North American Decoys at Auction | August 6 & 7, 2021 by Guyette & Deeter

Guyette & Deeter, Inc.

North American Decoys At Auction August 6 & 7, 2021

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Guyette & Deeter, Inc.

North American Decoys At Auction Friday, August 6, 2021 Auction 11:00 AM

Saturday, August 7, 2021 Auction 10:00 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 month of July 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 August 11, or by appointment. Please call ahead so we can have your items ready. ■■ Auctioneer James D. Julia, Fairfield, Maine.

Future Auctions November 2021

Talbot County Community Center Easton, Maryland

April 2022

The Westin Chicago-Lombard Lombard, Illinois

To discuss possible consignments, contact:

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

Zac Cote

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

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

Denise Jarrell

Mike Stevenson

Cooper Rossner

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

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

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

New location, same great town

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

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

Featuring decoys from the collections of Kroghie Andresen

Otto Meyer

Martin Bentley

Phil Mott

Virginia & Jonathan Chua

Steven Michaan

Dr. John Dinan

Carl Nemec

John & Vicki Forbes

David Nichols

Doily Fulcher

D.C. North

Dr. Lloyd Griffith

Kirby Roberts

Dale & Gary Guyette

Governor James Thompson

Gene & Linda Kangas

Bruce Williams

Robert & Sylvia Mangold

Captain John T. Dinan Jr. MD (1933-2020) Many of us knew John as a fellow duck hunter and decoy collector, meeting with friends and at annual meetings and auctions. He was a Ducks Unlimited Chairman of Maine and an advocate for other conservation efforts. He was a lifelong outdoorsman and sportsman. He loved sea duck hunting and lobstering aboard the “Eider” on Casco Bay, tuna fishing in Beaufort, N.C. and deer hunts at the Dartmouth College Grant. He collected for decades and was a staple at the annual summer auctions. John enjoyed trading decoys with his old friends and meeting new friends over old decoys. John wrote Chapter 1 MAINE in Joe Enger’s ‘The Great Book of Wildfowl Decoys’. Born in Detroit, John and his family settled in Bloomfield Hills, Michigan. Growing up, he was a passionate model airplane builder and muskrat trapper. As an undergraduate at Dartmouth College, John expanded his outdoor passions along with his academics, then attended the prestigious University of Michigan medical school. Dr. Dinan began his medical practice in Portland, Maine. He was always an athletic, adventurous outdoorsman, including playing semi-pro football for the Portland Seahawks. During his 25 years in Portland, Dr. John watched his children grow up and shared the joy of those years with them. His expertise and personality were well known by the local medical community and patients who came from afar. Starting his career in the Navy in 1962, Dr. Dinan served as a surgeon on aircraft carriers, first on the Saratoga, the JFK and lastly on the nuclear-powered Theodore Roosevelt. John’s family travelled the world with him during his years of service experiencing precious family time, and incredible adventures. The Navy awarded John several commendations and medals. He retired from the Navy at 71 in 2003. He was a good friend. Gene and Linda Kangas

John Dinan

Living only a short drive from one another, Dr. Dinan was one of the few collectors who would visit me regularly at my home. I’d set him up in a chair and put newer Weekly Auction consignments in his lap that I knew he’d appreciate. Whether it was a derelict New England merganser or a contemporary Michigan fish decoy, ‘Isn’t that wonderful’ he’d say with a smile. Then he’d read his favorite book ‘Longshore’ to me as I shipped decoys. I’ve heard that book cover to cover a few times but have never read it myself. His enthusiasm for the hobby was infectious and his friendship will be missed. Zac Cote

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)

The Debernia Clinton “D.C.” North, Jr. Collection The collection of legendary Southern decoy collector Debernia Clinton “D.C.” North, Jr., will be sold in two sessions starting with the upcoming Guyette & Deeter auction on August 6 and 7, held remotely from St. Michaels, Maryland. D.C. had a fondness for Southern black ducks and acquired many of the very bestknown examples from Virginia and North Carolina. During his lifetime, D.C. had many pursuits and interests, but excelled at collecting decoys and was usually researching and learning about his latest finds. He also worked as a professional auctioneer and was known as an entertaining master of ceremonies. D.C. is credited as co-founder of what is today’s Carolina Decoy Collectors Association back in 1978. Gary Guyette recalls, “D.C. called our Farmington, Maine office to set up to phone bid for our April 1986 auction in Illinois. He wound up buying the pair of North Hampton County Green Wing Teal that we are selling in this sale. During the process he was friendly, funny and very accepting of me, someone just having his third auction.” Gary added, “The next year he attended our Maine auction when we sold Jim Lewis’ collection of mostly southern decoys. D.C. bid actively and for two days good naturedly teased the people in the audience he bid against. After the sale he invited me to visit him at his home in Wrightsville Beach, North Carolina to look at his decoy collection. I remember that his office had dark decoys mounted on light walls. He knew a lot about Virginia and North Carolina decoys and openly shared his knowledge with me for an afternoon. For many years he attended our Easton, Maryland auction and for many years I enjoyed visiting D.C. and Hester at Goose Haven Farm in Currie after they moved there from the beach.” The last time I visited D.C. was late fall, and his furnace was out. He had a space heater set up in his little den, so we sat in there. The walls were covered with dark shorebirds mounted on metal stands that came out from the light colored walls and turned toward the ceiling to hold the shorebirds. We sat there and he told me the story of every one of those shorebirds. D.C. had a lot of Virginia and North Carolina decoys, both common and some very uncommon ones. He had a great deal of knowledge about the decoys

that he owned. In the 1980s and 1990s when people were writing decoy books, he was the man to go to. Consequently, most of his decoys are pictured in decoy books, including; “Southern Decoys,” Fleckenstein, “Great Book of Decoys,” Engers, editor, Decoys: A North American Survey,” Kangas, and the extended version of “Chesapeake Bay Decoys,” Richardson. D.C. died at 89 years of age on Christmas Day 2020 at his home on Goose Haven Farm in Currie, North Carolina. D.C. was married to the late Hester Irene Freeman North and leaves behind four children, 10 grandchildren and two great grandchildren. D.C.’s matchless collection of Southern black ducks and shorebirds will be proudly auctioned at this summer and fall auction.

D.C.’s “N” brand, which he used from 1981 through 1988. Pictured from lot 142a of this sale.

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.

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

Rare Canada goose by Capt. Wilbut Corwin - SOLD! $3910

Duck call by Newt Rule SOLD! $1633

Tack eye trout by Oscar Peterson - SOLD! $2533

For questions, contact: 207-321-8091

Excellent preening dowitcher by William Gibian SOLD! $6440

zcote@guyetteanddeeter.com

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

Recent Sales

Group of four early counter felts - SOLD! $1380

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Session One Friday, August 6, 2021 11:00 am Lots 1 - 245

Session Two Saturday, August 7, 2021 10:00 am Lots 246 - 505

Contemporary carvings 1-9 10 - 14 Jim Schmiedlin 15 - 21 Pacific Coast 23 - 25 Contemporary miniatures 26 - 32 Ward Brothers 33 - 42 Midwest 43 - 47 Shorebirds 48 - 64 Sporting art 65 - 74 Miniatures 75 - 79 Elmer Crowell decoratives Louisiana 79a - 87 88 - 100 New England Nantucket golden plover 101 - 107 Mason Decoy Factory 108 - 125 New York State 126 - 131 Ontario 132 - 142 Virginia 142a - 142t New England shorebirds 143 - 155 Maryland 156 - 167B Maine 168 - 174 John James Audubon 175 - 180 Maine 181 - 196 New Jersey 197 - 215 Delbert “Cigar” Daisey 216 - 226a Contemporary carvings 227 - 245

Decoratives Delaware River Decoratives Oscar Peterson Illinois River Fish plaques Items of interest Elmer Crowell New Jersey shorebirds Duck and turkey calls Shotgun shell boxes Shorebirds Fish decoys Delaware River Illioins River Items of interest Shorebirds North Carolina Contemporary carvings Fish decoys Items of interest

246 262 270 287 305 320 329 333 340 355 363 371 383 394 405 428 448 461 478 482 496

261 269 286 304 319 328 332 339 354 362 370 382 393 404 427 447 460 477 481 495 505

Please read conditions of sale in the back of catalog

SESSION ONE Friday, August 6, 2021

Contemporary carvings

Impressive willet in flight, William Gibian, Onancock, Virginia. The outstretched willet appears to be flying over the water’s edge, but is mounted to an impressive piece of driftwood. “Landing willet, one of my favorite birds, one of my finest carvings. 11/13,” signed Bill Gibian. 24.5” tall. Excellent and original.

(3,500 - 4,000)

Three finely carved flying full body doves, Eddie Wozny, Cambridge, Maryland. Doves

are mounted on weathered board, 43” total length. Signed “Eddie Wozny, Cambridge, Maryland, mourning dove, 2021” on back of plaque. Doves’ wing spans vary from 15.5” to 10.25” depending on pose. Birds have fine feather carving and paint detail. Center dove has slightly turned head. Excellent and original.

(3,250 - 4,250)

Full size blue heron, Frank Finney, Cape Charles, Virginia. Hollow carved with peg construction. Carved wooden base, similar to those used by Elmer Crowell. Initials “FRSF” carved in base. Wingtips are carved and dropped. Detailed feather carving at tail. 34” tall. Original paint; some seam separation at top of back; tip of bill is chipped with a sliver missing. (4,000 - 6,000)

Red breasted merganser drake, Frank Finney, Cape Charles, Virginia. Swimming style with crested head, raised carved tail and wingtips. Frank’s fancy “F” carved in underside. 19” long. Excellent and original. (1,000 - 1,500)

Ruddy duck drake, Cameron McIntyre, New Church, Virginia. “CTM” is carved in underside. Cameron’s interpretation of a Dudley ruddy duck drake. Similar to the example found at the Shelburne Museum. Excellent bill carving. All details including “LD” carved in underside. 11” long. Strong original paint that has been stressed for the appearance of age.

Provenance: Kirby Roberts collection.

(1,200 - 1,800)

Mallard drake, Cameron McIntyre, New Church, Virginia. “CTM” is carved on underside. 16” long. Raised “V” wingtip carving and turned head. Very good and original. (1,500 - 2,000)

American merganser drake, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. 22” long. Relief wing carving. Very good and original.

Provenance: Kirby Roberts collection. (1,400 - 1,800)

Oversize Canada goose, Mark McNair, Craddockville, Virginia. Carved in the style

Loon, Mark McNair, Craddockville, Virginia. A spring plumage bird with carved

of Nathan Cobb, Jr. Two piece hollow body.

eyes. Finely carved bill detail and carved

“MS McNair” carved in underside. Split and

shoulders. A very intricate paint pattern on

raised tail. Head is twisted and in a hissing or

back. “McNair” is carved in underside. Two

swimming position. 31” long. Paint has been

piece hollow body. Head is slightly turned. 27”

stressed to create the appearance of age;

long. Strong original paint has been stressed to

including small areas of flaking.

produce appearance of age.

(2,500 - 3,500)

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

Jim Schmiedlin 1945 - 2015 | Bradfordwoods, Pennsylvania When Jim Schmiedlin started carving his own hunting decoys in 1970, there is no way he could have imagined the impact it would have on his life. How could he have known that his working and decorative decoys would become some of the most sought-after carvings in the contemporary segment? The demand for Schmiedlin’s decoys are twofold. Aesthetically, his decoys are superb. They are undeniably beautiful, often with motion and applied paint patterns that are characteristic to only him. The second lies within the carver’s personality. Schmiedlin has immense character and persona, some of which was developed during his time in the U.S. Navy. This gentle giant of a man has been a friend to many collectors, carvers and hunters. His personal hand-written notes in impeccable penmanship, his willingness to help new carvers, and his genuine offers to let newly friended hunters take a turn shooting over his personal layout rig all play a role in the friendships he nurtured.

Photo courtesy Todd Schneider

In August 2013, Jim was diagnosed with Lou Gehrig’s disease, or ALS. He and his wife Debi graciously donated this wood duck in November 2014 with the proceeds benefiting the Live Like Lou Foundation. It sold at the Guyette & Deeter auction for $26,450, a world record at the time. To this day it remains Schmiedlin’s best wood duck drake that he ever made.

Important back preening wood duck drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. This is the finest back preening wood duck Jim ever produced. Two piece hollow body with carved feathers, wingtips, and tail. Crest and head are canted to one side. One wing is slightly lifted, where the drake is grooming. Decoy is branded “JAS” and displays Schmiedlin’s reward for return. Dated 2008, it was exhibited in the Ohio show in 2009 and the Chicago show in 2011 according to notes on underside. Jim inscribed in pencil, “To my pal Patrick, world record for maker, Guyette & Deeter auction November 12,” signed Jim Schmiedlin. 15” long. Excellent and original.

Provenance: Consigned by Jim Schmiedlin to the April 2015 auction, with proceeds given to Live Like Lou Foundation. Purchased by Patrick O’Neil at that sale and now consigned by the O’Neil family. (20,000 - 30,000)

Goldeneye drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Branded “JAS”

in underside. Two piece hollow body. With extend-

say made in 1989, exhibits Jim’s return for reward.

ed tail and carved wingtips. Head is turned and

The drake is back preening over a slightly lifted

slightly lifted. 19” long. Excellent and original.

tail. 14” long. Excellent and original. (5,000 - 8,000)

Very rare pintail drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Branded “JAS”

on underside of the two piece hollow body. Notes

shoulder. Carved and raised wings, primaries, and

(8,000 - 12,000)

Old squaw drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Branded “JAS”

Widgeon drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Branded “JAS”

in underside. Written in white ink, “For my friend,

in underside. Signed and dated 1984. Hollow

Harry Miller, of Livonia, Michigan, 1985.” Head is

carved with raised carved wingtips and extended

turned and alert. Raised crossed wingtips and

tail. Head is turned. Excellent feather painting.

extended tail. Two piece hollow body. Excellent

16.5” long. Excellent original.

and original.

(4,000 - 6,000)

Pacific Coast Charles Bergman 1856 - 1946 | Astoria, Oregon Bergman was born in Finland to Swedish parents. Census records indicate that he immigrated to the United States in about 1881. Miller and Mortensen note that he shipped out of Finland as First Mate on a clipper ship, jumped ship in San Francisco and worked for a period with the Life Saving Service. He eventually found his way up the coast to Long Beach, Washington where he was briefly engaged in farming. In 1887 he was in Oregon where he married his Swedish born wife Hanna Sofia (Anderson). Both he and his wife became naturalized citizens of the United States in 1889. By 1890 the couple had moved to Astoria and welcomed the birth of their first child, Anna M. (or Annie). A son, William W. was born two years later. Charles is listed in the City Directory of the time as a “carpenter” and he remained in that line of work through at least 1904. By 1906, he was employed as an “agent” for the George and Barker Cannery. This business was ultimately absorbed by the Columbia River Packers Association (CRPA) and Bergman remained in the salmon cannery industry for the remainder of his working life. Over the years, through at least the 1930 census, he held a variety of positions with CRPA, listed variously as a “boat builder”, “laborer”, “watchman” and finally, “foreman”. In both the 1936 City Directory and the 1940 federal census he has no listed occupation and one can only assume that he was retired from a long working life at the docks. For practically the entire period that the family was in Astoria, they lived at 1871 Franklin Street. The home, based on neighboring evaluations, would have been considered modest but it was proudly owned free of any mortgage by the hardworking Bergman. His obituary notes that he had been in ill health for the last nine years of his life and, that for his final two years, he was described as an invalid. Bergman passed away on May 31, 1946 and is buried in the Greenwood Cemetery in Astoria .

Columbia River Packers Association c1941

Bergman enjoyed to duck hunt and it may be possible that, while it was legal, he sold some of his excess game in the Portland (OR) markets. There were few, if any, locally produced decoys at the time so Bergman’s earliest decoys were Mason factory birds. His first attempts at making his own decoys clearly reflect the Mason influence but he rapidly developed a unique style of his own. Citing Miller and Mortensen, all of Bergman’s decoys are hollow and very light. All were carved from the locally available western red cedar. Until about the age of 70, the bulk of Bergman’s production was for his own use but, upon his retirement, he began to carve in earnest for the commercial trade. His grandson estimates that he produced about a dozen decoys per week that he sold for $1.25 each. He carved a variety of species, all noted for their table quality and, as such, only one rig of bluebills (locally considered trash ducks) is known. Bergman’s work is widely recognized for the quality of his carving and construction, but he is probably best known for his outstanding painting. His plumage is crisp and accurate but often varies decoy to decoy within the same rig. As pointed out by Hugh Chatham, “It is ironic that a man may labor all his life at ‘serious’ work but be best remembered for a few artifacts created while ‘at play’”.

His craftsmanship speaks volumes about a man who took great pride in his work. His lasting legacy rests firmly, not only on his own efforts, but on the influence he had on regional carvers to follow. His work was the subject of a year long exhibit at the Columbia River Maritime Museum and was included in an exhibit at the Houston Museum of Natural Science (TX). His carvings are a part of the prestigious permanent collection of the Shelburne Museum (VT) and are represented in numerous, well known, private collections.

Outstanding greenwing teal hen, Charles Bergman, Astoria, Oregon, circa 1940. High style paint pattern with scratch feathering and dot work to create a wonderful example of Bergman’s better teal. Two piece hollow body. Excellent and original.

(12,000 - 18,000)

Astoria, Oregon Located near the mouth of the Columbia River, the rich marshland surrounding the town of Astoria provided ideal habitat for a number of waterfowl species. The areas around Russian and Woody Islands were particularly favored hunting areas and many of the local gunners had shacks near the better access points. Astoria’s economy in the early 1900s centered largely around commercial fishing, timbering and the salmon canning industry. The decoy carving heritage of the region was the result of the slow but steady migration of settlers from across the continent. Initially lacking a carving history, by the late 1800s, and certainly by the early 1900s, an established carving tradition in the Astoria area had emerged. Numerous outdoor employment opportunities attracted a number of industrious, hardworking families of Scandinavian descent, so much so that the section of Astoria known as Uniontown developed the reputation as “the Helsinki of the West”.

Possibly his best canvasback drake, Charles Bergman, Astoria, Oregon. A very early 1930s two piece hollow body with high alert head and appealing thin original paint pattern. 15” long. Structurally excellent; protected by a coat of varnish that is partially worn away.

Literature: “Decoys of the Pacific Coast,” Michael Miller. (15,000 - 20,000)

Canvasback hen, Charles Bergman, Astoria, Oregon. Two piece hollow body. Branded “CB” on underside indicating this was from Bergman’s personal rig. Paint feathering on sides adds to the aesthetic appeal. Original paint with very minor wear, protected by a coat of varnish; tight crack in neck. (15,000 - 20,000)

Charles Pice 1886 - 1957 | Astoria, Oregon The son of Finnish born parents, Pice spent his childhood, along with his six brothers and sisters with his widowed mother Hannah. She had arrived in the United States in 1884 and Charles’ father, Harry, died when the children were quite little. At a young age, Charlie, was forced to help support the large family and, by age 14, he was working as a “fisherman” while the family lived in Knappa. By 1910, the family was living in Astoria and Charlie was now employed as a “logger”. He remained in that field through at least 1930, employed variously over the years as a “Captain on Dredge” (logging tug), an “engineer”, or a “steam engineer” at a “logging camp”. During that period, he moved between Astoria and Knappa. His logging was interrupted briefly while he served in the U.S. Army as a PFC, Co B, 16 Infantry, during WWI. In 1920, he married Josephine Cardinal but that union was destined to end in divorce. He remarried in 1930, this time to Ruby Smith of Portland. By 1935, he had moved to San Francisco, California, but by 1940, Ruby had died, and he is listed in the census as “widowed”. He found himself once again living with his mother and two of his brothers in Astoria and was now employed as a “seiner - fishing”. From 1942 when he registered for the draft in WWII through the time of the 1951 Astoria City Directory, he is recorded as being employed in some capacity by the Columbia River Packers Association (CRPA). He died in Portland and is buried in the National Cemetery in Willamette, Oregon.

Pice was obviously influenced by the work of both the Mason factory and the elder Charles Bergman. The carving careers of Pice and Bergman overlapped, and it is reasonable that they would have known one another. Bergman decoys with Pice’s paint are known and it is said that their most likely period of collaboration would have been in the 1920s and 30s. Like Bergman, Pice’s birds are hollow carved from western red cedar. Handmade, they are typically very light yet rugged and attractively painted. His output is reported to be in the thousands, and, like Bergman, he sold decoys commercially. His reputation for quality places him comfortably in the esteemed company of fellow Astoria master carvers, Charles Bergman, Frank Bay and Oscar Hendrickson.

Men and horse seining for salmon on the Columbia river near Astoria c1939

Hammonds Lumber Mill, Astoria, OR c1910

Rare pintail drake, Charles Pice, Astoria, Oregon, 1st quarter 20th century. Two piece hollow body with bottom board. Intricate paint pattern extending out tail. Stylized similar to those of the Mason Decoy Factory. 18” long. Strong original paint; structurally excellent; very light gunning wear.

Literature: “Decoys of the Pacific Coast,” Michael Miller. (6,000 - 9,000)

Very rare mallard drake, Charles Pice, Astoria, Oregon. Two piece hollow body with bottom board. Slightly lifted or calling head position. Painted eyes. In a stylized paint pattern similar to that of the Mason Decoy Factory. 16” long. Strong original paint, with very light gunning wear; structurally excellent; some flaked areas near tail and around edge of bottom. (6,000 - 9,000)

Pintail drake, Richard Janson, Sanoma Creek, California. 17.75” long. Carved feathering on wings. Very slightly turned head. Near mint original paint; thin crack partway through neck; never rigged.

(2,000 - 3,000)

Mallard drake, Horace “Hi” Crandell, Westwood, California, circa 1930. Wing cut and tip carving. “JRP” painted on the underside. 15.5” long. Original paint; protected by a light coat of varnish; rubs at side and tail; small area of filler missing at base of neck. (2,000 - 3,000)

Contemporary miniatures 23

Miniature belted kingfisher, Steve Weaver, Cape Cod, Massachusetts. Signed and dated 2010. Fine carving and paint detail. On piece of driftwood, mounted on carved wooden base that is signed “SAW”. Carved feather is on top of base. Carving is 8” tall. Excellent and original.

(1,200 - 1,500)

“Focused” a miniature stalking yellowlegs, Steve Weaver, Cape Cod, Massachusetts. 6.75” long with good feather paint detail. Carved wooden feather next to foot. Very good and original.

(1,200 - 1,500)

25 25

Group of five miniatures, Frank Finney, Cape Charles, Virginia. All signed with Frank’s fancy “F” on underside. Species include bill grebe, black capped chickadee, American crow, indigo bunting, swallow tailed kite. Largest measures 4.75” long. Excellent and original.

(2,500 - 3,000)

Ward Brothers Crisfield, Maryland 26

Exceptional unused 1936 model bluebill drake, Ward Brothers, Crisfield, Maryland. Very bold original paint with heavy stippling on back and sides. Head is turned 45 degrees to one side. 14.5” long. VL&A Chicago stamp is on the underside. Excellent and original.

Provenance: Formerly in the collection of Dr. James McCleery, McCleery collection stamp on underside. Lot 495 in the Guyette & Schmidt/Sotheby’s McCleery auction, January 2000.

