wear; small chip in tail of hen; couple

is alert with carved open mouth, as if crowing. Individual

small rubs.

tail and feather carving. Tail is hollowed from underside.

(4,000 - 6,000)

Hen has individual feather and tail carving. Tail is also hollowed out form underside. Finney’s serifed “FF” is carved into a medallion that is placed in base. 24” wide x 20” tall. Very good and original.

232

(4,000 - 6,000)

303c

Early black Americana tobacco pipe, possibly made by Seminol Indians. Small black figure is posed on a well carved alligator, with reigns attached to the figures hands and running through mouth of alligator. Accompanied by a display base. 11” long. Appealing darkened patina; small area of bark missing from underside of pipe.

Provenance: Governor Jim Thompson collection.

303c

(800 - 1,200) 303d

Three desk items. A paper weight of a nude lady figure on bear rug, marked “Real Vienna Bronze” on underside, measures 7”. A match box with attached lid, pointer on top, marked patent date Jan 21, 1862. And a duck head paper clip spring loaded with early glass eyes.

Provenance: Governor Jim Thompson collection.

(200 - 400)

303e

303d

Five tobacco related items. A vintage cigar cutter with boar’s head and stag antler. Boar’s head has pink glass eyes and maker’s mark on silver cutter. A shotgun shell style lighter with Brown & Bigalow label. A tobacco pipe in the shape of a revolver. Two cigarette holders, one with hound and rabbit and one with a cigarette holder with carved gun and hound. Both with their holding cases, one has faded slightly with

303e

age. Piece with hound and rabbit has gold band states 12kt

Provenance: Governor Jim Thompson collection.

(600 - 900)

303f

Well carved humidor with fox hunting diorama. Two carved hounds with fox head peeking from escape hole. Carved in one side “CAMPANA.” Good detail carving of stones, stumps, and fauna. Dogs have musculature

303f

carving. 11” wide x 6.5” tall. Light wear.

Provenance: Governor Jim Thompson collection.

(250 - 350)

303g

Miniature bluebill drake, Roland Clark.

Signed on the underside. Mounted on rock base, similar to decoys of Elmer Crowell. Carved wingtips.3.75” long. Very good and original.

(300 - 400)

303g

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Miniatures

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Excellent pair of miniature mallards mounted on burl base, Charles Perdew, Henry, Illinois, 1st half 20th century. Both have raised wings and slightly turned heads. Painted by Edna Perdew with incredible feather detailing on both. Glass eyes. Hen has carved cheeks. Drake is mounted on metal feet. Base measures 11” wide. Carvings stand approximately 8” high and are 6” long. Small amount of restoration at one side of neck of hen; original bill has been broken and reattached; drake has three spots of inpainting approximately the size of a pin head.

Provenance: Governor Jim Thompson collection.

Literature: “Perdew: An Illinois River Tradition,” Ann Tandy Lacy, p. 207, exact carving pictured.

(6,000 - 8,000)

234

305

Matched pair of 1/4 size Canada geese, Joseph Lincoln, Accord, Massachusetts, circa 1930. Both have crooked or hissing necks and are stamped by maker on underside. Glass eyes with delicate and deliberate paint pattern on body. Near perfect paint fathering on sides of each body. 13.5” long. The largest and rarest size of the Lincoln miniatures. Strong original paint that has mellowed to create a fine patina; rough areas with light flaking on tails of both; tight crack around base of neck on one goose.

(9,500 - 12,500)

235

306

307

306

Group of six miniatures. Pair of mergansers by Otto Garren, strong original paint under a coat of

Four miniature carvings, Nathan Rowley Horner, West Creek, New Jersey. A pair of mallards, a

varnish. A ringneck drake by Perry Wilcoxin, strong

red breasted merganser, and a Canada goose.

original paint appears that head has been bro-

Mallards have glass eyes, carved wing outline, and

ken and reattached. A pair of shovelers by Fred

deep groove behind neck seat. Merganser has finely

Coleman, with his identification on underside.

carved crest, carved wing outline, tack eyes, and

And a wood duck hen by Otto Garren, in origi-

shallow carving behind neck seat. Canada goose has

nal paint. Longest measures 6” long. Coleman

carved wing outline, copper eyes. Almost all have

owned and operated the Coleman gun club

Horner’s name written on underside with date 1925.

near Hennepin. Shovelers are extremely rare.

Three of the four mention Sprague on the underside.

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Longest is 8.5”. All are in original paint with varying

Provenance: Governor Jim Thompson collection.

degrees of crazing, probably from pitch bleed; mer-

Coleman miniatures purchased from Joe Tonelli.

ganser has had neck broken and reattached.

(2,000 - 3,000)

Provenance: Bruce Williams collection. Mallard pair were owned by Mort Hanson, Sr. for over 30 years

236

(2,000 - 4,000)

308

Nine miniature flying bobwhite quail, Aubrey J. Dando, Philadelphia, Pennsylvania.. Each has a wing up and a wing down with a small metal bracket for hanging on back. Five are signed by maker under lifted wing. Four are all original; five have had very small repairs, wings reattached, and possibly reglu ed.

(800 - 1,000)

308 309

Preening mallard hen, Cline McAlpin 6.25” long. Raised caved wingtips. Near mint original paint; structurally very good.

Provenance: Formerly in collection of Otto Meyer.

(1,250 - 1,750)

309

310

Pair of 1/2 size mallards, Ward Brothers, Crisfield, Maryland. 8.5” long with slightly turned heads and lifted wingtips. Both are signed and dated 1962. Original paint; very minor wear; tiny dents. (1,400 - 1,800)

310

311

Pair of flying ducks by a member of the Hudson family, Chincoteague, Virginia. Cedar.

Made to be wall mounted. Both have applied wings. Pintail is 9.5”. Original paint; protected by a coat of varnish that has mellowed with time; some crazing at pintail’s head and on wings of mallard.

(600 - 900) 311

311

237

Keyes Chadwick 1865 - 1958 | Martha’s Vineyard, Massachusetts

Map circa 1885 Photograph circa 1910

Remarkably, one of the Island’s most famous decoy carvers did not consider this gift noteworthy and certainly not his greatest accomplishment. Rather, his first love was the raising of poultry. The production of chickens was a necessity for meat and eggs, and poultry farms were a common sight throughout the region. Related to this, the raising of “fancy fowl” became a widespread and popular hobby and business. Chadwick had graduated from New York State Agricultural College in the early 1880s and returned to the Vineyard to begin his own flock.

Unfortunately, his efforts in this regard did not prove sufficiently lucrative and he was forced to resort to carpentry and his ability to execute fine Spenserian penmanship to support his family. In about 1904, he was able to return to his first love when he was hired by the Owen poultry farm at Lambert’s Cove in West Tisbury.

He made his first decoys in about 1881 when he was 16.

When he started to sell his wares, his early work showed

238

the strong influence of his neighbor Ben Smith (1866 – 1946) however, being the perfectionist he was, he was constantly adapting his patterns to improve the final product. It is estimated that his lifetime production would number about 2,000 pieces but he may have done more. His shop was in the basement of his home, and when weather permitted, he would carve under a grapevine in his rear yard.

Chadwick, like so many of the Vineyard men, did some waterfowl hunting, but he much preferred following his small pack of beagles in pursuit of the abundant rabbits on the Island. Ham Luce (1905 – 1998) hunted rabbits and fished with Chadwick, and like so many others who knew him, remembers him as saying: “You know… I never wanted to be known as a master carver, I was an expert poultryman”. He and his wife had no children, and he is buried with her in her childhood town of West Tisbury.

312

Rigmate pair of red breasted mergansers, Keyes Chadwick, Martha’s Vineyard, Massachusetts, 1st quarter 20th century. Each has slightly turned head. Drake is slightly oversized. Drake measures 19”. Strong original paint that has mellowed nicely; tight crazing to black areas on both decoys; line tie marks on drake, including one over the head; very light gunning wear with a few small rubs.

Provenance: Dinan collection.

(16,000 - 20,000)

239

313

313

316

314

317

315

318

Oversize Canada goose, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Canvas

316

body over wooden frame. Hard wood extended tail. 30”

nailed to underside for ballast. Brass tack eyes. 19” long. Dry

long. Original paint; repair to canvas along one side that

original paint; with dust as if it was a fresh barn find; the thin

has been darkened in that area; small tears in canvas along

paint has worn to expose wood grain on parts of body and

edge in rear side and small area at front; approximately 1/2

head; edge wear at tail and bill; tight crack in neck; crack

of bill has been chewed off; heavy wear to paint on head.

in body that runs the length of the back and under tail.

Provenance: Matthew estate.

314

Eider hen from South Orleans, Massachusetts, 1st quarter 20th century. 19” long with carved eyes. Original

(800 - 1,200)

Provenance: Dinan collection.

317

Oversize scoter, Gus Wilson, South Portland, Maine. His earlier Monhegan Island style. 17.5” long. Slightly

paint with very slight wear; thin crack through neck.

repaint; crack in back; defect in wood by one wing; tail chip

Provenance: Matthew estate. Purchased from Ralph C. (1,200 - 1,500)

is missing; small cracks in underside.

318

Rigmate pair of oldsquaw, Shang Wheeler, Stratford, Connecticut, 2nd quarter 20th century. Hollow carved

terns; edge wear at tail.

Provenance: Dinan collection.

240

(1,200 - 1,800)

Goldeneye drake, Bibber style, from Harpswell, Maine area, 1st quarter 20th century. Two piece hollow body turned. 18” long. Good original paint with very light wear; small area of discoloration on breast; a few small rubs.

Both are branded “Kangas.” 13” long. Both decoys are well coats of paint that have flaked, and retain old squaw pat-

(900 - 1,200)

that is extremely light weight. Head is slightly lifted and

with bottom boards. Each retains original Wheeler weight. worn from heavy use; each is missing one glass eye; multiple

(1,200 - 1,800)

turned inlet head. Relief wing carving and carved eyes. Old

Lasbury, East Windsor, Connecticut, January 1966 for $45.

315

Large eider hen, Amos Wallace, West Point, Maine, 1st quarter 20th century. Inlet head. With horse shoe weight

Provenance: Dinan collection.

(800 - 1,200)

319

Hollow carved swimming merganser drake, Cape Cod, Massachusetts, 1st quarter 20th century. 19.5” long with relief wing carving and paddle tail. Original paint; moderate wear; crack through neck base; thin crack in back; 3/16” diameter hole in back.

Provenance: Matthew estate.

(3,000 - 5,000) 319 320

Rare pintail drake, Joseph Lincoln, Accord, Massachusetts. 17.25” long. Original paint with minor to moderate wear; typical crack in underside; tiny dents.

Provenance: Matthew estate.

Literature: “New England Decoys,” John and Shirley Delph. (3,000 - 5,000)

320 321

Mallard drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. 15.75” long. With slightly turned head. Near mint original paint on most of the decoy; small amount of touchup at neck seam; area approximately 2” x 4.5” on one lower side has had paint restoration; crack in underside.

(3,000 - 4,000)

322

Canada goose, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Maker’s

321

oval brand in the underside. Also branded “R.A. Nickerson” twice on the underside. Tack eyes and feather rasping on head. Measures 22 ½” long. Mostly original paint with moderate crazing and paint shrinkage; much of the white on the body has a thin second coat; area of touch up on neck and one wing; large section of the neck was replaced; professional tail chip repair; drying split in the underside.

Provenance: Dr. John Dinan collection.

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(3,500 - 4,500)

241

Shorebirds Dr. John Charles Phillips | 1876 - 1938 | Beverly and Wenham, Massachusetts The short but eventful life, and all the many accomplishments

Dr. Phillips built a camp and gunning stand on Wenham

of John C Phillips have been well documented by numerous

Pond while he was at Moraine Farm and between the years

authors. Born into great wealth, he spent his early years

of 1900 – 1905, he enjoyed the services of Elmer Crowell as

surrounded by the privileges and trappings of Boston society.

“gunner” at the stand. This would be the beginning of a long

His businessman father, John C Phillips Sr., purchased a large

friendship between the two. This association, as well as earlier

property on the western shore of Wenham Lake in the town

connections with wealthy sportsmen at stands on Cape Cod,

of Beverly, Massachusetts in 1880. He had a sumptuous

would launch Crowell on his extraordinary carving career.

summer home built there and had the grounds designed by

Crowell is universally recognized as producing his finest work

the Father of American Landscape Architecture, Fredrick

for these early patrons.

Law Olmstead. Olmstead chose to not follow the “high garden” design trends of the time and, rather, developed a

In 1908, Phillips married socialite Eleanor H Hyde. His

concept which incorporated the best of the country garden,

brother, Ambassador William Phillips was best man and his

agricultural and forestry practices of the day. The elaborate

close friends and lifelong hunting companions, Dr John

estate, named “Moraine Farm” was ready for occupancy

Cunningham, John L Saltonstall, Edward A Boardman

by 1882 but, regrettably, his father only enjoyed the property

and others served as ushers. In 1909, the newlyweds,

for a few years, dying in 1885. Phillips’ father did not seem to

accompanied by a staff of seven domestics, moved into

have a significant interest in hunting but it was at “Moraine”

the comfortable new estate that Phillips had built for himself

that the young John C Phillips could explore the wide open

on the Wenham Pond shoreline, north of Moraine Farm. He

fields, the nearby forest, swamps and the lake itself, all

called this new estate “Windy Knob”.

whetting his appetite for a lifelong interest in the outdoors and in the budding conservation movement in America.

In 1910 he abandoned the stand at Moraine Farm and built

He graduated with a degree from the Lawrence Scientific

a stand at his new property and, shortly thereafter, had the

School of Harvard University in 1899 and graduated from

camp itself skidded across the ice to its new home at Windy

the Medical School there in 1904. He did his internship at the

Knob. Here he would utilize the services of Eli Rogers of So.

Boston City Hospital and yet, other than a few years during

Orleans (Cape Cod) as his head gunner. His shooting journal

WWI, never practiced medicine.

of 1897 – 1925 records his hunts at both Moraine and Windy Knob and he would often refer to either of these camps as

It was during his prep school and college years that Phillips

the “home ground”. Dr Phillips’ mother died in 1925 and, in

began to venture far beyond the bounds of Moraine Farm

1928, Moraine Farm was sold to the Batchelder family.

in pursuit of adventure and game. He and his Harvard classmates would escape the confines of Boston and the

Hunting, in general, and waterfowl hunting specifically, was

rigors of the University by traveling to hunting camps on

indeed a passion for the Doctor and he did not confine his

Cape Cod, in Canada and numerous other destinations.

hunts to only those on the “home ground”. A lover of camps

Many of these college acquaintances would develop into

and the rustic life, Phillips, built many personal retreats over

lifelong friendships.

the years and often owned more than one simultaneously: 1.

As early as 1898/99, he had a “shanty” at Chatham

on Cape Cod. 2.

In 1905 he and J.L. Saltonstall created a pond and

camp that they named “Saltham” in Ipswich, which was run for a short time by Eli Rogers. It was at “Saltham” in 1905 that Phillips mentions shooting 12 greater yellowlegs, 10 grass birds and 5 snipe, yet the stand was “never gunned regularly again”.

3.

From 1905 through 1912 he owned a large stand

in Pembroke, MA on Oldham Pond which was run by Fred Gardner.

4.

Approaches to Windy Knob

242

In 1919 he leased almost all of Squibnocket Pond on

Martha’s Vineyard.

5.

From 1922 to1926 he and Dr Thomas Barbour owned

He was always very drawn to upland gunning and after

the Burnam stand in Ipswich, MA which he notes was “good

about 1910, his journal records fewer and fewer trips to the

for teal and yellowlegs”.

“stands” as he focused more and more on his grouse and

6.

woodcock trips, especially to his favored coverts in New

In 1926 and 1927 he had a stand on Great Bay in

New Hampshire which was managed for one year by Thomas

Hampshire. It was here, near Dover, New Hampshire that,

Wilson.

with his dog on point, the Doctor suffered a fatal heart

7.

Finally, in 1926 he purchased the old Hinkley camp

on the Rowley River which he ran 8.

“for a short time”.

Still other camps existed which were built primarily

attack . As an addendum to his Memorial in The Proceedings of the American Academy of Arts and Sciences, one “HJC” wrote:

for fishing.

In addition to his own properties, he was often the guest

“On a bleak November afternoon not long ago there stood

of a number of other Massachusetts sportsmen at their

with bowed heads on a little knoll in the Wenham woods

camps, such as the Hinkley camp on Chebacco Pond, as

a cluster of heavy hearted, sad-eyed people as a minister

well as camps at Lawrence Pond in Sandwich (Cape Cod)

read the committal service and John Phillips was laid to rest.

and numerous others. In addition to his many memberships

Nearby a small brook wound its way through low bushes and

in conservation and birding associations, he was also a

the roots of scattered hardwoods. It was just the sort of cover

member of the distant, exclusive, private gunning club, the

in which a woodcock might have been most at home. The

Swan Island Club in Currituck, North Carolina (member 1903

surroundings could not have been more perfect for the burial

– 1913). After resigning his membership he continued to hunt

place for this beloved true New Englander’.

at Swan Island as a guest of other wealthy and influential club members from the Boston sporting scene. In 1936 he purchased the approximately 800 acre plantation “Seven Oaks” on John’s Island, So Carolina and he wintered there (and surely enjoyed a few hunts) for the last few years of his life.

As we turned away from the grave, we heard the sound

The Phillips rig is known to have contained both curlews and

of a shot close by. When its echo had died away many

dowitchers. By 1900, both of these species were reported

of us thought how pleased John would have been at this

to be very rare in Massachusetts and the State ornithologist

unconscious tribute”.

considered them to be threatened with extinction! This would imply that decoys for either of these birds would have only

Doctor Phillips’ writings tell us quite a bit about his stand

been justified well prior to 1900. In his “Shooting Records”,

shooting for ducks and geese but reveal very little about his

only once does Phillips mention a curlew at Wenham Pond

shorebird hunting. As elegant and intriguing as his shorebird

and that was singular specimen that “was seen flying over

decoys are, they present us with a number of vexing

the tennis courts”.

questions. Who made the decoys; when were they made or when did Phillips acquire them; and, when and where were

We do have the often-seen photograph of his hunting from

they used? John C Phillips would have been 14 years old

a pit blind, reportedly in Chatham on Cape Cod c1898/99. In

in 1890 so it would seem that this would have been about

the background can clearly be seen a rig of shorebirds but

the earliest date that he may have had a rig of shorebird decoys.

243

it is certainly not clear if any curlews or decoys representing

– 1929)) carved a number of birds in this style and Phillips

feeders or runners are visible in the shot. It is also not clear

hunted with Hinkley at Chebacco Pond in Essex and at

if these decoys were his or, did they belong to a guide or

Hamilton. Fred Nichols (1854 – 1924) of Lynn certainly carved

hunting companion?

a number of majestic, highly refined, feeders and he and Phillips were both active members in the Essex County

Whenever Phillips acquired the decoys, we must ask, where

Ornithological Club of the Peabody Museum. Another

did he get them? He could have carved them himself but this

outstanding shorebird craftsman on the North Shore was

seems unlikely as there is no record in any of his writings, or in

Tom Wilson (1863 – 1940) of Ipswich, who Phillips visited in

the few photographs that remain, of him ever doing so. He

1902 and 1903 and then hired him to run his stand at Great

may have inherited the decoys or purchased an existing rig

Bay in New Hampshire in 1926-1927. Men such as these were

from an older hunter. His father’s memorial gives absolutely

older than Phillips and they, along with unknown others,

no hint that he had any interest in either hunting or fishing

could have been carving when Phillips was looking to initially

so the inheritance theory would also seem questionable.

acquire a rig of shorebird decoys.

He could have purchased the decoys at a Boston sporting goods store prior to leaving for his documented hunt on

Other than the site of the Cape Cod photo, where else

Cape Cod but this too is not likely for, if the decoys were

did Phillips hunt shorebirds? In his numerous writings,

available commercially, other similar examples would have

notably, “Shooting Records”, “Shooting Stands of Eastern

surely survived in other rigs but this does not seem to be the

Massachusetts”, “American Waterfowl - - “, “A Sportsman’s

case.

Scrapbook” and “Wenham Great Pond”, not once does he mention setting out shorebird decoys or a hunting trip where

Doctor Phillips was used to the finest in guns and equipment

he was specifically targeting shorebirds. For the 29 years

and he would have demanded only the best in his decoys.

from 1897 to 1925 that Phillips kept his “Shooting Records”

He held factory decoys in disdain and once wrote:

at Wenham Pond, he and the roughly 50 guests that

“The usual wooden commercial articles (decoys) are very

gunned both his stands there, shot a total of only 85 greater

badly turned out and hopelessly crude in appearance,- - - .

yellowlegs, 1 black-bellied plover, 1 dunlin and 24 white-

The sportsman who derives any satisfaction in tying out a

rumped sandpipers. We are certainly left to believe that all of

fleet of workmanlike or artistic products must either make

these were opportunistic, passing shots and not the primary

them himself or have them cut out and painted to his order

quarry. He does note two stands in Ipswich (on the North

by a person who takes real pride in his work and has plenty of

Shore) where at different times, a number of yellowlegs were

spare time beyond the eight hour day” (emphasis added).

shot or, at least flying, but it is not clear if decoys were being used at the time.