(20,000 - 30,000)

The Von Lengerke & Antoinne, or VL&A, Partnership was formed in early 1891, and quickly became a very prominent sporting goods retailer in Chicago, located ultimately at 335 Wabash Avenue in downtown Chicago. The VL&A Partnership was formed as an extension of a New York sporting goods retail company known as Von Lengerke & DeMond that had started a short time prior to VL&A. At the same time, in New York, another prominent sporting goods retailer was starting business in 1892 called Abercrombie & Fitch. The significance of this is, for many years, from 1892 through 1938, these two retailers not only fought for market share catering to an upscale customer base, but both retailers also used the same motto, “GREATEST SPORTING GOODS RETAILER IN THE WORLD.” Like Abercrombie & Fitch, Von Lengerke & Antoinne products were from the finest manufacturers and appealed to an upscale clientele. In 1938, the VL&A Chicago Company, after losing faith in the public eye, was bought out by Abercrombie & Fitch, who continued to operate under the VL&A name until the closing of the store in the early 1960s. The 1936 model Ward Brothers Bluebill bares the VL&A store stamp on the underside. The Ward Brothers were well aware that their decoys were being resold by the finest sporting goods store in the world, and that is why decoys with this stamp often are some of the best examples of their work.

Goldeneye drake, Ward Brothers, Crisfield, Maryland. 1948 model with inserted wooden tail. Head is turned. Extended carved crest. A gunning decoy with light wear; original paint; some areas of discoloration; small dents. (4,000 - 6,000)

Rigmate pair of buffleheads, Ward Brothers, Crisfield, Maryland. 1948 model. Gunning style decoys, branded “JF” on underside for Joe French collection. Both have slightly turned heads. Gunning style buffleheads from this period are rare. 10” long. Original paint; small tight cracks in filler at neck seam; a few small flakes of paint missing on hen.

Provenance: Formerly in the Joe French collection.

(4,000 - 6,000)

Attractive herring gull, Ward Brothers, Crisfield, Maryland. Underside reads, “Made by Steve Ward painted by Lem Ward 1960”. Hollow with bottom board. Head is slightly turned. 18” long. Good original paint; slight crazing at breast and areas of back; surface is darkened to create a soft patina; small area of wood filler used by the Wards at one side of base of neck.

(5,000 - 8,000)

Canada goose, Ward Brothers, Crisfield, Maryland. Signed and dated 1974, “For Bill Brauers collection.” Written in the Ward Brothers hand, “A piece of driftwood cast away by the storm becomes a jewel into the hands of a genius.” Roberts collection sticker on underside. Slightly turned and swimming head pose. Fine feather painting. 26” long. Near mint.

Provenance: Kirby Roberts collection.

(5,000 - 8,000)

Stylish pinch breasted pintail drake, Ward Brothers, Crisfield, Maryland. Signed and dated 1932. 17.5” long with stylish turned head. Original paint with minor wear on much of the decoy; bill is a professional replacement with touchup to that part; thin crack through tail extending on to the back; crack partway through neck.

Provenance: Formerly in the Sam Dyke collection, Dyke collection stamp on underside.

(12,500 - 17,500)

Well executed pinch breasted pintail hen, Ward Brothers, Crisfield, Maryland. 1936 model with Ward Brothers stamp on underside. Also signed “Lem Ward and Steve Ward.” Head is turned. 18” long. Very good original paint with stylistic wing patches; slight stippling texture in the tail area; some of that texturing has worn off at underside of tail; small area of discoloration from pitch bleed at front of breast; light wear at tail. (15,000 - 25,000)

Frank Buchner 1871 - 1947 | Erie, Pennsylvania A boldly sculptured canvasback caught the attention of the decoy collecting community in March 1991 when it was entered in the “folk category” of the vintage decoy competition at the annual Ohio Decoy Show. It was the first representative example of an Erie, Pennsylvania decoy entered in a competition, and collectors and judges took notice. With wide hips, an elongated neck and a bulbous head, possessing intricate carving details over the back, including a motif that resembled an anchor, the decoy was unlike anything the judges had seen before and it easily won the category. Two of the judges made offers to buy the decoy. Discussions about its attributes and authenticity followed for hours. Whoever made it remained a mystery at the time, but all who saw it agreed it was a superb example of American folk art. Eventually more examples by this hand were discovered and the story of Erie’s finest decoy maker came to light. Frank Buchner (1871-1947), the maker of the decoy, was the most prolific and talented decoy carver from the area and he is worthy of the title “Father of the Erie School” of decoys.

Because of its location along the lake, Erie was prime waterfowl habitat and many of its citizens were avid duck hunters who required a rig of decoys. Buchner probably made most of his decoys from 1890 to 1940. As a profession, he worked as Chief Engineer of Erie Sand & Gravel where he operated a giant sand sucking machine. In his spare time, he carved decoys for himself and others with each selling for about $1.50. The best of Buchner’s decoys are uniquely designed, bold sculptures. They feature a series of artistically inscribed patterns, which unmistakably define anatomical areas such as speculums and wing outlines. Some have additional textural treatment recessed into the areas between the wing tips. Buchner is known to have carved bluebills, canvasbacks, redheads, buffleheads, mergansers, at least one goldeneye and a few geese. A law at the time in the state of Pennsylvania, a hunter was required to attach a name and address to each individual decoy. Buchner decoys have been found with his name tags, his nephew’s name, as well as other customers that likely bought decoys from him.

The only known Canada goose, Frank Buchner, Erie, Pennsylvania, circa 1900. Classically carved anchor in back with sunburst tail. The high quality carving found in Buchner’s best work. 19” long. Some paint on body appears to be original; strengthening to white areas; old paint on head has been cleaned off; neck repair and bill restoration. (6,000 - 8,000)

Bluebill drake, Frank Buchner, Erie, Pennsylvania, 1st quarter 20th century. Well carved back with anchor and sunburst tail. measures 16” long. Strong original paint.

(3,000 - 5,000)

Bluebill drake, Frank Buchner, Erie, Pennsylvania, 1st quarter 20th century. Classic anchor and tail carving. Head is slightly turned with glass eyes. 17” long. Original paint has crazed in some areas; very dry and a bit dirty.

Provenance: Owner’s medallion in underside, “H. Kurtz, Erie, Pennsylvania,” Kurtz was a friend of Buchner’s.

(3,000 - 5,000)

Hollow carved canvasback hen, John Schweikart, Strawberry Island, Michigan. Applied copper wingtips and adjusting copper keel. Original paint with moderate wear; thin crack in back.

Literature: “Michigan Decoys,” Clune Walsh and Lowell Jackson. (2,500 - 3,500)

Rare bluebill drake, George Sibley, Michigan, circa 1900. Classic inset hardwood bill. Two piece hollow body and glass eyes. 12” long. Original paint; with a second coat that was applied to the underside; two stamps are visible as the first coat must not have been thick enough; light gunning wear evenly distributed; some staining; discoloration to white areas on lower part of body; rubs on head and breast.

(2,500 - 3,500)

Canvasback drake, Joseph Marr, Heron Lake, Minnesota. A rare example in original paint that retains the original keel. Tack eyes that are painted red. 12” long. Original paint has crazed evenly and worn away in some areas to expose bare wood.

Literature: “Minnesota Duck Decoys,” Doug Lodermeier, p. 333. (5,000 - 8,000)

Hollow carved canvasback drake, Augustus Moak, Tustin, Wisconsin. 18.25” long. Original paint with discoloration and minor wear; structurally very good.

(3,500 - 4,500)

Very rare, one of two known, Canada geese, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. A root head decoy with tack eyes.

Canada goose, Don R. “Doc” Gearhart, Tulsa, Oklahoma. Signature engraved on underside, “Don R Gearhart, Tulsa Oklahoma 2/20/1940.” Head turned

Head is positioned further back on the body, in almost

slightly to left. Huge, full bodied goose, 23” long x 11”

a calling pose. 24” long. Original paint that has

tall. Acquired directly from the family. This is the first

flaked away around knots and a crack in back, and

time it is being presented publicly for sale. One of only

also around neck area where it appears that a large

three Gearhart geese known. Unused and excellent.

amount of neck filler was used at neck seat. Provenance: Steven Michaan collection. Ex Gary Miller collection.

(4,000 - 6,000)

Provenance: Kangas collection, formerly in the Gearhart family. Literature: Decoy Magazine, “Don Gearhart, An Oil Man’s Pocket Sized Rig,” July/August 2013, p. 24-29, exact decoy pictured. Decoy magazine, “Roswell “Rossie” Bliss,” by Cliff Alexander, Gene and Linda Kangas July/August 2019, p. 25, pictured in group. (4,000 - 6,000)

This exact goose pictured in Don Gearhart’s living room

John Scholer 1861 - 1949 | Burlington, Iowa

Burlington, Iowa, located on the banks of the Mississippi River, has an important but not well known duck hunting history. Iowa was once a paradise for migrating waterfowl. Burlington is located on the “Mighty Mississippi” River, the magnet for the migratory flights of birds in the fall and spring. The flights were nothing short of spectacular, and hunters from major cities traveled by train to enjoy the incredible gunning for ducks and geese. From a letter written by Larry McHenry in 1873: “My grandfather and I had trap lines in several locations on the (Huron and Cody) Islands. We trapped animals and sold their hides in Keithsburg. We caught raccoon, skunk, mink, opossum, muskrat, pole cat, rabbits, and squirrels. Every spring and autumn, we also shot lots of ducks and geese. Until 1918, there was a spring, as well as a fall, duck hunting season. At these times, tents would be set up on the river side of the island to accommodate extra visitors.”

Exceptional hollow carved mallard drake, John Scholer, Burlington, Iowa, circa 1930. 17” long with very stylized wide body with raised back and slightly turned head. Scratch feather paint on back. This is by far the best Scholer decoy we know of. Original paint; protected by an old and most probably original coat of varnish; small amount of paint flaking at nails that join the body halves; hairline crack partway through neck. (17,500 - 22,500)

New England shorebirds Clarence Gardner and Newton Dexter Providence and Little Compton, Rhode Island Although Rhode Island is called “The Ocean State”, there are remarkably few documented decoy makers from “Little Rhody”. Certainly, some of the very finest known shorebird decoys from the state are credited to the carving pair of “Gardner - Dexter”. Dr. Gardner was educated at both Brown and Harvard University. He served as a surgeon in the Union Army during the Civil War and went on to establish a highly successful medical practice in Providence. Mr. Dexter, likewise, was Brown educated but, having been born into wealth and privilege, went on to lead a rather enviable lifestyle as a world traveler, “naturalist” and “gentleman”. The two became close friends and often hunted and fished together. In the late 1800s, Dr. Gardner built a lavish summer home at Sakonnet Point in the Town of Little Compton, Rhode Island, an ocean front location easily accessible by steamboat from Providence or Fall River (MA). The home, which he called “The Rock”, faced the sea but overlooked two adjacent ponds and was surrounded by hundreds of acres of open meadow and heathland. Nearby was Briggs (Awashonk’s) Marsh, a favored hunting location. All of this provided a variety of habitats for the shorebirds and proved to be an ideal location for two friends who enjoyed the outdoors. Both men were accomplished taxidermists and, upon their deaths, many of their mounts were given to the Roger Williams Zoological Society where they reside today. It is generally agreed that it was Gardner who did the majority of the fashioning of the decoys and it was Dexter who applied the paint. The pair carved for their own use and enjoyment, but it is unknown how many shorebirds the team actually produced. In addition to the initial find by the Lisle family when they purchased the Gardner property in the 1930s, at least one other cache of “a basket full” was found in Little Compton in the 1950s, and a few additional small groups have surfaced in the area over the years. The pair produced decoys for plovers, yellowlegs, curlews and dowitchers. Recently, a few tucked head peeps have been discovered that are credited to the “Gardner – Dexter” team.

Rare black bellied plover in winter plumage, Clarence Gardner and Newton Dexter, Little Compton, Rhode Island, last quarter 19th century. 11.25” long with shoe

Dowitcher, Clarence Gardner and Newton Dexter, Little Compton, Rhode Island, last quarter 19th century. 12” long with relief wing carving and shoe button eyes. With carved

button eyes and relief wing carving. Original

separation between wings. Original paint; minor

paint with slight wear; structurally excellent.

flaking and wear; a few small dents in underside.

(8,000 - 10,000)

Literature: “Call to the Sky,” Robert Shaw. “Decoy Collectors Guide,” 1966-1967 annual, Hal Sorenson.

(8,000 - 10,000)

George Boyd 1873 - 1941 | Seabrook, New Hampshire George Boyd was a shoemaker, as were many of the residents of the Seabrook area around the turn of the century. To supplement his income, he also earned money as a market hunter. The birds that he and other area market hunters harvested were shipped via rail to markets in Boston, Portsmouth, New Hampshire, and Portland, Maine. From around 1910 through 1915, George sold yellowlegs and black-bellied plover decoys to Iver Johnson in Boston, Massachusetts. Even after the passage of the Migratory Bird Treaty Act of 1918, which protected all migratory birds, yellowlegs and plover seasons remained open for sport only up until 1928.

Very rare black bellied plover in transitional plumage, George Boyd, Seabrook, New Hampshire, 1st quarter 20th century. 10.75” long

Exceptional black bellied plover in spring plumage, George Boyd, Seabrook, New Hampshire, 1st quarter 20th century. 11”

with shoe button eyes and fine paint detail. Very

long. With shoe button eyes and fine paint

good and original.

detail. Original paint; with very slight wear and good patina; structurally very good.

Provenance: Chua collection.

Literature: “Finely Carved and Nicely Painted,” Jim Cullen. 46

Provenance: Chua collection.

(8,000 - 12,000)

Exceptional yellowlegs, George Boyd, Seabrook, New Hampshire, 1st quarter 20th century. 11 1/8” long. Shoe button eyes and extra fine paint detail. Near mint original paint; tiny rough spot at tip of tail.

Provenance: Chua collection.

(8,000 - 12,000)

Sporting art Herman Gustav Simon 1846 - 1897 | Philadelphia. Pennsylvania

The Artist Born Hermann Gustav Simon, the artist was the son of a cloth manufacturer who brought his family with him to Philadelphia from Schlietz, Germany in 1848 to escape the revolution in his homeland. Herman (now named) was educated in public schools and by private tutors. Demonstrating an early aptitude for art, the young man entered the Pennsylvania Academy of Fine Arts, studying with Robert Wylie, George Bensell and Henry Bispham. He quickly became well known in the Philadelphia area as a “dog portraitist” but also painted landscapes featuring other animals. A versatile artist, he was often commissioned for portraiture of local Philadelphia notables. He was a contemporary of controversial Philadelphia artist, Thomas Eakins, but Simon’s primary choice of subjects, animals, not nudes, kept him from running afoul of Philadelphia’s society. Simon’s work was included in numerous prominent exhibitions of the period. He exhibited at the Philadelphia Academy of Fine Arts in 1863 and, again, between 1876 and 1884. His paintings in the Centennial Exhibition in Philadelphia of 1876 included “Dogs at Quail Shooting” and “Duck Shooting on the Chesapeake Bay”. He exhibited with the Philadelphia Society of Artists from 1879 to 1881 and again in 1884. He also showed at the Boston Art Club, the National Academy of Design and the Art Institute of Chicago. In 1887, his work was displayed at the opening of the new headquarters of the Philadelphia Art Club, alongside works by Albert Bierstadt and other celebrated artists of the period. Oral tradition suggests that a group of Simon’s sporting paintings were sent to Europe for exhibition but never arrived due to the sinking of the ship transporting them.

After his death, one of Simon’s more celebrated paintings, “The Pigeon Shoot – Philadelphia Gun Club” (1879), was included in the Philadelphia Museum of Art’s 1976 exhibition, Philadelphia: Three Centuries of American Art. The Smithsonian American Art Museum’s Inventory of American Paintings lists his “A Quail Family”, “A Gordon Setter”, “Landscape With Sheep” and “Sketch For Drexel Stables,” in addition to other paintings. His “Griffin Dog Head Portrait” is at the Reading (PA) Public Museum and Art Gallery and his “Whose Dog” is at the Shasta (CA) State Historical Monument. His work illustrated numerous articles in “Outing Magazine” during the early 19th century. From 1867 to at least 1889, Herman Simon is listed in the Philadelphia City Directory, living at various residences as an “artist”. He apparently never married and, in the 1880 census, was listed as single and living with his sister, Louisa, in Philadelphia. He died on March 31st, 1897 while in New York City and is buried in the Woodland Cemetery in Philadelphia.

Oil on canvas, Hermann Gustav Simon, Philadelphia, Pennsylvania (1846-1895), circa 1883. Titled “Double Battery Susquehanna Flats”. Image measures 36” x 60”. Light crazing, otherwise very good and original; painting was professionally cleaned and varnished in 2010. (75,000 - 95,000)

The Painting | “Double Battery Susquehanna Flats” This heroic 36” by 60” oil on canvas image appears to be the earliest and largest known painting depicting a double sinkbox in action on the Susquehanna Flats, predating the famous c1890 “Duck Shooting From a Sinkbox” by James T. Holly. The two images share a number of similarities, including the sailboat or private sporting yacht, anchored in the background. Both depict canvasbacks falling to the gun directly over the large rig of decoys, while flocks of their brethren are seen overhead. The two hunters in this scene appear to be very well dressed. They can easily be imagined as affluent sportsmen, outfitted with the finest of percussion doubles, rising from a sinkbox operated by one of the more celebrated guides on the Flats. Surrounding the box float a large rig of quality decoys that would, logically, have been carved by one or more of the best of the local craftsmen, perhaps Ben Dye, John Graham or “Daddy” Holly. The size of the painting, alone, would seem to indicate that it was originally destined to grace the walls of an affluent, grand scale home or, perhaps, the halls of one of the many notable and exclusive hunt clubs on the upper Chesapeake. At least as early as the late 1950s, the painting was owned by Robert “Rab” Staniford of Quogue, New York (Long Island). Mr. Staniford owned Wildfowler Decoys in Quogue and the painting hung in the company’s gallery/showroom between 1958 and 1961. After that date, the painting was proudly displayed in his home on Long Island until it was purchased by the present owner, Mr. and Mrs. Ronald McGrath, in the early 1970s.

The Sinkbox The effectively deadly contrivance known as the sinkbox, or battery, is believed to have originated in the waters of New York as early as the first half of the 1800s. When it made its first appearance in Maryland is unsure, but its reputation is well known, and nothing is more closely associated with the rich history of waterfowling on Chesapeake Bay. Its use involved an elaborate scheme, requiring a variety of boats, hundreds of decoys and multiple men to set out the rig and ensure the success and safety of the hunters. First employed by those who gunned for the market, by the late 1800s it also provided a recreational hunting experience for those sportsmen wealthy enough to hire such a rig for private use. As noted in “Waterfowling on the Susquehanna Flats”: “At the height of the (sinkbox) era, more than 75 different single and double sinkboxes were licensed to operate in the upper Chesapeake Bay. In 1905, renting a sinkbox and guide service for the weekend could cost a visiting sport up to $100. Adjusted for inflation, that would be the equivalent of $3,000 today”.

Sinkboxes were a highly efficient means of hunting the large rafts of waterfowl during the “golden age” of waterfowling – so much so that concern for duck populations and increased public outcry led to their ultimately being outlawed after the 1934-35 hunting season. An excellent overview of the period waterfowling experience and the design and use of the sinkbox can be gleaned from the accompanying excerpts from an article that was published somewhat contemporaneously (1886) to this painting (1883) in the “Baltimore (Maryland) Sun”. Certainly, one of the most significant waterfowl paintings to ever come to market, the historical significance of this artwork cannot be overstated. It would be the anchor to any mature Chesapeake Bay waterfowl collection, and a worthy addition to any fine home.

EXCERPTS FROM A CONTEMPORNEOUS ARTICLE IN THE BALTIMORE SUN Baltimore, Maryland – October 8, 1886

Investments in Ducks At the ducking shore in Back, Middle, Gunpowder, Bush and the Susquehanna rivers preparations are being made for the season’s shooting. In Baltimore, Philadelphia and New York, where most of the members of clubs controlling the shores reside, meetings are being held, shares disposed of and orders sent to the boat makers, blind builders, painters for such repairs and improvements are desired. Wild ducks are a source of considerable profit to the residents along available shores. A farmer owning a small shore front on any of the rivers above named has little difficulty in leasing it to individuals or a club, the value being regulated by the desirability of the shore, the price ranging from $50 to $1,000 per season. If the leasers do not build a club-house they usually board with the resident most convenient to their shooting ground, and employ from one to four men to attend them. The wages paid these attendants is much larger than is usually paid for labor in the country, and a good, steady man, who understands his business usually receives compensation in the way of tips that amounts to considerable more than his wages. These attendants are, as a rule, good shots, and many a sportsman gets off the train carrying a bunch of ducks that he would not have if the attendant had not occupied the blind or box. A gunner must take his chances when he rents a shore or joins a club, as it does not follow that a shore that had good shooting one year will be equally as good next. In fact, a river may be filled with ducks during one season and be used by only a few next, the amount and quality of the food regulating the matter. Expensive Sport Duck shooting as a sport is expensive, but to the lovers of it the sport overbalances the expense. Membership in a good club costs from $50 to $750 a season, board, traveling expenses, ammunition and other incidentals increasing the expenses commensurate with the time spent in indulging in the sport. Many of the shores are accessible by driving, but most of them, being too far from the city, are reached by train. But few people have an idea of the number of gentlemen in Bal-

Iron Decoys timore who are duck shooters. If during the ducking season, one boards the train leaving Charles Street depot about 7pm he will be impressed with the number of gentlemen occupying the smoking car discussing the “duck.” They are seldom accompanied with dog or gun, but usually carry a package suggestive of boxes of cigars, but which contain loaded shells. The season being after frost, but little quinine is carried, the plain every-day whiskey having been found efficacious in warding off malaria. The railroads issue during the season what are known as sportsmen’s tickets at reduced rates. With the exception of the improvements in the quality of the outlays and apparatus used for decoying ducks, there is but little change from the plans that have heretofore been used. Year after year the ducks become more wary. Sink Boxes Sink boxes are used almost exclusively on the Susquehanna flats and are the most effective legitimate contrivance for the taking of wild ducks. The laws governing the use of them are stringent, a license fee being charged by the counties controlling the waters where the sink-boats are used. The sinkboxes cost from $20 to $40 to build. The center of the box is made precisely after the pattern of a coffin. A platform is fitted strongly to the top of the box, projecting about two feet out on either side, and about the same distance at the head and foot: to this stationary platform wings are connected by hinges. These wings consist of wooden frames covered with linen, and extend several feet on either side of the platform. They are arranged to fold up and lay on the platform when the box is being transported to or from the shooting ground. These wings ride on the swell, but little water funning over them. As an extra precaution to keep the water from the box two layers of sheet lead three inches wide are tacked on the stationary platform, and can be turned up to form a break-water if necessary. Sink boxes are sage enough so long as the water is calm, but when it gets rough, they have to be abandoned.

The platform is heavily weighted with iron decoys, the number being regulated according to the weight of the party occupying the box. The idea being to sink the box until the platform and wings rest on the water. The box is supplied with a rug or sheepskin and an air pillow. The wings and frame are covered with decoys, and the stool, which should consist of about 50 decoys, laid out around it in the shape of an egg, the bulk of the ducks being at the foot of the box. The gunner lies down in the box with his head to the wind, and arranges the air pillow so that his eyes are just level with the water. In this position he can see the ducks approaching from a long distance, and as ducks cannot flight when going with the wind, but must face it, they naturally come up in a manner that gives the man occupying the box a good chance. The distance from the outer decoys to the shooter is usually about thirty yards though when ducks are decoying, they will often attempt to light within a few feet of the box. It requires considerable practice to shoot from a sinkbox. The position the shooter has to occupy affects the vision to an extent, and an inexperienced man will raise to shoot a bunch of ducks which appear to him to be within a few yards, only to find that they are still out of range, and that he has turned ducks off that would have made him a good shot. Then the change of position is something that has to be acquired. It is not easy to rise rapidly from lying flat on the back to a sitting position when encumbered with a gun, though an experienced box-shooter will rise to a sitting position, throw both feet out of the box, and shoot at ducks that have passed to either side, or over his head, with the agility of a contortionist. Sink boxes are also made for two gunners, the two boxes being separated by a partition. When two men are shooting from a double box, they observe the strict code of ethics that is practiced to prevent one from getting more of the shooting than his companion, and to prevent both shooting the same ducks from a flock. One of the dangers attending sink-box shooting on the Susquehanna River is the current when they have what is known as a high river, but accidents are very rare.

Watercolor, Chet Reneson (b.1934), Old Lyme, Connecticut. Signed lower left. Image of two hunters hunt-

Watercolor on paper, Chet Reneson, (b.1934), Old Lyme, Connecticut. Signed lower right. Two

ing on the shoreline with ducks in flight

hunters at snow swept shoreline with blue-

over decoys. Image measures 17.5”

bills cruising past blind. Image measures

x 27.5”. Professionally matted and

20.5” x 29”. Professionally matted and

framed. Excellent and original.

framed. Very good and original.

(2,500 - 3,500)

(2,000 - 3,000)

Oil on canvas, George Browne (1918-1958). Signed lower right. Image of migrating geese landing along farm pond with out buildings in background. Image measures 24.5” x 29”. Professionally matted and framed. Very good and original. (10,000 - 15,000)

Oil on canvas, John Seerey-Lester (b.1946). Titled “Descending Grizzly.” Signed lower right. Image of brown bear walking through fall colored forest. Professionally matted and framed. Image measures 9” x 12”.

(1,200 - 1,500)

of small group of bison. Professionally matted and framed. Image measures 8.5” x 10.5”. Signed lower right.

(1,000 - 1,500)

Acrylic on board, John Seerey-Lester (b.1946). Signed and dated 1992. Image of wolf peeking through snowy brush. Professionally matted and framed. Image measures 9” x 12”.

(800 - 1,200)

Oil on canvas, Lynn Bogue Hunt (1878-1960). Group of calling Canada geese with more geese flying overhead. Signed lower left, “Lynn Bogue Hunt”. Titled “Traveling Companions.” 26” x 18.25”. Painting had been professionally conserved with some crackalature filled and revarnished, mostly in blue sky areas of clouds.

(7,000 - 10,000)

Oil on canvas board of a pair of common and pair of surf scoters near shoreline, Edgar Burke (1889-1950). Signed lower right, “Edgar Burke.” Professionally framed behind glass. Image measures 10.5” x 15.5”. Excellent and original.

(800 - 1,200)

Large oil on canvas of bufflehead drake looking to sky. Probably a copy from an Audubon illustration, as it is nearly the same image. Image measures 25.5” x 31”. Small tear lower right that has been restored, otherwise very good and original.

59 56

Oil on canvas, John Seerey-Lester (b.1946). Signed lower right dated 1985. Lower left

(500 - 800)

Acrylic on board of Baltimore Orioles in nested tree, Ted Blaylock. Signed lower right. Image size 19” x 15”. Professionally matted and framed. Very good and original.

says “Prelim study.” Image of brown bear walking

(600 - 800)

through snowy woods. Professionally matted and framed. Measures 7” x 4.5”

(800 - 1,200)

Oil on board, Rob Leslie, (b.1947). Rigmate pair of Charles Barnard canvasbacks. Image measures 10.25” x 13.25”. Professionally matted and framed. Very good and original.

(500 - 700)

61a

Oil on board, Douglas Allen (b. 1935), New Jersey. Signed and dated on the lower right. Gallery labels on back, show title as “Desert Bighorn Sheep.” Sold at Kennedy Galleries, New York, New York. 27” x 17”. Professionally framed. Excellent and original; approximately 1” x 1.32” abrasion to the surface in area of sky near moon. (4,000 - 6,000)

61b

Oil on board, Douglas Allen (b. 1935), New Jersey. Titled, “The Mountain Goat,” this oil painting features a big horn goat standing on side of mountain with other goats in background. Exposed image measures 12” x 8.75”. Professionally framed. Excellent and original.

(1,500 - 2,500)

61c 61c

Oil on canvas, Lem Ward, Crisfield, Maryland, circa 1970. This exact painting hung in Lem Ward’s carving studio. 14” x 18”. It is unframed, but remains in excellent original condition.

(800 - 1,200)

Photograph of the inside of the Ward Brothers shop in Crisfield, Maryland

61d

Oil on board, John Swan.

61d

Signed and dated 1990 lower left. Mountain wilderness scene with two loons swimming in still water. Clouds breaking over eastern mountain in back. Image measures 21.5” x 38”. Original and good.

61e

(800 - 1,200)

61e

Original gouache on paper of mountain lion family in western scene, Ray Harm (1927-2015). Signed “Ray Harm” lower right. Image measures 29.5” x 39.5”. Professionally framed. (1,000 - 1,500)

Oil on canvas, William Machen (1832-1911), Toledo, Ohio, circa 1900. A brace of two bobwhite quail hanging from tied string. Signed Machen lower right. Period frame. Image measures 17.75” x 13.75”. Very good and original. (3,000 - 5,000)

“Marsh Gunner,” an etching by Frank Benson (18921951). Signed by Benson and numbered 115 in the margin. From an edition of 150. Paff 149. Image size 11.5” x 9.5”. Excellent and original.

Provenance: Chua collection. (3,000 - 4,000)

Edmund Osthaus 1858 - 1928

A dog honoring a point (also called “backing” the point) is recognizing – or confirming – the first dog’s point. It can be done from any position, not just from behind the first pointing dog, but the honoring dog is expected to acknowledge the pointing dog as soon as it is seen, and the point is “stolen” if the second dog advances in front of the original pointing dog.

Impressive oil on canvas, Edmund Osthaus (1858-1928). A fall foliage scene with detailed background. Setter on twisted point, and pointer at honor. Signed lower right. Professionally matted and framed. Image size 24” x 35.5”. Painting has been professionally cleaned and varnished.

(35,000 - 45,000)

Miniatures 65

Rare larger size miniature wood cock, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is on the underside. 3.25” tall. Extra fine paint detail. Excellent and original. (4,000 - 5,000)

65 66

Miniature goldeneye hen, Elmer Crowell, East Harwich, Massachusetts. Unstamped. Measures 3” long. Excellent and original. (1,200 - 1,500)

66 67

Very rare pair of 1/2 size black ducks, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Both have inlet heads and carved eyes. Preener has additional wing and tail carving. Supposedly used on Gus Wilson’s fish pond, the only pair made like this. 10.5” long. Original paint has worn evenly around lower portion of body; tight crack in underside of preener.

Provenance: Dr. John Dinan collection.

Literature: “The Great Book of Decoys,” Joe Engers, editor, chapter on Maine decoys writ-

ten by John Dinan, p. 36, exact decoys pictured. 68

(3,000 - 5,000)

Pair of 1/3 size pintails, Ward Brothers, Crisfield, Maryland. Signed and dated 1960. Drake is 10.5” long. Both have very slightly turned heads and raised carved wingtips. Very slight damage to each of drake’s wingtips, and one of hen’s, otherwise excellent and original.

(1,200 - 1,800)

High quality diorama, A.J. King, North Scituate, Rhode Island. Marsh scene representing all of North America’s

teal. Cinnamon teal are in flight in the painted background.

High quality diorama, A.J. King, North Scituate, Rhode Island. With six dove flying and feeding. Background is a mural that is painted on three sides.

Perched in front a pair of bluewing teal and swimming and

Dove are landing and feeding in a sandy open spot, pos-

drinking in water is a pair of greenwing teal. A marsh scene

sibly a beach. Signed lower right AJ King. 8” x 10.75” x 4”

is created with floating lily pads, marsh grass, and simulated

deep. Excellent and original.

water using a clear plastic. Signed AJ King righthand side.

(1,500 - 2,500)

8” x 10.75” x 4” deep. Excellent and original. (1,500 - 2,500)

High quality diorama, A.J. King, North Scituate, Rhode Island. Heavily detailed diorama with painted background

High quality diorama, A.J. King, North Scituate, Rhode Island. Heavily detailed diorama with painted

of forest created with branches, stones, and pine drop-

background of forest created with branches, stones, and

pings. Two pair of mating grouse are perched in the tree

pine droppings. Two pair of mating prairie chicken are

limbs. Diorama is signed A.J. King lower right. 8” x 10.75” x 4”

perched in the tree limbs. Diorama is signed A.J. King lower

deep. Excellent and original.

right. 8” x 10.75” x 4” deep. Excellent and original.

(1,500 - 2,500)

73 73

Three miniatures on wooden bases, Robert McGaw, Havre de Grace, Maryland. A black

Half size mallard drake, Richard Weeks, Bureau, Illinois, 2nd quarter 20th century. 8.5”

duck, a canvasback drake, and a pintail drake.

long. Good comb paint detail and glass eyes. Two

Pintail is 7.5” long. Original paint with slight wear;

small paint flakes missing from back of head and

canvasback has a hairline crack in the neck.

one side; structurally good.

(900 - 1,200)

Provenance: Otto Meyer collection.

(500 - 800)

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

Impressive male kingfisher poised on a rock, Elmer Crowell, East Harwich, Massachusetts, circa 1930. With fish in mouth. Carved rock base is angulated, painted, and shaded. The male kingfisher is perched upon the rock holding a small carved and wooden perch in his mouth. Carved crest and carved tail that is split to show wing separation and exhibit Crowell’s higher quality characteristics. A singular rectangular stamp on the unpainted underside. Base included 8” tall x 11” long. Fine original paint; very small portion of tip of crest is chipped at one side. (15,000 - 25,000)

Very rare flying lesser tern, Elmer Crowell, East Harwich, Massachusetts. Wingspan is a little over 10”. Fine paint detail. Near mint original paint on most of the decoy; repair to filler where wings join body with touchup in that area. (10,000 - 14,000)

Rare full size walking sandpiper, Elmer Crowell, East Harwich, Massachusetts. On carved wooden base. 5” long. Fine feather paint detail. Near mint original paint; structurally very good.

(8,000 - 12,000)

Pair of 2/3 size mallards, Elmer Crowell, East Harwich, Massachusetts. Both have

2/3 size mallard drake, Elmer Crowell, East Harwich, Massachusetts. Rectangular

Crowell’s rectangular stamp in the underside.

stamp twice in underside. Measuring 12”

Measure 12.75” long. Both have slightly turned

long. Head is turned. Rasp carving at back of

heads and good paint detail. Near mint origi-

head. Strong original paint; flaking pattern has

nal paint; structurally excellent. (4,000 - 6,000)

occurred on head, breast, and body; two rubs at one side; small amount of wood filler has been added at underside.

(1,000 - 2,000)

Louisiana

79a

Extremely rare greenwing teal drake, Mitchell Lafrance, New Orleans, Louisiana. At only 8” long, the decoy is in a preening pose and features relief wing carving. Original paint with numerous small scrapes and minor wear; structurally very good.

Provenance: D.C. North collection.

Literature: “Louisiana Lures and Legends,” Brian Cheramie. “Louisiana Duck Decoys,” Charles Frank. (15,000 - 20,000)

The following three lots were consigned by the family who has owned them since they were made around 1925. The carvers information was provided as follows.

S.G. Dobson Sr. (1896 – 1979) October 30 1896 – February 11,1979 Pointe a la Hache, Plaquemines, Louisiana 80

Three swimming coots, S.G. Dobson, Sr., Pointe a la Hache, Plaquemines, Louisiana. Two have tack eyes. Largest is 11.5” long. Worn original paint on most of the decoys; white on tail has been touched up; one has a bill repair.

Provenance: Consigned by the family.

(1,000 - 1,400)

Pair of pintails, S.G. Dobson, Sr., Pointe a la Hache, Plaquemines, Louisiana. Drake is in preening pose. Hen is 16.5” long. Drake has shoulder carving. A thin wooden dowel stabilizes the hen’s head on the body. Original paint; moderate wear; a few small dents; hen has one eye missing and a chip missing by the tie strap.

Provenance: Consigned by the family.

(650 - 950)

Two decoys, S.G. Dobson, Sr., Pointe a la Hache, Plaquemines, Louisiana. Pintail drake and greenwing teal drake. Pintail is 16” long, teal is 10.5” long. Pintail has glass eyes. Original paint with feather detail and minor to moderate wear; white area on pintail’s breast and neck has old in use repaint; several shot marks in pintails bill; teal has a small chip missing from the underside.

Provenance: Consigned by the family.

(500 - 800)

Pair of mallards, Alfred Herbert, Little Cillau, Louisiana. 13” long. Both have glass eyes. Original paint with minor wear; several small dents and shot marks.

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

(3,000 - 4,000)

Rare ringneck drake, “Cook” Cantrell, Larose, Louisiana, 2nd quarter 20th century. 13”

stamp from the 1993 Guyette & Schmidt sale of her collection on underside.

long. Original paint with minor wear; thin crack partway 86

through bill. Literature: “Wetlands Heritage,” p. 83, exact decoy pictured. 85

paint; minor wear, mostly on tail; a few tiny dents. Provenance: Formerly in the collection of Tom O’Key, formerly in collection of Adele Earnest. Earnest collection

Rare black mottled duck, Xavier Bourg, Larose, Louisiana, 2nd quarter 20th century. 13” long with turned head and relief wing carving. Original paint; minor

(1,000 - 1,400)

Well sculpted bluewing teal hen from Louisiana, 1st quarter 20th century. Just under 11” long. Original

(1,000 - 1,400)

wear; crack through neck; small dent in one side. (1,000 - 1,400) 87

Two widgeon decoys, Carter Smith, Springhill, Alabama. Both have Smith’s brand. Both are 13” long. Both have detailed wingtip carving. Sleeper has glass eyes. Very good and original.

(1,500 - 2,000)

New England “Shang” Wheeler 1872 - 1949 | Stratford, Connecticut Oysterman, conservationist, artist, politician and political cartoonist, dog breeder, cockfighting fan, boxer, hunter, avid fisherman, expert fly tyer and - - - decoy carver. Shang Wheeler seemingly excelled in all that he attempted during his very full life. Born in Westport, Connecticut, his youth and early years were difficult. His mother died when he was young and by age 16, he was largely “fending for himself”. At various times he supported himself by market gunning, working for local truck farmers, signing on as a Grand Banks fisherman and working aboard local tow boats. He had always dabbled in the oyster business and by 1907, finally settled into a position with the Connecticut Oyster Farms. He had finally found his life’s calling and he rose through the ranks of the company, becoming general manager by 1912, a position he held until his retirement in 1947. As noted by Wheeler authority, Dixon Merkt, “His grateful employer granted him a life pension as well as permanent access to his desk and workbench at the Milford dock”. During

his lifetime, he was the quintessential outdoorsman. After his early market gunning experiences, he continued to hunt big game, upland game and waterfowl for sport but had largely given up duck hunting by the late 1920s. He continued to enjoy grouse and woodcock shooting

for a period after that date. His true passion, however, was fishing, and he far preferred trout to striped bass. He looked forward to his numerous trips to the woods and waters of Canada and especially the Rangley area of Maine. He loved the camp lifestyle and fly-tying legend Carrie Stevens of Upper Dam (Rangley Lake) considered Wheeler her mentor, naming three of her famous patterns after him. Wheeler never married and, from his early 30s, boarded with the Bond family (Edward and Fanny) in their home on Johnson Avenue in Stratford. Local gossips would later speculate that there was a more than casual relationship between Wheeler and Fanny Bond. Wheeler passed away from a brain tumor and is buried in the Willowbrook Cemetery in Westport, Connecticut. Wheeler carved only for his own use or enjoyment, so his decoy production was limited. While he was influenced by the work of his predecessors, Albert Laing (1811 – 1886) and Ben Holmes (1843 – 1912), he became the recognized master of the Stratford School of Carving. His decoys were, in turn, the inspiration for a series of noted area carvers that followed. He first sprang onto the carving scene when he astonished local decoy makers at the first Decoy Show ever held at Bellport, Long Island. His first place, winning pair of mallards, were ultimately gifted

to noted decoy collector, carver and historian, Joel Barber. He, along with legend Elmer Crowell, were among the very finest of the early carvers to produce decoys meant for the mantel rather than the marsh. Wheeler’s fame rapidly spread, and he won numerous contests, notably repeated wins in the decoy competition at the National Sportsman’s Show in New York. Eventually he did not enter, claiming “it was someone else’s turn”. He continued to exhibit at the show, however, as well as at other locations such as Abercrombie and Fitch in New York City. Upon his death, his exhibition birds were acquired by the Connecticut Audubon Society for its Birdcraft Museum in Fairfield. His winning 1923 Bellport pair are now one of the cornerstones in the collection of the Shelburne Museum in Vermont. Other examples of his work (a sandhill crane) are in the collections of the Abby Aldrich Rockefeller Folk Art Museum at Colonial Williamsburg and examples of his work are found in the very finest collections in the country.

1923 Bellport Show, a few were included in the National Sportsman Show exhibits, and, of the 55 exhibition decoys included in Wheeler’s estate, only three were mallards (two hens and one drake). There were no mallards listed as part of the group of approximately 151 working decoys in his possession at the time of his death. The exceedingly rare and almost assuredly unique sleeping mallard drake offered here is pictured both on the cover and as a full-page color montage opposite its companion carving of a sleeping black duck on page 70 in “Shang” by Dixon Merkt. Carved c1940 when Wheeler was at his creative peak, the bird was gifted to a private family where it has resided until now. Never before offered for sale, this exemplary carving represents one of the finest examples of the decoy carver’s art that one could ever hope to own.

The decoys he carved for his own hunting rig consisted primarily of those species actively sought at the mouth of the Housatonic River, Nells Island and other localities where he shot. Thus, the bulk of his birds were species such as blacks, bluebills and whistlers. Mallards by Wheeler are rare and only a handful of them by his hand are known. He certainly was familiar with the species and kept a flock of tame mallards at his shop/office at the oyster company. Of those decoys for the species that are known, all seem to have been carved for exhibition purposes. In addition to the pair that he entered in the

At rest mallard drake, Shang Wheeler, Stratford, Connecticut, circa 1940. Carved in Wheeler’s

this singular sleeping drake elevates to one of the

best style, with head reclined to the side and bill

16” long. Strong original and well executed paint

tucked in to a nestled wing. Two piece hollow body.

has been protected by a coat of varnish that has

Displays Wheeler’s tight comb painting over side

darkened over the body; there are a few very small

pockets and light areas of wings. This is the only

edge marks and imperfections that were visible the

sleeping Wheeler mallard drake that the decoy

same day the cover photograph was taken.

community is aware of. It is so special that in 1984, author of “Shang,” Dixon Merkt, selected it as one of three duck decoys on the dust jacket cover for his book. It is also photographed three times on page

most important decoys within the scope of his work.

Literature: “Shang,” Dixon Merkt, p. 70 and back dust jacket cover, exact decoy pictured. (80,000 - 120,000)

70. Because Wheeler carved very few mallards,

Pair of goldeneye, Ben Holmes, Stratford, Connecticut, last quarter 19th century. Both are hollow carved. Drake is 15.5” long and is branded “SD Sanford”. Both have old in use repaint; chip missing from underside of hen’s bill; lightly hit by shot.

(2,000 - 3,000)

Red breasted merganser drake from Martha’s Vineyard, Massachusetts. “Davison Hawthorne” stamp on underside. Similar to work of Ben

Pease. 16” long. Fine original paint that is worn to expose wood grain on head and sides of body; protected by a coat of varnish. 91

(1,500 - 2,000)

Hollow carved black duck from Martha’s Vineyard, Massachusetts, 1st quarter 20th century. Tack eyes. Bottom board extends out past the bottom edge of the decoy and has an area in the back that extends to hold the weight string. Most of the decoy is original paint with minor wear; small dents and cracks; bottom board has been repainted with some paint extending 3/16” up the sides of the bird;

rough area on one side of bottom board. (1,400 - 1,800) 92

Large black duck, Keyes Chadwick, Martha’s Vineyard, Massachusetts. 18” long. Original paint with minor shrinkage and wear; ages split in underside. (1,000 - 1,500)

Rare greenwing teal hen, Bruno Reneson, Old Lyme, Connecticut, circa 1940. 13” long with slightly turned head and swimming pose. Raised carved wingtips are made from a separate piece of wood. Original paint; with minor wear;

structurally good.

(1,000 - 1,400)

Mergasnser drake from Massachucets, circa 1900. 14.25” long carved bill and painted eyes. Original paint darkened with age; very minor wear; some wear at each corner of the tail.

(3,000 - 4,000)

Classic bluebill drake, Reginald Culver, Stratford, Connecticut, 2nd quarter 20th century. A classically carved Stratford School bluebill. “R.I. Culver” carved in underside. Hollow body with bottom board. 13” long. Strong comb painting on back. Tucked head with protruding breast. Moderate gunning wear with line tie marks to white areas of side; some rubs and discoloration to head, bill, and white areas.

Provenance: Kirby Roberts collection.

Literature: “Connecticut Decoys,” Henry Chitwood.

(2,500 - 3,500)

Paddle tail merganser hen, Charles Foote, Seabrook, New Hampshire. 17.75” long. Original paint with good patina and minor wear; several tiny dents at tip of bill.

(2,500 - 3,500)

96 97

Oversize black duck, George Boyd, Seabrook, New Hampshire. 18.75” long x 8” wide. Lifted tail. Slightly turned and lifted head. Original paint; with some fading and a few scrapes; crack in one lower side; old tail chip repair.

Provenance: Originally found in a home in Salisbury, New Hampshire. Lot 131 Guyette & Schmidt, April 1993. Lot 141 Guyette & Deeter, July 2016. Ex Jim Doherty collection. “Exhibited at New Hampshire Folk Art exhibition, Portsmouth, New Hampshire Historical Society, 2019.

(2,000 - 3,000)

George Boyd 1873 - 1941 | Seabrook, New Hampshire

In “Finely Carved & Nicely Painted: The Life, Art and Decoys of George H. Boyd” author Jim Cullen writes, “In 1938 a drake Blue-winged teal and a drake Green-winged teal decoy were specifically made by Boyd for Josiah Fisher. The price of $5.00 per decoy was paid by Fisher, a sixteen year old school boy at the time.” Although not pictured in the book, lot 98 is the exact blue wing teal that was special ordered by Fisher. This is the best blue wing teal known to exist, being slightly larger and with considerably less crazing than the other. The ‘Fisher’ teal can be traced back directly to Boyd’s hands.

George Boyd, circa 1905, with shotgun and gamebag. Photo courtesy Jim Cullen, “Finely Carved and Nicely Painted.”