Seemingly, one of the most plausible answers to the origin of the decoys may be that Phillips had “ - - them cut out

For the present, the questions surrounding the Phillips rig

and painted to his order by a person who takes real pride

remain. The rarity of these beautifully sculptured decoys,

in his work- - “ . He obviously held Elmer Crowell in high

however, and their historic importance, cannot be

esteem and certainly was a great admirer of his work. He

overstated. The very few surviving examples attest to their

first encounted Crowell about the time of his 1898/99 Cape

great scarcity. A well-worn example is pictured in Adele

Cod trip and if he needed decoys at that point or later, he

Earnest’s pioneering “The Art of the Decoy” and a long-

certainly would have bought them from Elmer.

billed dowitcher which sold for $112,000 was included in the 2000 groundbreaking McCleery sale. In 1997, a sickle-billed

In the pre-1900 timeframe, there were any number of

curlew from the same rig was sold by Guyette and Deeter

talented carvers on Massachusetts North Shore, many of

for $335,500. The decoys produced by this unknown artisan

which were known to have carved feeders or runners.

must certainly be considered among the very finest and most

Members of the Hinkley family of Beverly (George F (1853

iconic of their kind to emerge from the Bay State.

Dr Phillips c1900

Dr Phillips’ Windy Knob, Wenham Pond

244

322a

Rare running or feeding dowitcher from the John C. Phillips rig, Massachusetts, circa 1900. A delightfully small example, measuring only 10” long.

Pleasing form, nearly emulates its rigmate sold by Guyette & Deeter in July 1997 for a world record price of $335,500. This piece exhibits a similarly extended back and split tail with drop belly. Thin original paint with several tiny shot scars; a few small spots were professionally darkened by Cameron McIntyre; bill is a professional replacement by Cameron McIntyre.

(45,000 - 65,000)

245

324

324a

323

323

Golden plover from Nantucket, last quarter 19th century. Excellent folk art appeal. Alert

Yellowlegs, George Boyd, Seabrook, New Hampshire, last quarter 19th century. 10.5”

head pose and thin neck and bulbous head.

long. Original paint with minor discoloration and

Measures 8” long. Original paint with minor wear;

wear; slight wear to the wood at wingtips; crack in

lightly hit by shot; old coat of varnish or shellac on

one eye.

head neck and upper breast; excellent structurally.

324

Provenance: Dr. John Dinan collection.

(3,500 - 4,500)

Provenance: Matthew estate.

324a

(3,000 - 4,000)

A folky and diminuative root head sandpiper.

A small plump body with two piece head which is turned slightly. 6.5” long. Adele Earnest collection stamp on underside. Original paint; an early restoration to bill.

Literature: “The Art of the Decoy,” Adele Earnest, p.

48, exact decoy.

246

(2,000 - 4,000)

325

Exceptional black bellied plover in transitional plumage from Nantucket Island, Massachusetts, last quarter 19th century. 10.75” long. Unusual lifted head and heavily chined bottom edge. Original paint with minor discoloration and wear; minor paint loss on bill; structurally very good.

Provenance: Matthew estate.

Purchased from Audrey Connif Antiques in 1965.

(5,000 - 8,000)

247

327

326

327

326

326

Running black bellied plover, Elisha Burr, Hingham, Massachusetts. 12.25” long with shoe button eyes and raised extended wing-

Willet with turned head, Charles Thomas, Assinippi, Massachusetts, last quarter 19th century. Glass eyes. Original paint that has

tips. Fine feather paint detail. Original paint

darkened with age; very minor wear; structurally

with minor wear; filled crack in one side with

good.

touchup on that side; area of touch up near wing on the other side.

248

(4,000 - 6,000)

327

Provenance: Formerly in collection of Cap Vinal.

(4,000 - 6,000)

328

Feeding yellowlegs, Elisha Burr, Hingham, Massachusetts, last quarter 19th century. 13.25” long. Relief wing carving with extended wingtips.

Shoe button eyes. Original paint with minor discoloration and wear; minor wear to the wood at each wingtip; hairline crack partway through bill.

Provenance: Matthew estate.

(8,000 - 12,000)

249

329

Black bellied plover in fall plumage, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Fall plumage with tack eyes. “JF” for Joe French stamped near stick hole. 10” long. Original paint with moderate even wear; small discoloration and paint loss at tail; paint loss at bill.

Provenance: Ex Joe French collection.

(10,000 - 15,000)

329

330

Black bellied plover in spring plumage, Elmer Crowell, East Harwich, Massachusetts. Tack eye model with fat head and split tail. Bold dry brush paint. 10” long. Original paint; several shot scars from light shorebird load.

Provenance: Ex Joe French collection.

330

250

(12,000 - 15,000)

330

329

251

Adele E Earnest | 1901 – 1993 | New York

A happenstance trip to the Barnstable beaches on Cape Cod in 1957 led folk art legend Adele Earnest to a love affair with wooden birds. Decoys were something unfamiliar to her. She describes her initial experience with this, her first decoy, on the opening page of “The Art of the Decoy”. As she walked the dunes she would later recall- - : “There was no sound except the rustle of the sedge grass and the distant boom of the sea breaking on the outer beach. I was the only interloper. Heading back to my car - - - I caught sight of a small bird glistening on a sand hummock. It didn’t move. I didn’t move. I walked nearer.

My shadow fell across the figure before I realized it was a wooden rather than a real bird. Its color was bleached like an old bone by the sun and wind. When I picked it up, a leg crumbled in my hand. But it was still a beauty. - - - . Later

Other early authors relate similar tales of discovery and awakening. Joel Barber, as early as 1934, wrote:

I learned it was a wildfowl decoy, a yellowlegs, left and forgotten by some wildfowler long ago. I had never known

“ - - - my search led me to a setting of romance, water

that the early baymen and woodsmen living along our

and waterfront. Names were grand and high sounding –

waterways had carved these magical birds”.

Chesapeake, The great South Bay, waters of Virginia and the Carolinas, up the coast to bays and estuaries of New

“Since the first discovery of the yellowlegs – my first inkling of the existence of such carvings – I have pursued these attractive arts with a steadily growing delight.”

England and Nova Scotia. But the places I visited were far from grand. The information I sought seemed to lie in out-of-the-way places, in little known tide-water villages, ramshackle boat-yards and along desolate sloping shores.

- - - But to me these places and the men and the things I found are an integral part of the history of American decoys.”

Most of us can remember our first decoy. What was it that made it so compelling? What kindled the spark?

For Earnest it was basically an aesthetic appeal, for Barber the history. For some of us, perhaps it triggered a memory of a place or an event or a special companion. For all of us, something elevated that first acquisition from a simple block of wood to an object of intense interest, worthy of our ownership. Our first decoy was probably not the finest example, by the best maker, nor in the best condition, yet we can all recall that first decoy.

Not all decoys deserve the title of icons. Adele’s early book and the photo of this bird on its cover do merit that designation for this singular decoy. Certainly, of museum quality, it should be elevated to its rightful status as a “Dust Jacket” bird and it justifiably deserves due recognition for its significant, historical role in decoy lore.

252

330a

330a

The dust jacket yellowlegs, maker unknown, 2nd half 19th century, Cape Cod, Massachusetts.

Pure essence of folk art. An elegant and extended neck where an early square nail was used to simulate an appropriate length bill. 12” long. Carved shoulders. The only remaining paint exists at one side of the lower portion of the body, the rest has been worn away from years of exposure; the tight wood grain has raised to create an almost artistic design. Several nails remain in one side of body, perhaps they were used to fasten feathered wings from previous quarry or perhaps they were just used to secure and prolong days in the field for this working utilitarian tool. Wood imperfection at one side of body; several tight cracks and an exposed knot.

Literature: “The Art of the Decoy,” Adele Earnest, front and back dust jackets, exact decoy.

(8,000 - 12,000)

253

Louisiana Nichol Vidacovitch 1853 - 1945 | New Orleans, Louisiana It would be a fair assumption to say that Nicole Vidacovich is to Louisiana what Elmer Crowell is to Massachusetts and the Cobbs are to Virginia. His father, Johanne, was born in Austria and his mother, Charlotte, Paris, France. Johanne would later shorten his name to Jean. The couple settled at the mouth of the Mississippi River in Buras Settlement, Plaquemines Parish and it was here they raised their family while Jean worked as a farmer.

Plaquemines Parish was devastated in a savage 1915 hurricane and Nicole moved his family to the perceived safety of New Orleans. In 1920 he listed his occupation and industry in the census as “wood designer” “ornamentals” but, interestingly, in the City Directory for that year, his occupation is listed as “decoys”. By 1927, the same City Directory records him as a “carpenter”.

He must have still been actively carving however, because in 1930, while he had no listed occupation in either document, his son is living with him and is recorded as being employed in a “decoy shop”.

Decoys seem to have fallen from the picture by the time of the 1940 census. Nicole was now 87, listed as being the “head of household”, and living with four of his children, only two of which were employed as either a “handyman” or a “clerk”. His grave is located in the Greenwood Cemetery in New Orleans.

Plaquemines Parish 1911

Little can be found concerning Nicole’s early years.

He left school after the second grade and by 1880, he was still in Plaquemines Parish, single and working as a “laborer” while boarding at the home of Barille and Camille Stanislas. In 1881 he married Marie Josephine Bulot and they raised eight children. By 1900, the census records his occupation as a ‘farmer”. His neighborhood at the time must have been quite rural as all of his immediate neighbors are listed as either “farmers” or “oyster fisherman”. Ten years later, now living in the area of Nairn or Empire, he still listed his occupation and industry as “farmer”- ”truck” (ie raising vegetables for the fresh market). While it was legal, he also hunted for the market and shipped barrels of ducks upriver to supply the restaurants in the major cities.

While he undoubtedly carved and sold decoys prior to his move to New Orleans in 1915, it is noteworthy that it was there, at age 62, and working out of his backyard, that he is said to have produced his best works.

Louisiana references “Louisiana Lures and Legends” and “Wetland Heritage” both relate that Vidacovitch was an early guide at the elite, 30,000 acre Delta Duck Club (1909 – 1935) in Plaquemines Parish. His decoys were in high demand and he is said to have sold them to club members for as much as $24 (Wetland Heritage) to $50 per dozen (Lures/Legends), either number being a huge sum in its day.

The many violent storms that repeatedly swept the Louisiana coast have claimed the lives of many of Vidacovich’s decoys and fine, surviving examples are considered real treasures. His work has been represented in some of the most prestigious private and museum collections in the country and, without a doubt, he has earned his rightful place as one of North America’s finest carvers.

Orange packing plant - Buras, Louisiana c1930

254

Delta Duck Club

331

Large pintail drake, Nicole Vidacavich, Galliano, Louisiana. 19.5” long with long neck and relief wing carving. Original paint with minor wear on the back and head; quite a bit of wear to underside; professional restoration to lower 1/3 of bill; numerous small dents, particularly on one raised wing.

Provenance: Formerly in collection of James McCleery, Pasadena, Texas.

McCleery stamp on underside. Lot 184 in the Guyette & Schmidt/Sotheby’s January 2000 decoy auction, auction tag remains on underside. Formerly in collection of David Hall, Hall collection brand in underside.

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

(17,500 - 22,500)

255

332

335

333

336

334

337

332

Mallard hen, Mitchell Lafrance, New Orleans, Louisiana. Carved eye groove. Relief carved shoulders

eyes. Original paint with moderate wear; small defects in

and wings. 15” long. Good original paint that has crazed

of the black area on the tail.

wood on underside and one lower side; touchup to parts

at one wing patch; numerous shot scars; piece missing from bill, back of head, and tail; neck crack repair.

336

(1,000 - 1,500)

(1,250 - 1,750)

Pintail drake, Mike Frady, New Orleans, Louisiana, circa 1930. Slightly turned head with raised crossed wingtips. 17” long. Old gunning paint; some of which may be

333

Early hunting model mallard hen, Mike Frady, New Orleans, Louisiana. 14.5” long. Second coat of paint appears to be by Frady; crack in back.

original, most of which is old second coat; bill has been broken and reattached.

(1,000 - 1,400)

Pintail drake from Louisiana. 16.75” long. Relief wing

Pintail drake, Mitchell Lafrance, New Orleans, Louisiana, 2nd quarter 20th century. Branded “JH

carving. Second coat of paint by Mitchell Lafrance; struc-

Nola” for Jimmy Hanneman collection. Slightly swimming

turally good.

position. With carved wing. Strong original paint; wood

337 334

(800 - 1,000)

(650 - 950)

missing from lower areas of both sides; chip missing from 335

256

Pintail drake, Mitchell Lafrance, New Orleans, Louisiana. 17.25” long. Relief wing carving and carved

tail; moderate wear on body with a few small dents; head appears to be a replacement.

(500 - 800)

338

Impressive pintail drake, Mark Whipple, Bourg, Louisiana. “Broomstick” style tail.

Branded “Hall” on underside. Dave Hall was a game warden and decoy collector from Louisiana. Well executed back paint and an almost modern design. Original paint; hairline crack in bill was reset, with a small amount of touchup in that area.

(7,000 - 9,000)

257

Hans Janner 1917 - 1985 | Mt. Clemens, Michigan

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 stir the artistic juices of the beholder. Hans made tools for spearing Musky through the ice on Lake St. Clair around 1935. He likely had no idea what the future held for his works of art.

Hans Janner Sr. was born in Germany in 1880 and immigrated to the USA while in his twenties. As the story goes, when the boat carrying immigrants from Europe was ready to disembark at the port of New York, Hans Sr., concerned about his entry permit, jumped ship and with the help of friends, made his way to the Upper Peninsula of Michigan. Several year later he relocated to the Lower Michigan town of Adair, nestled along the shore of Lake St. Clair. Hans was a skilled man who found work as a carpenter, metal man and general builder. Hans later married, relocated to Mt. Clemens and raised a family of three boys, Hans Jr, Auggie and Freddie. Hans Jr and Auggie went on to become accomplished fish decoy makers of their own.

It is estimated that Hans Sr. made less than 50 to 60 spearing decoys in his lifetime. The majority of his output was primarily for his own use with a few being made for close friends.

Janner was a simple man with a reputation as a tough, confident outdoorsman and he made his decoys with those same traits. Walnut bodies and brass or copper fins were his typical material choices. Some of his early or less detailed decoys are absent of paint or exhibit only a faint amount along the belly and lower side.

339

258

339

340

339

Rare bass fish decoy, Hans Janner, Sr, Mt Clemens, Michigan, 2nd quarter 20th century. Glass eyes with shapely

340

Bass fish decoy, carved by Hans Janner, Sr and painted by Andy Trombley, circa 1940. This is one of

well made metal fins. A carved smiling

the best examples made from this col-

mouth and carved gill. Partially natural

laboration. Trombley was a nephew to

sided walnut. Silver paint applied to sides,

Janner. Glass eyes, carved mouth and

red to gill areas, and yellow underside of

gills. Applied metal fins with wooden tail.

mouth. 12” long. Very light worn patina on

Hairnet pattern on side where spray paint

wood; very good and original.

was used to create body decoration. 11” long. Original paint protected by a coat

Provenance: Michaan collection.

of varnish; a few areas of flaking to body

Literature: “American Fish Decoys,” Steven Michaan, p. 166, exact fish pictured.

(12,000 - 18,000)

and fins.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 174, exact fish pictured.

(5,000 - 7,000)

259

341

Trout fish decoy, Frank Kuss, Mt Clemens, Michigan, circa 1940. Tack eyes with carved mouth and metal side fins. 9” long.

Green paint with detailed silver painting on sides. Protected by a light coat of varnish; some working period strengthening to paint on underside of belly and fins.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 154, exact fish pictured. “Beneath the Ice,” Steven

341

Michaan, p. 36, exact fish pictured.

(1,500 - 2,500)

342

Walleye fish decoy, Andy Trombley, Mt. Clemens, Michigan. Listed in book as Augie Janner. Large railroad reflector eye which was used in his early and best fish. Metal fins and wooden tail. Carved gills and mouth. 10.5” long. Original paint protected by a coat of varnish; area of flaking to exposed bare wood mostly around head and eyes.

Provenance: Michaan collection.

Literature: “American Fish Decoys,”

342

Steven Michaan, p. 134, exact fish pictured.

343

(1,500 - 2,500)

Black crappie fish decoy, George Peterson, Cadillac, Michigan, circa 1930. Carved open mouth with inset metal fins.

Metallic silver with black lines have been used to emulate the color of the crappie. 6.5” long. Original paint; with even wear.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 176, exact fish

343

pictured.

260

(1,200 - 1,500)

344

Large and impressive sucker fish decoy, Lake St. Clair, Michigan, circa 1900. Tack eyes with carved mouth and gills.

Intricate scale design with all metal fins. The original paint shows excellent age and a desirable surface. This large fish measures an impressive 18.5”. The body is 3.5” tall x 2.5” wide. A couple of small dents and light scratches to surface.

(3,000 - 4,000) 344

345

Brook trout fish decoy, Jess Ramey, circa 1930. Carved eyes, mouth, and gills. Excellent and appealing paint pattern. 7” long. Strong original paint; crazed moderately and worn off partially at belly weight and on fins.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 184, exact fish pictured. (1,800 - 2,500)

346

345

Trout fish decoy, Ken Bruning, Tower, Michigan, 2nd quarter 20th century. One of the largest examples known, 16” long. Metal fins with incredibly well executed paint detail which is what Bruning was known for. A multitude of dots ranging in size work to create a trout like pattern on body. Strong original paint protected by a coat of varnish; some scratches to varnish surface; discoloration where varnish has yellowed slightly.

Provenance: Michaan collection.

346

Literature: “American Fish Decoys,” Steven Michaan, p. 186, exact fish pictured. (3,500 - 5,500)

261

347

Bass fish decoy, Gordon Francis Charbeneau, circa 1925. Carved scales on body. Carved gills and carved mouth. Glass eyes. An early and large fish decoy that has seen much use. 12.5” long. Paint appears to have been down to traces of original with multiple colors of green; two front fins have broken off but have been retained and will be included

347

with the sale.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 150, exact fish pictured.

348

(3,000 - 4,000)

Rare and large fish decoy, Ken Bruning, Tower, Michigan, 1st half 20th century. A very large model trout. 12.5” long. Strong original paint; small area of flaking at top of one fin and where metal tail bends where it is attached to body.

Provenance: Randy Singer collection.

(2,500 - 3,500)

348

349

Sucker fish decoy, Ted VanDenBossche, circa 1930. Carved eyes and carved gills. 10” long. Old green paint that appears to be original with silver dot pattern on most of back and some of tail; original paint has worn away mostly on underside.

Provenance: Michaan collection.

349

Literature: “American Fish Decoys,” Steven Michaan, p. 138, exact fish pictured.

350

(2,000 - 3,000)

Large trout fish decoy, attributed to Frank Schmidt, Detroit, Michigan. Tack eyes, carved mouth and gills. Metal fins with wooden tail. 15” long. Strong original paint; protected by a coat of varnish; a piece at top of rear tail has been broken and reattached.

Provenance: Michaan collection.

(1,000 - 1,500)

350

262

351

Native American Sturgeon fishing spear, breakaway type. Wood, iron, and hemp twine. Width of head 4.2 inches x 15” long. Made by an unknown Native American blacksmith (possibly Ben Ettawageshik) at Cross Village, Michigan, circa 1900. Fine original condition; light rusting to one spear; excellent overall patina.

Provenance: Michaan collection.

(1,000 - 1,500)

351

352

Trout fish decoy, Ken Bruning, Tower, Michigan, 2nd quarter 20th century. Metal fins and painted eyes. 7.5” long. Very good and original paint protected by a coat of varnish; very light wear.

Provenance: Michaan collection.

(800 - 1,200)

352

353

Fish decoy, Andy Trombley, Mt. Clemens, Michigan. Glass eyes with fish net scale pattern on body. Carved open mouth and gills.11.5” long. Light wear; small areas of paint loss where fins meet body.

Provenance: Randy Singer collection.

(800 - 1,000) 353

263

354

Fish decoy, Andy Trombley, Mt. Clemens, Michigan, circa 1960. A rare flip tail pike. Glass eyes and carved open mouth. 12” long. Strong original paint; professional restoration to chip in tail.

Provenance: Randy Singer collection.

(800 - 1,000)

354

355

Large fish decoy, Frank Kuss, Mt. Clemens, Michigan, 1st quarter 20th century. Tack eye with carved mouth.

Slightly curved body. Four metal fins with five inset weights. Color is brown with vermiculated black on body. 13” long. Original paint; coat of varnish that has darkened; one area near tail has paint worn off; reglued chip at tail; moderate wear.

355

Provenance: Randy Singer collection.

(800 - 1,200)

356

A large and impressive bass fish decoy, unknown maker, Lake St Clair, Michigan, 1st quarter 20th century. A scratch paint pattern on sides has created a scale like effect. Double carved gills and mouth. Glass eyes have fallen out. Tack at end of mouth appears to show fish that is feeding. Metal fins.