Very rare and important bluewing teal drake, George Boyd, Seabrook, New Hampshire. One of only two known to exist. Slightly turned and lifted head. Fine feather paint detail and good patina. Signed on the underside by the maker, also initials “JF” are on the underside. Very minor paint shrinkage, mostly on top of head, otherwise excellent

and original. Provenance: Made in 1938 and sold to sixteen year old Josiah Fisher. Donated by Mr. Fisher to the New Hampshire Nature Conservancy in order to raise funds to enhance and manage waterfowl habitat. Oliver’s July 11th & 12th, 1992 auction. Private collection Connecticut formally private Florida collection. Literature: “Great Book of Decoys,” Joe Engers, Editor, for rigmate. “New England Decoys,” John and Shirley Delph. “Finely Carved and Nicely Painted,” Jim Cullen. (30,000 - 40,000)

Joseph Lincoln 1859 - 1938 | Accord, Massachusetts

Brant, Joseph Lincoln, Accord, Massachusetts. Self baling model. Hollow, carved from the underside with applied bottom board. Well sculpted alert head. Subtle feather painting on back. 18” long. Fine original paint with some light rubs from gunning wear; slight discoloration to area of white under rump; tight neck crack.

Provenance: Robert and Sylvia Mangold collection. (6,500 - 9,500)

99a

Pair of mallards, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside of both. Hen is 16.5” long with slightly turned head. Both have fluted tails and two inset circular weights. Drake has original paint with minor wear, mostly on one lower side, crack in underside; hen has original paint with minor wear on most of the decoy, moderate wear on one lower side and edges of tail, crack in underside. (5,000 - 8,000)

100

Very rare scoter hen, Joseph Lincoln, Accord, Massachusetts, 1st quarter 19th century. One of only three known to exist. 16.75” long. Well sculpted bill, tack eyes, and finely formed head. Near mint original dry paint; age split in underside; repair to a very small chip in underside of bill by Russ Allen.

Provenance: Found at an estate in Southern New Hampshire.

Literature: “Joseph Lincoln,” Cap Vinal. “New England Decoys,” John and Shirly Delph. (14,000 - 18,000)

Nantucket golden plovers The golden plover (Pluvialis dominica) makes one of the longest migrations of any shorebird. It breeds in the high arctic tundra of Alaska and Canada and winters in the grasslands of central and southern South America. Incredibly, it will fly nonstop offshore from the east coast of North America to its destination in South America. During the 1800s, some of the migrating flocks of shorebirds were immense. As noted by Bob Shaw, “Flocks of Eskimo curlew and golden plover darkened the skies of early New England… An 1868 record of (migrating dowitchers) off the Maine coast recalls a flock that lasted more than three hours and was estimated to be twelve to fifteen miles wide and at least 100 long”. The golden plovers would normally be

passing Cape Cod and Nantucket around late August through September and offshore storms would often blow them ashore, especially on Nantucket.

Nantucket, fortuitously, was ideally suited to the plovers. Historically, the Island had become extremely prosperous due to the whaling industry there. With its shallow harbor and the increase in the size of the whaling ships, however, the bulk of the business eventually shifted to nearby New Bedford, on the Massachusetts mainland. With the beginning of the collapse of the industry in the 1850s the Island became rather desolate. Most of the timber there had been repeatedly cut for building material and fuel, relegating much of the Island to open grasslands and meadows. This was conducive to the raising of sheep that became an important economic factor and helped to maintain the vegetation in a grassland state. In late summer, the islanders would periodically burn these open spaces to promote the nutritious grasses and discourage shrub growth. These burnt areas provided the perfect feeding habitat for the plovers and the hunters quickly took notice. The burnt ground was the ideal place to hunt them and numerous pits were dug in these meadows and pastures to conceal the hunters. Remarkably, many of these blinds can still be located today. Decoys certainly helped to attract the plovers, and a number of records survive that indicate that they could often be killed by “being driven over the pits” or simply “shot from the wagon” or “whistled in”.

heavily reliant on fish and mutton. Their arrival did not escape the notice of sportsman from off Island and they too contributed to the harvest and provided additional income to the locals who would serve as guides and provide housing and meals. Not all years were good but occasionally the slaughter was significant. In 1912, Mr. John M. Winslow of Nantucket told the State Ornithologist that: “Mr. Peter Folger, one of his (Winslow’s) former shooting companions, awakening one morning in the 40s found a great storm raging, and it seemed to him as he looked out from his window that ‘it was raining plover’. He and Deacon David N. Edwards loaded up with ammunition, dividing a bag of shot between them. Three times during that forenoon they were obliged to go down to the pond and wash out their guns. They shot until 3 P.M. and killed enough plover to fill a tip cart two-thirds full”.

There are records of the “great flight of 1863” when: “Mr. Winslow of Nantucket well remembers this flight (August 29, 1863) when golden plovers and Eskimo curlew landed on the Island in such great numbers as to ‘almost darken the sun’. Between seven and eight thousand of these birds were killed on the Island and on (adjoining) Tuckernuck. All the powder and shot on the Island were expended, and the gunners had to send to the mainland for more”

By the end of the 1800s the golden plover population was greatly diminished, and yearly bags became smaller and smaller. Ultimately, the birds were spared the fate of the passenger pigeon only by the timely institution of protective regulations and widespread efforts at safeguarding plover habitat.

The arrival of the plovers was a momentous occasion on the Island and large numbers of the residents participated in harvesting them. Not only did they provide an opportunity for additional income in the Boston, Providence and New York markets but they would have been a welcome addition to a menu

“Golden plover J.M.H.” – Mr. hill has been plover hunting . c 1910-20. (courtesy Nantucket Historical Association)

101

Exceptional golden plover from Nantucket, Massachusetts, last quarter 19th century. Solid body construction with slightly dropped tail and relief wing carving. Tack eyes. Near mint original paint with good detail and patina; bill is a professional replacement.

Provenance: Rigmate to the only Nantucket decoy in the Museum of American Folk Art in New York.

Literature: “American Wildfowl Decoys,” Jeff Waingrow. North American Decoys at Auction, Guyette & Schmidt, Inc., July 2003 catalog. (18,000 - 22,000)

102

Golden plover, unknown maker, Nantucket, Massachusetts. Split tail. Good color contrast on a slender, flowing body. 11” long. Original paint with a few small smudges to paint on body and back.

Provenance: Robert and Sylvia Mangold collection. (4,000 - 6,000)

102

103

Golden plover, unknown maker, Nantucket, Massachusetts, 2nd quarter 19th century. Tack eyes. Slightly oversize body. Split and slightly dropped tail. 11.5” long. Strong original paint; very light wear; a few shot marks.

Provenance: Robert and Sylvia Mangold collection. (5,000 - 8,000)

103

104

Hollow carved black bellied plover from Nantucket, Massachusetts, last quarter 19th century. 11” long with shoe button eyes. Finely detailed paint appears to be a very old second coat; a few small dents; small chip missing from top of tail.

104

Provenance: Chua collection.

(4,000 - 6,000)

103

104 102

105

106

105

Hollow carved golden plover from Nantucket, Massachusetts, last quarter 19th century. 11.25” long. With shoe

Morton”. Relief wing tip carving. Just under 10” long. Original paint with minor discolor-

construction connected by small wooden

ation and wear; several tiny dents.

side. Original paint with minor wear; several tiny dents and shot marks. Provenance: Chua collection. Purchased from Bud Ward.

Golden plover from the Morton rig, Nantucket, Massachusetts. Branded “WS

button eyes. Seven piece laminated body dowels. Four different stick holes in under-

106

(8,000 - 12,000)

Provenance: Dr. Lloyd T. Griffith collection. (4,500 - 6,500)

107

Set of six golden plover in unusual alert poses, Martha’s Vineyard, Massachusetts, last quarter 19th century. Attributed to the work of Frank Adam’s father. 9.25” long each. Original paint; minor wear; all have had bills professionaly replaced.

Provenance: Chua collection. (12,500 - 15,500)

Mason Decoy Factory 1896 - 1924 | Detroit, Michigan

108

Pintail drake, Mason Decoy Factory, Detroit, Michigan, circa 1900. Premier grade hollow body. 18” long. Dry original paint; very mild discoloration around lower areas of white and very small tight crack at front of breast; half of neck filler missing; tight crack in back of body; rough area at end of tail and tip and edge of one side of bill; despite its wear this a very desirable body style.

(6,000 - 8,000)

109

Canada goose, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. 24.5” long. Original paint with minor wear; filled “in the making” crack in back that expanded further decades ago, and was filled some more and touched up; small spot of touchup to rough spot on one edge of bill; several small dents.

Provenance: Formerly in the collection of James McCleery. Lot 254 in the Guyette & Schmidt/Sotheby’s January 2000 auction. McCleery auction sticker remains on underside. Literature: “Mason Factory Decoys,” Russ Goldberger and Alan Haid.

(14,000 - 18,000)

110

Rigmate pair of bluebills, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade, two piece hollow body. Smaller body style. Both are in strong original paint; light gunning wear; a few shot scars. (2,000 - 3,000)

110 111

Bluewing teal drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade. 12.5” long. Strong original paint; a few shot scars; very small seam separation; rough edge at tail; some paint crazing at top of back and back of head.

(2,500 - 3,500)

111

112

Pair of canvasbacks, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade. Two piece hollow body. 16” long. Both in strong original paint; seam separation and crack in neck of drake with a few shot scars; a few cracks and small seam separation on hen; something that looks like a propeller mark on one side of hen; small areas of flaking.

(1,500 - 2,500)

112

113

Brant, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade. Fine visible paint swirling around breast and tip of tail. 20” long. Original paint that is worn slightly at top of back; a couple of knots have pushed slightly behind neck; body crack; paint loss at top of head; small amount of wood filler added to tip of bill. (1,200 - 1,800)

113

113a

Rigmate pair of canvasbacks, Mason Decoy Factory, Detroit, Michigan, circa 1910. Both are branded “F.G.F.” Two piece

113b

Stylish and early pintail drake, Mason Decoy Factory, Detroit, Michigan, circa 1900. “Brooks Bros” painted on underside. Two

hollow body. 16” long. Both have strong origi-

piece hollow body with slightly turned head.

nal paint; hen has tight crack in back; slight

Early style carving. Strong original paint has

seam separation; nail added to back of neck;

been protected by a coat of probably varnish

rough area at tail; drake has pressure crack

that has darkened mostly in the combed areas;

near tip of bill; crack in body and small amount

sprig tail is mostly a professionaly replacement

of in painting to crack at base of neck.

with approximately 2.5” with paint restoration.

(4,000 - 6,000)

114

116

115

117

114

Black duck, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade two

116

piece hollow body. Premier stamp is still slightly visible on

darkened slightly on jacket. Pages retain good condition

underside. 17” long. Structurally good; very light gunning

with a few small areas of stain.

wear; rough area at tip of tail.

(800 - 1,000) 117

115

Original Mason Decoy Factory catalog, Detroit, Michigan, circa 1900. The original textured surface has

Very rare special order black duck, Mason Decoy Factory, Detroit, Michigan, circa 1900. Early style

Widgeon drake, Tule Lake Company, Woodwards, California. 14” long. With comb painting on back. Tule Lake stamp on underside. Original paint with minor discol-

head with an oversized solid body, 18” long. Possible paint

oration and wear; crack in neck filler; one shot mark on

strengthening near neck seat, but appears to have been

side of head.

done a very long time ago.

118

(800 - 1,200)

12 folding tin golden plover in several different plumages. Included are 6 of the original stakes. In original tin box marked “BB.” Just under 10” long each. Original and good. (1,000 - 1,500)

(600 - 900)

(800 - 1,200)

119

120

119

Very rare bufflehead hen, Mason Decoy Factory, Detroit, Michigan, circa 1900. Challenge grade. With detailed feather

120

Rigmate pair of mallards, Mason Decoy Factory, Detroit, Michigan, circa 1910. Larger body style with big wing patches and exceptional

painting. 12.5” long. Original paint; crack one side

paint. Both retain the premier stamp on undersides.

of body; slight separation at neck seam; approxi-

18” long. Crack in one side of hen’s neck; imper-

mately 1/2” of tip of bill is missing paint; a few small

fection at top of back; drake has a crack and some

rubs to one side of cheek.

edge wear around tail and lower part of body;

(4,000 - 6,000)

crack in breast and a few small rubs. (4,000 - 6,000)

121

122 121

Very rare and desirable canvasback hen, Mason Decoy Factory, Detroit, Michigan. Special order hollow challenge grade.

paint which has darkened; flaking at back of head

Attractive feather detailing on back. What some

appears to have flaked away and some material

consider to be Mason perfect period of style. 16”

was used to secure the head which has now dark-

long. Strong original paint; very small amount of

ened; chip in back which exposes wood filled area.

neck filler missing to two small areas at neck seam. (3,000 - 4,000) 122

Extremely rare old squaw drake, Dodge Decoy Factory, Detroit, Michigan. Tack eye model with what appears to be “DC Beard” branded in underside. Made on a slightly smaller body , which is accurate for the species. 13” long. Original

and middle of back; small chip at tail; areas of flaking also on lower side of white area; neck filler

Provenance: Daniel Carter “Uncle Dan” Beard (June 21, 1850 – June 11, 1941) was an American illustrator, author, youth leader, and social reformer who founded the Sons of Daniel Boone in 1905, which Beard later merged with the Boy Scouts of America (BSA). Literature: “Detroit Deocy Dynasty,” Ron Sharp and Bill Dodge, p. 134, only other known example. (3,500 - 4,500)

123a

123

Rare dove, Herter’s Decoy Factory, Waseca, Minnesota. 10.75” long. Incised feather detail on

123a

Yellowlegs, Mason Decoy Factory, Detroit, Michigan, circa 1900. Spring plumage, tack eye

wings and tail. Glass eye model. Very good and

grade. Iron bill. 12” long. Excellent original paint;

original.

light wear; one small rub.

Provenance: Chua collection. Formerly in the collection of Jim McCleery, McCleery stamp is

Provenance: Consignor purchased from Alan Haid. (2,500 - 3,500)

on underside of decoy. Comes with its original McCleery stand with Sotheby’s sticker on underside. Literature: Dr. James McCleery auction catalog, Guyette & Schmidt/Sotheby’s, January 2000, lot 557, exact decoy pictured.

(2,500 - 3,500)

The curlew as pictured in the Dodge catalog, dated 1892. “Detroit Decoy Dynast,” Ron Sharp and Bill Dodge, p. 76

124

Very rare wooden billed curlew, Dodge Decoy Factory, Detroit, Michigan, 3rd quarter 19th century. 19” long. The initials “TFS” are branded in the underside. Original paint; minor wear; moderate wear on bill; some neck filler missing at neck seat; structurally good.

Literature: “Detroit Decoy Dynasty,” William Dodge and Ron Sharp.

100

(12,500 - 17,500)

125

Curlew, Mason Decoy Factory, Detroit, Michigan. Two piece body style with glass eyes and iron bill. 16.75” long. Loop feather paint on sides. Original paint with very minor wear; inpainting to small area at neck seat and head; front part of face is a professional replacement; hit by shot on both sides and breast.

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

(6,000 - 9,000)

101

New York State

127

Very early and sculptural old squaw drake, probably from Long Island, New York, 2nd half 19th century. This old squaw has an unusual hollow construction in that the body is hollowed from the top with applied board secured by nails over that area. 12” long. Very old thick paint; much of which appears to be original; an early neck break has been secured with putty, putty has also been added to area on one side of tail; professional inpainting to both those areas.

Provenance: Robert and Sylvia Mangold collection.

Literature: “American Bird Decoys,” William J. Mackey, Jr., p. 62, rigmate. (4,000 - 6,000)

102

128

Rigmate pair of old squaw, Harold Thengs, Long Island, New York. One of just three known pair of old squaw by Thengs. Balsa body and heads. Drake’s tail is an inset hardwood piece. Slight bill carving and wing outline on drake. Drake measures 18” long. Both are stamped with Harold Thengs’s collectors stamp created by Gene Kangas. Much of paint seems to be thick coats of original; worn area at tips of bills; light gunning wear.

Provenance: Ex Gene and Linda Kangas collection.

Literature: Decoy Magazine, April 1990, article by Gene and Linda Kangas, p. 8-9, exact decoys pictured.

(4,000 - 6,000)

103

Stevens Brothers Weedsport, New York

129

131

130

104

129

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

Provenance: Henry Bishop collection.

Literature: “The Essential Guide to Stevens Decoys,” Shane Newell. (17,500 - 22,500)

105

130

Rare pintail hen, Harvey Stevens, Weedsport, New York, 3rd quarter 19th century. Low profile body with extended paddle tail. Branded “GW Stevens Standard Decoys, Weedsport, New York” on underside. Glass eyes. Detailed original paint feathering on body and head. 18” long. With flaking areas mostly at back, top of tail, and underside; may have been protected by light coat of clear varnish. (6,000 - 9,000)

106

131

Very rare tack eye model mallard drake, George Stevens, Weedsport, New York, 3rd quarter 19th century. Bill carving. Very tight combing on body and underside. Head swivels as it should. 18” long. Excellent and original. (4,000 - 6,000)

107

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.

108

132

Hollow carved Canada goose, Ken Anger, Dunnville, Ontario. 23.5” long. Slightly turned head and raised paddle tail. Incised wingtip carving. Original paint with very minor wear; a few tiny dents.

Provenance: Kirby Roberts collection. (6,000 - 9,000)

109

133

Well executed pair of bluewing teal, Ken Anger, Dunnville, Ontario, 2nd quarter 20th century. Hollow carved. Bodies are rasped entirely. Both display classic hour glass carving on back. Brand has been carved out on underside of each. Very light gunning wear; otherwise very good and original.

Provenance: Kirby Roberts collection.

110

(6,000 - 9,000)

134

Rare pair of shovelers, Ken Anger, Dunnville, Ontario. Rasped heads and hour glass bodies. One of only a handful of shovelers pairs made by Anger. Two piece hollow. 14.5” long. Excellent original paint; very good structurally; one very tiny scratch near wing patch of drake.

Provenance: Kirby Roberts collection. Ex Peter Brown collection.

(6,000 - 9,000)

111

135

Rigmate pair of canvasbacks, Ken Anger, Dunnville, Ontario, 1st half 20th century. Hollow carved. Each is branded “FAD” on underside. Excellent rasp painting with hourglass wing incised carving. 16” long. Strong original paint; very light gunning wear.

Provenance: Kirby Roberts collection. (2,500 - 3,500)

135

136

Rigmate pair of mallards, Ken Anger, Dunnville, Ontario. Both have very slightly turned heads, rasp carving over entire bodies. Strong original paint; structurally good; two small spots at drake’s tail appear to have been strengthened, possibly at time of making.

Provenance: Kirby Roberts collection. (2,500 - 3,500)

136

137

Canvasback drake, Tom Chambers, Toronto, Ontario. Two piece hollow body with bottom board. Branded “HMJ” and “WLM” for members at St. Clair Flats Shooting company. Short body style with excellent comb painting and feathering along lower side pockets. 15” long.

(3,000 - 4,000)

137

137a

Pair of gulls with glass eyes. 13.5” long. Weathered and worn; numerous cracks and dents; both bills have been blunted. (500 - 800)

137a

112

138

Early eider drake from Mahone Bay, Nova Scotia. 15” long. With false inlet at head and paddle tail. Very wide round head with incised line where the black and white on head join. Appealing old in use repaint; small crack in bill and neck; crack in top of head; touchup around lower bill area. (1,500 - 2,000)

139

Rare breast preening brant, John Brooks, Freeland, Prince Edward Island, circa 1930. 18.5”

138

long. Original paint with minor wear, mostly on back and upper sides; crack in underside.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette. (1,500 - 2,500)

140

High neck canvasback drake, Scott Peters, Walpole Island, Ontario, 1st quarter 20th century. Peters was a Potawatomi

139

Indian boat builder who worked for the Criscraft Company. Well sculpted and hollow. 15” long. Peters is known for his high neck decoys as pictured. Good original paint.

Provenance: Kangas collection. Formerly Van Walleghem collection.

Literature: “Waterfowl Decoys of Michigan and the Lake St. Clair Region, Clune Walsh and Lowell Jackson, p. 144-145, similar pictured. “Great Lakes Decoy Interpretations,” Gene and Linda

140

Kangas, p. 67, similar pictured. (1,500 - 2,500)

141

Red breasted merganser hen, Stan Sawler, Chester Basin, Nova Scotia, 1st half 20th century. Inset leather crest with slightly extended paddle tail. 17” long. Original paint with strengthening to white areas at wing patch and a few spots on breast. (1,000 - 1,500)

141

113

114

142

Extremely rare hooded merganser drake, from Georgian Bay, Ontario. One of only two known to exist by this maker. Hollow carved with shoe button eyes. Detailed wing feather carving and fluted tail. 13” long. Original paint with minor wear; several tiny dents; crack partway through end of bill; small amount of wear to wood at top of crest.

Provenance: Chua collection. (35,000 - 45,000)

115

Virginia Arthur Higgens Cobb 1870 – 1951 | Cobb Island and Oyster, Virginia Son of Warren Cobb, grandson of Nathan, and great grandson of Elkanah, Arthur Higgens Cobb certainly had salt water and Cobb Island in his blood. His family was long associated with the barrier island life and the employment opportunities it provided. As a young man he was surrounded by the daily activities of his father’s occupations as an oysterman, hotel operator, wrecker and hunting guide. He would have almost certainly joined in these activities until about 1899, when, at age 29, he joined the U.S. Life Saving Service. Records indicate that he was stationed at Smith Island (just south of Cobb’s Island) until 1903 and in 1905 he is recorded as stationed at Cobb Island as a “surfman”. He remained in the Life Saving Service through the 1920s as it transitioned into the US Coast Guard. By the 1930 census he was listed as being employed in “seafood/oysters” and by 1940 he had retired and was living in Oyster, overlooking the harbor, adjacent to the home of his brother, George. As is well known, the family was famous for their Cobb’s Island Hotel and Resort. Arthur was probably heavily involved with this enterprise until the facilities were destroyed by a fierce hurricane in 1896. This may have been his impetus to join the Life Saving Service. His uncle, Nathan, Jr., and his cousins, Elkanah and T. Lucius, tried mightily to continue the sporting tradition established at the hotel and built a small “clubhouse” on the Island in 1898. By that date the Island, which once contained almost 400 acres of high ground, had eroded to less than 80. In “Wings of Wonder”, Dr. Lloyd Newberry presents an in-depth study of the family, their activities and their decoys. He describes

116

Arthur as helping at both the original hotel and at the “clubhouse”. This sadly came to an end when the new, smaller facility burned to the ground in 1930. That event may have been why Arthur listed his occupation as “seafood/oysters” in that year’s census. He never married and for many years supported his mother who lived with him until her death in 1932. He is known to have hunted and he shot a 10 gauge made by Peiper Gunmakers in Belgium. Likewise, he is known to have carved both duck and shorebird decoys. Dr. Newberry describes how two of his birds are pictured in Eugene Connett’s book “Duck Shooting Along The Atlantic Tidewater” and recalls that these examples were obtained directly from Arthur in 1946. In describing Arthur’s carvings, he notes:

“Arthur’s work deviated from that of other family members in two significant ways. He seldom carved split tails to indicate wingtips and he seldom inletted the necks of his duck decoys. They were applied to a shelf on the body”… “He did, however, carve wingtips on his black ducks, which are hollow and with glass eyes”... “Arthur had a branding iron made in later years (around 1900) and used it to mark ownership on many of his decoys. The brand reads ‘A.H. Cobb’ ”.

142a

Why Arthur, or any other family member, carved buffleheads is unknown. Guests would have probably been encouraged to shoot them when nothing else was flying but decoys specifically for them were not necessary as they certainly would have been attracted to a rig of almost any species of duck. Fresh game was a staple on the hotel menu, but the flesh of “Butterballs” is generally considered inferior to that of blacks, or other species of puddle ducks. As Dr. Newberry has observed, “Very few bufflehead decoys were crafted (by the Cobbs)”. The decoy being offered today is exceptionally rare and historically significant. It is believed to be the only example carved by Arthur known to have survived.

Extremely rare bufflehead drake, Arthur Cobb, Cobb Island, Virginia, last quarter 19th century. Hollow carved with carved eyes and false inlet to neck. 10.5” long. Original paint on most of the decoy; bill may have a second old coat.

Provenance: D.C. North collection. D.C.’s “N” brand is in the underside.

Literature: “Bird Decoys,” Paul Johnsgard p. 65, exact decoy pictured. “Duck Shooting Along the Atlantic Flyway,” Roy Connet, p. 149. “Chesapeake Bay Decoys,” Bobby Richardson, p. 200, exact decoy pictured. “Wings of Wonder,” Dr. S. Lloyd Newberry, p. 257, exact decoy pictured.

(35,000 - 45,000)

117

Alma F. Fitchett 1863 - 1936 | Cape Charles, Virginia Son of a farmer, Alma Fitchett’s shorebirds and very rare black duck decoys are some of the earliest documented “lures” from the Eastern Shore of Virginia. William Fitchett and his wife Georgia raised their son to help out on the family farm. He lived with his parents through at least 1880 and by 1897 he was working as a surfman at the Smith Island Life Saving Station, earning $60/month. This employment enabled him to marry 18-year-old Emma Richardson and the couple lived with her mother, a dressmaker, in Capeville. He continued to work for the Life Saving Service through 1904, earning $65/month, when he “retired”. The couple had three daughters, and in both the 1910 and 1920 federal census, his occupation was listed as either “oyster planter” or “oysterman”, living on Seaside County Road. By the 1930 census, however, he had returned to his roots, so to speak, and now worked as a “farmer/truck farm”. According to Jack Marsh in his Decoy Magazine article on Fitchett, this farm was “within spitting distance of Magotha landing”. Very likely, he would have been involved in potato farming, which was a viable and lucrative enterprise in the area at the time. He must have been successful, for his property was valued at $5,000, which was above that of his immediate neighbors. He died from bladder cancer and is buried in Capeville, Virginia. He must have been justifiably proud of his time with the Life Saving Service, for in his death record, although he had been retired from the service for 29 years and had worked in other fields, he listed his occupation as “surfman – retired – Smith Island CG”. Smith Island is at the southern tip of Virginia’s barrier island chain and the lighthouse and life saving station

118

Life Saving Station and Lighthouse with crew, Smith Island, VA

Virginia’s Eastern Shore – 1911

there were fairly typical of those spread along the coast. The station is credited with participating in the rescue attempts of 24 shipwrecks. While working at the station, Fitchett and fellow surfmen Robert Andrews and John Henry Downes all carved shorebirds, presumably to be used primarily for their personal use. The station’s keeper, George Hitchens, is known to have served as a hunting guide(see note 1). Fitchett, Andrews and Downes all carved in their own style, but it is said that the three men possibly carved together and then divided up all the decoys among themselves. Decoys are known to have been carved by one individual yet carry the initials of another. Fitchett’s are recognized by his conjoined “AF” carved into the bottoms. Fitchett primarily produced shorebirds but is also credited with creating a limited number of very rare black ducks. The decoys produced by Fitchett are not only aesthetically very pleasing but also represent, other than a few Cobb and Hog Island decoys, some of the earliest documented lures from the Virginia eastern shore. Notes: 1. Neither Andrews nor Downes were listed as surfmen at the station in 1899.

142b

Rare black duck, Alma Fitchett, Smith Island, Virginia, last quarter 19th century. 17.25” long. Glass eyes and ice dip behind neck. “AF” carved in underside. Original paint with minor to moderate wear; crack most of the way through the neck; several tiny dents in bill.

Provenance: D.C. North collection.

(6,500 - 9,500)

119

142c

Black duck, John Henry Downs, Townsend, Virginia, 1st quarter 20th century. Decoy was made to be used as a stick up or floater. Inlet head. A large “H” is carved in underside for John Hanson Downs, it was in his hunting rig. Good old paint with minor wear; small dents.

Provenance: D.C. North collection. (3,000 - 4,000)

142c

142d

Hollow carved black duck, George Isdell, Oyster, Virginia. Inlet head with carved eyes. 16” long. “Isdell” brand in underside. Old in use repaint; numerous cracks; body seam has separated with some filler added.

Provenance: D.C. North collection. D.C.’s “N” brand is in the underside.

Literature: “Bird Decoys,” Paul Johnsgard, p. 38, exact decoy pictured. “Chesapeake Bay Decoys,” Bobby Richardson, p. 203, exact decoy pictured. In “Southern Decoys,” Henry Fleckenstein states on p. 157 that probably no more than three decoys by this maker are known. Decoys were used by Lucius Cobb.

120

(3,000 - 5,000)

142e

142f

142e

Very rare black duck attributed to Edwin Webster, Cape Charles, Virginia, 1st quarter 20th century. 16.75” long. Raised

142f

neck seat, slightly turned head, and paddle

eyes. Original paint with scratch feather paint

tail. Appealing old in use repaint; slight rough-

detail; couple spots of touchup on one side;

ness to one edge of tail.

numerous spots of touchup on other; hairline crack in one lower side.

Provenance: D.C. North collection. Purchased from Bernie Rube at the Baltimore Gun Show

in 1977.

Black duck, Charles Jester, Chincoteague, Virginia, 1st quarter 20th century. 17” long. Hollow carved with tack

Provenance: D.C. North collection. D.C.’s N brand is in the underside. Ex Purnell collection, branded “WHP JR.”

Literature: “Chesapeake Bay Decoys,” Bobby Richardson, p. 172, exact decoy pictured. (2,500 - 3,500)

Literature: ”Southern Decoys,” Henry Fleckenstein, Jr., p. 87, exact decoy pictured. (2,000 - 3,000)

121

D.C. North’s study where he displayed his collection of black ducks.

122

142g

Extremely rare black duck, Willie or Johnny Wessel, Modesttown, Virginia, 1st quarter 20th century. At just under 17” long, this exceptional decoy has heart shaped wing carving, raised neck seat, and scratch feather paint detail. According to info provided by grandson David Bundick, there were four Wessel brothers born in the 1880s, Harold, Wilson, Johnny, and Willie. Johnny and Willie Wessel were twins. They were carpenters, farmers, and watermen, and lived between Modesttown and Gargatha, Virginia. They hunted on Hog Island Bay. Original paint; very little wear, mostly on bill; a few tiny dents.

Provenance: D.C. North collection.

Literature: “Chesapeake Bay Decoys,” Bobby Richardson, p. 211, exact decoy pictured. (9,500 - 12,500)

123

142h

Classic hollow carved black duck, Nathan Cobb, Jr., Cobb’s Island, Virginia, 3rd quarter 19th century. At 16.25” long this decoy features raised “V” wingtip carving and inlet head with glass eyes. Large serifed “N” carved in underside. Thin old paint; small crack in tail; filler has come out of the area above the nails on the bottom edge of the decoy that join the body halves.

Provenance: D.C. North collection. Ex William Mackey, Jr. collection. Mackey collection stamp on underside.

Literature: Richard Bourne Auction catalog, August 1973, lot 255, exact decoy. Sold for $350.

124

(12,000 - 15,000)

125

142i

Hollow carved black duck, Arthur Cobb, Cobb Island, Virginia, last quarter 19th century. Raised “V” wingtip carving, raised neck seat, carved eyes, and ice dip behind neck. Branded “AH Cobb” twice in underside. 16” long. Original paint with minor wear, mostly on one side; professional repair to most of the bill by Cameron McIntyre; thin surface crack in one side of head.

Provenance: D.C. North collection.

Literature: “Wings of Wonder,” Dr. S. Lloyd Newberry, p. 256, exact decoy pictured. (6,500 - 9,500)

126

142j

Black duck, Captain Ike Phillips, Hog Island, Virginia, last quarter 19th century. Rare preening pose. Old in use repaint; moderate wear; some roughness on head; area on one side where decoy appears to have rubbed against something; wear in to the wood; small dents.

Provenance: D.C. North collection.

Literature: “Chesapeake Bay Decoys,” Bobby Richardson, p. 196, exact decoy pictured. “Wings of Wonder,” Dr. S. Lloyd Newberry, p. 195, exact decoy pictured.

142k

(1,500 - 2,000)

142j

Black duck, Doug Jester, Chincoteague, Virginia, circa 1920. 17” long. Decoy has unusual speculums. Original paint with minor wear; moderate wear on underside; thin crack in underside; small cracks at knot in underside.

Provenance: D.C. North collection. Ex Davison Hawthorne collection. (1,200 - 1,500)

142k

142L

Hollow carved black duck, Dave Watson, Chincoteague, Virginia, circa 1920. 16.75” long with raised “V” wing carving and glass eyes. From the Snead rig, “S” brand in underside. Worn original paint; small

dents and short hairline cracks. Provenance: D.C. North collection. (900 - 1,200)

142L 142m Black duck, Miles Hancock,

Chincoteague, Virginia, 2nd quarter 20th century. 16.5” long. Original paint with scratch feather painting and minor wear on most of the decoy; old neck crack repair with touchup in that area; two other small cracks in neck.

Provenance: D.C. North collection. (650 - 950)

142m

127

128

142n

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

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

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

(17,500 - 22,500)

129

142o

Extremely rare crook necked back preening brant, Ira Hudson, Chincoteague, Virginia. This impressive decoy was used as a sink box decoy and features a large, flat weight that covers most of the underside. A mixture of original paint and old repaint; head has been off and reset in the exact same position; minor wear; bill is a professional replacement.

Provenance: D.C. North collection. D.C.’s “N” brand is in the underside.

Literature: “Chesapeake Bay Decoys,” Bobby Richardson, p. 186, exact decoy pictured. (10,000 - 12,000)

130

142p

Rigmate pair of buffleheads, unknown maker, Virginia. Paddle tails and low profile bodies. Both have holes drilled as eyes. Longest is 10”. Smallest of two has mostly original paint with wood grain that has shrunken to create very appealing surface; the other is in original paint that has crazed, worn, and flaked; light gunning wear. (2,000 - 2,500)

142p

142q

Black duck, Charles Birch, Willis Wharf, Virginia. Two piece hollow body with tack eyes. Raised neck seat. 17” long. Original paint with light gunning wear.

(2,500 - 3,500)

142q

142r

Black duck, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Tack eyes. Football style body. Carved tail and ice groove at back of neck. 16” long. Original paint with light gunning wear; small crack at base of neck.

(2,000 - 3,000)

142r

131

142s

Bufflehead head hen and drake, Ira Hudson, Chincoteague, Virginia. The hen is 10.5” long. Both the hen and drake are made from balsa with cedar heads. Original paint; minor to moderate wear; filled in the making defects in wood in underside of drake; cracks in drake’s body.

Provenance: D.C. North collection. D.C.’s “N” brand is in underside of hen. (6,000 - 9,000)

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142t

Extremely rare pair of greenwing teal, Hog or Smith Island Virginia, last quarter 19th century. Hen is 9.75” long. Both have raised neck seats, drake has carved crest. D.C.’s notes state only 7 of these teal are known to exist. Original paint with minor to moderate wear; each has an age split in underside.

Provenance: D.C. North collection. Purchased in the April 1986 Julia/Guyette decoy auction.

Literature: “ Duck Shooting Along the Atlantic Tidewater,” Eugene V. Connett, p. 149, exact decoys pictured.

(9,000 - 12,000)

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New England shorebids Fred Nichols 1854 - 1924 | Lynn, Massachusetts Fredrick Melville Nichols was a lover of music and a passionate birder. He was an active member of the Essex County Ornithological Club along with noted sportsman John C. Phillips, artist Frank Benson and other outdoor luminaries of the day. He knew his avian subjects well and used this knowledge to create some of the most sculpturally majestic shorebirds ever carved in Massachusetts. Born to Henry and Elizabeth (Betsy) Nichols, Fred lived his entire life in Lynn, Massachusetts. He attended the English and Classical School of the Mercantile and Arts Academy in town. In 1875, he lived at 9 South Street and married nineteen-year-old Phoebe Stowers. Together they raised four children. Other than when he got married, he never left the street of his birth, only moving over the years between numbers 11, 13 and 15 Essex Court. Today, his grave can be located in the Pine Grove Cemetery, only a short distance from his ancestral home. Fred witnessed many changes to Lynn during his lifetime. For the first two thirds of his life, the town would have still been considered rural and he would have had ready access to the nearby forest and fields to the west of his home. Lacking large amounts of marshland, Lynn possessed a long, relatively undeveloped, shoreline/ beachfront, especially along the long spit of land that connects the town of Lynn to that of Nahant. If not for the connecting causeway, Lynn would be considered an island. The rich resources of Plum Island, however, were a mere 20 miles away and small areas of marsh existed in Lynn’s neighboring town to the south. His father, Henry, was a “master blacksmith” and the young Fred apprenticed with him and remained in that trade, working as a “horseshoer,” until at least 1897 (see note 1). Like many other communities both to the north and south of Boston, Lynn had long been heavily involved in the shoe industry. Beginning around the turn of the century, this commercial activity prospered and continued to expand. This, along with improved transportation and an expanded railroad system, allowed Lynn to blossom into an urban bedroom community of Boston, complete with a bustling, automobile filled, downtown district. Fred must have been well aware of the changing landscape, and he eventually gave up his family’s trade of blacksmithing and horseshoeing and entered the shoe industry,

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working for the Emerson Shoe Co. at 405 Union Street in the central business district. He remained in this line of work until about 1916. From that date until his death, he dabbled in real estate – a wise move considering the town was still rapidly developing and becoming engulfed as a fashionable suburb of Boston. Notes: 1.The 1875 census list him as a “bookkeeper” but this was likely a commonly made transcription error for the City directory for that same year list him as a “horseshoer”, his trade prior to and after that date.

143

Very rare greater yellowlegs, Fred Nichols, Lynn, Massachusetts, last quarter 19th century. 13.5” long. Relief wing carving with extended wingtips and paddle tail. Fine original paint with slight wear; professional repair to a long thin chip on one side of tail; one tiny shot mark in neck. (22,500 - 27,500)

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145

144

136

Yellowlegs from Cape Cod, Massachusetts, last quarter 19th century. 9 5/8” long. With inlet

145

Hollow carved black bellied plover from Massachusetts. On its original stick. Unusual

head and tack eyes. Original paint with minor dis-

rectangular stick hole. 10.5” long with shoe button

coloration and wear; structurally good.

eyes. Unusual vertical body seam. Near mint origi-

Provenance: Chua collection.

(5,000 - 8,000)

nal paint; very small chip on top of tail that has been touched up.

(2,500 - 3,500)

146

Early willet, Elmer Crowell, East Harwich, Massachusetts, circa 1900. Carved, extended wingtips and shoe button eyes. 13.25” long. Original paint; minor wear; small crack in neck; small amount of touchup on head and on back, right behind the neck; 2.5” thin crack in underside.

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

(15,000 - 20,000)

137

Charles Thomas 1886 - 1946 | Assinnipi, Massachusetts

147

Large willet, Charles Thomas, Assanippi, Massachusetts. 15.25” long. With glass eyes, relief wing carving, with raised wingtips. Original paint; minor wear; small cracks in underside; several tiny dents.

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

138

(6,500 - 9,500)

150

Golden plover, Elisha Burr, Hingham, Massachusetts, circa 1900. One of several smaller size plovers purchased at a tag sale in Plymouth, Massachusetts around 2004. 8.75” long. Original paint with minor wear; neck crack repair with touchup in that area; flake of paint missing from top of head; short hairline crack in one side of head; bird has been planed flat in a small area near the stick hole so it will sit flat on a counter.

(10,000 - 15,000)

150

151

Feeding yellowlegs, Elisha Burr, Hingham, Massachusetts, last quarter 19th century. Carved and split wingtips with dropped tail. 13” long. Thick paint that appears to be original has been covered in a coat of protectant that has darkened, which has highlighted the grain and darkened the surface. (4,000 - 6,000)

151

139

Thomas Wilson 1866 - 1936 | Ipswich, Massachusetts

Twenty-three-year-old Sarah Butman had already had her son when, in 1869, she married shipbuilder Thomas C. Wilson, Sr. in Essex, Massachusetts. It is unclear what transpired early in that marriage, but it appears that her young son, Tom Jr., lead a difficult childhood. By 1880, he is found in the records as attending school while living with his grandmother, Irene Butman, as a “boarder” in the home of William and Lizzie Wait in Ipswich. By 1889, now grown and on his own, he found employment in Ipswich as a “railroad brakeman” and married Canadian born Ellen (“Nellie”) Arnett. One year later, he was living on “the Neck” in Ipswich working as a “fisherman”. In 1896 the couple had a daughter, Elizbeth (“Lizzie”) and by 1910, he had switched occupations again, this time working for the State of Massachusetts in some capacity in “Fish and Game”. For the next thirteen years both his employment and residence shifted every few years, wavering between “boatbuilding”, “painting”, “shoemaker” and “dog fancier”. During those years he moved back and forth between the North shore towns of Salem and Beverly. In about 1925, he had finally settled down as a painter and, by that date, had moved the family across the state line to nearby Portsmouth, New Hampshire, at the mouth of the Piscataqua River. Still working as a painter, he made a final move in 1935 to neighboring Newington, New Hampshire on the state’s “Great Bay”. His obituary mentions that he operated a “hunting lodge” in Ipswich, which would likely have been around the turn of the century. It is not known if he actually owned a lodge or simply ran a guide service out of his home or one of the numerous existing hotels on and around Plum

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140

Island at the time. Dr. John C. Phillips notes that between 1898 and 1905 he (Phillips) shot out of the “Wilson – Simpson” blind that was: “…built by Tom Wilson on a little drumlin in the marsh about one-third mile from the Ipswich Poor Farm... I have shot a few ducks out of this place myself when staying at Tom Wilson’s place at Eagle Hill, Ipswich Neck... The house (blind) was of cement and sunk into the gravel mound. It was supposed to be watertight but I remember it as a damp, clammy, and very uncomfortable hole.”

Phillips notes that yellowlegs were shot at the Ipswich blind, which “made the pot stink”. For a period prior to 1916, Wilson ran a large stand on Great Bay in New Hampshire that was later taken over by “Ote” Ingalls of Ipswich. Wilson had moved permanently to New Hampshire by the mid 1920s and shorebird hunting for yellowlegs and plover was still legal until 1928, so it is feasible that some of the shorebird decoys carved by Wilson were actually fashioned in New Hampshire. Verbal tradition claims that he gunned for the market and, while certainly a viable possibility, this cannot be documented. Likewise, it is a long-standing rumor that he was the figure portrayed in Frank W. Benson’s etching “Old Tom”, but this is not the case (the etching was based on Tom Nickerson of Eastham (Cape Cod), Massachusetts). As his obituary notes, he was a lifelong, ardent sportsman who sadly, yet almost fittingly, met his end on a foggy, cold March day on the clam flats of New Hampshire’s Great Bay.

153

Black bellied plover, Thomas Wilson, Ipswich, Massachusetts. A bold, well executed carving with shoulder outline, split raised wingtips, and glass eyes. Feather painting on

152

Very rare willet, Thomas Wilson, Ipswich, Massachusetts. 12” long with shoe button eyes and relief wing carving. Very fine feather paint

back would rival those of John Dilley. Two piece body. 12” long. Excellent original paint; professional restoration to one half of bill. (4,000 - 6,000)

detail. Near mint original paint; minor discoloration at stick hole; small amount of very old glue that fastened label under the tail remains and has darkened slightly.

(12,500 - 17,500)

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Regardless of where his life’s journeys took him, he was never far from some of the very best waterfowl regions on the Massachusetts / New Hampshire border. Ipswich, and its neighboring towns on Massachusetts’ north shore, border the great Plum Island marshes. Portsmouth and Newington, New Hampshire gave him ready access to the waters and marshes of the “Great Bay”. Wilson obviously possessed woodworking skills having been employed early in his life as a “boat builder” and his familiarity with paint would seem obvious, based on his stated occupation for much of his life. His work, ducks, shorebirds, and a group of miniatures, undoubtedly qualifies him as being recognized as one of the premier Massachusetts carvers.

141

The A. Gordon Fox rig Duxbury or Chatham, Massachusetts Like so many great decoy rigs, collectors are left to lament the lack of documentation surrounding the maker of these wonderful shorebirds. Their existence has been known for many years. Doctor George Starr had a superb example of a sicklebill curlew in his pioneering collection and that decoy is pictured in color in his 1974 reference. He wrote that he found the bird in a home in Duxbury (MA) but the carver was unknown stating; “… its’ history moved out with the original tenants of the house”. Ted Harmon noted in his 2011 auction catalog where that very decoy was sold, that the “Fox” attribution was so named because “… early examples were collected directly from the Fox family in Chatham (MA)”. Over the years, examples have

surfaced with both “FOX” and “A. G. FOX” carved into their bottoms. This would certainly lend much credence to Mr. Harmon’s statement. When the “Gordon” attribution was associated with the initials is unclear, but it has appeared in print a number of times. Well known historian and researcher Gigi Hopkins has found that “… there appears to be no residential record

of a Gordon Fox in either Duxbury or Chatham, although there were Fox families in both towns”.

We do know that the members of the rig depict both curlew and golden plover. Both of these species would have been more common on the outer Cape. The plover’s migration route took them offshore and they would often be blown ashore or sought food and refuge on the outer Cape or on the Island of Nantucket. Dr. John C. Phillips in his “Wenham Lake Shooting Record and the Farm Bag” does not record ever shooting a curlew at either of his Wenham estates nor at his stands on the South Shore near the Plymouth/ Duxbury area. We also know that the rig of shorebirds attributed to him did contain curlew decoys and that Phillips did hunt on the Cape, especially in Chatham. This would seem to point somewhat in the direction of the Chatham attribution for the point of origin or use of the rig but is certainly not a definitive indicator. The fact that only a few examples are known would indicate that the rig was a small one and probably only intended for one’s personal use. Known rigmates are usually in exceptional condition, suggesting very careful handling by a gentleman/sportsman who shot over them only occasionally and at his leisure. They were most likely used in the latter half of the 1800s

142

since curlew were considered rare in Massachusetts by 1900, at which time the State ornithologist considered them to be threatened with extinction. The quality of the carvings cannot be faulted and rightfully places them among some of the very finest of all the shorebirds carved in Massachusetts. Dr. Starr, in discussing his example, proudly proclaimed, “This is the kind of decoy a collector dreams of”. Rigmates have been included in exhibitions of “Massachusetts Masters” or “Massachusetts Masterpieces” by both the Ward Museum and the Massachusetts Audubon Museum of American Bird Art. An example is included in the collection of the American Folk Art Museum in New York and a handful are in select private collections throughout the country.

155

Running Hudsonian curlew from the Fox rig. Just under 14” long. Shoe button eyes. Original paint with slight wear; discoloration on part of the underside.

Literature: “New England Decoys,” John and Shirley Delph. (15,000 - 25,000)

143

Maryland

156

Bluebill drake, Ward Brothers, Crisfield, Maryland, circa 1936. Slightly turned head. Stippling over much of back. 15” long. Dry original paint; small area of paint loss at edge of bill and dowel at top of head; tight crack in neck filler near neck seat. (5,000 - 8,000)

144

157

158

157

Rigmate pair of bluebills, Ward Brothers, Crisfield, Maryland. Underside reads, “Phil Williamson collec-

158

Pintail hen, Ward Brothers, Crisfield, Maryland. 1932 model with graceful head

tion, Ward Brothers 1970.” Both are signed by Lem and

style. Original paint with minor wear; crack in under-

Steve Ward. Backs on both are stippled with wingtip

side; thin cracks in body.