13.5” long. Original paint that has crazed to create an appealing surface; moderate wear with rough areas at tip of

356

tail; blunted spot at mouth.

Provenance: Michaan collection.

(1,200 - 1,500) 357

Group of five vintage frog decoys, probably all from Michigan. All have carved and separated legs to simulate a swimming motion. Longest measures 5”. All are in original paint; have belly weights and show nice age.

Provenance: Michaan collection.

Literature: “American Fish Decoys,” 357

Steven Michaan, p.199, orange and white frog pictured.

264

(1,000 - 1,500)

Factory shorebirds

360

358

359

358

Very rare ruddy turnstone, Dodge Decoy Factory, Detroit, Michigan, last quarter 19th century. 11.5” long. Tiny tack eyes. Original paint

360

Large dove, Mason Decoy Factory, Detroit, Michigan. Glass eye model. Just under 11” long. Original paint with good detail and slight

with good detail; very minor discoloration and

wear; several tiny dents on breast; some filler and

wear; around 15 shot marks on one side; bill is a

touch up where bill meets face.

(2,000 - 3,000)

professional replacement by Russ Allen.

(2,000 - 3,000) 359

Dove, Mason Decoy Factory, Detroit, Michigan. Glass eye model, circa 1910. 10.1” long. Original paint minor discoloration and wear; several tiny dents.

(1,750 - 2,250)

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Delaware River The best of the distinctive style of decoy that has emerged from the Philadelphia area has historically been referred to as the “Blair School” of carving. The very finest of this style have been assigned the term “classics” by the most seasoned collectors and are credited to the hand of John Blair Sr (1843 – 1929). These are distinguished by the exceptional quality of workmanship and the incorporation of a number of distinctive paint and design characteristics which they all display. Such is the case with a number of the decoys being offered here, particularly the outstanding green-winged teal which is considered the finest of its type in existence.

In Philadelphia, native son Arthur B Vance (1818 – 1889) is known to have produced “Blair style” decoys by 1878.

Based on the quality of his work, we can safely assume that he had been making decoys for some time before this date.

It would not be unreasonable to think that he may have been carving by the 1840’s/1850’s time period.

Philadelphia 1872

By the time John Blair Sr (1843 – 1929) arrived in Philadelphia in 1865, the area already had a fairly well-established decoy tradition, probably dating back as much as 30 years. Research

by Russ Allen, Gene Kangas and Pete Lesher has added much to the early, and perhaps somewhat erroneous, accounts of the “Blair” decoys unwittingly written by Joel Barber (1934), William Mackey (1965), and others.

For many years, it was assumed that John Blair Sr, reportedly “a Philadelphia portrait painter”, was the maker of the “classic Blairs” and it was he who became the father of a “Blair School of Carving” which was to follow. This was largely based on information supplied to Barber by John Blair Jr. The above cited authors have now offered valid reasons to question much of this early information.

Every carving style is the result of an evolutionary process where multiple early carving attempts are constantly being improved upon until a consensus is reached that is deemed to be the most advantageous and appropriate for use under a given set of circumstances by those who would use them.

266

Albert Laing (1811 – 1886) is known to have visited the Philadelphia area from New York in the late 1830’s, bringing with him some of his decoys with their distinctive style. Richard Wistar Davids (1825 – 1863) was a relative of Albert Laing and there are decoys branded with his name that, again, show elements of the “Blair” style. It is not known if it was he (Davids) who carved these decoys but it is known that he would have hunted over them prior to the civil war.

By 1839, wealthy financier and sportsman Jay Cooke (1821 – 1905) had arrived in Philadelphia from Sandusky, Ohio when, at the ripe old age of 18, he became president of a Philadelphia bank. Cooke’s extensive business interest routinely took him from Philadelphia to Sandusky, New York and as far away as Rangely, Maine. While he was in Ohio, he had ample time and the resources to hunt at some of the best clubs in the areas he lived in or visited.

It is reasonable that he may have been aware of the work of Ohio carver Ned Hauser (1826 – 1900) who was producing decoys very similar to the “Blairs” and, if he (Cooke) admired these decoys, he could have easily brought some back to Philadelphia where they would have been seen and judged by the local carvers.

Hauser was a noted painter and decorator, so it should not be surprising that his birds were nicely finished and this trait, too, could have been assimilated into the developing local Philadelphia tradition.

As a final example of an established carving tradition in Philadelphia, Andrew Tull (1840 1915) was a pattern maker, born in Philadelphia, who, again, produced decoys that show so called “Blair” traits. These were carved around 1856 or perhaps earlier so they, too, would have been made by the time Blair Sr actually arrived on the scene.

Many of these early gentlemen could have easily known one or more of their decoy making contemporaries and been aware of their work, either through social associations at rod and gun clubs or chance meetings while afield.

John Blair Sr has often been cited as the father of the Philadelphia School. It may be more accurate to say that it was he who culminated the evolutionary process started by a number of local carvers over many years. Working in a carriage shop (not a portrait studio), he would have been familiar with the painting techniques and materials used to detail and decorate the vehicles produced there and he could have used this knowledge to perfect the painting style perhaps already in use on the local decoys.

361

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The Blair Mystery In depth new research on the Blair family by Delaware River Collector Jeff Martinides

“The Blair Mystery”, as so eloquently coined

by Hal Sorenson in his 1977 article for Decoy Collectors Guide, has puzzled collectors since the name John Blair was first mentioned in the publication of Joel Barber’s seminal tome “Wildfowl Decoys” in 1934.

In his article, Sorenson lays out the unanswered questions surrounding the carver and the multitude of decoys historically identified as “Blair School”, which center around the narrative of how one carver could be responsible for the sheer quantity, varying quality (referred to as 3 grades) and geographic footprint (found in at least 9 states) of decoys attributed to the Blair School, all with the one common link being their outstanding paint.

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The mystery is further complicated by questions about Blair’s vocation- was he a “sportsman” as described by his son John Blair, Jr. in Barber’s book; a portrait painter as suggested by Bill Mackey, Jr.; or a banker, as Sorenson himself put forward? Was Blair a master mechanic, as identified in the 1900 US Census, or a wheelwright, as remembered by his grandson Colonel John Blair, III, or finally the well-healed owner of a carriage manufacturer, as surmised in “Floating Sculpture” the Bible of Delaware River Decoys?

While many of these questions remain, some new information has come to light recently that gives credence to the theory that while Blair was the carver of what are referred to as “Classic Blairs”, most if not all of the decoys referred to as “Blair School” were in fact carved by others, all contributing to the style of Blair School Delaware River decoys.

Extensive research conducted through The Carriage Museum of America, “The Hub” of 1890, which was the preeminent trade journal carriage builders, and “Gopsill’s Philadelphia Business Directory of 1879, 1887 & 1890 indicate that John Blair was not the wealthy owner of a carriage manufacturer, as his name is not included in any business name or advertisement. In fact, searching the Gopsill directories more deeply reveals there are no John Blair’s listed for the following occupations: Carriage & Coach Makers; Wagon Builders; Wheelwrights; Wood Turners; Carvers; Sporting Goods; Shipbuilders; Frame Makers; Clock Makers; Trimmers; Hubs & Spokes; Doll Heads; Engineers; Mechanics; or Painters.

However, upon closer inspection of the US Census of 1900, we can see in the far left margin that John Blair’s address is penciled in as 4936 Franklin Street, Philadelphia, Pa. How do we know this is the correct “John Blair” we are looking for? Because the entry includes what we know to be his wife (Susie) his sons (John Jr. And Walter) and his daughter, Maude.... Interestingly, John Blair also had a younger daughter, Annie, a sickly girl who passed away at age 15.... I mention this as Blair was initially investigated (found not guilty) of contributing to her death by discipling her with a severe whipping for misbehavior (The Times of Philadelphia, 1/17/1899)

John Blair resided in the Frankford section of Philadelphia, ward 23, at 5034 Franklin Street (1879) and then 4936 Franklin Street from 1883 until 1905, when the family moved to Elkton where he lived until his death. This period encompasses 50 years (age 36 - 86) certainly the prime of his life. Using records from the U.S. City Directory 1822-1895 in each case shows his occupation as “Carpenter”.

This record, without deviation, is the closest thing we currently have as evidence of Blair’s occupation.

A few other “fun facts”: it is often cited that Blair belonged to two gun clubs- “Frankford Gun Club” and “Bridesburg Gun Club”. It turns out that those clubs are one and the same; the original Frankford Gun Club was forced to move its location to the neighboring Bridesburg section of Philadelphia when imminent domain allowed for a road to be placed on original club grounds. And, if Blair was a member, he was surely not an active one, as his name is never mentioned in any of the inter-club competitions amongst the numerous Philadelphia gun clubs of that era, which were regularly reported in various Philadelphia sports pages at that time.

Of interest though, is an F. W. Swope resided at 4364 Franklin Street at the same time that John Blair lived at 4936 Franklin; who was an active member of the Frankford-Bridesburg gun club, and who owned a carriage manufacturer! It is quite possible, even likely, that Blair was employed by Swope and through that relationship became associated with the well heeled patrons whose names are stamped on many of the Blair classics.....

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Finally, further clarity is now available with regards to John Blairs date of birth and death......both the Midland Journal of Cecil, MD (6/23/1929) and the Evening Journal (6/21/1929) ran the following obituary: “John Blair, owner of Henderson Point Farm on the Elk River, was found dead in bed on June 18. He had been in fairly good health, despite his 86 years. Death was due to heart disease. Mr. Blair resided in Philadelphia until about 25 years ago, when he purchased the Henderson Point property.” Thus, Blair died in 1929, not 1928 as has been recorded, and 86 years would place his date of birth as 1843, not 1845 as reported in the 1900 US census.

So, while much of the mystery remains, here are a few threads that hopefully lead to future success in solving the Blair “mystery”

“I bought that teal from Mort Hanson at the Craigville Motel in the early 70’s, during one of the Mackey Sales. I paid him $3,000 for it and I was lucky to get it. In my opinion, it’s the best Blair decoy out there, considering condition and rarity. It’s certainly the best one I ever owned.”

- Bob White

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361

Rare and important swimming greenwing teal drake, John Blair, Sr., Philadelphia, Pennsylvania. A perfect classic swimming exam-

at The Noyes Museum, Oceanville, NJ “Delaware River

ple. Two piece hollow body with painted tack eyes.

Mercer Museum, Doylestown, PA “Ducks, Decoys and the

Detailed feather painting on back. Protruding breast

Delaware: A Regional Hunting Tradition” (4/17/04-1/3/05)

and neck seat. Racey wing patches with yellow, orange, and white bars. 13.5” long. Excellent original paint; small rub at back of head; a few small scratches and rub at one side of back of head; tip of the bill has minor restoration by Bob White; very light wear.

Provenance: Bruce Williams collection. Ex collection of Bob White. Sold to Bruce Williams in 1982. Exhibited

Decoys: The Bob White Collection” (1/24/88-4/10/88; reproduced on poster). Bucks Country Historical Society,

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 33 and 36, exact decoy pictured. “Delaware River Decoys,” exhibition brochure, Gary Giberson and Bruce Williams, Noyes Museum, 1988. “The Great book of Wildfowl Decoys,” p. 125, exact decoy pictured. “My Favorite Five,” Hunting & Fishing Collectibles, March/April 2002, Bruce Williams, p. 16-19.

(80,000 - 120,000)

271

362

362

Very rare and exceptionally stylish pintail hen, Blair School, Philadelphia, Pennsylvania, 2nd half 19th century. Hollow with two piece body. Raised neck seat and tack eyes. Possibly made by a predecessor of Blair Sr. Similar to decoys marked “Tull”. 17.5” long. Thin fine original paint that has worn evenly to expose bare wood around rub areas on head and body; several cracks around neck seat and lower cheek area; rough area at edge of tail.

Provenance: Bruce Williams collection. Ex Bob White collection. Exhibited at The Noyes Museum, Oceanville, NJ “Delaware River Decoys: The Bob White Collection” (1/24/88-4/10/88).

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 38, exact decoy pictured.

“Delaware River Decoys,” exhibition brochure, Gary Giberson and Bruce Williams, Noyes Museum, 1988.

(4,000 - 6,000)

363

363

Mallard drake, John Blair, Sr., Philadelphia, Pennsylvania, 2nd half 19th century. Two piece hollow body. With raised neck seat. A flat bottom style. Very hollow light weight decoy for its size. 18” long. Original paint; some discoloration at nail heads; slight separation at body seam; tight cracks in neck; one replaced eye; some paint loss on sides and back.

Provenance: Bruce Williams collection. Ex Bob White collection. The Noyes Museum, Oceanville, NJ “Delaware River Decoys: The Bob White Collection” (1/24/88-4/10/88).

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 32, exact decoy pictured. “Delaware River Decoys: The Bob White Collection,” exhibition brochure, The Noyes Museum, Oceanville, New Jersey, 1988.

(4,000 - 6,000)

272

364

364

Hollow carved bluewing teal drake, John Blair, Sr. Philadelphia, Pennsylvania, last quarter 19th century. 13” long. Typical Blair, Sr. pad

365

Rare swimming black duck, John Blair, Jr., 1st quarter 20th century. Two piece hollow body with exceptional form. Hat pin eyes. Pronounced

weight. Branded “C. Wild” in underside. Original

paddle tail with classic rear body hump that Blair

paint with minor wear on most of the decoy; old in

Jr is known for. 17” long. Original paint; even flak-

use touchup to white areas and black under the

ing, mostly over the body exposing bare wood.

tail; several small dents.

Provenance: Matthew estate. Purchased from Adele Earnest in July 1963 for $45.

Literature: “Floating Sculpture,” Harrison Huster, p.

40, exact decoy pictured.

(2,000 - 3,000)

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight.

(3,000 - 5,000)

365

273

366

Bluewing teal, John Blair, Sr., Philadelphia, Pennsylvania, 2nd half 19th century. Two piece hollow body with

Exhibted at The Noyes Museum, Oceanville, NJ “Delaware River Decoys: The Bob

raised neck seat and tack eyes. Branded

White Collection” (1/24/88-4/10/88). Bucks

“D.V. Allen.” twice on underside for Daniel

Country Historical Society, Mercer Museum,

V. Allen a Dupont dye salesman from

Doylestown, PA “Ducks, Decoys and the

Philadelphia. Well executed classic style

Delaware: A Regional HuntingTradition”

paint job, which is very fine and original.

(4/17/04-1/3/05).

13.5” long. Decoy has moderate wear; some chew marks on bill and head; paint loss where nails have deteriorated at sides of neck; very early strengthening to blue area of wing patch; a few rough areas and tiny dents.

274

Provenance: Bruce Williams collection.

Literature: “My Favorite Five”, Bruce Williams, Hunting & Fishing Collectibles Magazine, Volume 2, Number 3, March-April 2002, pages 16-19.

(15,000 - 20,000)

275

367

Rare widgeon drake, unknown maker. Only two known.

Updike metal tag on underside. Stamped “Bob White” collection on underside. “H. Updike Tullytown” painted on underside.

Tucked head with carved wing and extended pointed tail. 13” long. Thick original paint; bare wood exposed at tip of tail; moderate gunning wear; line tie marks across back.

Provenance: Bruce Williams collection. Ex Bob White collection.

John Updike’s personal hunting rig (bottom painted: “Updike” but also copper tag with Frank Sidebotham, Philadelphia, PA. The Noyes Museum, Oceanville, NJ “Delaware River Decoys: The Bob White Collection” (1/24/88-4/10/88).

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 106, exact decoy pictured. “Delaware River Decoys: The Bob White Collection,” exhibition brochure, The Noyes Museum,

367

Oceanville, New Jersey, 1988.

368

(2,000 - 3,000)

Very early pintail drake, Delaware River, circa 1850. Two piece hollow body with raised neck seat and tack eyes.

Sculptural carving with upswept tail and serpentine poised head and neck. Important info on pad weight reads “A.tull 1856.”

16.5” long. Heavy wear on body with remnants of fine original paint; most of bill is an old replacement; multiple tight cracks in body, mostly around where nails were used to secure the two body halves.

368

Provenance: Bruce Williams collection. “Delaware River Decoys: The Bob White Collection,” The Noyes Museum exhibit 1/24/884/10/88.

Literature: “Floating Sculputre,” Harrison Huster and Doug Knight, p. 5 and p.39, exact decoy pictured. “Delaware River Decoys:The Bob White Collection,” exhibition brochure. “The Great Book of Wildfowl Decoys,” Joe Engers, editor, p. 134, exact decoy.

369

(2,500 - 3,500)

Hollow carved Canada goose, John Blair, Sr, Philadelphia, Pennsylvania, 3rd quarter 19th century. 24.5” long. Good form with flipped up tail and very wide cheek carving. Old in use repaint; slight separation at body seam; crack partway through neck base; lightly hit by shot.

369

Provenance: Bruce Williams collection. Ex Bob White collection. Ex William J. Mackey, Jr. collection, stamp on underside.

Exhibited at The Noyes Museum, Oceanville, NJ “Delaware River Decoys: The Bob White Collection” (1/24/88-4/10/88).

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 37, exact decoy pictured. “Delaware River Decoys: The Bob White Collection,” exhibition brochure, The Noyes Museum, Oceanville, New Jersey, 1988.

370

(1,750 - 2,250)

Black duck, English family, Philadelphia, Pennsylvania. Two piece hollow body with Delaware River style carving at back of wingtips, feathers, and tail. 15” long. A very old coat of repaint to bill and body.

370

276

Provenance: Matthew estate.

(1,200 - 1,500)

William Quinn 1915 - 1969 | Tullytown, Pennsylvania

371

Rare mallard hen, William Quinn, Yardley, Pennsylvania, circa 1940. Large body,

Literature: “The Great Book of Wildfowl Decoys,” Joe Engers editor, p. 131, exact

which is hollowed out. Incised feather carv-

decoy. “Delaware River Decoys: The Bob White

ing in back. Carved wingtips and tail. “W.

Collection,” exhibition brochure, The Noyes

Quinn Yardley PA” is painted on underside. 16”

Museum, Oceanville, New Jersey, 1988.

long. Excellent original paint.

(4,000 - 6,000)

Provenance: Bruce Williams collection. Ex Bob White collection. Personal hunting rig of Bill Quinn (signed in paint). Exhibited at The Noyes Museum, Oceanville, NJ “Delaware River Decoys: The Bob White Collection” (1/24/884/10/88)Bucks Country Historical Society, Mercer Museum, Doylestown, PA. “Ducks, Decoys and the Delaware: A Regional Hunting Tradition” (4/17/04-1/3/05).

277

Joe King 1906 - 1992 | Edgley, Pennsylvania

372

Very rare mallard hen, Joe King, Edgely, Pennsylvania, circa 1940. Weight on under-

Decoys,” Joe Engers editor, p. 131, exact

side is stamped “JS King Edgely PA”. Hollow two

decoy. “Delaware River Decoys: The Bob White

piece body with carved wingtips and carved

Collection,” exhibition brochure, The Noyes

tail. Detailed feather painting on body and

Museum, Oceanville, New Jersey, 1988.

head. 17” long.

Provenance: Bruce Williams collection, aquired directly from carver. Personal hunting rig of Joe King, Edgely, PA (name stamped on weight).

278

Literature: “The Great Book of Wildfowl

(6,000 - 9,000)

372 - Name stamped in weight

“He made very few mallards in his early style and for the few that he did make, this is the best” - Bob White

279

373

374

373

Widgeon hen, Jess Heisler, Burlington, New Jersey, 2nd quarter 20th century. Two piece hollow body with

374

Rocking horse style black duck, Jess Heisler, Burlington, New Jersey. Two piece hollow body with

raised, carved wings and carved tail. “A. Hounslow” paint-

tucked head and bill resting on full cropped breast.

ed on underside. Also stamped with Bob White collection.

Carved, raised wingtips in the typical Delaware fashion

13.5” long. Excellent original paint; fine feather detailing;

with extended tail. 20” long. Highly detailed feather paint-

wear at tip of wings, tail, and one small rub on body.

ing from breast to tail. Strong original paint; very light

Provenance: Bruce Williams collection. Ex Bob White collection. Bob White purchased directly from William J. Mackey, Jr. From the personal rig of Jess Heisler. Exhibited

wear; a tight crack that is not opened but is pitch bled on cheek and portion of bill.

Provenance: Bruce Williams collection. Ex Bob White

at The Noyes Museum, Oceanville, NJ “Delaware River

collection. Exhibited at The Noyes Museum, Oceanville,

Decoys: The Bob White Collection” (1/24/88-4/10/88).

NJ “Delaware River Decoys: The Bob White Collection”

Literature: “Decoys of the Mid Atlantic Region,” Henry Fleckenstein, Jr, p. 70, exact decoy. “Floating Sculpture,” Harrison Huster and Doug Knight, p. 75, exact decoy.

“The Great Book of Wildfowl Decoys,” Joe Engers editor,

(1/24/88-4/10/88). Bucks Country Historical Society, Mercer Museum, Doylestown, PA “Ducks, Decoys and the Delaware: A Regional HuntingTradition” (4/17/04-1/3/05) Literature: “Floating Sculpture,” Harrison Huster and Doug

p. 130 exact decoy. “Delaware River Decoys: The Bob

Knight, p. 73, exact decoy pictured. “The Great Book

White Collection,” exhibition brochure, The Noyes Museum,

of Wildfowl Decoys,” Joe Engers editor, p. 130, exact

Oceanville, New Jersey, 1988.

decoy pictured. “Delaware River Decoys: The Bob White

(3,000 - 5,000)

Collection,” exhibition brochure, The Noyes Museum, Oceanville, New Jersey, 1988.

280

(2,500 - 3,500)

375

376

375

Pintail drake, Clark Madera, Pitman, New Jersey, 2nd quarter 20th century. Hollow carved with tack

376

Pintail hen, Clark Madera, Pitman, New Jersey, 1st quarter 20th century. Hollow carved with tack eyes.

eyes. Carved bill detail. Wonderful sweeping form with

Stylish hump back and upswept tail. 18” long. Original

extended tail. Fine vermiculated feather painting to gray

paint with moderate wear and repair to approximately

areas on back and sides. 17” long. Original paint with

1.5” of the tail.

even gunning wear.

Provenance: Bruce Williams collection.

(2,000 - 3,000)

Provenance: Ex Dick Gove collection. Private collection Bucks County, Pennsylvania.

Literature: “Classic New Jersey Decoys,” James R. Doherty, Jr., p. 162, plate 339, related example pictured.

(4,000 - 6,000)

281

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

377

Rare walking greater yellowlegs on wooden base, Elmer Crowell, East Harwich, Massachusetts. 13.5” long. Crowell’s oval brand is in the underside. Fine paint detail. Very good and original.

282

Literature: “The Songless Aviary,” Brian Cullity.

(17,500 - 22,500)

283

378

Rare full size decorative robin on wooden base, Elmer Crowell, East Harwich, Massachusetts. 9.25” long. Original paint with good detail on most of the decoy; most of the bill is a professional replacement with touchup; touchup on underside of tail; jesso at thighs is missing.

284

(3,500 - 4,500)

379

379

Full size ringneck plover, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is on underside of quahog base. 5.5” tall. Several chips in the jesso on the feet and knees have been professionally repaired by Russ Allen.

Provenance: From a small household auction in Montana.

380

(3,500 - 5,500)

Pair of pintail heads mounted on oval bases, Elmer Crowell, East Harwich, Massachusetts. 6.5” tall.

Both have Crowell’s oval brand in the underside of each base. Very good and original.

(1,250 - 1,750)

380

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The story of Elmer Crowell as the father of American bird carving is well known. He is credited with elevating the working decoy from a crude utilitarian item to an attractive object that was as appealing to the sportsman as it was to the waterfowl. As early as 1935, his fame was widespread, and Joseph Lincoln (author, not carver) wrote: “- - - - the credit for this change from a caricature to a portrait is due to one man, Elmer Crowell”.

As the demand for working decoys diminished, Crowell shifted his efforts to carving equally accurate renditions of non-game birds meant to grace the mantel rather than the marsh. The tourist trade on Cape Cod was becoming increasingly popular in the early 20th century and these seasonal visitors provided a ready market for his work.

Again, citing Lincoln: “Then one winter, when the decoy business had slackened a bit, he amused himself by making - - - - birds of the woods and meadows – in wood, and coloring them as nature had colored the originals. And when summer brought its trainloads of tourist, he sold every one of these and had orders ahead for dozens more”.

While the sportsman would have been drawn to his decorative shorebirds, the non hunters would have found species that they were familiar with more appealing. The kingfisher was a commonly seen resident of Cape Cod’s streams, ponds and marshes and its bold colors and striking crest made it an ideal subject. It was to become a popular item to leave the small shop in Harwich during the summer months.

286

Crowell’s work can be fairly accurately dated by a number of means, probably the most reliable of which are his brands or the other methods he utilized to mark his work. His earliest decoratives were signed. About 1912 he had his now famous oval hot brand produced. This mark was impressed into the base of the vast majority of his carvings between the dates of 1912 to about 1928 when his smaller rectangular cold stamp became more the norm. The oval brand received such heavy use on Crowell’s numerous carvings that it began to deteriorate, with the outer ring being one of the first features to disappear. The crisp outer ring and clear lettering of the brand on this kingfisher would indicate a creation date of somewhere between the late teens to about 1920. Other features of this carving that would suggest an early date would be the quality of the painting, the base itself and the pose. As Crowell began to carve decoratives, he liked to use natural burls or other native objects as mounts. As demands on his time increased, he did not have the luxury to forage for these types of objects and he began to utilize his much more commonly seen chip carved or “carved rock”, quahog or (rare) oyster shell bases. A number of Crowell’s kingfishers are seen with a tiny carved perch or minnow in its beak. His early efforts were likely a simpler, closed beak design which he would elaborate on as his experience with the form matured or orders increased.

The combination of the crisp oval brand, natural burl base, outstanding paint and traditional close beak pose all indicate that this kingfisher dates from an early period in Crowell’s illustrious career and make this carving a particularly desirable example.

381

Rare female kingfisher, Elmer Crowell, East Harwich, Massachusetts, 1st quarter 20th century. Mounted on burled base with hot oval brand. Tack eyes. Posed in a watching or hunting position. Raised, extended serrated crest at top and back of head.

Carved wings, carved wing outline, and carved tail. 8” long x approximately 5” tall. Strong original paint; tight crazing, mostly at top of bill.

(12,000 - 15,000)

287

Delbert “Cigar” Daisey 1928 - 2017 | Chincoteague, Virginia

Delbert “Cigar” Daisey followed in the footsteps of many famous past Chincoteague decoy makers, including Umbrella Watson, Ira Hudson, Doug Jester, and Miles Hancock. Cigar, a waterman, trapper, and sometimes outlaw, became Chincoteague’s most famous decoy carver in the later part of the 20th century.

During this time Cigar saw the decoy evolve from a tool used by waterfowl hunters to an object of art. The old hunting decoy became a collectible piece of American folk art and the development of the decorative decoys by the contemporary carvers created pieces of art cherished by people today. Cigar was able to master making the “old” hunting decoys as well as decorative decoys, and he made a living as a professional decoy carver. Cigar will be remembered as a great decoy carver and a terrific storyteller, among many other notable traits. His many tales of his days as a waterman, including his illegal duck trapping, coupled with his amazing talent, created the man we know as Cigar the Legend.

Credit: Doily Fulcher

382

Very rare grebe, Cigar Daisey, Chincoteague, Virginia. Branded ‘Cigar’ and signed 2007. 7.125” long.

With incised wing tip and tail carving.

Very good and original.

Provenance: Doily Fulcher collection.

(800 - 1,200)

382

288

383

384

383

Green wing teal drake, Cigar Daisey, Chincoteague, Virginia. Branded, signed,

384

Very rare pair of gadwall, Cigar Daisey, Chincoteague, Virginia. Branded, signed,

and labeled Doily special. 11” long. With

and labeled hunting decoy. Made in 1991.

very slightly turned head, carved primaries

17.5” long. Very good and original.

and secondaries, and fluted tail. Dated 5/90.

Very good and original.

Provenance: Doily Fulcher Collection.

Provenance: Doily Fulcher Collection.

Collection stamp on underside. (3,000 - 4,000)

Collection stamp on underside. (1,250 - 1,750)

289

385

Sleeping dunlin on clam shell base, Cigar Daisey, Chincoteague, Virginia.

Branded ‘Cigar’. Dated 4/07.

7” tall. Fine paint detail. Very good and original.

Provenance: Doily Fulcher Collection. Collection stamp on underside.

(1,000 - 1,500)

385

386

Dowitcher in breeding plumage on original clam shell base, Cigar Daisey, Chincoteague, Virginia.

Branded, signed, and dated 2007. 7” tall. Carved wing tips.

Very good and original.

Provenance: Doily Fulcher Collection. Collection stamp on underside.

(1,000 - 1,500)

386

387

Yellowlegs with tucked head, Cigar Daisey,Chincoteague, Virginia. Branded, signed, and dated 11/94. 10” long. With raised wing tip carving and good paint detail. Very good and original.

Provenance: Doily Fulcher Collection. Collection stamp on underside.

387

290

(900 - 1,200)

388

Rare lesser scaup hen, Cigar Daisey, Chincoteague, Virginia. 11.5” long with slightly turned head. Branded “Cigar”.

Good paint detail. Decoy was a gift from Cigar to Jimmie Vizier.

Inscription on underside reads “Delbert Cigar Daisey, made specially for my friend Vizier” inscription is faded. Very good and original.

(800 - 1,200)

388

388a

Black bellied plover in spring plumage, Cigar Daisey, Chincoteague, Virginia.

Branded and dated 1987. 10.5”.

With raised carved wing tips.

Very good and original.

Provenance: Doily Fulcher Collection. Collection stamp on underside.

(650 - 950)

388a

388b

Dove, Cigar Daisey, Chincoteague, Virginia.

Branded, signed, and dated 1994. 11.50” long. With relief wing tip carving. Very good and original.

Provenance: Doily Fulcher Collection. Collection stamp on underside.

(650 - 950)

388b

291

389

Rigmate pair of old squaw, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Both are hollow and branded “JAS” on underside. Hen is dated 9/86 drake is dated 10/86.

Hen has Jim’s gunning notes on underside, which states “From own off shore gunning rig with exactly 347 ducks shot and retrieved over this decoy,” with a long detailed list of friends that hunted over it and the waters where it was hunted. Both have slightly turned heads. Deep side and shoulder carving. Drake measures 18” long. Original paint; some flaked areas on hen, as well as rubs to wood at bill and tail; drake has a few small rubs and crack at

389

one side near bottom board.

(5,000 - 8,000)

390

390

292

391

Early working owl decoy, unknown maker, 2nd quarter 20th century. Glass eyes with

391

Working owl decoy, unknown maker, circa 1930. Carved from hardwood. Mounted on a

bear claw nose and leather ears. Honey combed

portable branch with two large screws to resem-

carved pattern on breast. Applied staples to shoul-

ble a perched owl. Brow and beak are carved.

der where perhaps feathers or wings could hang.

Glass eyes. On base, measures 21.5” tall. The

Metal mounting piece attached at back can be

surface is naturally worn and darkened with wear

positioned in wooden base. 17” long. Thick original

and oxidization; three natural splits in piece of

paint that has flaked where laminate boards were

wood run length wise and have small finish nails

put together; multiple shot scars on front.

in an attempt to secure the split; wear and small

Provenance: Michaan collection.

(2,500 - 3,500)

amounts of missing wood at beak and around ears.

(1,000 - 2,000)

392

Impressive and very rare emperor penguin, Charles Hart, Gloucester, Massachusetts, 1st quarter 20th century. At 33.5”, this piece is monumental. Having been used outside on a porch. Hart is famous for his carved penguins, which were given as gifts and sold to tourists. The majority of Hart’s penguins are less than 12” tall, with most being no more than 6”. Carved entirely of wood with applied wings, doweled eyes, and carved, applied bill. Tail is an inlet separate piece. Feet are carved and legs are doweled into the base. Multiple coats of weathered paint tell a story of its age; tight cracks; separation at joints where wood putty has fallen away; exposed nails holding in bill; no structurally damage.

(8,000 - 12,000)

*Miniature shown for scale. Not included.

293

Delaware River John English 1852 - 1915 | Florence, New Jersey

294

“This is one of five hens that I bought directly from Mrs. Biddle in 1970. I sold the other five and kept this for myself. I eventually sold it to Bruce.”

- Bob White

393

Pintail hen, John English, Florence, New Jersey, 2nd quarter 19th century. Classic Delaware River style. Hollow carved with raised ‘v’ wing tips and narrow body. Dropped,

Provenance: Bruce Williams collection. The Noyes Museum, Oceanville, NJ “Delaware River Decoys: The

carved, extended tail. With a thin neck and slight depression

Bob White Collection” (1/24/88-4/10/88).

around eye groove. Neck seat is raised. Tack eyes. Very fine feather detailing over body and head. English’s square pad weight attached near rear of underside. Carved bill detail.

16” long. Very fine original paint; light gunning wear; rough area at top of one side of tail that has been darkened; cotton cord line tie marks impressed in paint behind neck; a few small rubs to flakes that have exposed bare wood.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 54, exact deocy. “Delaware River Decoys: The Bob White Collection,” exhibit brochure, The Noyes Museum, 1988. “The Great Book of Wildfowl Decoys,” Joe Engers, editor, p. 127.

(15,000 - 25,000)

295

“I always felt the form of these English/Dawson bluebills represented the very finest Delaware River scaup ever made.”

- Bob White

394

Early and important bluebill drake, John English, Florence, New Jersey, 2nd half 19th century. Second coat of paint by John Dawson, approxi-

gunned over it for years. Eventually, he retired them

mately 1920. Carved and extended tail with pad

his collection to Bruce Williams. The Noyes Museum,

weight secured at rear of body. Raised neck seat and

Oceanville, NJ “Delaware River Decoys: The Bob

glass eyes. 14.5” long. Appealing original Dawson

White Collection” (1/24/88-4/10/88)

paint has mellowed and worn lightly; lead paint has flaked around small portions of both eyes; small repair to portion on one side of bill.

this decoy from 1957 to early 1980s when he sold

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 120, exact decoy pictured.

“Delaware River Decoys: The Bob White Collection,”

Provenance: Bruce Williams collection. Ex Bob White

exhibition brochure, The Noyes Museum, Oceanville,

collection. Ex Harrison Huster collection. Part of the

New Jersey, 1988.

personal hunting rig of John Dawson, brought to Swick’s store by Dawson’s widow. Bob then actively

296

from his rig to the shelves of his collection. He owned

(5,000 - 8,000)

Clarence Winters: A wealthy hardware dealer from Bristol, Pennsylvania, was a relative and patron of Dan English. Late in life, when Dan was broke and recovering from a 2nd stroke, Winters allowed Dan to live with him and supported him the rest of his life. Eventually paying for Dan’s stay in the Mason’s home, when he required more care, and his eventual burial in Bristol Cemetery.

“While there (living with Winters) (in 1958), he (English) repainted 50 decoys that he had made for Winter years earlier (1930-35) which were then preserved in poly bags and never used again. They have been referred to by collectors as “Winter’s Famous Fifty” - all which were stamped “Winter”, but the birds with the rounded bodies were from Dan English’s personal hunting rig and are highly prized by collectors today”. - Floating Sculpture, Huster & Knight, 1982.

396

Tucked head black duck, Dan English, Florence, New Jersey. Branded “Winter” several times on body and weight. Hollow two piece construction. A very pleasing tucked head where the bill rests gently on the full crop breast. Large loop feather carving at back. Raised tail and wing carving. An early second coat of paint, as with most of the Winter rig decoys.

Provenance: Dan English’s personal rig, Clarence Winters rig, Bill Mori collection. Mark Mahoney collection.

Private collection Bucks County, Pennsylvania.

Literature: “New Jersey Decoys,” Henry Fleckenstein, p. 194, plate 463, p. 195, p. 202, rigmates illustrated.

(3,000 - 4,000)

297

397

Extremely rare widgeon hen, John English, Florence, New Jersey, last quarter 19th century. 14.5” long. Good feather paint detail. Original paint with very slight wear; somewhat darkened with age; tiny chip missing from top of one tail feather.

Provenance: Matthew estate.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight.

(10,000 - 14,000)

298

299

398

399

398

Competition grade brant, John McLoughlin, Bordentown, New Jersey. Signed. 17” long. With

399

carved crossed wingtips and carved secondaries. Relief wing carving. Very good and original.

side for second annual Atlantic Flyway Wildfowl Carving and Art Exhibition, Salisbury, Maryland. Also written on underside is “appraised at $5,000 1989.”

300

maries and secondaries. Fluted tail. Excellent and original.

Provenance: Miller collection. Exhibition sticker on under-

(2,000 - 3,000)

Feeding Canada goose, John Mcloughlin, Bordentown, New Jersey. 30” long. Signed. Carved priProvenance: Miller collection.

(2,000 - 3,000)

400

Mallard drake, Dan English, Florence, New Jersey. 15.5” long. From the Cheeseman rig, stamped “HC” in the underside and in the lead weight. Relief wingtip carving. Loop feather carving on back. Original paint with minor discoloration and wear; structurally good.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight.

(5,000 - 7,000)

301

401

Rigmate pair of canvasbacks, John Dawson, Trenton, New Jersey, 2nd quarter 20th century. Two piece hollow body. Inset wooden tails.

Fine bill carving. 15” long. Branded “JD” on underside. Thin original paint; small spots of discoloration; light gunning wear.

302

(5,000 - 7,000)

401a

401a

Rigmate pair of mallards, Tom Fitzpatrick, Delanco, New Jersey, circa 1940. Both branded “JAH” from the collection of John Hillman, and both bear his collection stamp. Two piece hollow body with tack eyes, carved and extended wings and carved tail. 16” long. Fine original paint; highly detailed feathering; a few shot scars in hen; otherwise structurally good.

Provenance: Bruce Williams collection. Ex John Hillman collection, stamp and label on underside. Exhibited at The Noyes Museum, Oceanville, NJ “Delaware River Decoys: The Bob White Collection” (1/24/88-4/10/88).

Bucks Country Historical Society, Mercer Museum, Doylestown, PA “Ducks, Decoys and the Delaware: A Regional HuntingTradition” (4/17/04-1/3/05).

Literature: “The Great Book of Wildfowl Decoys,” Joe Engers editor, p. 131, exact decoys. “Delaware River Decoys: The Bob White Collection,” exhibition brochure, The Noyes Museum, Oceanville, New Jersey, 1988.

(2,000 - 3,000)

402

402

Hollow carved redhead drake, John Dawson, Trenton, New Jersey. “JD” stamped in underside. 14.25” long. Original paint with good feather detail and minor wear; structurally very good.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight.

(3,500 - 5,500)

303

403

Very rare pair of American mergansers, Sam Archer, Bordentown, New Jersey, 1st quarter 20th century. Archer who made a limited number of decoys is known best for his racey low profile style American mergansers. Each has a head set back on the body displaying a very protruding breast. Both have carved crests and very tiny hat pin eyes. This pair has been well photographed and displayed throughout many decoy publications throughout the years. 15.5” long. The drake has original paint that has dried and crazed evenly, white areas have darkened with dirt and grime; hen has original paint that was protected by a coat of varnish that is partially worn; small professional repair to tip of crest; line tie marks have made impressions on backs of both decoys.

304

Provenance: Bruce Williams collection. Ex collection Sam Archer from his personal hunting rig (signed in paint S. Archer 1912). Ex Bob White Collection.

Literature: “The Great Book of Wildfowl Decoys,” Joe Engers editor, p. 132 exact decoys. “Floating Sculpture,” Harrison Huster and Doug Knight, p. 15, drake pictured. “Decoys. A North American Survey, p. 60, drake pictured.”Ducks, Decoys, and the Delaware: A Regional Hunting Tradition” (4/17/041/3/05), Bucks Country Historical Society, Mercer Museum.

(8,000 - 12,000)

“I bought them directly from Johnny Hillman.

I consider them to be some of the best folk art to come from the river”.

- Bob White

305

404

407

405

408

406

409

404

Canvasback drake, John McLoughlin, Bordentown, New Jersey, circa 1930s. 15” long. Mixture of worn

407

original paint with some working touchup; small dents very slight roughness to edge of tail.

405

(800 - 1,200)

Black duck, William Welker, Pennsylvania, 1st quarter 20th century. 15.5” long with raised V wingtip carv-

oration and wear; structurally good.

Provenance: Matthew estate.

408

Black duck, Blair school, circa 1900. Well sculpted

406

eyes. Different color paint on underside that is common

(1,000 - 1,400)

with Blair decoys. Fancy wing patch and slightly raised neck shelf. 15” long. Original paint with light wear; small

Pintail drake in content pose, John McLoughlin, Bordentown, New Jersey. 18.5” long. Good paint

chip in tail; some rubs where bare wood is exposed.

(1,000 - 1,500)

detail. Carved wingtips and fluted tail. Very good and original.

Provenance: Miller collection.

(1,000 - 1,400)

stylish body with upswept tail. Head is turned and has tack

ing and heavily fluted tail. Original paint; minor wear; a few tiny dents.

Wood duck drake, Harry Fennimore, Bordentown, New Jersey. 14.5” long. Original paint with minor discol-

409 (1,000 - 1,500)

Teal, unknown carver, Blair school, Delaware River, 2nd half 19th century. Branded “G.Fox” twice on underside. Solid body with tack eyes and raised neck seat.

11.5” long. Original paint that has mellowed with age; two rough areas along bottom edge have been darkened; very light gunning wear.

306

Provenance: Bruce Williams collection. Ex Bob White collection. From the hunting rig of G. Fox, Andalucia, PA, brand on underside.