(5,000 - 8,000)

and shoulder carving. Both have turned heads. 13” long. Strong original paint; small areas of flaking, mostly on hen’s head.

(3,000 - 5,000)

145

158a

Rare and hollow carved Canada goose, Ward Brothers, Crisfield, Maryland, circa 1936. Hollowed from underside with bottom board attached. Head is turned and slightly lifted. Good feather paint detail on back. 24” long. Strong original paint; reglued crack through neck; tight crack in back with filler probably in the making done by the Ward Brothers. (10,000 - 14,000)

146

158b

Early canvasback drake, Ward Brothers, Crisfield, Maryland. So called “knothead” style, made about 1925. A deep ice groove behind neck seat. Stippled painting over the entire body. A unique shape at top of head which has given them their name. 17” long. Eyes are a later replacement; original paint with flaking to some of the heavily stippled areas; crack through neck; much of black area on breast has worn away. (8,000 - 12,000)

147

159

160

159

Desirable canvasback drake, Charles Nelson Barnard, Havre de Grace, Maryland, circa 1900. Branded “J. Pusey”. 16” long. Original paint;

paint with minor wear on most of the decoy; two small cracks in lower side; roughness to wood on one side

in neck; rubbed areas exposing wood at top of head

that was filled when the decoy was made; some of

and tail; several shot scars; an early repair to small

filler and paint is missing; minor roughness to one edge

section of the back where paint was added, approxi-

of bill.

the working bill repair, likely by Barnard.

Provenance: Formerly in collection of Jim McCleery, Pasadena, Texas. Lot 201 in the Guyette & Schmidt/

Literature: “Waterfowling on the Chesapeake 18191936,” C. John Sullivan.

148

Pintail drake, Lloyd Tyler, Crisfield, Maryland. 19.75” long. Slightly turned head. Original

moderate wear; discoloration to white areas; crack

mately size of quarter, done a very long time ago; in

160

(4,000 - 6,000)

Sotheby’s January 2000 auction.

(3,000 - 4,000)

161

163

162

164

161

Canvasback drake in alert pose, Captain Ed Phillips, Cambridge, Maryland, circa 1930. 16” long. Original

164

Bluebill drake, Bob McGaw, Havre de Grace, Maryland. Painted eyes with fine feather painting and

paint with minor wear on most of the body, flaking on

dog bone weight. 14”’ long. Original paint; light gunning

head, neck, and breast; thin crack in underside.

wear; slight discoloration to white on body.

(1,200 - 1,700)

(1,500 - 2,000) 165 162

Rare widgeon drake, Lloyd Tyler, Crisfield, Maryland, 2nd quarter 20th century. Bird is in swimming pose with

Pair of flat bottom style widgeon, Charles Joiner, Chestertown, Maryland. Signed and dated 1992. Both have slightly turned heads. Both are unpainted on the

slightly turned and lifted head. 16” long. Original paint with

underside. Very good and original.

(1,200 - 1,500)

minor wear; medium size chip missing from top of tail; slight roughness to bottom edge in center of one side.

166

Literature: “Lloyd Tyler,” Henry Stansbury, rigmate p. 24.

1989. Both have slightly turned heads and good feather

(1,250 - 1,750) 163

Pair of pintails, Charles Joiner, Chestertown, Maryland. Signed. Drake is 18.5” long. Both have slightly turned heads and original keels. Hen has a very small dent in back otherwise is excellent; drake has minor discoloration and several scrapes to paint on back and bill. (1,200 - 1,500)

165

166

Pair of flat bottom style goldeneye, Charles Joiner, Chestertown, Maryland. Both are signed and dated paint detail. Very good and original.

167

(1,200 - 1,500)

Pair of sleeping widgeon, Charles Joiner, Chestertown, Maryland. Signed. Hen has a couple small scrapes on back, otherwise both are very good and original.

(1,200 - 1,500)

167

149

Born on the Tred Avon River in 1856, Ed Parsons began producing decoys at an early age and became one of the most famous and soughtafter decoy carvers from Talbot County, Maryland. He eventually moved to Oxford where he worked in his uncle’s shipyard. There, he learned valuable wood working skills and had access to the needed tools for decoy carving. Not only did he make decoys for himself, but Parsons sold them as well, specializing in the Chesapeake Bay’s local species, including canvasbacks, redheads, scaup, goldeneye and buffleheads. Ed Parsons

167a

Very rare bufflehead drake, Ed Parsons, Oxford, Maryland. 9.5” long. Original paint with minor wear on most of the decoy moderate wear on one side; professional restoration to one half of bill; neck seat has raised slightly.

Provenance: D.C. North collection. Ex collection of Mike Keating.

Literature: “Chesapeake Bay Decoys,” Bobby Richardson, p. 69, exact decoy pictured.

150

(5,000 - 8,000)

In 1929, on one of Joel Barber’s trips to Havre de Grace, Maryland, he was presented with a pair of canvasback decoys by Robert F. McGaw. That pair of decoys is illustrated in the style of architectural renderings in Barber’s book, Wild Fowl Decoys, published in 1934. Today, those decoys are in the permanent collection of the Shelburne Museum in Vermont. Interestingly, in 1985, the U.S. Postal Service included the Barber/McGaw canvasbacks in its folk-art postage stamp series. The canvasback decoys given to Barber are different from other McGaw decoys, in that they have an added feature of a raised neck shelf to which the

decoy head is attached. The Barber/McGaw decoy pair is not unique , as the remainder of this canvasback rig was obtained by Joel Pusey. Pusey branded a portion of the decoys to use in his extensive gunning rig. Unlike most of the decoys in the Pusey rig, a group of 14 of these wonderful decoys were stored away. The unused canvasbacks went to the attic of the Pusey’s “Brickhouse” Farm and then were later stored in large corrugated barrels covered with burlap. In my many years of friendship with John M. M. Pusey and after I had acquired the gunning rig of 1929 McGaw cans, I was given the opportunity to buy one of the unused decoys. Several years passed and then one morning on one of my many visits, just outside the Pusey canning warehouse, the rest of the unused McGaws were lined up. John had spent some time arranging the birds, as in other visits. It was all about the presentation and the impact it would have on this collector. I left the farm that day with the 13 remaining unused McGaw cans. If I were to rate that day as a collector, it would certainly be near the top of my list. - C. John Sullivan

167b

Very important canvasback drake, Bob McGaw, Havre de Grace, Maryland, 1929. Retains McGaw’s dog bone weight. Angel wing outline on back, along with wet on wet fan tail feather painting. 15” long. Excellent dry original paint that has mellowed nicely; some darkening and small rubs, probably

US Post Office commemorative stamp from 1985

as a result that occurred in storage; one small rub through original paint at head.

(6,000 - 9,000)

151

Maine Gus Wilson 1864 - 1950 | South Portland, Maine

168

169

152

168

169

168

Back preening scoter, Gus Wilson, South Portland, Maine. His earlier Mohegan Island

169

Monhegan Island style scoter, Gus Wilson, South Portland, Maine, circa 1900. Just under

style. 15.25” long with large inlet for head, carved

18” long. Unusual head form that is slightly turned

eyes, and relief wing carving. “LFW” is carved in

and tilted. Carved eyes, inlet head, and relief

the underside. Body is made from two pieces

wing carving. Original paint with minor wear;

of wood. Original paint with minor wear; worn

knot hole in back was filled with a wooden plug

spot on one side; old touchup to white areas and

when the decoy was made; crack in neck; filler

a thin strip of the black paint that abuts them;

put in a small defect in head when decoy was

structurally good.

made.

(5,000 - 8,000)

(4,000 - 6,000)

153

170

Pair of eiders, Gus Wilson, South Portland, Maine. Inlet heads, carved eyes, and relief wing carving. Original paint with very little wear; significant discoloration on the back of the drake’s neck and front, and one side of head where the primer has bled through; small cracks.

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

154

(6,000 - 8,000)

171

Large eider drake, Gus Wilson, South Portland, Maine. Inlet head with carved eyes. Wing separation and wingtip carving. 18” long. Original paint; a few shot marks; some spots of discoloration; imperfections in wood; crack in underside; moderate gunning wear.

Provenance: Dr. John Dinan collection. (5,000 - 8,000)

155

172

173

172

Eider drake, Gus Wilson, South Portland, Maine, last quarter 19th century. His Mohegan

eyes and carved bill. 17” long. Excellent original

wing carving, and bill carving. Very wide inlet sec-

paint; a few small spots of flaked filler around neck

tion to neck. Appealing old in use repaint; crack

seat.

Provenance: Dr. John Dinan collection. (3,500 - 4,500)

156

Eider hen, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Inlet head with carved

Island style. 14.75” long with carved eyes, relief

through neck; lightly hit by shot.

173

Provenance: Dr. John Dinan collection. (2,000 - 3,000)

174

Pair of white wing scoter, Gus Wilson, South Portland, Maine. The most impressive of the two has inlet head and is back preening, carved eyes, and carved wings. The second head is slightly turned, and inletted with carved wings and carved eyes. 18” long. Both are in old working paint with traces of original; both have dents and shot marks; rough areas at tail from obvious use in the field.

Provenance: Dr. John Dinan collection.

(7,000 - 9,000)

157

John James Audubon 1785 - 1851

158

175

176

175

John James Audubon (1785-1851), Tell-tale Godwit or Snipe (PLATE CCCVIII). 1836. Aquatint

176

John James Audubon (1785-1851), American Woodcock (PLATE CCLXVIII). 1835. Aquatint

engraving with original color. London Robert Havell,

1827-1838. Full margins. J Whatman watermark.

Professionally framed and matted, 33.25” x 43.5”,

Professionally matted and framed 33.25” x 42.25”,

exposed image measures 16.5” x 23”. Good.

exposed image measures 15.25” x 20.75”. Good.

(3,000 - 5,000)

(3,000 - 6,000)

159

177

178

177

John James Audubon (1785-1851), Yellow Shank or Lesser Yellowlegs (PLATE CCLXXXVIII). 1836. Aquatint engraving with original

John James Audubon (1785-1851), Virginia Rail (Plate CCV). 1834. Aquatint engraving with original color. London Robert Havell, 1827-1838. Full margins.

color. London Robert Havell, 1827-1838. Full margins.

J Whatman watermark. Professionally framed and

J Whatman watermark. Male in summer plumage,

matted, 32” x 43”. Exposed image measures 16” x

view in South Carolina. Professionally matted and

22”. One small discoloration spot, otherwise very

framed 33” x 43”, exposed image measures 16.75” x

good and original.

22.25”. Good.

160

178

(2,000 - 3,000)

179

180

179

John James Audubon (1785-1851), Semipalmated Snipe or Willet (PLATE CCLXXIV). 1835. Aquatint engraving with original

180

John James Audubon (1785-1851), Sora or Rail (Plate CCXXXIII). 1834. Aquatint engraving with original color. London Robert Havell, 1827-1838.

color. London Robert Havell, 1827-1838. Full margins.

Full margins. J Whatman watermark. Professionally

J Whatman watermark. Professionally matted and

framed and matted 32” x 44.25”, exposed image

framed 28.5” x 41.5”, exposed image measures 16.5”

measures 14” x 21”. Good.

x 22”. Good.

(2,000 - 3,000)

(2,000 - 4,000)

161

Maine

181

182

181

Eider drake, probably Monhegan Island, Maine, circa 1900. Inletted neck with detailed bill carving. Upswept tail. 18” long. Old working repaint; fine aged patina; chip in tail; tight crack in neck.

181

Provenance: Robert and Sylvia Mangold collection.

(3,500 - 4,500)

182

Oversize eider drake, unknown maker, Maine, 1st quarter 20th century. Unusual hollow construction with inset bottom board. Head is nestled into a deeply carved neck seat and is slightly turned. Bill is carved. 20” long. Original paint with flaking, discoloration and rubs.

162

Provenance: Dr. John Dinan collection.

(3,500 - 4,500)

183

Oversize merganser drake from Maine. 18.5” long with unusual lifted head and wooden crest. Slight separation where head is inlet into body; original paint with minor discoloration and wear; small cracks.

Provenance: Dr. John Dinan collection. Literature: “The Great Book of Decoys,” Joe Engers, editor, chapter on Maine decoys written by John Dinan, p. 33, exact decoy pictured.

(9,000 - 12,000)

183

163

184

Oversize merganser drake, Amos Wallace, Small Point, Phippsburg, Maine, 2nd quarter 20th century. 19.25” long. With slightly lifted inlet head. Carved wooden crest and carved eyes. Original paint; minor wear; moderate wear on lower sides; several cracks in neck, strengthend a long time ago with a small nail, small piece missing from neck base; small crack in back; age split in underside; lightly hit by shot.

184

Literature: “Decoys: A North American Survey,” Gene and Linda Kangas, p. 106, exact decoy pictured. 185

(2,500 - 3,500)

High head eider drake, Friendship, Maine. Inletted neck. Incised feather pattern and bill carving to head. 21” long. Dry original paint; darkened with age; discoloration at nail heads; rubs from moderate gunning wear.

(2,500 - 3,500)

185

186

Red breasted merganser, Oscar Bibber, South Harpswell, Maine. A drake body with a hen’s head. Head is turned with an attached horse hair crest. 17” long. Original paint with moderate gunning wear; dent in one side; flaking; rough edge at tip of bill; most of paint has also worn away around bill.

Provenance: Dr. John Dinan collection. (2,500 - 3,500) 186

187

Oversize old squaw drake, Maine, 1st quarter 20th century. 14” long. Inlet head is attached to body with dowels. Appealing old in use repaint; minor wear; age split in back; small dents; two cracks through neck.

Provenance: Dr. John Dinan collection.

Literature: “The Great Book of Decoys,” Joe Engers, editor, chapter on Maine decoys written by John Dinan, p. 32, 187

164

exact decoy pictured.

(2,000 - 3,000)

188

Rigmate pair of old squaw, Oscar Bibber, South Harpswell, Maine. Both have turned and alert heads. Drake’s head is slightly lifted. In classic paint patterns. Detailed bill carving and painted eyes. 13” long. Thin original paint shows good age; some crazing, mostly to black areas on both decoys; some drip stains to one side of drake; discoloration to some of the lighter areas of hen.

Provenance: Dr. John Dinan collection. Literature: “The Great Book of Decoys,” Joe Engers, editor, chapter on Maine decoys written by John Dinan, p. 35, exact decoys pictured.

(8,000 - 12,000)

165

189

193

191

194

192

189

Eider drake from Elsworth, Maine, 2nd quarter 20th century. Bulbous head with inletted neck. High back

193

raised neck seat and horse hair crest. Original paint with a few small rubs; thin crack in top of tail.

and extended tail. 14” long. Original paint; some pitch bleed at front of breast and several tight cracks; dents and rubs. 191

(1,250 - 1,750)

Rare mallard hen, Willie Ross, Chebeague Island, Maine. Just over 17” long. Inlet head and glass eyes. Small paint rub on back, otherwise very good and original.

192

(900 - 1,200)

Merganser hen, Willie Ross, Chebeague Island, Maine. 17” long. With inlet head, glass eyes, and ostrich plume crest. “AWH” is carved in the underside. Original paint; minor discoloration and wear; most of the bill is a working replacement; short surface crack in back; several tiny dents.

166

(1,500 - 2,000)

Merganser drake, Amos Blackburn. 14.5” long. With

Provenance: Old tag on underside states that the decoy was lot 576 in the July 1985 Richard Bourne decoy auction. (1,250 - 1,750)

194

Eider drake from the central Maine coast. 18.5” long with inlet head and carved eyes. Original paint; minor wear; hairline surface crack in back.

(1,250 - 1,750)

195

196

195

Red breasted merganser drake, George Huey, Friendship, Maine. Long thin body with relief carved

196

Merganser drake, Willie Ross, Chebeague Island, Maine. Inletted neck. With remnants of horse hair crest.

wings and upswept tail. 19” long. Dry original paint; chip

18” long. Fine original thin coat of paint that is worn thin in

in tail; tight crack in neck; small amounts of flaking and

some areas exposing bare wood; tight crack in neck and

rubs to side of body.

back of body; rough areas around tail; top of knot near

(3,500 - 4,500)

tail has darkened slightly.

Provenance: Robert and Sylvia Mangold collection. (3,000 - 5,000)

167

New Jersey

197

Rare rigmate pair of goldeneye, Clark Madera, Beeslys Point, New Jersey, circa 1930. Two piece hollow body. Tack eyes. Both retain Hillman collection stamp on underside and notes made by Johnny Hillman stating, “Original, best I’ve ever seen.” Both also have copper name plate with “Madera” written in marker. Extended paddle tail. Drake is slightly swimming in forward position. 16” long. Excellent original paint shows some light gunning wear.

Literature: ”New Jersey Decoys,” Henry Fleckenstein, Jr., Plate 652. “Decoys of the Mid Atlantic Region,” Henry Fleckenstein, Jr., p. 29. “Working Decoys of the Jersey Coast and Delaware Valley,” Gosner, color plate 33.

168

(6,000 - 9,000)

198

Black duck, Harry V. Shourds, Tuckerton, New Jersey, 1st quarter 20th century. Tack eyes. 16 5/8” long with scratch feather paint detail. “TFP” is carved in the underside. “ELC” and “DSC” are stamped in the underside. Original paint with minor wear; moderate wear on one lower side; professional repair to a thin chip in the underside of the bill by Russ Allen with touchup in that area.

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

(5,000 - 8,000)

169

199

202

J.W. Parker oyster boat

200

203

201

204

199

Black duck, made by either Nathan Rowley Horner or Chris Sprague, West Creek, New Jersey. Two

202

Silhouette brant, Beachy Perine. Carved bill. 17 1/2” tall. Original paint with minor wear; structurally good.

piece hollow body. Slightly chamfered areas to edge

(350 - 550)

of bill. Small U shape feather painting on back. 16” long. Very small paint loss at body seam; a few rubs at body.

203

(1,500 - 2,500)

Early hollow carved brant, attributed to James Parker, Tuckerton, New Jersey. 16” long. Branded “J.W.P. & Bro”. Swimming or feeding head position. James

200

Hollow carved black duck from New Jersey. Heart

Parker and his brother had a large oyster and clam-

shaped wing painting on back. Original paint with very

ming business in Tuckerton at the turn of the last centu-

minor wear; structurally good.

ry. Multiple coats of old paint have dried and flaked; end

Decoys,” William J. Mackey, Jr. 201

(500 - 700)

Red breasted merganser drake, Rhodes Truex, Absecon, New Jersey, 1st quarter 20 century. So called “ice duck” style. Carved eyes and crest. Imperfection at bill. 16” long. Strong original paint has crazed slightly, mostly on wing patches.

170

of tail is rubbed.

Provenance: Rigmate to a decoy in “American Bird

(800 - 1,200)

204

(800 - 1,000)

Pintail drake, John McLoughlin, Bordentown, New Jersey, 2nd half 20th century. Two piece hollow body. Signed by maker on underside. Head is slightly turned. Sprig tail is extended and split. Near mint.

(1,000 - 1,500)

205

206

205

Well carved Canada goose, Nathan Rowley Horner, West Creek, New Jersey. Two piece hollow body. With

206

Classic black duck, Rowley Horner, West Creek, New Jersey. Tack eyes, ice dip behind neck, and

pad weight and the name “Ed Townsend” stamped in

incised wingtip carving. Slightly chamfered areas to edge

underside of weight. Wet on wet paint blending on sides

of bill. 17” long. Near mint original paint with fine loop

is very appealing. Feather painting at top of back. Slightly

feather paint detail; a few tiny dents.

raised neck seat. Original paint with some rubs around tail and top of tail; a few small spots on body; bill appears to have been cracked and reset, with touchup at break.

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

(3,000 - 4,000)

(6,000 - 9,000)

171

207

209

208

210

207

Pair of pintails, Lloyd Johnson, Bayhead, New Jersey, circa 1950. Both are 15.75” long. Original paint; minor discoloration and wear; thin crack in hen’s bill;

Very rare black bellied plover, Joe King, Manahawkin, New Jersey, last quarter 19th century. 9.75” long. Original paint; minor wear; moder-

hen’s bill appears to have been repainted.

ate wear on underside and breast; thin piece of wood applied to the underside where there was a defect in the

Provenance: Bruce Williams collection. Ex Harrison Huster collection.

208

209

wood, at the time the decoy was made; tip of tail has

(2,000 - 2,500)

Bufflehead drake, Harry V. Shourds, Tuckerton, New Jersey, 2nd quarter 20th century. Two piece hollow

been blunted slightly. Provenance: Bruce Williams collection. Formerly in collection of Mort Hanson, Sr., formerly in the collection of Lloyd

body. Branded “SH Vandergrift” in underside. 12” long.

Johnson.

(1,500 - 2,000)

Paint is in a very appealing old working second coat following the same paint lines as Shourds; tight crack in bill.

210

Provenance: Purchased from Jim and Joan Seiberts in 2004.

Stamped “LB”. Original paint; minor wear mostly on bill; a

(2,000 - 3,000)

few small dents.

172

Flat sided yellowlegs attributed to Lou Barkelow, Forked River, New Jersey, circa 1900. 11.5” long.

Provenance: Bruce Williams collection.

(1,000 - 1,400)

211

212

213

214

211

215

Robin snipe in spring plumage, Harry V. Shourds, Tuckerton, New Jersey. 8.5” long. Original paint with

213

minor wear; tip of bill has been blunted very slightly; stick

paint with minor wear; a couple of bills have been broken

hole has been moved, the old hole has a wooden plug in

off and reattached.

it with glue showing; very lightly hit by shot. Provenance: Bruce Williams collection.

Provenance: Bruce Williams collection.

(1,750 - 2,250)

(1,200 - 1,500)

Yellowlegs, Bradford Salmons, Staffordshire, New Jersey, last quarter 19th century. 10.5” long. Shoe but-

Two yellowlegs, attributed to Elisha Conover, Absecon, New Jersey, last quarter 19th century. Both have wire bills. 10.25” long. Original paint with

ton eyes, carrying hole through tail. Original paint with

minor wear; minor roughness on one side of one tail.

214 212

Rig of five silhouette sandpipers, Chris Sprague, Beach Haven, New Jersey. 9” long each. Original

minor discoloration and wear; structurally good.

Provenance: Bruce Williams collection.

(1,750 - 2,250)

Provenance: Bruce Williams collection. Formerly in colin south Jersey by Roger Dunn. The farm owner told Dunn

Curlew, Henry Boice, Pleasantville, New Jersey, last quarter 19th century. 14.75” long. Very full bodied with

they’ve been hanging high on a beam for many years,

carved eyes. Original paint with minor wear; hit by shot

others on lower beams have been used for target prac-

on one side; small defect in wood in lower breast.

lection of Jim Siebert. Part of a rig of 11 found in a barn

tice and destroyed.

(800 - 1,200)

215

Provenance: Bruce Williams collection. Formerly in collection of Frank Berkley, Absecon, New Jersey. (1,500 - 2,000)

173

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

216

Whimbrel, Cigar Daisey, Chincoteague, Virginia. Signed and dated “7/10”. Base is also signed. Carved wingtips with split dropped tail. 15.5” long. Excellent and original.

174

Provenance: Doily Fulcher collection.