(1,500 - 2,500)

410

Black duck, Harry Fennimore, Bordentown, New Jersey, 1st quarter 20th century. Two piece hollow body with tack eyes. Head which is set on a slight angle so that neck and bill rest against the full crop of the breast. V shaped feather carving extending back of neck throughout tail. 14” long. Fine original paint; wear at top of head and edge of bill; most of the nail holes securing the sides have lost their lead wood filler coating.

Provenance: Bruce Williams collection. Ex collection of Frank Schmidt, West Baldwin, Maine. Exhibbited at The Noyes Museum, Oceanville, NJ “Delaware River

410

Decoys: The Bob White Collection” (1/24/88-4/10/88) Literature: “Delaware River Decoys: The Bob White Collection,” exhibit brochure, The Noyes Museum, Oceanville, New Jersey, 1988.

411

(1,500 - 2,500)

Teal in the Delaware River style, unknown maker, circa 1900 or earlier. Two piece hollow body. With carved eyes that have brass nails inserted. Carved shoulders and wing outline and slightly upswept tail.

Head is turned with detailed bill carving. “W.S” painted on underside. Also bears the Mackey collection stamp.

13” long. Thin original paint; a few small rubs and scratches; a few spots where paint was missing has

411

been darkened a very long time ago; two nails may have been added at the top of the head.

Provenance: Bruce Williams collection. Ex Bill Mackey collection.

412

(1,500 - 2,500)

Black duck, William Quinn, Yardley, Pennsylvania. 16” long. In resting pose with feather carving on back, raised carved wingtips, and fluted tail. Original paint with minor wear; a few small dents and shot mark.

Provenance: Formerly in collection of Dave Campbell, branded “DSC” in underside.

413

(1,500 - 2,500)

Black duck, Jess Heisler, Burlington, New Jersey, circa 1920. Two piece hollow body with extended

412

carved raised wingtips and carved tail. “WGG” stamped in underside below weight. 16” long. Strong original paint that is very thin and is worn lightly over wood grain exposing some areas to natural wood; rub at top of head and lower portion around weight mostly.

Provenance: Owned by John Hillman. Ex Jimmy Allen collection. Ex William Grier Gaskill collection, Gaskill stamp on underside.

Literature: “Decoys of the Midatlantic Region,” Henry Fleckenstein, Jr., p. 62, exact decoy. “New Jersey Decoys,” Henry Fleckenstein, p. 188, exact decoy pictured.

(1,500 - 2,500)

413

307

Sporting art Chet Reneson b. 1934 | Old Lyme, Connecticut

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.

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.

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.

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.

He has completed a volume of work that has been exhibited at galleries ranging from Connecticut

308

414

Watercolor, Chet Reneson, Old Lyme, Connecticut (b.1934). Signed lower right

414

and dated 1996. Salt water fishing scene on the flats with fisherman hooked up and guide holding boat steady.

18” x 28”. Professionally matted and framed. Very good and original.

415

(4,000 - 6,000)

Watercolor, Chet Reneson, Old Lyme, Connecticut (b.1934). Signed lower left.

415

Image of fly fisherman and two companions in canoe.

Image size 17.75” x 27.5”.

Professionally matted and framed. Excellent and original.

(2,000 - 4,000)

309

416

416

Watercolor, Chet Reneson, Old Lyme, Connecticut (b.1934). Image of grouse hunter with setter and bird flushing. Signed lower right. Image size 17.5” x 28”. Professionally matted and framed. Excellent.

417

Watercolor, Chet Reneson, Old Lyme, Connecticut (b.1934). Signed

(2,000 - 4,000)

417

lower left. Image of two hunters gunning for black ducks from shore. Image size 17.5” x 24”. Professionally matted and framed. Excellent.

418

(2,000 - 4,000)

418

Watercolor, Chet Reneson, Old Lyme, Connecticut (b.1934). Signed lower right. Image of man cooking over an open fire at side of lake with wooden canoes tied at shoreline. Image size 17.5” x 28”. Professionally matted and framed. Excellent and original.

(2,000 - 4,000)

310

419

Watercolor, Chet Reneson, Old Lyme, Connecticut (b.1934). Signed

419

lower left. Image of goose hunters setting out from shore while flock is approaching. Image size 17.5” x 27.5”. Professionally matted and framed. Excellent.

(2,000 - 4,000)

420

420

Watercolor, Chet Reneson, Old Lyme, Connecticut (b.1934). Signed lower right. Image of hunter taking aim at flying grouse with setter in background. Image size 17.5” x 27.5”. Professionally matted and framed. Excellent.

421

Watercolor, David Hagerbaumer (19212014). Signed lower left. Image of pintails

(2,000 - 4,000)

421

with autumn trees in background. Image size 16” x 14”. Professionally matted and framed. Excellent and original. (2,000 - 3,000)

311

422

422

Oil on canvas, Eugene Petit (1839-1933). Titled “On the Scent”.

Image of bird dog on point with hunter approaching. Image size 15” x 18”. Elaborately carved wood and plaster frame, which measures 26.5” x 30”. Painting has been relined; a few small areas of restoration.

(1,200 - 1,500)

423

Oil on board illustration, Harry Livingston.

Hunter with dog taking aim at escaping fox in a snow scene. Livingston did cover art for Hunting & Fishing magazine in the 1930s and 1940s.

Signed lower right. Image size 23” x 20”. Very good and original.

Provenance: Governor Jim Thompson collection.

(1,000 - 1,500)

423

312

424a

424a

Oil on canvas board of two pointers in the snow and on alert. Signed lower right, “Keiser”.

21.5” x 29.5”. One repair to a tear at edge of lower right; in painting to very small areas, mostly in snow and a few in white area of dogs bodies.

Provenance: Governor Jim Thompson collection.

(500 - 800)

424b 424b

Oil on canvas of day’s catch. Signed “P. Brett” lower right. Depicts fishing creel and pet dog resting on pillow. Image measures 20” x 22.5”. Very good and original.

Provenance: Governor Jim Thompson collection.

(500 - 8000)

424c 424c

Vintage oil on canvas of fisherman with flyrod and trout. Signed lower left “Rose M. Harris ‘97”. Image size 23.5” x 19.5”. Crazing, mostly in blue sky area; small spots of professional restoration or inpainting mainly around edges, in sky, and a few other small places.

Provenance: Governor Jim Thompson collection.

(600 - 800)

313

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

314

425

Hollow carved brant, Nathan Cobb, Jr., Cobb Island, Virginia, last quarter 19th century. Round body style.

18.75” long. Raised V wing carving and serifed “N” carved in underside. Worn repaint by Ira Hudson; bare wood is showing on much of the decoy; neck has lifted slightly; one eye is missing; small dents.

Provenance: Matthew estate.

Literature: “Wings of Wonder,” Dr. Lloyd Newberry.

(15,000 - 20,000)

315

426

Redhead drake, Nathan Cobb, Jr., Cobb Island, Virginia, last quarter 19th century. Hollow with bottom board and carved serifed “N”. Dropped split tail. Inlet head with hat pin eyes. 13” long. Paint is a mix of original and old working second coat; tight crack in head; neck has been reset; eyes are replacements; several spots worn to bare wood at sides; bottom quarter of bill is a professional replacement by Mark McNair.

316

Provenance: Formerly in collection of Tommy O’Connor. (8,000 - 12,000)

427

Bluebill hen, Nathan Cobb, Jr., Cobb Island, Virginia, 2nd quarter 19th century. Carved eyes. Inlet head and dropped split tail. Body is two piece hollow. “N” carved in underside. 14” long. Old worn paint; some of which has been professionally removed by Mark McNair; tight crack in head; hunter’s repair to bill where nail was added to underside.

Provenance: Out of the personal hunting rig of Joseph Crumb, from Crumbs Hill in Oyster, Virginia.

(8,000 - 12,000)

317

428

Rare widgeon drake, Doug Jester, Chincoteague, Virginia, 1st half 20th century. 1 of only 6 known. Made for a special order for Eugene Farrar of Virginia Beach. Slightly raised neck seat.

16” long. Strong original paint that is thick and has crazed to create an appealing surface; rub at one side of body to expose wood; otherwise light gunning wear.

428

(2,500 - 3,500)

429

Red breasted merganser drake, Doug Jester, Chincoteague, Virginia. Four extended combs at back of head. 16.5” long. Very strong original paint; some crazing at breast; tight crack along back, body, and bill; rough area at end of bill; light gunning wear. (2,500 - 3,500)

429

430

Brant, Charles Birch, Willis Wharf, Virginia. Two piece hollow body with raised neck seat.

16” long. Second coat of paint by Ira Hudson, probably done in the 1920s; tight neck cracks; rubs at tail and side of body.

(1,500 - 2,000)

430

431

Canvasback drake, Ira Hudson, Chincoteague, Virginia. Round body style with fluted tail and tack eyes. Original paint with moderate wear; old touchup on underside near where weight used to be; thin cracks and shot marks.

431

318

(2,000 - 2,500)

Ira Hudson 1876 - 1949 | Chincoteague, Virginia

432

Rare bufflehead hen, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Football style body with extended paddle tail. Brass tack eyes. 12” long. Good original paint; shot scars, mostly on one side of body; two cracks at base of neck; area near eye on one side of face looks like a paint drip with a few small spots on back.

(8,000 - 12,000)

319

North Carolina Alvirah Wright 1869 - 1951 | Duck, North Carolina

435

Ruddy duck drake, Alvirah Wright, Duck, North Carolina, 1st quarter 20th century.

With all the desirable features; alert head, fat cheeks and jowl, splayed bill, with paddle tail carved out from underside. 11” long. Old working repaint which is thin enough so that at flaked areas bare wood is exposed; small area of paint restoration to one side of bill and one side of tail by Russ Allen.

320

(12,000 - 18,000)

Ned Burgess 1853 - 1966 | Churches Island, North Carolina

436

Well sculpted and very rare ruddy duck, Ned Burgess, Churches Island, North Carolina. Original paint with minor wear, mostly on the top of head; light gray areas on body may have been added at a later date; crack in underside and breast; small chip missing from one edge of tail.

Literature: “Gunning’ Birds,” Kroghie Andresen. “Southern Decoys,” Henry Fleckenstein, Jr.

(5,000 - 8,000)

321

437

Grey coot, Ned burgess, Churches Island, North Carolina, 2nd quarter 20th century. 13” long. Near mint original paint; slight discoloration and wear on bill; structurally very good.

Provenance: Kroghie Andresen collection. From the Currituck Shooting Club. One of a large group of coot decoys delivered to the club by Burgess. Purchased by Kroghie Andresen from Carl Ross superintendant of the club.

322

(4,000 - 6,000)

438

Canvasback drake, Ivy Stevens, Cedar Island, North Carolina. 14.25” long. Old in use repaint; crack through neck.

Provenance: Kroghie Andresen collection.

Formerly in the collection of Bill Walsh.

(800 - 1,200)

438

439

Black duck, Joe Hayman, Kitty Hawk, North Carolina, 2nd quarter 20th century. Branded “Holt” twice in the underside. Original paint with minor flaking and wear; small cracks.

Provenance: Kroghie Andresen collection.

(700 - 1,000)

439

440

Brant decoy from Hatteras Inlet, North Carolina. Unique two piece head construction. 19.5” long. Worn original paint on back; black and white have old in use repaint; numerous small cracks.

Provenance: Kroghie Andresen collection.

Formerly in a Raleigh, North Carolina collection.

(900 - 1,200)

440

441

Bluebill drake, Churches Island, North Carolina. 13” long. “FR” is carved in the underside. Original paint with minor flaking and wear; slight roughness to edges of tail.

Provenance: Kroghie Andresen collection.

Found by Jim Trimble with a few others by the same maker along the Potomac river.

Most of the old gun clubs that operated in the area had club managers and guides from Currituck Sound and Back Bay area.

(400 - 600)

441

323

Shorebirds

Ruddy Turnstone (Arenaria interpres) Ruddy turnstones, and the decoys meant to mimic them, are among the most distinctive and recognizable of all our shorebirds. While occasionally seen, and once hunted in a few coastal communities from New England south, nowhere on the Atlantic flyway are decoys for them found with more regularity than in New Jersey. Within the Garden State, most of the period decoys for these birds have been found in the southern portion from Absecon to Cape May and even casual thought would indicate that this is because it is here that most of the actual birds were commonly seen. Decoys for the species were in demand and, thus, examples were carved not only by the State’s premier makers such as H.V. Shourds and Danial Lake Leeds but a host of unknown craftsmen as well.

The smallish birds got their name from their distinctive habit of flipping over little stones, seaweed, and other beach flotsam in search of insects and larvae. Their calico or harlequin like plumage is the perfect foil to camouflage them along a pebble strewn beach but replicating it challenged the painting skills of many New Jersey carvers. The turnstones have a wide distribution but those that are seen along our Atlantic coast breed in the high arctic tundra from Canada to northern Greenland. Adults are monogamous and will leave the northern breeding grounds from late July through September and begin their long-range southern journey to favored overwintering grounds as far south as South America. Around May, they will begin their return flight to their natal areas covering as much as 625 miles per day. To accomplish this strenuous northern flight, they must have ready access to quality resting areas and a reliable source of highly nutritious foods. It is here that we can see the importance of Southern New Jersey and Delaware Bay to the northern bound birds and why they would congregate there in large numbers.

eggs. These ominous looking (yet totally harmless) creatures date back to prehistoric times. Each spring, on a full moon and a high tide, mated pairs of the crabs will arrive on the beaches to produce tens of thousands of eggs. Multiply this fecundity by the number of mated pairs on the beaches and the abundant food source for the birds becomes apparent. The total aggregate of all the shorebirds that descend on these New Jersey and Delaware Bay beaches to gorge themselves will devour tens of billions of eggs and increase in weight by up to 40% to fuel the next leg of their trip to the Arctic.

Hunters were quick to notice this seasonal pattern and they pursued the turnstones with relish until Federal laws prohibited the harvest of the birds.

Unfortunately, cessation of hunting alone was not enough to insure an increase in the turnstone population. Not only the birds benefited from the horseshoe crab or its eggs. Baymen up and down the coast harvested immense numbers of the hapless crabs for bait and fertilizer. Pots (traps) for everything from conks to eels and lobsters were baited with the

Over evolutionary time, the birds have learned that it is here, in the Spring of the year, that one of the world’s largest population of horseshoe crabs (Limulus polyphemus) congregate to breed and lay their

Horseshoe crab harvest for fertilizer production, 1928 – Delaware public archives

324

442

Extremely rare ruddy turnstone, Nathan Rowley Horner, West Creek, New Jersey, last quarter 19th century. 9.5” long. Original paint; minor wear; very lightly hit by shot.

Provenance: Bruce Williams collection.

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

(7,500 - 9,500)

creatures and eventually, significant limits on their harvest had to be implemented. More recently, it has been found that the blood of the crabs plays a critical role in medical research and, in most states, crabs are now caught – bled – and returned alive to the same beaches from which they were harvested – a closely monitored process. When shorebird hunting was legal, beachfront and marshland had minimal value from a recreational or real estate point of view, so it was readily available for use by the birds and other life forms. Its ecological importance was even less appreciated. Over the years, pollution has decreased the productivity of much of the shore and land values in these areas have skyrocketed for homes, leisure, and development – all to the detriment of turnstones and other animal populations. It can only be hoped that wise conservation practices, coupled with informed environmental and land use decisions going forward, will benefit those that rely on our coast for all that it can provide.

Annual migration routes

325

443

Ruddy turnstone, Captain John S. Loveland, Lovelandtown, New Jersey, 2nd half 19th century. Shaped bulbous head. Hole drilled through tail for string carrying purposes.

9” long. Bill is probably a later replacement; original paint that has darkened and is worn to bare wood from moderate use and age.

Provenance: Bruce Williams collection.

(1,800 - 2,200)

443

444

Ruddy turnstone, Otto Townsend, Townsends’s Inlet, New Jersey, last quarter 19th century. String hole carrier drilled through tail area. Iron eyes, one of which is missing. 9” long. Appears to be original paint; protected by a light coat of varnish that is partially worn; cracks at top of head; a few shot scars.

Provenance: Bruce Williams collection.

(1,500 - 2,000)

444

445

Ruddy turnstone attributed to Giberson. 9” long with wire bill. Small “x” carved under the tail. Original paint with minor wear; several small spots of touchup at shot scars and area near stick hole.

445

(800 - 1,200)

446

Ruddy turnstone, Mark Collins, Pleasantville, New Jersey, 2nd half 19th century. Two piece body.

An undersized carving with simple tail marks. 7.5” long. Old paint appears to be mostly original except for white area on head; several shot scars; bill is a replacement; crack at one side of head.

Provenance: Bruce Williams collection.

(800 - 1,200)

446

447

Running ruddy turnstone, New Jersey, 2nd half 19th century. Metal tack eyes. Slightly upswept tail. 9” long. Old paint; traces of some original; bill is a replacement.

Provenance: Bruce Williams collection.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr., p. 176, exact decoy pictured.

(800 - 1,200)

447

448

Ruddy turnstone, unknown south Jersey carver, circa 1900. Wing relief carving with dropped tail and raised split wings. Tack eyes. Carrying hole drilled at base of tail. 9.5” long. Original paint with numerous shot scars; moderate wear.

Provenance: Bruce Williams collection.

(1,200 - 1,500)

448

327

450

449

449

449

Very rare black bellied plover in transitional plumage, Harry V. Shrouds, Tuckerton, New Jersey. 9.75”

450

450

Dowitcher, Harry V. Shourds, Tuckerton, New Jersey. 10” long.

Written on underside in Bill Mackey’s hand-

long. Original paint with minor wear on top

writing, “Dowitcher H Shourds, Tuckerton

of tail and part of back; structurally good.

New Jersey. Owned but seldom used by Howard Cranmer 1910.” Original paint

Provenance: Bruce Williams collection.

with minor discoloration and wear; hairline

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

(5,000 - 7,000)

crack through neck.

Provenance: Formerly in the Mackey collection, Mackey collection stamp on underside.

(7,000 - 9,000)

451

Black belied plover and robin snipe, Nealy Leeds, Sr., Smith Field, New Jersey, last quarter 19th century. Black bellied plover in slight running position. 10” long. Robin snipe has “Nealy Leeds” information written on underside. Original paint that has stained and darkened; bill is a replacement; a few small paint splatters; tiny rubs at edges.

Provenance: Bruce Williams collection.

Literature: “Shorebirds: The Birds, the Hunters, and the Decoys,” John Levinson and Somers Headly, p. 92, exact decoys pictured.

452

451

(1,500 - 2,000)

Yellowlegs, Longport, New Jersey circa 1900. 11 1/2” long. Original paint with very minor discoloration and wear, very lightly hit by shot.

(1,000 - 1,400)

452

453

Dowitcher, Otis Townsend, Townsends Inlet, New Jersey, last quarter 19th century. Wing relief carving with split tail. Original paint with an early repair to neck area; a few shot marks and flakes; bill is a replacement.

Provenance: Bruce Williams collection.

(1,000 - 1,500)

453

329

454

Yellowlegs with wire bill, Captain Conover, Atlantic City, New Jersey, circa 1900. 10.75” long. Original paint with minor wear; small dents.

(800 - 1,200)

454 455

Red knot, Nate Frazier, New Jersey. Painted eyes with feathering on breast and back. Very similar to work of Harry V. Shourds. Frazier’s birds tend to be more flat sided. 9” long. Original paint; light gunning wear; chip missing near stick hole; a few small scrapes.

Provenance: Jim and Pat Doherty collection.

(1,200 - 1,700)

455

456

Yellowlegs, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. 10.75” long. Original paint; good paint detail and minor wear on most of the decoy; paint shrinkage on breast and lower neck; some wear on top of head

Provenance: Bruce Williams collection.

(1,750 - 2,250)

457

Rigmate pair of yellowlegs, probably Long Island, New York. Tack eyes, one of which is missing. Both 12” long. Original paint;

456

white areas could have some touchup; long extended necks; both with replaced bills.

(1,200 - 1,800)

457

330

458

460

459

461

458

Golden plover form the Hingham, Massachusetts area, last quarter 19th century. Tack eyes. Original

460

the Hatteras to Ocracoke Island area. Original paint with

paint; minor discoloration and wear; old touchup on tack eyes and parts of the bill; structurally good. (1,200 - 1,600) 459

Black bellied plover from Massachusetts, last quarter 19th century. 10.5” long. Original paint; minor wear;

Root head curlew from North Carolina. Probably from moderate wear; small cracks.

Provenance: Kroghie Andresen collection.

461

Ringneck plover from North Carolina or possibly New Jersey, circa 1900. 9” long with doweled detach-

a few tiny dents; slight roughness to one lifted wingtip.

(800 - 1,200)

able head. Original paint with very slight wear; structurally

(1,000 - 1,400)

very good.

Provenance: Matthew estate. Acquired in 1963 from Adele Earnest.

(1,750 - 2,250)

331

Decoratives

462

462

463

464

462

Flying pair of pintails, Ernest Vidacovich. Full size bodies with wing out. Drake has hanging feet. Tail and

Rare full size flying mallard drake, Ken Harris, Woodville, New York, circa 1950. One of only

wing carving. Glass eyes. Each has a hanger in the

a very few full size flyers made by Harris. Wings are

back. Drake is original paint; with some filler loss where

extended and sculpted. Underside of body is comb

wings are set in to body and a hole caved near one

painted. 20” long. Strong original paint has mellowed

foot, possibly for a floor mount; hen’s feet are missing

and protected by an old coat of varnish; wings have

and has one area of wood deterioration at center of

been reset; hole that was drilled in underside for a

belly; separation line at tail; small chip to tail carving.

mount has been patched.

463

(800 - 1,200)

Darke measures 23” long. Drake is original paint with and tip of sprigged tail; hen has original paint with

Oversize speckle bellied goose, Walter Ruppel, Portland, Oregon. Signed and dated 1968. 26”

inpainting around areas where wings are inset into

long. With slightly turned head and relief wingtip carv-

body.

ing. Excellent and original.

inpainting around areas where wings are attached

(2,500 - 3,500)

464

Provenance: Miller collection.

332

(800 - 1,200)

465

Gadwall, Weldon Bordelon, Jr. Signed and dated 1991. Inscribed “2nd grey duck.”

Raised carved primaries and secondaries. Slightly turned head. Very fine paint detail. Excellent and original. (1,250 - 1,750)

465

466

Swimming merganser drake, Jimmie Vizier, Galliano, Louisiana. 20” long with crossed wingtips, fluted tail, and shoulder carving. Signed and dated 4/10/06. Excellent and original. (1,200 - 1,500)

466

467

Mother loon, Harold Haertel, Dundee, Illinois. Signed and dated “1981. Red throated loon”. Mature hen is carved with chick carved resting on back. Wingtips are defined and raised. Tail feathers are also carved and separated. Head is slightly turned. A second chick accompanies the mother loon and is signed and dated 1981.

19” long. Excellent and good. (1,500 - 2,000)

467

333

469

472

470

473

471 469

474

Full size Wilson’s petrel, Roy Conklin, Alexandria Bay, New York. 18” tall at it’s tallest point. Carved feet.

Feather carving detail. Raised wingtips. Glass eyes. Near mint original paint; structurally very good; several thin swipes of touchup on the underside near the legs.

detailed feather carving. 19” long. Excellent and original.

Provenance: Herrington collectinon.

472

Preening pintail drake, Mike Frady, New Orleans, Louisiana. Signed. 15” long. Carved primaries and sec-

(800 - 1,200) 470

ondaries. Fluted tail. Very good and original.

(1,000 - 1,400)

Two wall plaques, Joe Gigl, Wisconsin. Mallards are an early lithograph image that have been applied to board and shellacked. Gigl painted the background

473

Pintail hen, Tom Christie. Signed and dated 1998. 14.5” long. Slightly turned and lifted head. Carved crossed

scene. Board measures 7” x 15”. Paint crazing and one

wingtips. Good paint detail. Excellent and original.

imperfection in wood. Oval plaque has relief carved

(750 - 1,250)

and applied birds, mallard in flight with two geese. Heavy shellac on both has yellowed small area of paint flaking.

Measures 16” long.

471

(1,200 - 1,800)

Hollow carved speckle bellied goose, Ralph Stutheit. Signed, “Carved for Lynwood Herrington 1978.”

Slightly turned head, carved crossed wingtips, and

334

(800 - 1,200)

474

Pintail with matching miniature Carl Danos, Houma, Louisiana. 19” long. Raised carved primaries and secondaries. Detailed tail carving and slightly turned head.

Miniature has raised carved secondaries as well. Very good and original.

(800 - 1,200)

475

475

Loon in resting pose, Roger Barton, San Francisco, California. “RWB” carved in underside. Slightly turned head and relief wing carving. Feet are carved in underside. 17” long. Very good and original.

Provenance: Miller collection.

(3,000 - 4,000)

476

476

Pair of mergansers, Roger Barton, San Francisco, California. Signed “RWB 1990” on undersides. Drake is 21” long. Both have carved crest, carved bill delineation, and relief wingtip carving. Excellent and original.

(2,500 - 3,500)

335

A trained artist, Roger developed and maintained a unique style in many forms and mediums for over 40 years of decoy and decorative carvings making him the most collectable maker of “contemporaries on the West Coast.” In the 1960’s, 70’s, 80’s and into the 90’s he was awarded a large number of Blue Ribbons and Best of Shows. He is an accomplished and sought after author, editor, storyteller and a lover of waterfowl in the marshes.

His works in this catalog are some of the best of Barton, in his prime, posed to highlight the depth of his individuality through his special artistic impression.

476a

Well carved mallard drake, Roger Barton, San Francisco, California. RWB stamped in weight. 17” long. Relief wing carving. Carved primaries and secondaries. Fluted tail. Very slightly turned head.

Excellent and original.

Provenance: Miller collection, collection stamp is on underside.

336

(4,000 - 6,000)

476b

Exceptional widgeon drake, Roger Barton, San Francisco, California.

Carved for competition at the Michigan Waterfowl Decoy Association Show.

Show competition label Number 34 is on the underside.14.5” long. Competition keel. Finely detailed carved primaries and secondaries. Good tail carving.

Gracefully carved and slightly turned head and neck in alert pose. Excellent and original.

Provenance: Miller collection, collection stamp on underside.

(4,000 - 6,000)

337

Illinois River

476c

Excellent pair of mallards, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Some of Charlies finest paint, both retain the original weights with two piece hollow bodies. Fine combing on sides.

The name Chris Hec and some other illegible writing in pencil on underside of drake. 16” long Strong original paint; light rubs mostly on head of drake.

Provenance: Governor Jim Thompson collection.

(5,000 - 8,000)

Joe Tonelli pictured with the rig he found originally owned by William Duke of Henry, Illinois. Joe kept the only hen in the group and the best drake. Its unusual that these decoys were never varnished.

338

477

Rare and important early style bluebill, Charles Perdew, Henry, Illinois, circa 1900. Retains very rare weight. Stamped “MFR. By C.H. Perdew, Henry Ill”. 12.5” long. Strong original paint by Edna Perdew, includes combing on back and wet on wet blending near wing patches. Thinner style head with large taxidermy eyes all characteristics of his earliest decoys. Excellent original paint; very light wear; protected by a light coat of varnish.

Provenance: Roberts collection.

(8,000 - 10,000)

339

340

478

Rare canvasback drake, Charles Perdew, Henry, Illinois, 1st quarter 20th century. Hollow carved. Retains original unmarked Perdew weight. Outstanding paint by Edna Perdew. Incredibly tight combing pattern over back of body and at sides. 16” long. Strong original paint with a few small rubs.

Provenance: Governor Jim Thompson collection. Ex Galliher collection. From the Senachwine rig, circa 1925. The entire rig was found by Joe French in 1960.

Literature: “Perdew An Illinois River Tradition,” Ann Tandy Lacy, p. 158-159, similar.

(15,000 - 25,000)

341

Otto Garren 1890 - 1968 | Pekin, Illinois

Otto Garren c1960 and his parents Marion and Elizabeth

Otto was very much a blue-collar worker who lived through the heart of the Great Depression. Born in Buckheart, IL, the son and grandson of small farmers, he spent his late teenage years, through at least 1927, working as a coal miner at the Big Creek mines in St. David, Illinois. His time underground was interrupted in 1918 when, during WWI, he served as an Air Force private in Battery D of the 53’rd Field Artillery. In 1923, he married Catherine O’Neil and the couple raised six children. By 1930, and continuing through at least 1956, the family was living on South Sixth Avenue in Canton, Illinois. Here, he owned his own home which, based on neighboring valuations, would have been considered modest. While in Canton, Otto was variously working as an “assembler of farm implements”, “clerk” or “mechanic” at the large International Harvester plant in town. By the late 1950’s he was retired. He passed way in 1968 and is buried in St. Joseph’s Cemetery in Canton.

He would address these shortcomings by studying the work of accomplished local carvers such as the Wilcoxen brothers and incorporating their ideas into his own designs. His decoys follow the local Illinois River tradition by being hollow carved with two-piece bodies and sporting a hand carved head. White pine was the preferred wood and, while initially “blind”, his birds were later finished with glass eyes. While not as talented a painter as river legends Perdew or Graves, Otto’s paint was functional yet attractive due to his bold use of color and his forthright scratch feather detailing. Working out of a workshop behind his home, he produced a great number of hunting blocks for his own use and for sale to local hunters, with estimates varying from thousands (Parmalee and Loomis) to hundreds (Tonelli). Initially he carved those species most commonly hunted in the area and was somewhat unique in being one of the very few along the river to produce working birds for geese and wood ducks.

As plastic began to replace wood as the preferred material for decoys, Garren began to expand his repertoire of species and produced birds intended as decorative articles.

His work is extremely desirable and, as noted by early Illinois River historians Parmalee and Loomis: “The quality and variety of decoys he produced - - - place Garren among the more prominent decoy makers of Illinois”. Author Donna Tonelli would seem to concur when she writes: “When Otto Garren died in 1968, a precious part of our waterfowling history left with him”.

Hunting was not only an enjoyable pastime for Otto but a way to put food on the table and, as it would turn out, put a few extra dollars in the family coffers. His favored hunting area was the Banner Marsh along the Illinois River and he is said to have spent many happy days there hunting and, later in life, maintaining the “cottage” while cooking for the younger hunters. He is said to have carved his first decoy when he was sixteen and his early efforts were, by his own assessment, less than perfect.

Big Creek coal mine. St David, IL and International Harvester Co., Canton 1951

342

479

Pair of wood ducks, Otto Garren, Pekin, Illinois. Exhibit exaggerated carved wooden crests. Large glass eyes, characteristic of Garren’s early work. 12.5” long. Original paint with a coat of shellac or varnish and some repair to the end of the drake’s bill, otherwise structurally good.

Provenance: Governor Jim Thompson collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, pp. 117-119.

(8,000 - 12,000)

343

480

Stately high head Canada goose, Otto Garren, Canton, Illinois. Two piece hollow body.

Glass eyes and scratch feather painting. 18” long. Strong original paint protected by a coat of varnish; some varnish has worn off, mostly on one side.

Provenance: Governor Jim Thompson collection. Purchased directly from Otto Garren’s grand-

480

son with the help of Joe Tonelli.

(1,500 - 2,500) 481

Rigmate pair of greenwing teal, Otto Garren, Canton, Illinois, 2nd quarter 20th century. Hollow body with subtle tail shelf carving.

10” long. Strong original paint; small area of restoration to drake’s tail and at top of back; hen has small amount of restoration at top of back also.

Provenance: Governor Jim Thompson collection. (1,200 - 1,800)

481

482

Greenwing teal drake, Otto Garren, Canton, Illinois. Two piece hollow body. 11” long. Original paint that has darkened, mostly in combed areas and in coat of varnish; very light gunning wear.

(1,200 - 1,800)

482

483

Rare hooded merganser, Otto Garren, Canton, Illinois. Slightly reared back head, with fully exposed crest. 13” long. Strong original paint protected by a coat of varnish that has darkened.

Provenance: Governor Jim Thompson collection. (1,200 - 1,800)

483

344

484

484

487

485

488

486

489

Mallard hen, Otto Garren, Canton, Illinois, 2nd quarter 20th century. Considered one of the finest decoys

Parmelee and Forrest Loomis, plate 199 for example of rigmate.

Garren ever made. Two piece hollow body. Scratch paintprotected by a light coat of varnish; one small rub at top

Working crow decoy, Charles Perdew, Henry, Illinois, circa 1930. Applied metal legs, secured with

of back.

staples. Glass eyes. Mounted on base. 16” long. Original

ed feathering on head and back. 16” long. Original paint

(1,000 - 1,500)

487

paint; crack at one side; small dent; a few spots of discol-

Provenance: Governor Jim Thompson collection.

oration; bill has been cracked and reattached.

Purchased from Joe Tonelli, who bought it from Garren’s grandson.

(800 - 1,000)

Provenance: Formerly in collection of Otto Meyer.

(1,250 - 1,750)

485

Coot, Otto Garren, Pekin, Illinois, 2nd quarter 20th century. Two piece hollow body. 11.5” long. Strong original paint protected by a coat of varnish; a few small rubs;

Early style mallard hen, Michael Valero, Spring Valley, Illinois, 2nd quarter 20th century. Painted by

what appears to be spider droppings on side of head.

Hiram Hotze. Larger, wider body than his later decoys.

488

Two piece hollow. Excellent feather painting. 17”

Provenance: Governor Jim Thompson collection.

long. Original paint with moderate wear with nicks and

Purchased from Joe Tonelli, who bought it from Garren’s grandson.

rubs.

(600 - 800)

Provenance: Governor Jim Thompson collection.

486

Rare mallard hen, Julius Busto, Depue, Illinois, circa 1915. Hollow body with “Busto” boldly branded in one of

(2,000 - 3,000)

yet it has more of a refined cheek patch. Old collec-

Ringneck drake, Perry Wilcoxon, Liverpool, Illinois, 1st quarter 20th century. Two piece body. 10”

tion sticker on one side. Decoy is structurally good; paint

long. Strong original paint; moderate wear; crazing to

appear to be a mix of old working and some original.

black area on back; a few small rubs; two small spots of

the lower sides. Carving style is similar to Charles Perdew,

Purchased from Randy Root.

Provenance: Governor Jim Thompson collection.

Literature: “Decoys and Decoy carves of Illinois,” Paul

489

inpainting on back and two small spots on neck.

Provenance: Governor Jim Thompson collection.

(1,000 - 1,500)

Charles Walker 1876 - 1954 | Princeton, Illinois

Charles Walker was born in the Princeton, Illinois and never really left the area, choosing to stay where waterfowl shooting was at its best.

Walker hunted locally including at the Princeton Club, a club exclusive for Princeton area hunters only.

While Walker was not a full-time professional carver, as were Robert Elliston and Charles Perdew, and he produced significantly fewer birds, he is still considered one of the best of the Illinois River region by today’s collectors.

He produced between two to three hundred decoys later in his life from about 1925 to 1950, many of which were made and sold to members of the Princeton Game and Fish Club.

346

490

Excellent mallard drake, Charles Walker, Princeton, Illinois. One of the best condition Walker round body mallard drakes in existence. Retains original Walker weight. Two piece hollow body. Round bottom style. Excellent comb painting at top and back of wings. 16” long. Strong original paint protected by a coat of varnish; a few scrapes that have exposed bare wood on head; small dent at back of body otherwise very good and original.

Provenance: Governor Jim Thompson collection. From the rig of Cliff Jolley, acquired by Tom Figge, then to Conrad Sundeen in 1995. Sundeen then sold to Gov. Jim Thompson.

(8,000 - 12,000)

347

348

491

Mallard drake, Charles Walker, Princeton, Illinois. Two piece hollow body with slightly turned head. Flat bottom with raised wings. From the Skinner rig. Good comb feathering on back. 17” long. Strong original paint protected by a coat of varnish that has darkened slightly; green area at back of head around dowel has been touched up; a few shot scars.

Provenance: Harold Haertel collection. Tim Sieger collection.

(6,000 - 10,000)

349

Ammunition advertising

492

Rare Peters Cartridge company calendar, 1900. Retains top and bottom bands, and hang tag, as well as November calendar page. Measures 27.75” x 13.25”. Restoration along top and bottom bands, some parts of edges, and around the word Cincinnati near top left.

493

(1,500 - 2,500)

Winchester poster, “They Are Hitters.” Copyright 1904, New Haven, Connecticut. Retains top and bottom bands, and hang tag. 26” x 15.5”. Retains strong color; rough edges, mostly along sides of top; crease lines mostly along lower quarter of poster.

494

(1,500 - 2,500)

Rare Winchester advertising poster. Image of flying geese through clouded skies. Copyright 1907.

Retains top and bottom bands, and hang tag.

29.25” x 15.5”. Very good and original.

(2,000 - 3,000)

492

493

350

494

495

Large die cut, Winchester Ammunition. “A shell for every purpose”. Tri fold display. Measures 34” x 56”.

Mounted under foam board, which could cause glare in

495

photo. Some areas of very light staining; some tears at folding edges; minor restoration and inpainting around top of red western brand.

(1,500 - 2,000)

496

Die cut countertop display, Winchester. Measures 37.25” tall x 14.5” wide. Illustration work

by Lynn Bogue Hunt. Back folding piece has torn slightly; very

496

497

light areas of strengthening along top of Winchester banner; light roughness at some edges.

(1,200 - 1,500)

497

Two sided trade sign with flanged edge, Bristol Steel Fishing Rods. “Meek and blue grass reels.”

Image of bass chasing minnow, possibly Lynn Bogue Hunt. 27.5” x 17.5”. A few small rubs; otherwise very good and original.

(1,200 - 1,800)

351

499

498

498

Two sided porcelain trade sing, Evinrude. “The Greatest Evinrude Ever build” authorized dealer sign. Flanged edge for two sided display. 21” x 18.5”. Original and good.

(1,000 - 1,500)

499

Porcelain trade sign, Shakespeare company. Measures 24” x 14”. Some crazing to red areas; very slight bend; blue paint has slightly worn off at parts of edge.

(800 - 1,200)

500 500

Vintage boat motor, Made in USA, Neptune.

23” x 19”. For display purposes only. Motor has been cleaned of all oil residue and gasoline.

501

Provenance: Roberts collection.

501

Vintage boat motor, made in Milwaukee, Wisconsin, Evinrude, Elto. ELTO and Cub

(500 - 700)

labels on gas tank. 30” x 14”. Motor has been restored and is cleaned of all oil and gasoline.

352

Provenance: Roberts collection.

(700 - 900)

503 502

502

Store display or hang tag die cut, Winchester Rival. Small area of strengthening along one edge; rough area about 1.5” on other, otherwise very good and original.

503

(800 - 1,200)

Store display or hang tag die cut, Remington UMC. Shooting model 11. Measures 12.75” x 8.25”. Slight roughness at corners, otherwise original and good.

(800 - 1,200)

503a 503a

Die cut countertop store display, Peters Cartridge Company, Cincinnati, Ohio. Measures an impres-

504

sive 46.25” x 23.5”. Slight rough areas at some edges, including bottom corners; otherwise original and good.

504

(800 - 1,200)

Folding countertop die cut, Remington Cleanbore. 22” tall x 14” wide. Very small tear near one shell at top left; partial break at shell bottom left; a few light what appears to be coffee stains; one back folding piece has been reattached with tape.

(700 - 1,000)

353

Maryland

505

506

505

Rigmate pair of canvasbacks, Charles Nelson Barnard, Havre de Grace, Maryland, last quarter 19th century. Appealing old in use repaint; crack through drake’s neck; short crack on top of drake’s tail.

Provenance: Private southern collection.

506

Rare medium high head style canvasback drake, Charles Nelson Barnard, Havre de Grace, Maryland, last quarter 19th century. 16” long. Old in use repaint on most of the decoy;

506

(3,000 - 4,000)

paint on head and neck is original; thin crack partway through bill; lightly hit by shot; slight roughness to one edge of underside of tail.

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

354

(4,000 - 6,000)

507

508

507

Alert canvasback hen, Ward Brothers, Crisfield, Maryland. 1936 model with extended neck and turned head.

12” long. Original paint; some pitch bleed around knots at back; rubs to bare wood at high points on head and bill; tail has been broken and reattached.

508

(8,000 - 12,000)

Rigmate pair of buffleheads, Ward Brothers, Crisfield, Maryland. Balsa bodies and slightly turned heads. Signed and dated 1956 on the underside. Measure 9 ½” and 10 ½” long.

Very minor dent in one side of top of drake’s head, otherwise excellent and original.

Provenance: From the collection of Frank Ash. Consigned by the family.

507

(4,500 - 5,500)

355

508a

Very rare rigmate pair of hooded mergansers, Ward Brothers, Crisfield, Maryland. Two piece hollow body. Both signed and dated “1963 Lem Ward Waterfield collection.”

Hooded mergansers are a rare species for the Ward Brothers.

Each has a flared crest with turned head, upswept wingtips, and downward extended carved tails. Detailed feather painting. 13” long. Fine original paint; crazed slightly at crest of hen; small rub visible at speculum of drake; slight separation at bottom board seam at one side of hen.

356

(12,000 - 18,000)

Two rigmates pictured on cover of Decoy Magazine for an article on Noah B. Sterling, May/June 1994.

508b

Important goldeneye drake, Noah B. Sterling, Crisfield, Maryland, 1st quarter 29th century. Head is turned to emulate a slight swimming position. Extended paddle tail with a large angular body. Very few of these goldeneye drake’s exist.

One similar example is in the Maritime Museum collection, St. Michaels, Maryland. Another was sold by Guyette & Deeter in April 2012. 18” long. Old working paint, some of which appears to be original; strengthening to some black areas; approximately 1/5 of the tail has a replaced piece, looks more like a hunter repair than a professional repair; heavy gunning wear with some wormhole wood imperfections at one side of body and tight crack through one side of head.

Literature: “Decoys of the Midatlantic Region,” Henry Fleckenstein, Jr., p. 174, exact decoy pictured.