(1,500 - 2,000)

217

Pair of greenwing teal, Cigar Daisey, Chincoteague, Virginia. Branded “Cigar” on underside, and signed. Both have turned heads, carved wingtips and tail carving. Drake has strong comb painting on side pockets and back. 11” long. Excellent and original. (3,000 - 5,000)

217

218

Rigmate pair of black ducks, Cigar Daisey, Chincoteague, Virginia. Both signed and dated 2001. Both also branded “Cigar”. Both have an extra level of carving detail, with carved individual feathers at top of back. 17” long. Excellent and original.

Provenance: Doily Fulcher collection.

(2,500 - 3,500)

218

219

Coot, Cigar Daisey, Chincoteague, Virginia. Branded “Cigar” in underside and signed “2000”. Fulcher collection stamp on underside. Carved wing and tail detail. Head is slightly turned and upright. 11.5” long. Excellent and original.

Provenance: Doily Fulcher collection. (800 - 1,200) 219

175

220

Dunlin, Cigar Daisey, Chincoteague, Virginia. Signed and dated “07”, also branded “Cigar”. Feeding position with split dropped tail and an authentic clam base that has been weighted with plaster. 6.5” tall. Excellent and original.

Provenance: Doily Fulcher collection. (1,000 - 1,500)

220

221

Golden plover, Cigar Daisey, Chincoteague, Virginia. Signed and dated “‘02” on both base and underside. Split dropped tail. Excellent feather painting. 9.5” long. Excellent and original.

Provenance: Doily Fulcher collection. (1,000 - 1,500)

221

222

Preening golden plover, Cigar Daisey, Chincoteague, Virginia. Signed and dated on underside “4/05”. Shoulder carving with split dropped tail. Elaborate feather paint. 7.5” tall. Excellent and original.

Provenance: Doily Fulcher collection. (1,000 - 1,500)

222

223

Yellowlegs, Cigar Daisey, Chincoteague, Virginia. Signed and dated “4/95”. In a typical “cold pose,” the head is swept back over center of body and tucked down with bill laying on breast. Shoulder caving. Split dropped tail. 9.5” long. Excellent and original.

Provenance: Doily Fulcher collection. (1,200 - 1,700)

223

176

224

Yellowlegs, Cigar Daisey, Chincoteague, Virginia. Branded and signed. 11.5” long. With relief wing carving and extended wingtips. Excellent and original.

(1,000 - 1,400)

224

225

Golden plover, Cigar Daisey, Chincoteague, Virginia. Branded and signed, both on the decoy and underside of base. Bird is 9.5” long with raised carved wingtips. Excellent and original. (1,000 - 1,400)

225 226

Dowitcher, Cigar Daisey, Chincoteague, Virginia. Signed and dated “11/94”. Branded “Cigar” on underside. Split dropped tail. Fine feather painting. 9.5” long. Excellent and original.

Provenance: Doily Fulcher collection. (1,000 - 1,500)

226

226a

Dove, Cigar Daisey, Chincoteague, Virginia. Signed and dated “2007”, “Cigar” branded in underside. Wing and wingtip carving. Base is also signed and titled “Lonesome Dove.” 11” long. Excellent and original.

Provenance: Doily Fulcher collection. (1,000 - 1,500)

226a

177

Contemporary carvings Bob White B. 1939 | Tullytown, Pennsylvania 227

Pair of preening widgeon, Bob White, Tullytown, Pennsylvania. Both are signed and dated 1993 and have Bob White weights. 12.5” long. Very good and original.

(1,250 - 1,750)

227

228

Rigmate pair of shovelers, Bob White, Tullytown, Pennsylvania. Both have Bob’s quail branded weight on underside. Two piece hollow body. Both have resting heads. 15” long. Strong original paint has crazed slightly on backs of both; a few small rubs.

Provenance: Bruce Williams collection. (1,200 - 1,800)

228

229

Pair of ruddy ducks, Bob White, Tullytown, Pennsylvania. Carved in the Delaware River tradition. Both retain Bob White weights and are in low head poses. Very good and original. (1,200 - 1,500)

229

230

Pair of pintails, Bob White, Tullytown, Pennsylvania. 17.5” long. Both have slightly turned heads. Both are branded with Bob’s oval brand. Original paint that has been darkened; structurally good.

230

178

(1,500 - 2,500)

231

234

232

235

233

236

231

Preening black duck with bill buried in feathers, Keith Mueller, Killingsworth, Connecticut. Signed.

234

Widgeon drake, John McLoughlin, Bordentown, New Jersey. Two piece hollow body. Signed “McLoughlin”

15” long. Hollow carved. Decoy is a replica of a “Shang”

on underside and also stamped “SGH” for Somers Headly.

Wheeler decoy. Very good and original.

Note on underside says “Collected from Johnny Hillman

(900 - 1,200)

10/78.” Slightly carved tail. 13” long. Excellent original 232

Large eider drake, Keith Mueller, Killingsworth, Connecticut. Branded “Mueller” on underside Two piece hollow body with glass eyes. Head and bill extended over back of body in resting pose. 18” long. Structurally good; strong original paint; appears to have some mold spotting on body and head.

233

paint; structurally good.

Provenance: Kirby Roberts collection.

235

Preening curlew, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. 11.5” long.

(1,200 - 1,800)

Wood cock standing on trinket box base, Frank Finney, Cape Charles, Virginia. Serifed “F” carved on

Applied head, carved eyes, and relief wing carving. Very good and original.

Provenance: Kirby Roberts collection.

236

Preening yellowlegs, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. 8” long. On

underside, and signed under the top of the lid. Total carving height is 6”. Excellent and original.

(800 - 1,200)

(600 - 900)

(1,000 - 1,500)

McNair base, which is included. Very good and original. Provenance: Kirby Roberts collection.

(1,000 - 1,400)

179

237

240

238

241

239

242

237

Dowitcher with raised wingtips, Mark McNair, Craddockville, Virginia. 8” long. Small serifed “M” carved in underside. Excellent and original.

240

Hollow carved golden plover, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. Similar to shorebirds from Nantucket. 11.5” long with relief

(500 - 800)

wing carving and glass eyes. 238

Preening yellowlegs, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. 8” long. On its original base, that is included.

Provenance: Kirby Roberts collection.

Provenance: Kirby Roberts collection. 241

(900 - 1,200)

(650 - 950)

Curlew carved in the Cobb Island style, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. 15” long. Original paint that has been aged;

239

Feeding yellowlegs, Mark McNair, Craddockville, Virginia. “McNair” carved in underside. 11.75” long. Deeply relief wing carving. Very good and original.

Provenance: Kirby Roberts collection.

(650 - 950)

small dents. Provenance: Kirby Roberts collection. 242

(650 - 950)

Ruddy turnstone, Mark McNair, Craddockville, Virginia. Carved in the Obediah Verity style. “McNair” carved in underside. Bill is splined through back of head. Carved eyes, with wing and shoulder carving. 8”

180

long. Excellent and original.

(600 - 800)

243

Wood duck drake, Matt Geis, Cherry Hill, New Jersey. Carved in the Delaware River style. Two piece hollow body. Raised wingtips and carved tail, and flowing extended crest. 15” long. Excellent and original.

Literature: “Decoys: Sixty Living and Outstanding North American Carvers,” Loy Harrell, number 21.

(300 - 500)

243

244

245

Wood duck drake, R.D. Wilson, Mineola, Texas. Branded “R.D.” under tail. Perky, alert head with carved shoulder and wing carving. 14” long. Strong original paint that has been stressed for the appearance of age.

245

Wood duck drake, Antony Hillman. Stamped “Anthony Hillman” twice on underside and dated 2005. Two piece hollow body with flowing crest. 13.5” long. Mint.

Literature: “Decoys: Sixty Living and Outstanding North American Carvers,” Loy Harrell, number 28.

(300 - 500)

Literature: “Decoys: Sixty Living and Outstanding North American Carvers,” Loy Harrell, number 58.

(300 - 500)

End of session one 181

SESSION TWO Saturday, August 7, 2021

Decoratives

246

247

246

Merganser drake in swimming pose, Pat Godin, Ontario, Canada. Signed,

Redhead drake, Pat Godin, Ontario, Canada. Signed “Philadelphia Wildfowl

remarqued, and dated 1984. Fine layered

Exposition, 1980, Patrick R. Godin” on under-

feather carving on wings. Fluted tail and

side. 15.25” long. Slightly turned head and

carved crest. Head is slightly turned and

relief wingtip carving. Excellent and original.

lifted. 18.5” long. Very good and original. (2,000 - 3,000)

182

247

(2,000 - 3,000)

248

Exceptional pair of decorative 3/4 size mallards mounted on wooden base, Charles Perdew, Henry, Illinois. 10.75” tall. Drake is 12.25” long. Both have relief carved wingtips. Drake is standing with very slightly turned head and it has two wooden carved tail sprigs. Hen is in resting pose. Excellent and original.

Provenance: Otto Meyer collection. (9,000 - 12,000)

183

249

Pair of wood ducks, Oliver Lawson, Crisfield, Maryland. Signed and dated 1988. Drake is 13.5” long. Both have slightly turned heads, relief wing carving and carved crests. Very good and original.

(1,250 - 1,750)

249

250

Pair of bluewing teal, Oliver Lawson, Crisfield, Maryland. Signed and dated 1983. Drake is 11.25” long. Both have slightly turned heads and relief wing carving. Very good and original. (1,250 - 1,750)

250

251

Shooting stool model black duck, Ward Brothers, Crisfield, Maryland. Signed and dated 1964. 14” long. Head is turned approximately 80 degrees to one side. Good feather paint detail. Very slight fading at lower side, otherwise very good and original.

(1,250 - 1,750)

251

252

Preening widgeon drake, Jimmie Vizier, Galliano, Louisiana. Signed and dated 1998. In preening pose with relief wing carving and carved crossed wingtips. Very good and original.

252

184

(1,500 - 2,000)

Charles Hart 1862 - 1960 | Gloucester, Massachusetts

253

254

Penguin, Charles Hart, Gloucester, Massachusetts. Carved eyes. Applied bill. 5” tall. Original paint; a few scratches with paint loss at body; some flaking on

254

Emperor penguin, Charles Hart, Gloucester, Massachusetts. 6.5” tall. Applied bill. Tack eyes. Original and good.

(2,000 - 3,000)

base; small amount of touchup at tip of beak. (2,000 - 3,000)

185

254a

Impressive Canada goose, Ward Brothers, Crisfield, Maryland. Two piece hollow body. Ward brothers stamp on underside. Written in pencil, “1965 Canada goose shooting stool decoy.” Alert head that is slightly turned and swimming. Excellent feather detail painting. 25” long. Strong original paint; some seam separation at bottom board; a few small flaked areas.

186

(6,000 - 8,000)

255

Full size flying goldeneye drake, Chauncey Wheeler, Alexandria Bay, New York. 15.25” long. Original paint with minor wear; touchup on part of the top of the foot; structurally good.

Literature: “Chance,” Harold Reiser. (5,000 - 8,000)

187

256

Bluewing teal drake, Harold Haertel, Dundee, Illinois. Signed and dated 1962. Just under 12” long. Good feather paint detail. Very good and original.

Provenance: Kirby Roberts collection. (2,000 - 3,000)

256

257

Swimming widgeon drake, Jim Foote, Gibraltar, Michigan. Signed and dated 1978. Elaborate, raised carved primaries and secondaries. Open mouth. Small chip has been broken out of tip of tail and professionally reattached, otherwise very good and original.

258

(2,500 - 3,000)

Widgeon drake, J.J. West, Bordentown, New Jersey. Two piece hollow body. Signed, “JJ West” on underside. Miller collection stamp used

257

twice and note that says “Second Iowa Decorative 1966” on underside. Turned with raised crossed wingtips and fluted carved tail. Excellent paint that has mellowed slightly with age.

(1,200 - 1,700)

258

259

1/2 size flying mallard drake, Ira Hudson family, Chincoteague, Virginia. Inset wings with carved fan tail. 10.5” long. Original paint protected by a coat of varnish; wings have been reset with restoration in that area; surface shows much age with crazing.

188

(2,500 - 3,500)

259

260

261

260

Whistling swan, Oliver Lawson, Crisfield, Maryland. Signed and dated 1986. 29” from breast to tail. Relief wing carving, with subtle feather paint in that

Full size standing greenwing teal pair, Lloyd Sterling, Crisfield, Maryland, 1st quarter 20th century. Carving is accompanied by a framed print

area. Slightly turned head. Very good and original.

by Arthur Eakin of a similar pair of teal by the Ward

(4,000 - 6,000)

261

Brothers. Both are mounted to base. Each displays the very desirable peach basket stave wings added to the back, similar to what the Wards were doing in the same time period. Both have slightly turned heads, hen’s is lifted somewhat. 11” tall. Strong original paint; minor discoloration at top where they have been exposed to light; a glue repair to crack in peach crate stave on hen; crack in one stave on drake; mild amount of shrinkage near hen’s tail.

(5,000 - 8,000)

189

John Blair, Sr. 1842 - 1928 | Philadelphia, Pennsylvania

262

Important mallard drake, John Blair, Sr., Philadelphia, Pennsylvania, 3rd quarter 19th century. Two piece hollow body. Tack eyes. Bears the “Sprickler” brand. Classic Blair construction and paint application. Retains the original leather line tie. Slightly raised neck seat. 17” long. Strong original paint; very light areas of flaking around head and tail; small amount of wear from light gunning use.

Provenance: Bruce Williams collection. “Delaware River Decoys: The Bob White Collection,” The Noyes Museum, 1/24/88-4/10/88. “Ducks, Decoys and the Delaware: A Regional Hunting Tradition,” Bucks County Historical Society, 4/17/04-1/3/05.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 4 and p. 32, exact decoy pictured. “The Great Book of Wildfowl Decoys,” Joe Engers, editior, p. 124, exact decoy pictured. “Delaware River Decoys: The Bob White Collection,” exhibition brochure. “My Favorite Five,” Bruce Williams, Hunting and Fishing Collectibles, March/April 2002, p. 16-19. (30,000 - 40,000)

190

in 1970 Bob White bought eleven classic John Blair decoys from the Cass Barnes estate. In the rig were two mallard drakes including this one. All were branded Sprickler and all were most recently in the rig of Mercer Biddle. At the time Bob was not collecting, only picking so he sold this mallard and all of the others to Lloyd Johnson. Johnson traded them to Bill Mackey. Eventually Bob White began collecting decoys so he approached Mackey about buying the classic Blair mallard back. Mackey agreed so Bob owned it a second time. He then included it in the sale of his collection to Bruce Williams.

191

263

264

263

Hollow carved black duck, by a member of the Blair Family, Philadelphia, Pennsylvania, last quarter 19th century. Classic Blair form and pegged con-

Bluebill drake, Philadelphia School, circa 1900. Similar to the work of John Blair, Jr. Two piece hollow body. Tack eyes, swimming head, and raised

struction. 18” long. Original pad weight. Feather paint

hump near back. 14” long. Thin original paint has dis-

detail. Original paint with very slight wear; the surface,

colored with age; light wear.

which was treated with linseed oil by the Blair family in the 1940s, was professionally cleaned; several small areas of flaking on the head and neck where touched up at that time; tiny chip missing from one side of tail. Provenance: Originally sold in November 1998 by Guyette & Schmidt, Inc. for the Blair Family. Literature: “Floating Sculpture,” Harrison Huster and Doug Knight.

192

264

(4,000 - 6,000)

Provenance: Bruce Williams collection. Bruce Williams collection. “Delaware River Decoys: The Bob White Collection,” The Noyes Museum, 1/24/88-4/10/88. “Ducks, Decoys and the Delaware: A Regional Hunting Tradition,” Bucks County Historical Society, 4/17/041/3/05.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 41, similar example. “Delaware River Decoys: The Bob White Collection,” exhibition brochure. (2,000 - 3,000)

265

Greenwing teal hen, John Blair, Sr., Philadelphia, Pennsylvania, 2nd half 19th century. A Blair decoy, but lacking some of the characteristics that are associated with the term “classic.” Two piece hollow body with tack eyes and raised neck seat. Branded “JE” in underside. 13” long. Fine original classic Blair style paint that has been protected by a light coat of varnish; body seam is slightly offset, seems to have been resecured.

Pennsylvania. “Ducks, Decoys and the Delaware: A Regional Hunting Tradition” (4/17/04-1/3/05). Literature: “Floating Sulpture,” Harrison Huster and Doug Knight, p. 36 and 39, exact decoy. “My Favorite Five,” Hunting & Fishing Collectibles, March/April 2002, Bruce Williams, p. 16-19. “Delaware River Decoys,” exhibition brochure, Gary Giberson and Bruce Williams, Noyes Museum, 1988.

(12,000 - 15,000)

Provenance: Bruce Williams collection. Ex Bob White collection. Found in Bristol, PA by Dr. Davies. Davies sold it to Bob White in the 1980s. The Noyes Museum, Oceanville, New Jersey “Delaware River Decoys: The Bob White Collection” (1/24/88-4/10/88). Bucks County Historical Society, Mercer Museum, Doylestown,

193

266

267

266

Rare widgeon drake, William Quinn, Tullytown, Pennsylvania, 1st quarter 20th century. “W Quinn,

135, exact decoy pictured. “Delaware River Decoys: The Bob White Collection,” exhibition brochure. (5,000 - 8,000)

Tullytown” stamped in weight on underside. Bob White collection stamp also on underside. Two piece hollow Glass eyes and slightly raised neck seat. 15” long. Strong

Mallard drake, Joe King, Manahawkin, New Jersey, 1st half 20th century. Hollow two piece body.

original paint; structurally good.

With Delaware carved raised wingtips and carved tail.

body. Wingtip carving. Some feather carving in back.

267

16” long. Original paint with a few areas that have been

Provenance: Bruce Williams collection. . “Delaware River

touched up with black paint around edges of bill and

Decoys: The Bob White Collection,” The Noyes Museum,

one spot on tail; very tight crack in neck; light gunning

1/24/88-4/10/88. Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 98 and p. 128, exact decoy pictured. “The Great Book of Wildfowl Decoys,” Joe Engers, editior, p.

194

wear.

Provenance: Bruce Williams collection.

(4,000 - 6,000)

268

269

268

Black duck, Joe King, Edgly, Pennsylvania, 2nd quarter 20th century. Two piece hollow body with

Black duck, William Quinn, Yardley, Pennsylvania, 2nd quarter 20th century. Two piece hollow body

King’s name stamped in weight on underside. Head is

with “W Quinn Yardley PA” painted on underside. Resting

tucked with bill nearly resting on the breast. Carved and

head with raised split tail and wing carving. Three feath-

split wingtips and carved tail. 15” long. Strong original

ers carved in back. Very good and original.

paint; very light wear.

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Provenance: Bruce Williams collection.

(3,000 - 5,000)

Provenance: Bruce Williams collection. “Delaware River Decoys: The Bob White Collection,” The Noyes Museum, 1/24/88-4/10/88.

Literature: “Delaware River Decoys: The Bob White Collection,” exhibition brochure.

(2,500 - 3,500)

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Gus Wilson 1864 - 1950 | South Portland, Maine 270

1/2 size flying mallard drake on painted background, Gus Wilson, South Portland, Maine. Backboard is 14” x 18 1/2”. Painting and carving are very good and original; paint on frame is crazed.

Provenance: Tag on back reads, “Made for Fred Anderson’s daughter, Celia, about 1936.”

(1,500 - 2,000)

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Bluejay, Gus Wilson, South Portland, Maine. Carved shoulders and wings with extended carved tail and crest. 11.5” long. Original paint; legs replaced by Russ Allen; rub at top of crest on head.

Provenance: Dr. John Dinan collection. (2,000 - 2,500)

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Possibly unique crow, Gus Wilson, South Portland, Maine. Split wingtips with drop tail, all of which are carved. Wilson’s typical metal feet. 10” tall x 15” long. Appears to be a second coat of paint, which has lightly flaked, mostly at one side of body.

Provenance: Dr. John Dinan collection. 272

(1,500 - 2,000)

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Full size oriole with iron legs, Gus Wilson, South Portland, Maine. 9 3/8” long. Carved dropped wings. Carved eyes and fluted tail. Paint restoration to tip of bill, otherwise very good and original.

Provenance: Dr. John Dinan collection. (1,500 - 2,500)

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274

275

274

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Pair of brown thrashers on wooden bases, Joseph Rumuald Bernier (1873-1951) Biddeford, Maine.

Very rare standing half size mallard drake, Gus Wilson, South Portland, Maine. Attached metal curli-

‘Bernier the Lumberman’, as he was known, was men-

cue tail. Classic bent wire feet. Carved eyes and inlet

tioned in Richard Bishop’s 1974 book ‘American Folk

neck. Approximately 1/2 size, 11” long. Dry original paint;

Sculpture’. 7” tall. Original paint that has crazed with

crack in one side of bill.

age; structurally good. 275

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(4,000 - 6,000)

Calling robin, Gus Wilson, South Portland, Maine. Typical bent wire feet, raised and extended

Provenance: Dr. John Dinan collection. Literature: “Great Book of Decoys,” Joe Engers, editor, p. 36, exact decoy pictured.

(2,000 - 3,000)

wingtips. With carved wings and carved tail. 10” long. Original paint; remnants of sticker removed from breast; wood imperfection under one wing.

Provenance: Dr. John Dinan collection.

(2,000 - 2,500)

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278

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279

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277

Unusual sleeping mallard drake, Bill Cranmer, Beach Haven, New Jersey. Signed and dated 1957.

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15” long. Original paint with good detail and almost no

and raised carved wingtips. Carved secondaries. Very

wear; thin crack in underside; several tiny dents on top of

good and original.

tail.

Mallard, Randy Tull, Minnesota. Signed and dated

Preening mallard drake, Mike Frady, New Orleans, Louisiana. Signed. 14” long. Carved primaries and sec-

“1986 4/25,” Miller collection stamp on underside. Turned

ondaries. Fluted tail with lifted tail sprig. Very good and

Scratch feather painting on back and sides. 16” long. Mint.

original. 279

(800 - 1,200)

(800 - 1,200) 281

278

Greenwing teal hen, John McLoughlin, Bordentown, New Jersey. 10” long. In resting pose with tucked head

head with raised crossed wingtips and raised curly tail.

(1,000 - 1,400)

Preening bluewing teal drake, Mike Frady, New Orleans, Louisiana. Signed. 10.5” long with carved pri-

(800 - 1,200) 282

Standing Gambel’s quail, Bruce Burk, California. Burk brand in underside of base. Carving

maries and secondaries and fluted tail. Very good and

stands just under 9” tall with fine feather carving detail.

original.

Comes with glass dome. Very good and original.

(900 - 1,200)

(500 - 800)

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Rare and desirable walking mallard drake, Delbert Hudson, Chincoteague, Virginia. This classic Hudson, with its lead feet, has an impressive wing span of 17”. The applied wings are stretched and cut to each side. Appealing thick paint that is swirled around the breast, with wet on wet blending at top of back and wings. Original paint; area of filler missing where wing is attached to body; small rub at back of head.