(8,000 - 12,000)

357

509

Large full size egret, possibly Lloyd Tyler, Crisfield, Maryland. Two piece body and neck with painted eyes and crest extending from back of head. 35” long. Original paint has been covered with a light coat of varnish which has darkened and crazed; natural crack in wood on one side where wing outline would be.

(4,000 - 6,000)

509

510

510

511

Ruddy duck, Cecil County, Maryland, last quarter 19th century. High chine with tiny extended paddle tail.

Bill has detailed carving with rough area at tip. 10.5” long.

Multiple coats of very old rust color paint appropriate for ruddy ducks.

358

(1,750 - 2,250)

511

Bluebill drake, Ward Brothers, Crisfield, Maryland. Signed and dated 1967. Turned head. Near mint original paint; crack in back.

(1,250 - 1,750)

512

515

513

516

514

517

512

Canvasback hen, Will Heverin, Charlestown, Maryland, circa 1935. From the rig of Lou Pennock

use repaint; crack through neck; lightly hit by shot; cracks

side. Good original paint; a few small stains; some gouges

in body and separation at knot in underside.

tip of bill; edge wear.

(800 - 1,000)

Pintail drake, Lloyd Tyler, Crisfield, Maryland. 22” long. Ridged tail. Worn original paint; with some scratch

Provenance: Formerly in the collection of Henry Fleckenstein Jr. “F” branded in underside.

516

feather detail still visible; white areas and underside

Provenance: Matthew estate.

514

Canvasback drake, John Graham, Charlestown, Maryland, 3rd quarter 19th century. 14.25” long. Old

(1,000 - 1,400)

Bluebill drake, James T. Holly, Havre de Grace, Maryland. 14” long. Original paint with moderate wear; some small dents and rub at one side; white areas have

appear to have second coat; numerous cracks.

Canvasback drake, John Holly, Havre de Grace, Maryland, 3rd quarter 19th century. 15” long. Old in

of Greenbank, Maryland and branded “LP” on underwhere weight was removed; roughness at missing area at

513

515

discolored slightly; professional neck crack repair with

(900 - 1,200)

inpainting in that area.

517

(1,200 - 1,500)

1948 model canvasback drake, Ward Brothers, Crisfield, Maryland. Slightly turned cedar head and

in use repaint worn to the bare wood in many places; tail

inserted cedar tail. Original paint; minor to moderate

chip is missing; long thin chips missing under bill; numerous

wear; small chip missing from body at top of tail; head is

cracks.

loose; small dents; old working touchup to black area on

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

C. John Sullivan.

head.

(800 - 1,200)

(1,000 - 1,400)

359

Swans

518

519

518

520

Early style swan, Madison Mitchell, Havre de Grace, Maryland, circa 1950. Smaller body than

519

Hollow carved swan, Wildfowler Decoy Factory, Babylon, New York. Stamped and

his later, larger pieces. Signed “R. Madison Mitchell”

signed “Ann Madsen 1984.” Head is slightly turned.

in underside. Dated 1948. 30” long. Original paint

31” long. Original paint; covered by a thin coat of

that has mellowed nicely; much of which now exhib-

varnish; varnish has crazed significantly but has not

its a tightly crazed appealing surface; small areas

pulled the paint with it; slight opening at neck seam.

of discoloration and rubs and small paint loss; water

(500 - 800)

stain at one large area on underside; tight cracks at breast and on underside.

(2,500 - 3,500)

520

Possibly unique working swan decoy made from stuffed canvas. “P” painted on underside for owner’s brand. Body shape is similar to illustrations of Dodge Decoy Factory swans. Made from three pieces of canvas. 22” tall x 25” long. Paint that appears to be original with some touchup in small areas shows great age and crazing.

Provenance: Found in upstate New York.

(800 - 1,200)

360

Illinois River

521

524

522

525

523

526

521

Rigmate pair of widgeon, George Kessler, Pekin, Illinois. Both are hollow and branded “ECB” on under-

524

Bluebill drake, Fred Allen, Monmouth, Illinois, 1st quarter 20th century. Two piece hollow body. With

side. 13” long. Working widgeon decoys from the Illinois

a brand that was carved out of the underside. 11”

River area are rare. Kessler was known to have made sev-

long. Thin original paint; with vermiculated wing painting

eral pair. Strong original paint; a few rubbed areas; small

at top of back; structurally good.

dents.

Provenance: Governor Jim Thompson collection.

Provenance: Governor Jim Thompson collection. Ex Van

(800 - 1,200)

Tright collection.

Literature: “Decoys and Decoy Carvers of Illinois River,”

525

Steve Parmalee and Forest Loomis, plate 310, exact deco ys.

original.

(2,500 - 3,500)

522

Bluewing teal hen, Wendell Smith, Chicago, Illinois, 2nd quarter 20th century. 10.5” long. Very good and Provenance: Governor Jim Thompson collection.

Ringneck hen, William Lohrmann, Peoria, Illinois. Two

(600 - 900)

piece hollow body. 13.5” long. Original paint protected by a coat of varnish; a few small rubs; small paint loss around neck seat.

Provenance: Governor Jim Thompson collection.

(800 - 1,200)

523

Rare Canada goose, Nicholas Englehart, Manito, Illinois. Canvas over lathe frame with removable hardwood head. Tack eyes. Subtle feather painting on back.

25” long. Thick original paint covering head and body; structurally good.

(800 - 1,200)

526

Pintail drake, Wendell Smith, Chicago, Illinois, 2nd quarter 20th century. Fine comb painting on back.

Head is turned. Body is two piece hollow. Price written on underside, “$14.75. 15.5” long.” Original paint with seam separation; discoloration at neck seat; lead putty has flaked some near one speculum.

Provenance: Governor Jim Thompson collection.

Purchased from Russ Goldberger.

(800 - 1,200)

Minnesota fish decoys 527

Fish decoy, Leroy Howell, Minnesota. Probably a pike. Red and white. 13” long. Original paint; some flaking where fins meet body and top of one fin.

Provenance: Randy Singer collection.

(1,000 - 1,500)

527

528

Fish decoy, Leroy Howell, Minnesota, 1st half 20th century. Flower fish with gold body, red and white dots, and natural head. 6.5” long. Strong original paint with very light wear.

Provenance: Randy Singer collection.

(1,000 - 1,500)

528

529

Fish decoy, Leroy Howell, Minnesota, 1st half 20th century. Flower fish with red and white design and natural wood on face. 6.5” long. Varnish over original white paint has mellowed or darkened slightly; shows light wear.

Provenance: Randy Singer collection.

(1,000 - 1,500)

529 530

Possibly unique fish decoy, Frank Mizera, Minnesota. An early decoy that may be a sturgeon coaxer. Black paint with green and white design. 11.5” long. Original paint protected by a coat of varnish; appears as if some additional black paint was mistakenly applied to very small area at one side.

530

Provenance: Randy Singer collection.

(800 - 1,200)

531

Fish decoy, Frank Mizera, Minnesota, circa 1950. Turquois with “fish on fish” pattern. 8.75” long. Original paint with light wear; small chip missing from bottom of tail.

Provenance: Randy Singer collection.

531

(800 - 1,200)

362

535

532

538

533

534

532

539

Fish decoy, Frank Mizera, Minnesota. Turquois color

535

Fish decoy, Leroy Howell, Minnesota. Blended

with earlier style head carving. 9.25” long. Original paint;

green and white with carved wooden tail and eyes. 10”

light wear; couple scratches to one side; varnish around

long. Strong original paint with wear around tail and

the tail area.

underside from line tie; small chip missing from area near

Provenance: Randy Singer collection.

533

Fish decoy, Frank Mizera, Minnesota. Black with

belly weight.

(800 - 1,200) 538

orange decoration. 7.75” long. Strong original paint; very

(600 - 900)

Fish decoy, Leroy Howell, Minnesota, 1st half 20th century. Natural wood with burned mark carvings and decoration around eyes. Top of fins painted white. 6.5”

light wear.

long.

Provenance: Michaan collection.

Literature: “Beneath the Ice,” Steven Michaan, p. 83, exact fish pictured.

534

(800 - 1,200)

Large bass fish decoy, Leroy Howell, Minnesota, 1st half 20th century. Natural wood that has been burned.

Decorative carving around eye. Fins have been painted red on top. 10.5” long. Excellent and original.

Provenance: Randy Singer collection.

Provenance: Randy Singer collection.

(300 - 600)

539

Two factory spearing decoys. Heddon four point with glass eyes. Measures 5.5” long. Paint crazed on body, but very good overall. Second fish is an Ice Spook that shows light wear and measures 5”.

Provenance: Randy Singer collection.

(400 - 600)

(500 - 800)

363

Duck calls

541

541

542

A rare and desirable carved and checkered duck call, John Jolly, Memphis, Tennessee. Four panels, one is decorated with

Fancy carved duck call, Charles Perdew, Henry, Illinois, 1st quarter 20th century. Yellow or amber mouth piece. In the original

a banner and the name “Robert” carved with

Christmas box provided by Charles Perdew.

gold lettering. Another panel is decorated with a

German silver reed. Three flying ducks with glass

flying mallard. 6.5” long. All parts appear to be

eyes and fancy “WPS” carved near mouth piece.

original; cedar barrel with cherry stopper.

Call measures 6”. Very good and original.

Provenance: From the estate of Robert Averwater, Memphis, Tennesse. Made for Robert

by John in 1948. This call is accompanied with a certificate of authenticity signed by Fred Jolly.

(4,000 - 6,000)

364

542

(4,000 - 6,000)

543

Fancy carved duck call, Fred Jolly, Arkansas. “F.W.Jolly” carved in top of barrel along with number stamped 043. Four raised and checkered panels, each of which is decorated. One with mallard, a wood duck, a pintail, and a banner with carved and gold painted lettering “Robert Hiio”. 6.5”. Made from Crepe Myrtle wood. Excellent.

Provenance: Accompanied with paperwork provided and order form

by John Jolly.

544

(1,500 - 2,500)

Duck call, Claude Stone, Missouri.

Four raised and checkered panels.

Beveled neck collar and raised mouth piece. 6” long. A very tight crack at end of stopper; small dent at mouth piece, otherwise excellent and original.

543

545

(1,500 - 2,500)

544

Duck call, Fred Jolly, Arkansas. Lemon wood barrel and stopper. All parts appear to be original. Carved “F.W.Jolly” in top of barrel.

Measures 6.5”. Excellent and original.

(800 - 1,200)

546

Duck call, A.M. Bowles, Little Rock, Arkansas. Four checkered panels.

“A.M. Bowles Little Rock Arkansas” stamped at top of barrel. 6.25” long.

Appears to be all original.

(500 - 800)

545

546

365

547

Box turkey call, Neil Cost, Greenwood, South Carolina. Stamp on underside.

Signed and dated 1983. 9.5” long. Light wear; small spot of paint at top of paddle.

(600 - 800)

547 547a

Box turkey call, Neil Cost, Greenwood, South Carolina. Cost stamp on underside.

9.5” long. Very light wear.

(700 - 900)

547a 548

Box turkey call, Neil Cost, Greenwood, South Carolina. Signed and dated 1989.

Turkey foot on bottom. Made for Richard Dixon. 9.75” long. Excellent and original.

(800 - 1,200)

548

549

Box turkey call, Neil Cost, Greenwood, South Carolina. Signed and dated 1982.

Also image of turkeys drawn on side of box

by Cost and dated 5/82. Other side of box shows timber marsh with ducks in air. 9.5” long. Light wear.

(800 - 1,000)

549 550

Paddle turkey call, Neil Cost, Greenwood, South Carolina. “Sun downer” series. Signed by Cost. Image of turkey on one side. Was made for the California State chapter outstanding volunteer. 12.25” long. Very good and original. (800 - 1,200)

550

366

551

550a

550a

Duck call, Tiff Roseberry, Illinois.

Three checkered panels. Flared mouth piece. 5.5”. All parts appear to be original.

551

(800 - 1,200)

Three tin snipe whistles. One is marked Willard Manufacturing Company, Melrose, Mass. Measure from 3.75” to 1 1/8”. Original and good.

552

(300 - 400)

Store display duck call, Earl Dennison, Newbern, Tennessee. “ED” stamped on barrel.

“4AD” stamped on inside of stopper.

11.5”. Information including Dennison’s telephone written on barrel. Appears to be original; very light wear.

(400 - 600)

553

552

Seven game calls. Four duck calls, including Fred Allen, Truetone, Charles Perdew, and a natural duck call from Minnesota. Perdew may have a replaced wedge block. Three crow calls, two Perdew and one Truetone.

Provenance: Governor Jim Thompson collection.

(600 - 1,000)

End of session two 553

367

Index of Carvers Alford, Oscar.. ................................................................. 299 Allen, Fred....................................................................... 524 Anger, Ken............................................................... 233-237 Antis, Harry....................................................................189g Archer, Sam.................................................................... 403 Bach, Ferdinand............................................................. 118 Backman, Captain Edwin........................................... 31,32 Barkelow, Joel.. ................................................................. 64 Barnard, Charles Nelson.. ........................................ 505,506 Barton, Roger.. ....................................................... 475-476b Bibber, Oscar.................................................................. 198 Birch, Charles.................................................................. 430 Birdsall, Jess.. ................................................................... 219 Birdsall, Nate................................................................... 229 Bishop, Richard............................................................... 184 Blair, Jr., John.. ................................................................ 365 Blair, Sr., John.. ..................................... 361,363,364,366,369 Blair School.............................................................. 362,409 Bordei, Marcel............................................................... 189f Bordelon, Jr., Weldon..................................................... 465 Bowles, A.M... .................................................................. 546 Boyd, George................................................................. 324 Bristol Steel Fishing Rods ............................................... 497 Brooks, John.. .................................................................... 45 Brown, Bill........................................................................ 228 Brown, Isiah..................................................................... 104 Browne, George............................................................. 180 Brunet, Jett.. .................................................................... 283 Brunet, Jude.. .................................................................. 284 Brunet, Tan............................................................... 281,282 Bruning, Ken.......................................................346,348,352 Bryanton, Stacey.............................................................. 46 Buchannan, Charles. . ..................................................... 241 Burgess, Ned............................................................ 436,437 Burke, Harold.................................................................... 51 Burr, Elisha................................................................ 326,328 Busto, Julius..................................................................... 486 Chadwick, Keyes............................................................ 312 Chambers, Thomas.. .................................100,102,103,240a Charbeneau, Gordon Francis.. ...................................... 347 Chauvin, Barry................................................................ 269 Christie, Tom................................................................... 473 Christie Brothers ............................................................ 150 Clark, Charles........................................................ 205a,213 Clark, Roland................................................................303g Cobb, Jr., Nathan.. .................................................. 425-427 Collins, Mark.. .................................................................. 446 Conklin, Roy............................................................. 141,469 Coombs, Frank.. .............................................................. 139 Cost, Neil.. ................................................................ 547-550 Crawford, Buck.. ............................................................. 242 Croft, Fred.. ..................................................................... 240 Crowell, Elmer............... 76-99,187,321,322,329,330,377-381 Daisey, Cigar......................................................... 382-388a Dando, Aubrey............................................................... 308 Danos, Carl..................................................................... 474 Dawson, John.......................................................... 401,402

Dennison, Earl................................................................. 552 Dilley, John...................................................................... 210 Dodge Decoy Factory .......................................... 257,358 Ducharme, Duncan........................................................ 112 Eaton, Eben Weed.................................................. 197,201 Elliston, Robert......................................................... 294-298 Englehart, Nicholas........................................................ 523 English, Dan............................................................. 396,400 English, John......................................................393,394,397 English Family ................................................................ 370 Evans Decoy Factory, ........................................... 260,261 Evinrude, ................................................................ 498,501 Farlow/Fochabers Co., ............................................... 170e Fennimore, Harry..................................................... 407,410 Finney, Frank.......................................................... 270,303b Fitchett, Alma...............................................................209a Fitzpatrick, Tom.............................................................401a Foote, Jim....................................................................... 289 Frady, Mike........................................................333,336,472 Frazier, Nate.................................................................... 455 Fuertes, Lewis Agassiz..........................................189a-189c Garren, Otto............................................................ 479-485 Gelston, Thomas............................................................. 212 Gibian, William....................................................... 291-293a Gigle, Joe....................................................................... 470 Godin, Pat....................................................................... 285 Graham, John................................................................. 514 Grant, Stanley................................................................. 227 Graves, Bert...........................................14,15,301,303,303a Gruppe, Robert Charles................................................. 191 Haertel, Harold............................................................... 467 Hagerbaumer, David..................................................... 421 Hammel, Bill.................................................................... 217 Hanson, Marty................................................................... 23 Harris, Ken....................................................................... 463 Hart, Charles................................................................... 392 Hayman, Joe.................................................................. 439 Heinemann, Ben............................................................. 278 Heisler, Jess........................................................373,374,413 Herron, Captain Jess......................................................63a Heverin, Will.................................................................... 512 Holly, James.................................................................... 516 Holly, John....................................................................... 515 Horner, Nathan Rowley........................................... 307,442 Hotze, Hiram............................................................ 302,488 Howell, Leroy....................................... 527-529,534,535,538 Hudson, Ira.........................................................209,431,432 Hudson Family ............................................................... 311 Huey, George................................................................. 202 Hunt, Lynn Bogue........................................................... 185 Hyatt, John............................................................ 170f-170h Irwin, Ed........................................................................... 131 Janner, Hans............................................................ 339,340 Jester, Doug............................................................. 428,429 John C. Phillips rig .......................................................322a Jolly, Fred................................................................. 543,545 Jolly, John....................................................................... 541

Keller, Ed.......................................................................301a Kessler, George.. ............................................................. 521 Kimpenger, Joseph........................................................ 152 King, Joe.................................................................. 232,372 Koelpin, William.............................................................. 245 Kuss, Frank.. .............................................................. 341,355 Lafrance, Mitchell.............................................332,335,337 Laing, Albert............................................................ 193,194 Lane, Steven..................................................................... 12 Leeds, Daniel Lake...................................................... 60,65 Leeds, Sr., Nealy............................................................. 451 Legaux, Sr., Roy.............................................................. 279 Levy, Kingsley.. .................................................................. 52 Levy, Lindsay.. .............................................................. 34-36 Lincoln, Joseph..................................................305,313,320 Lipke, Paul.. .............................................................. 146,151 Livingston, Harry.. ............................................................ 423 Lohrmann, William.......................................................... 522 Loveland, Captain John................................................ 443 Maass, David.................................................. 181-183,189d Machen, Henry William.................................................. 188 Madera, Clark.. ........................................................ 375,376 Markham rig.. .................................................................. 101 Marr, Joseph............................................................ 144,145 Mason Decoy Factory . . ................................66-75,359,360 McAlpin, Cline................................................................ 309 McAnney, John......................................................... 58,226 McCarthy, Captain John................................................. 62 McCoy, Chalres.. ............................................................ 221 McIntyre, Cameron..................................................... 24,26 Mcloughlin, John........................................ 398,399,404,406 McNair, Mark..................25,27-30,262-265,268,271,274-277 Meneely, Pat.. ................................................................. 280 Mill, Wilbur Roy.. ................................................................ 47 Mitchell, Madison..................................................... 1-8,518 Mizera, Frank.. .......................................................... 530-533 Mosley, Doug.................................................................. 300 Neptune ......................................................................... 500 Obed, Jess........................................................................ 33 Parker, Ellis.. ..................................................................... 231 Parker, James.......................................................... 224,225 Parker, Lloyd................................................................... 218 Perdew, Charles.......... 9-11,153-160,304,476c-478,487,542 Peters Cartridge Company, . . .............................. 492,503a Peterson, Oscar....................................................... 119-130 Peterson, Pete......................................................... 272,273 Petit, Eugene.................................................................. 422 Porter rig.. ........................................................................ 149 Quinn, William.......................................................... 371,412 Ramey, Jess.................................................................... 345 Ramsay, John.............................................................. 42-44 Rathmell, Lou.................................................................. 200 Remington ............................................................. 503,504 Reneson, Chet......................................................... 414-420 Ripley, Aiden Lassel........................................................ 190 Robert, George.............................................................. 140 Robertson, Willard............................................................ 37

Roseberry, Tiff................................................................550a Ross, Willie....................................................................... 204 Ruppel, Walter................................................................ 464 Schmidt, Ben............................................................ 113-117 Schmidt, Frank................................................................ 350 Schmiedlin, Jim............................................................... 389 Seerey-Lester, John........................................................ 189 Selig, Frank........................................................................ 39 Sessions, James.............................................................188a Seymour, Harry......................................................... 132,133 Shakespeare ................................................................. 499 Shoots, J.D.................................................................... 189e Shourds, Harry M............................................................. 223 Shourds, Harry V............ 53,54,216,220,222,230,449,450,456 Showell, Captain Dan................................................. 55-57 Shupe, Percy..................................................................... 38 Shute, Sam......................................................................63b Smith, John........................................................................ 49 Smith, Wendell......................................................... 525,526 Sterling, Noah B............................................................508b Stevens, George............................................... 134,136-138 Stevens, Harvey.............................................................. 135 Stevens, Ivy..................................................................... 438 Stone, Claude................................................................. 544 Stutheit, Ralph................................................................ 471 Swisher & Soules ..................................................... 258,259 Tax, John......................................................................... 143 Thomas, Charles............................................................. 327 Townsend, Otis...................................................238,444,453 Trombley, Andy..................................................342,353,354 Tyler, Lloyd............................................................... 509,513 VanDenBossche, Ted..................................................... 349 Verity, Obediah.............................................................. 205 Verity Family ........................................................... 206,211 Vidacavich, Nicole......................................................... 331 Vidacovich, Ernest.......................................................... 462 Vizier, Jimmie.................................................... 286-288,466 Walker, Charles........................................................ 490,491 Wallace, Amos............................................................... 316 Ward Brothers .......105-111,172-179,310,507-508a,511,517 Watson, Dave “Umbrella”.............................................. 207 Weaver, Steve......................................................... 266,267 Weiler, Milt...................................................................... 192 Welker, William................................................................ 405 Wheeler, Chauncey....................................................... 142 Wheeler, Shang.................................................195,196,315 Whipple, Mark................................................................. 338 White, Bob................................................................... 18-22 Whittington, Hec............................................................. 290 Wilcoxen, Perry............................................................... 489 Wildfowler Decoy Factory ............................................ 519 Wilson, Gus...................................................................... 317 Winchester ...................................................... 493-296,502 Witherspoon, Leigh......................................................... 203 Wright, Alvirah................................................................ 435 Zachman, John............................................................... 148

Additional information references

Lot 1 Robbins, Charles L. 1987. “R. Madison Mitchell – His Life and Decoys”. Privately printed. MD. Correspondence: Mr. Jim Trimble Correspondence: Mr. Warren Magruder

Lot 31 Guyette, Dale and Gary. 1983. “Decoys of Maritime Canada”. Schiffer Pub.

Exton, PA. Private correspondence Matt Zinck South Shore (Lunenburg) Genealogical Society 1907. “Proceedings of the Most Worshipful Grand Lodge of Ancient, Free and Accepted Masons of Nova Scotia”. Privately printed. Halifax, NS.

Lot 33 Engers, Joe (ed). 1990. “The Great Book of Wildfowl Decoys”. Thunder Bay

pres. San Diego, CA. Fleming, Patricia (ed). 1987. “Traditions in Wood – The History of Wildfowl Decoys in Canada”. Camden House Pub. Ontario, Canada.

Guyette, Dale and Gary. 1983. “Decoys of Maritime Canada”. Schiffer Pub. Exton, PA.

Lot 34 Engers, Joe (ed). 1990. “The Great Book of Wildfowl Decoys”. Thunder Bay

pres. San Diego, CA. Fleming, Patricia (ed). 1987. “Traditions in Wood – The History of Wildfowl Decoys in Canada”. Camden House Pub. Ontario, Canada.

Guyette, Dale and Gary. 1983. “Decoys of Maritime Canada”. Schiffer Pub. Exton, PA.

Lot 105 Connett, Eugene V. (ed). 1947. “Duck Shooting Along the Atlantic Tidewater”. Bonanza Books, NY. Reuter, F. Turner Jr. 2008. “Animal and Sporting Artist in America”. National Sporting Library Pub. Middleburg, VA.

Lot 119 Correrspondence: Mr. Gary Miller Lot 143 Kangas, Gene and Linda. 2009. “The Field Decoys of John Tax”. Hunting and Fishing Collectibles Magazine, Nov./Dec 2009. Lawsonville, NC. Lodermeier, Doug. 2010. “Minnesota Duck Decoys -Yesterday’s and Today’s Folk Artist”. L&M Press. Minneapolis, MN Rucker, Lawrence. 1995. “Minnesota Memories – An Interview With John Tax Jr.”. Decoy Magazine, Jan/Feb 1995. Burtonsville, MD. Tonelli, Donna. 1992. “John Tax – A Minnesota Whittler From Lake Osakis”.

Decoy Magazine, March/April 1992. Burtonsville, MD 1970. “Last of The Prairie Carvers”. Privately Printed.

Lot 153 Tonnelli, Donna. 2013. “Charlie Perdew’s New Furnace”. Decoy Magazine.

Jan/Feb 2013. Lewes, DE.

Lot 165 https://bangordailynews.com/2009/11/22/living/grand-banks-fishermen-

sailed-to-bangor/ http://davescupboard.blogspot.com/2010/08/vintage-sunday-e-swasey-copottery.html

Lot 215 Colio, Quintina.1972. “American Decoys”. Science Press.

Earnest, Adele. 1965. “The Art of the Decoy – American Bird Carvings”. Clarkson N Potter, Inc. New York.

Forbush, Edward H. 1907. “Useful Birds and Their Protection”. The Massachusetts State Board of Agriculture. Boston, MA. Forbush, Edward H. 1912. “A History of the Gamebirds, Wild-Fowl and Shorebirds of Massachusetts and Adjacent States”. Massachusetts Board of Agriculture. Boston, MA. Forbush, Edward H. 1925. “Birds of Massachusetts and Other New England States”. Commonwealth of Massachusetts, Department of Agriculture.

Boston, MA. Mackey, William J. Jr. 1965. “American Bird Decoys”. Bonanza Books. New York.

Rich, Walter H. 1907. “Feathered Game of the Northeast”. Thomas W Crowell Co. NY. Sorenson, Harold D (ed). 1966. “IBM Exhibits Mackey Decoys”. Decoy Collectors Guide 1966-67 Annual. Privately printed. Burlington, Iowa.

Lot Barber, Joel. 1934. “Wildfowl Decoys”. Winward House Pub. NY. Mackey, William J Jr. 1965. “American Bird Decoys”. Bonanza Books. New 215a York, NY.

Starr, Dr George Ross Jr. 1974. “Decoys of the Atlantic Flyway” Winchester Press. New York, NY.

Lot Allen, Glover M. 1939. “In Memoriam: John Charles Phillips, M.D.” The Auk – A 322a Quarterly Journal of Ornithology. Vol 56, No3.

Barbour, T.1940. “Biographical Notices – John Charles Phillips” - in Proceedings of the American Academy of Arts and Sciences. Vol.74, No6, pp155-157.

Published by American Academy of Arts and Sciences.

Earnest, Adele. 1965. “The Art of The Decoy”. Clarkson and Potter Pub. NY. Forbush, Edward H. 1912. “A History of the Game Birds, Wildfowl and Shore Birds of Massachusetts and Adjacent States”. Massachusetts State Board of Agriculture. Boston, MA. Hauck, Jack E. 2013. “Treasures of Wenham History - A History of Wenham as Seen Through Maps.”. Hamilton / Wenham Library Hopkins, Gwladys. 2016. “Massachusetts Masterpieces – The Decoy as Art”.

Museum of American Bird Art. Mass Audubon, Canton, MA. O’Brien, Stephen B Jr. and C.W. Olney. 2019. “Elmer Crowell – Father of American Bird Carving”. Stephen O’Brien Jr Fine Arts LLC. Phillips, Dr John C. 1926. “Wenham Lake Shooting Record and the ‘Farm Bag’ – 1897 – 1925”. Privately Printed.

Phillips, Dr John C. 1928. “A Sportsman’s Scrapbook”. Houghton Mifflin Co. Boston and New York.

Phillips. Dr John C. 1929. “Shooting Stands of Eastern Massachusetts”. Privately printed. Cambridge, MA. Phillips, Dr John C and F.C. Lincoln. 1930. “American Waterfowl – Their Present Situation and the Outlook For Their Future”. Houghton Mifflin Co. Boston and New York.

Phillips, John C. 1938. “Wenham Great Pond”. Peabody Museum, Salem, MA. Phillips, John C and W Shepard. 1938. Private Correspondence between Phillips and Shepard at Harvard Forest.

Porter, Rev Edward G. 1888. “Memoir of John C Phillips”. Privately Printed.

John Wilson and Son. University Press Cambridge, MA. Sothebys and Guyette and Schmidt. 2000. “American Waterfowl Decoys – The Distinguished Collection of Dr. James M McCleery”. Privately printed. NY. Sullivan, John C Jr. 2014. “Swan Island Club, 1872 – A History – 2014. Currituck, North Carolina”. Privately printed. Edgewood, MD. Tonelli, Donna. 2019. “The Doctor and the Decoy Carver – Dr. John C. Phillips and Anthony Elmer Crowell”. Decoy Magazine, Jan/Feb 2019. Lewes DE.

Lot Barber, Joel. 1934. “Wildfowl Decoys”. Garden City Pub Co. Inc. Garden City, 330a NY. Earnest, Adele. 1965. “The Art of The Decoy”. Clarkson N Potter Pub. New York, NY

Lot 331 Frank, Charles W. Jr. 1985. “Wetland Heritage – The Louisiana Duck Decoy”.

Pelican Pub. Gretna, LA. Conners, Charles and B. Cheramie. 1997. “Louisiana Lures and Legends – The Decoy Collection of Brien Cheramie and Period Photographs of David L Hall”.

Rem Corporation. Golden Meadow, LA.

Lot 361 Allen, Russ. 2014. “Arthur Bartholomew Vance & the Philadelphia School”.

Decoy Magazine May/June 2014. Lewes DE. Barber, Joel. 1937. “Wildfowl Decoys”. Garden City Pub. NY. Kangas, Gene. 2002. “Jay Cooke - The Banker From Philadelphia”. Decoy Magazine Sept./Oct, 2002. Lewes DE. Lesher, Pete. 2016. “New Additions to the R.W. Davids Rig”. Decoy Magazine, Nov./Dec. 2016. Lewes DE. Mackey William J. Jr 1965. “American Bird Decoys”. Bonanza Books, NY. Sorenson, Hal. 1977. “The Blair Mystery”. Decoy Collectors Guide Vol 6. Privately Published. Burlington, IO.

Lot 361 Forbush, Edward Howe. 1927. “Birds of Massachusetts and Other New Eng-

land States”. Commonwealth of Massachusetts. Norwood Press, Norwood, MA. Lincoln, Joseph C and H Brett. 1935. “Cape Cod Yesterdays”. Privately Printed. MA. Cullity, Brian. 1992. “The Songless Aviary – The World of A.E. Crowell & Son”.

Heritage Plantation of Sandwich. Patriot Press. Hyannis, MA. Correspondence James Parker

Lot 442 Bartlett, Marjory. 1969. “Checkerback’s Journey – The Migration of the Ruddy

Turnstone”. World Publishing Co. Levinson, John M and S.G. Headley. 1991. “Shorebirds – The Birds, The Hunters, The Decoys”. Tidewater Pub. Centreville, MD. Wakefield, Kirsten. “Saving the Horseshoe Crab: Designing a More Sustainable Bait for Eel and Conch Fisheries”. Pamphlet. Sea Grant Delaware.

Personal correspondence Russ Allen

Lot 479 Parmalee, Paul W. and F.D. Loomis. 1969. “Decoys and Decoy Carvers of

Illinois”. Northern Illinois University Press. DeKalb, IL. Tonelli, Donna. 2001. “Otto Garren – Making Decoys With a Flair and Flamboyant Style”. Decoy Magazine, Jan./Feb. 2001. Lewes, DE.

Guyette & Deeter Online Auctions

Timed Online Only Super Sale | May 20 - May 27 One week only - 100+ quality items!

Only at www.decoysforsale.com Questions? Call Zac Cote | 207-321-8091

Ontario

Factory

Illinois River

Maryland

NJ Shorebirds

Michigan

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Contemporary

Minis & Deco

If you missed the last Super Sale in January, you will not want to miss this one.

100+ Quality Items - Guaranteed Descriptions - 15% buyer’s premium

2021 Clayton Decoy/Wildlife Art & Sporting Collectibles Show July 16th & 17th (Friday and Saturday) 9AM-6PM Friday, 9AM-4PM Saturday

TIDCA Display: Decoys and Carvings

by Edward J. Sweet

Decoy and Antique Auction Friday, July 16th: www.auctionzip.com For more information: www.timuseum.org Magnum canvasbacks by Ed Sweet, Alexandria Bay, NY

Ken Harris vintage diving duck decoy: pre 1970; any style or species of diving duck

TIDCA Decoy Contest - Friday, July 16th:

Decoy by Gananoque, ON, maker: any area maker, species, or vintage

Vintage broadbill or bluebill decoy: pre 1970; any maker, style, or area

CONDITIONS OF SALE ‑- PLEASE READ 1.

GUARANTEE ‑ We have made a concerted effort to accurately catalog and describe the property to be sold. The decoys and paintings have guaranteed condition reports. Should the need arise, the auctioneer reserves the right to make verbal corrections and provide additional information from the block at the time of the sale. Absentee bids will not be executed on items that are found to be other than described in the catalog. Since opinions can differ, particularly in the matter of condition, the auctioneer will be sole judge in the matter of refunds. If we fail to identify a flaw that has an impact on the value, you can return the decoy.

2.

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

3.

PROTESTED BIDS ‑ In the case of a disputed bid, the auctioneer is the sole determinant as to who the successful bidder is, and at his discretion, may reoffer and resell the article in dispute. If a dispute arises after the sale, the auctioneer’s sales records shall be conclusive as to who the purchaser was, and the purchase price.

4.

BIDDING - Bidding usually starts below the low estimate and advances in increments of approximately 10% of the open‑ ing bid subject to the auctioneer’s discretion. The auctioneer reserves the right, at his sole discretion, to refuse any bids that he deems unreasonable. The minimum bid increment guideline is as follows: $500 to $1000 - $25 $10,000 to $20,000 - $500 $100,000 and above - $2,000 $1000 to $10,000 - $100 $20,000 to $100,000 - $1,000 5.

ABSENTEE BIDS ‑ Phone or mail bids, at the discretion of the Auctioneer, will be accepted with a 20% deposit. In such case, the bookkeeper will execute such bids competitively. Absentee bids are executed by the bookkeeper on behalf of the bidder in accordance with the bid increment policy shown above. Please review the rules governing both absentee and phone bids in the back of the catalog.

6.

TERMS ‑ All items are to be paid for in U.S. funds on the day of the auction. No items will be released until they are paid for. Those who have not established an account with us and wish to pay by check, must do so prior to the beginning of the auction, by presenting a current letter of reference from their bank, or by providing references, that are suitable to the Auctioneer. The Auctioneer reserves the right to hold merchandise purchased by personal check, until the check has cleared the bank. Phone and absentee bidders ‑ You will be notified one week after the auction of your bids/results.

PAYMENT IS DUE UPON RECEIPT. A late charge will be accessed on all balances not paid, at the rate of 12% A.P.R. commencing 30 days after the auction. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. Guyette & Deeter will not carry insurance on items that are not paid for within 35 days of the auction. Also, the auctioneer may retain and/or recover the deposit specified as liquidated damages. In addition, the property can be resold at public or private sale without further notice. Any defi‑ ciency resulting from such resale shall be paid to the auctioneer by the defaulting buyer, together with all charges, fees, and expenses incurred by such resale, or the enforcement of the obligation hereunder. Buyer agrees to pay all charges and expenses incurred by reason of any breach of the Terms and Conditions of Sale, including without limitation, reasonable attorney fees.

7.

PAYMENT FOR PURCHASES CAN BE MADE WITH CREDIT CARD (VISA, MasterCard, American Express, or Discover), CASH, CHECK, OR WIRE TRANSFER. 8.

BUYERS PREMIUM- The buyer’s premium, assessed on each selling lot, is 20% of the hammer price up to and includ‑ ing $1,000,000, plus 10% on any amount in excess of $1,000,000. For payments made using a credit card, the buyer’s premium is 23% up to and including $1,000,000, plus 13% on any amount in excess of $1,000,000.

9.

TAX ‑ THERE IS AN 6% SALES TAX IN MARYLAND. Tax is waived if buyer presents a valid resale certificate from any state or has purchases shipped outSIDE of MARYLAND. 10. ACCEPTANCE OF CONDITIONS ‑ Bidding on any articles in this catalog indicates your acceptance of all the above items.

11.

BIDDING AGENT RESPONSIBILITY ‑ If you are registering for someone or if you execute a bid for someone else under your number, you are responsible for the settlement of that account. You are also responsible for examining the decoy(s) for your client regarding the guarantee.

12. WITHDRAWAL ‑ We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal.

13. TITLE ‑ Title passes upon the fall of the auctioneer’s hammer. It will then be the responsibility of the buyer to make full payment prior to removing the goods from the premises. Removal is at both the buyer’s risk and expense, and must be made at the conclusion of the sale, unless other arrangements are made with the Guyette & Deeter staff. Any lots we might make arrangements for moving or storing are solely at the risk of the owner, and any damage or loss occurring after the fall of the hammer becomes that of the buyer.

14. LEGAL DISPUTE ‑ Any legal disputes arising from this auction shall be settled in the court system of the State of Maine.

UNIFORM COMMERCIAL CODE - The Maine Uniform Commercial Code, Title II, Section 2328 applies to this auction.

15. Cases are not included with shotgun shell boxes. All dimensions are approximate and are not guaranteed. All calls are sold “As Is”.

THE OFFICE WILL NOT BE OPEN UNTIL WEDNESDAY AFTER THE AUCTION.

ABSENTEE, PHONE, AND ONLINE BIDS 1. Absentee bids are a service provided to our customers free of charge. Every effort is made to execute all absentee bids, however, in the event of an error or omission, or failure to properly execute absentee bids, the Auctioneer shall not be held liable.

2. All absentee bids must be accompanied by a 20% deposit, which will be refunded immediately after the auction if your bid is unsuccessful. If your bid is successful, the deposit will be applied to the purchase price and the balance due upon presentation of your bill. All absentee bidders are notified by mail, whether successful or unsuccessful.

3. Visa and Mastercard numbers can be given in place of a check deposit, if your bid is submitted by phone. Your card number will not be used to make payments for purchases, it is only used as collateral. Your card number will only be used to make payment for purchases if you default on payment.

4. To execute an absentee bid, fill out the enclosed form listing catalog number, description, and your top bid price (not including the 20% buyer’s premium). Send this together with your deposit as soon as possible. If your bids are sent seven days or less prior to the auction, you should call our office three days prior to the auction, to confirm that we have received your bids. If they have not been received at that point in time, we will take your bid over the phone. We cannot guarantee that bids received after the auction has started will be executed.

5. If two or more bids are received on the same item from different people, the bidding will open at the next logical raise above the second highest bid. If two absentee bids are received with the exact same amount, the first one received will take precedence.

6. All bids must be in even dollar amounts. Bids in fractions of dollars will be considered the next lower even dollar amount.

7. Bid increments: The bid increment policy, which also applies to both absentee and phone bidders, is listed under “CONDITIONS OF SALE” (item #4), in the front of the catalog.

8. Open bids, bids with no set top amount, or orders to just simply buy the lot, cannot be accepted. You must have a definite top limit before we can execute your bid. Alternatives to this are as follows: a. To bid over the telephone. This can be done by simply sending a 20% deposit for what you wish to bid on the object. This will bind whatever bid amount you wish to bid over the telephone. (NOTE: There are only 8 phone lines into the auction room and phone bids will be handled on a first come, first serve basis.) b. Some bidders concerned that a lot might just go for one bid above their top limit, leave a top bid plus one bid.

This works as follows: the top bid submitted might be $1,000, but not wishing to lose the lot for simply $25 more, the party might bid $1,000 + 1 bid if they definitely don’t want to go over a certain price, they would indicate $1,000 +1 ($1,025) (NOTE: One possible problem that occasionally arises with absentee bids is when someone in the audience bids exactly the amount, which you specify is your limit. In such a case, we would not go one extra bid unless your bid sheet indicates “plus one” bid.).

9. If you are a successful bidder, a bill will be sent a few days after the auction. Purchasers should indicate their desired method of shipment, if such is necessary. There is a charge for shipping, labor, materials, and insurance. Please provide notice in writing if items are covered under your own insurance policy. Shipping is done on a first come, first serve basis, and can take up to 4 weeks. Please note that a certified check, Visa, Mastercard, or any other form of guaranteed funds will expedite shipping.

10. For expensive oil paintings and delicate carvings, we need a written statement from the purchaser, assuming the responsibility of pursuing any claims, in the event of damage incurred during shipping. Valuable lots need to be sent 2 day air UPS due to values. Under no circumstances will we be liable for damage to glass or frames, or fragile decoratives, regardless of cause.

11. TERMS — Phone and absentee bidders — You will be notified one week after the auction of your results. Payment is due upon receipt. Interest will be charged on all balances not paid within 30 days after the bill is sent at the rate of 12% APR. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. If an account is 75 days overdue, the items may be returned to the consignor and overdue buyer will pay the buyers premium and commission from the sale, if they wish to participate in future Guyette and Deeter auctions.

12. Bidding on any article(s) indicates your acceptance of these terms above.

13. If you would like any additional information on any of the lots, please contact: Gary Guyette at (410) 745-0485 or Jon Deeter at (440) 610-1768. nd

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

OFFICE: OFFICE:

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

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

185

180

187

131

119

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