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(2,000 - 3,000)

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Pair of hunting style mergansers, Roger Barton, San Francisco, California. Both have unusual keels at the rear with feet painted on them. Heads swivel. Drake is 20.75” long. Excellent and original. (2,500 - 3,500)

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Important wood duck hen, Tan Brunet, Galliano, Louisiana. On the underside, a carved inscription says, “To the best carver ever, carved for Lem Ward by Tan on a rainy October day in the land of the bayous,” dated 10/20/79. 12” long. Thin original paint; with some light edge wear on back of crest and tail; a few small dents as the wood seems to be very soft. (1,500 - 2,500)

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Rare salmon carving, Bob White, Tullytown, Pennsylvania. Signed and dated 2003. A little over 21” long with glass eyes and applied metal fins. Very good and original. (2,000 - 3,000)

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Oscar W. Peterson 1887 - 1951 | Cadillac, Michigan Are They Plaques or Are They Panels? You Decide, But By Any Name Would Be Just As Sweet A Look At The Remarkable Relief Carvings of Oscar W. Peterson By Gary L. Miller, Copyright June 8, 2021

Attempting to date or otherwise organize Oscar Peterson’s carvings into understandable categories, grades, phases or periods is an arduous task at best. Most of what we think we know about his fish spearing decoys is merely speculation and supposition complicated by an apparent lack of consistency. Fortunately, where his plaques, or “panels” as he and his family called them, are concerned we have a little more to go on. No one knows who or what may have prompted Oscar Peterson to begin making plaques but in an apparent burst of creative energy he quite abruptly began around 1930 to turn out relief carved wooden plaques or “panels.” These are decorative pictures carved in relief on unframed single wooden boards. His subject matter was mostly confined to the natural world, principally to fish and fowl with an occasional mammal thrown in. The only presently known exceptions are a couple of special case carvings such as a Viking ship plaque made as a gift to the Cadillac High School “Vikings” and a pair of race car plaques made as gifts for a favorite relative.

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Because these plaques were carved of solid onepiece planks of wood with no frames or other support Peterson was concerned about cupping or warping. This would have been particularly problematic when using poorly air-dried or green material. To combat this problem Peterson employed a couple of rather interesting strategies. On some of his plaques he used dovetailed wooden splines installed across the grain on the backs of the boards. On other plaques he utilized thin sheet-metal bands, usually two, nailed across the grain on the backs or nailed to the edges of the board on the end-grain ends. A very few plaques have neither the wooden splines nor the metal bands. He also made sure to seal the backs of the plaques with paint, varnish or both. All of these things help counteract the natural tendency of unsupported wooden panels to cup. Despite all of these countermeasures it’s still common to see some warping on many of Peterson’s plaques. Part of the reason for this is that wood shrinks across the grain continued...

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Extraordinary and early carved decorative wall plaque, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Image depicts three squirrels gathering acorns in a tree that is blooming with fall foliage and mature acorns. Squirrels have carved eyes, wonderfully blended wet on wet paint and perky upswept tails. Board has the early dove tailed wooden splines and measures nearly 2.5” thick. Entire plaque measures 22” x 14.75”. Only a handful of plaques this size by Peterson have been sold at auction, a grouse plaque brought $123,250 in our April 2012. Strong original paint protected by a coat of varnish; both paint and varnish have crazed in some areas; a few small spots of rubs at edges, otherwise very good and original.

Provenance: Steven Michaan collection. Ex Gary Miller collection. Exhibited at Michigan State in 1982.

Literature: “Michigan Master Carver - Oscar Peterson,” p.75, exact carving pictured.

(30,000 - 50,000)

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...continued over a period of about 3 years in the early 1980s they were clear about the dating of his plaques. They indicated that he hadn’t carved any at all until about 1930. According to one story, Oscar’s 10-year-old nephew was visiting in 1930 and caught a huge sunfish and insisted on keeping it. Oscar was hard put to talk him out of it but was finally able to placate the boy by carving him a big sunfish “brag” plaque to take home with him to Chicago. It’s believed that this was Oscar’s first fish plaque. There is some additional anecdotal evidence that supports a c. 1930 beginning date for the plaques. In 1981 a Rainbow Trout fish plaque was collected from a gentleman near Jennings, Michigan, which was continued...

as it cures and it shrinks more on the side exposed to light and heat than on the unexposed backs. The dovetailed wooden splines are ultimately more successful at combating cupping as they slide in the groove as the board shrinks while continuing to keep the board straight. The metal bands on the other hand, being nailed securely to the board, will buckle as the board shrinks. They can only do their job of keeping the board straight if they are tight against the back of the board. If they are buckled they can’t be doing the job intended. In a series of interviews, conversations and correspondences with Peterson’s niece and nephew

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Important sunfish plaque, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. This is likely the largest, and earliest glass eye plaque, at 10.75” x 21.25” and nearly 2” thick. The carved relief fish must have been a trophy. Only on well fed panfish does the belly extend below the mouth. Board reveals wooden dovetailed splines at back, which is Peterson’s earliest style. Fine original paint; protected by a coat of varnish that has aged and slightly crazed in some spots. (15,000 - 25,000)

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Wonderfully executed wall plaque carving of a pheasant, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Bird is perched among a berry bush, with deep wing relief carving and a wonderfully complimentary color palate that includes yellow, green, and blue. Wing and tail carving. Board measures 24” x 14.5” x 1.5” thick. In original paint that is protected by a coat of varnish that has crazed to create a very appealing folk surface; two metal straps secure back of board.

Provenance: Previously owned by Oscar Peterson’s niece.

(15,000 - 25,000)

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...continued marked on the back, “O. Peterson, Cadillac ‘31.” When questioned about the notation he stated that he had bought the plaque in a second hand store in Cadillac and showed it to Peterson who commented to him that it was one of his first fish plaques and that it had been carved in 1931. The owner later added that information to the back of the plaque. The rudimentary nature of some of the artistic techniques employed in this plaque would also suggest an early date. Every plaque for which we have a datable provenance puts them on a timeline between 1930 and 1949.

that all appear to be related by style, materials and construction. The first two were still in the family’s possession in 1981 and the third one showed up years later in a Cadillac area yard sale, possibly ultimately having had a family provenance. All three of these are dovetail splined, are seemingly carved from a hardwood (possibly basswood), are higher relief than normally seen and have a similar color scheme. It is possible that they were all made at the same time as a gift. One additional dovetail splined plaque of a large Sunfish is also known, which may be one of Oscar’s earliest fish plaques.

Peterson’s family believed that the panels with the dovetailed wooden splines were the earliest of his plaques with the sheet-metal banded ones coming a little later. These early splined panels were made as gifts to Oscar’s sister and her family who lived in the Chicago area. There are three plaques known: “Ringneck Pheasants,” “Squirrels,” and “Partridges,”

Many of the plaques that were collected from Peterson’s extended family show signs of unfortunate handling. Some of them had been stored in the poorly ventilated attic of their suburban Chicago tract house. They had been stacked one on top of another sometimes with sheets of newspaper between them as a buffer. The high ambient

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Carved whimsical alligator resting on a log, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Likely made as a gift to a family member. Heavily detailed carving, with meticulous dot painting on sides. Log measures 12”. Strong original paint protected by a coat of varnish that has aged to create an appealing surface; some rub marks at tip of alligator’s snout, along edges of log and a few other spots.

Provenance: Steven Michaan collection. Ex Gary Miller collection. Ex John Delph collection. Exhibited at Michigan State in 1982. Also owned by Oscar’s nephew and niece for whom Oscar likely made them. Literature: “Michigan Master Carver - Oscar Peterson,” Ronald Fritz, p. 98, exact carving pictured. (5,000 - 10,000)

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summer attic temperatures had caused the varnish to soften and as a result some of the plaques stuck together or had newspaper embedded in the varnish topcoat. Consequently, some of the plaques suffered minor paint loss and or areas of blemished varnish. Infrequently we see plaques that are in a manner of speaking “signed”. In reality Oscar Peterson’s carvings are so distinctive that they are readily identifiable by style, paint and technique, no signature being required. Nevertheless, he did on occasion affix one of his recycled trap tags to his plaques and trade signs. He and his brother George were professional trappers, specializing in trapping foxes and muskrats. It’s said that they at one time had as many as five motorcycles that were employed in the running of their trap lines. Michigan law required that every trap be identified with the name and address of the trapper. Brass or

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copper tags were stamped with the owner’s name and address and affixed to each trap. He used these same tags as his “signature.” What began as gift making for his sister and her family soon developed into much more. In the 1930s and ‘40s, plaque and trade sign production no doubt consumed more and more of Peterson’s artistic capital. The 1930 thick heavy dovetail splined plaques gave way in 1931 to the slightly thinner metal-banded plaques and as time went on his plaques became generally smaller and thinner in overall thickness. By the late 1940s many of Oscar’s plaques were an inch or less in depth. In a very general way we can date Peterson’s plaques by their overall thickness or lack thereof. So, whatever you call them, “plaques” or “panels”, thicker is earlier.

Carved “in-the-round” whimsy of two turtles on a log, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Likely made as a gift to a family member. Both turtles have finely detailed paint and carved tails and shells. Turtles measure approximately 4”, full log 10.5”. Strong original paint protected by a coat of varnish that is aged to create an appealing folk art surface.

Provenance: Steven Michaan collection. Ex collection of Gary Miller. Literature: “Michigan Master Carver - Oscar Peterson,” Ronald Fritz, p. 98, exact carving pictured. (5,000 - 10,000)

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291a

Probably the longest Peterson fish trade sign we have offered for sale, Oscar Peterson, Cadillac, Michigan, circa 1930. Carved eye model, with detailed carved gills extending up under the mouth, and metal fins and metal support strapping fastened to tail fin. 66” long. Sign shows much weathering as it must have hung outdoors; paint surface is a mix of what appears to be some original that has alligatored and remained while much of the top of the sign has worn to bare wood and has been strengthened.

291b

An Oscar Peterson whimsical. Said to be a replica of Oscar’s workshop. According to Ron Fritz, “It is a prime example of the diversity of forms that can be found in Oscar’s works. It demonstrates that he not only could, but would tackle any subject. This miniature cabin helps open our minds to the possibilities of yet undiscovered subjects and forms,” Ronald Fritz. Cabin has a working hinged front door, painted orange, cut out window, and a very early and crazed original paint surface. Measures 9.5” wide x 7.5” tall. Very good and original; small flaking areas to one side of log.

Provenance: Steven Michaan collection. Part of the 1982 exhibit at Michigan State University.

Literature: “Michigan Master Carver - Oscar Peterson,” Ronald Fritz, p. 86, exact carving pictured.

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(3,000 - 4,000)

(8,000 - 12,000)

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Very rare cisco or white fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Carved eye model. 11.25” long x 2” tall x 1” wide. Carved gills and mouth. Very strong original paint with light wear; protected by a coat of varnish; area along top of back, above white dots, may have been strengthened a long time ago. (7,500 - 10,000)

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Rare brown trout, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Carved eye model. 7.25” x 1.25” tall x .75” wide. Original paint protected by a coat of varnish; crazing and some darkening to paint surface; paint loss at fins; chip at top of tail; rough area at bottom.

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Provenance: Steven Michaan collection. Ex Gary Miller collection. Literature: “American Fish Decoys,” Steven Michaan, p. 95, exact fish pictured. “Michigan Master Carver - Oscar Peterson,” Ronald Fritz, p. 57, exact fish pictured. 294

(2,000 - 3,000)

Pike fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Tack eyes. 6.5” x 1” x .5”. Original paint protected by a coat of varnish; light wear.

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Provenance: Steven Michaan collection. Ex Gary Miller collection. Literature: “American Fish Decoys,” Steven Michaan, p. 107, exact fish pictured.

(2,500 - 3,500)

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Walleye fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Carved eye model, which is rare for this size. 5.25” x 7/8” tall x 5/8” wide. Original paint protected by a coat of varnish; flaking to body; rough area at bottom lip and one side of body.

Provenance: Steven Michaan collection. Ex Gary Miller collection.

Literature: “American Fish Decoy,” Steven Michaan, p. 51, exact fish pictured.

(2,000 - 3,000)

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Sucker fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. In breeding colors. Tack eyes with carved mouth and gill. 5” x 7/8” tall x 5/8” wide. Original paint protected by a coat of varnish; moderate wear with some small rubs to exposed bare wood.

Provenance: Steven Michaan collection. Ex Gary Miller collection

Literature: “American Fish Decoys,” Steven Michaan, p. 73, exact fish pictured.

(2,000 - 3,000)

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Perch fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Domed brass tack eyes with additional dot painting along the seven black bars on body. 5 5/8” x 1 1/8” tall x 5/8” wide. Original paint protected by a coat of varnish; spear mark at top near dorsal fin; small piece of wood missing near rear belly weight; some paint loss at fins.

Provenance: Steven Michaan collection. Ex Gary Miller collection. Literature: “American Fish Decoys,” Steven Michaan, p. 59, exact fish pictured.

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(2,000 - 3,000)

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Musky fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Tack eyes. 6” x 1” tall x .5” wide. Original paint protected by a coat of varnish that has darkened; moderate wear; one rub to bare wood on side of body.

Provenance: Steven Michaan collection. Ex Gary Miller collection. Literature: Fish is pictured in “American Fish Decoys,” Steven Michaan, p. 109, what shows near back of tail is apparently a light reflection, not missing paint. “Michigan Master Carver Oscar Peterson,” Ronald Fritz, p. 64, exact fish pictured.

(2,000 - 3,000)

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Perch fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Tack eyes. 7” x 1.25” tall x .75” wide. Original paint protected by a coat of varnish; some loss on and around fins and belly weights; rough area to lower side of tail; missing top dorsal fin.

Provenance: Steven Michaan collection. Ex Gary Miller collection. Literature: “American Fish Decoys,” Steven Michaan, p. 63, exact fish pictured. (2,000 - 3,000)

300

300 Pike fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Tack eyes. 8 5/8” x 1 1/8” tall x 5/8” wide. Original paint protected by a coat of varnish that has darkened; some paint loss at fins and around eyes.

Provenance: Steven Michaan collection.

(2,000 - 3,000)

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Brook trout, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. 6.5” x 1 1/8” tall x 5/8” wide. Tack eyes. Original paint; small chip at tail; paint loss at fins and underside. (1,500 - 2,500)

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Perch fish decoy, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Tack eyes. 7.25” x 1.25” tall x .75” wide. Original paint with a coat of varnish; flaking on parts of body; paint loss at fins and tip of mouth. (1,500 - 2,500)

302 303

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

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Provenance: Dick and Diane Walters collection.

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(1,500 - 2,500)

Early musky fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Tack eyes. 6.5” long x 1” tall x .75” wide. Original paint with moderate wear; paint loss at fins and evenly spread throughout body; a few small marks and rubs.

Provenance: Steven Michaan collec-

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tion. Literature: “Michigan Master Carver Oscar Peterson,” Ronald Fritz, p. 64, exact fish pictured.

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(1,500 - 2,500)

Illinois River

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Hollow mallard drake field stickup decoy in alert position, attributed to Frank Pl--z--. Carved relief wingtips. Illinois, California. Circa 1930. Partial name appears on bottom of mallard. Original paint.

Provenance: Kangas collection.

Literature: “Decoys: A North American Survey,” Gene and Linda Kangas, p. 217 & p. 249, exact decoy pictured. Collector’s Guide to Decoys, p. 135, exact decoy pictured.

(2,500 - 3,500)

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Bluebill, Robert Elliston, Bureau, Illinois. Partial brand on underside, only the letter “J” is legible. 14.5” long. Original paint with moderate discoloration and minor wear; head is loose; body seam is slightly off set; rough area at tail; light gunning wear. (1,500 - 2,000)

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Pair of pintails, Ed Keller, Bartonville, Illinois. Hollow carved with slightly turned heads. Lead weight is set inside of a wooden keel. “EK” is painted on underside of each. Original paint with minor discoloration and wear; hairline crack partway through drake’s neck. (3,000 - 5,000)

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Mallard hen, Robert Elliston, Bureau, Illinois, last quarter 19th century. Original paint with minor wear protected by an old coat of varnish; slight roughness to edge of tail. (1,250 - 1,750)

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212

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Pintail drake, Charles Perdew, Henry, Illinois, circa 1950. Retains original Perdew weight. 16” long. Original paint protected by a coat of varnish by Charles Perdew; two piece hollow body; moderate wear with flaking and rubs.

Provenance: Kirby Roberts collection. (3,000 - 4,000)

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Widgeon drake, George Kessler, Pekin, Illinois. Stamped “ECB” on underside. Roberts collection stamp on underside. Two piece hollow body. 13” long. Original paint; protected by a coat of varnish; two shot marks; rough area at bill; light gunning wear.

Provenance: Kirby Roberts collection. (2,500 - 3,500)

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Canvasback drake, Bert Graves, Peoria, Illinois. 17.5” long. Good combing and feather paint detail. Retains Graves weight. Original paint; minor discoloration and wear; very small touchup to one thin crack at side of the neck.

Provenance: Carl Nemec collection.

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

(2,250 - 2,750) 311

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Mallard drake, Charles Walker, Princeton, Illinois. 17” long. Flat bottom style. Original paint with moderate wear; reglued crack in neck and another crack that has not been reglued in neck; several tiny dents.

(2,000 - 3,000)

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Bert Graves 1880 - 1956 | Peoria, Illinois

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Preening mallard hen, Bert Graves, Peoria, Illinois. His so called “white sided” style. 14” long. Fine paint detail and coloration. Head is extended well over the back. Near mint original paint with slight shine to the finish; a couple of tiny dents.

Provenance: Purchased from Bert Graves by Judge Harry Dale Morgan (1885-1956), passed to his son Judge Robert Dale Morgan (1916-1976), then passed to Dr. Tim Morgan. Randy Root purchased from Dr. Tim Morgan. Dr. Morgan had kept this sleeping hen mallard in a gun safe for over 30 years.

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

Randy Root pictured with exact decoy after purchasing the rig from the family in 2013

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(25,000 - 35,000)

215

315

Fine mallard hen, Bert Graves, Peoria, Illinois. 17.25” long. Retains Graves weight. His earlier “white sided” style. Original paint with very minor wear; structurally very good.

Provenance: Carl Nemec collection. (3,500 - 4,500)

316

Hollow carved canvasback drake, Bert Graves, Peoria, Illinois. 17” long. Retains Graves weight. Good feather paint detail. Original paint; minor discoloration and wear; structurally good.

Provenance: Kirby Roberts collection.

(3,000 - 4,000)

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216

316

317

Mallard drake, Charles Perdew, Henry, Illinois. Retains Perdew weight. 16.25” long. Fine combing and feather paint detail. Near mint original paint on body; minor wear on head; very slight separation at body seam.

Provenance: Carl Nemec collection.

(6,000 - 9,000)

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318

Rare bluewing teal hen, Robert Elliston, Bureau, Illinois, last quarter 19th century. 12.5” long. Retains Elliston weight and is branded “W.E.Wil”. Original paint with good detail and minor flaking and wear; worn area on underside; several tiny dents.

Provenance: Carl Nemec collection.

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(5,000 - 8,000)

319

Canvasback drake, Robert Elliston, Bureau, Illinois, circa 1900. Retains original Elliston weight. Branded “JDM” on underside. Two piece hollow body. Strong comb painting. 16” long. Head and black areas of body appear to be original; white appears to be a second coat by Elliston; light gunning and edge wear.

Provenance: Carl Nemec collection.

(6,000 - 10,000)

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Fish plaques

The Gene and Linda Kangas collection Collecting trophy fish has been an incredible 40 year journey. It began when a carved salmon pictured in Maine Antiques Digest caught our attention. The fish was so intriguing we decided to drive to south central New York around 1980 to see it in person in the auction preview. It proved to be far better than anticipated. Needless to say, the fish returned home to Ohio. In an upper corner of the backboard was the painted name “P. D. Malloch.” Who was that? We would soon find out. The Malloch was shown to a friend and he was equally smitten. Together, we formed a rewarding two year pact to search North America and Europe to find and acquire other great examples. That teamwork was invaluable. It enabled us to not only be productive in

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our use of time and resources but also to freely share both of our rapidly growing expertise. Shortly after our Pennsylvania adventure, we flew to England to attend two auctions. One featured sporting art and the other amusement park artifacts. This picture shows us holding the fish purchased at the first English auction. The second sale had a wonderful assortment of carved figures, carousel animals, and folk art. About a half dozen American antiques dealers were in attendance. All of us met right after the sale and agreed to jointly ship everything in one container. That reduced costs and ensured safe travel across the ocean.

During those 40 years, we’ve been blessed with the opportunity to meet fascinating people, travel internationally, learn, and acquire exclusive works of art. All of the unique fish encountered were interpretations of reality with an underlying story. Each is a one-of-akind sculptural portrait, which preserved in wood and paint a memorable human experience. Names, dates, sizes, and places were notated and documented. Research can reveal more. For example, back in 1933, a ten year old boy named A. McE. Fisken landed a magnificent 48 ½ pound Chinook/Tyee salmon on the Campbell River in British Columbia. One can only imagine the wild excitement that filled the air that day. Lifelong memories were instantly created. Smiles and pride certainly stayed with the boy for years as he matured into a man. Luckily, Fisken’s parents had the foresight to commission their

river guide Tommy Brayshaw to memorialize that fantastical moment in time. Brayshaw, an English transplant, was and remains North America’s premier fish carver. In addition to capturing the child’s noteworthy achievement, it was also Major Brayshaw’s very 1st trophy commission. Simply put, fish trophies exist in considerably fewer numbers than duck decoys. The tradition of trophy fish carving began in Europe in the mid-19th century associated with a celebrated fine artist named John Russell. Afluent landowners contracted Russell and other artisans to create impressive portraits for prominent display in their private “smoking rooms.” Every fish has a tale.

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320

Impressive salmon plaque, P.D. Malloch (1842-1922), Perth, Scotland. Hand signed top left of board. Solid carved and painted 7/8 full bodied thickness, 47” x 12”. Model trophy mounted on pine backing and oak frame. Original hand painted information continues, “Taken on the Fly, Blackwater Ross-Shire, 28th April 1922, weight 35 lbs.” Actual fly hook is attached on lower right corner. Open mouth and carved eyes. Scales created by scratch pattern into wet, thick paint, which highlights the color variations into many of the individual scales. Excellent.

Provenance: Kangas collection. Purchased at a Tony Nard auction. Literature: “New World Folk Art and Cross-Cultural Inspirations, 1492-1992,” curated by John Hunter and Gene Kangas, Cleveland State University, p. 47, similar example.

222

(6,000 - 9,000)

223

321

Salmon, Hardy Brothers, England. At 62 pounds, this 1910 trophy salmon is one of the largest known. Original plaque reads, “Salmon Male Caught at Holands/Namsen River, Norway. 30th June 1910. Length 54” Girth 31.” A mature male adult, this salmon has developed kipe and wood teeth. Excellent.

Provenance: Kangas collection.

224

(15,000 - 20,000)

322

Unique leaping Atlantic salmon or steelhead, unknown carver, 1st quarter 20th century. Discovered in the 1950s in an attic in Mt. Clemens, Michigan. Three dimensional curved body with excellent full body scale carving. Designed to hang without a back board, entire back is as elaborately detailed as the front. Open mouth with tongue, fine gill and eye carving, painted eyes. Chips in tail, otherwise excellent.

Provenance: Kangas collection. Formerly in the Alton “Chubby” Buchman collection.

Literature: “Great Lakes Decoy Interpretations,” Gene and Linda Kangas, p. 298.

(6,000 - 9,000)

225

323

Salmon plaque, John Bucknell Russell (1819-1893), Scotland/England, circa 1880. Russell is a well known fine artist painter. He is considered the father of trophy fish carving. Carved half body, 48.5” long. Russell’s salmon heads in his paintings and carvings tend to be characteristically dark. Excellent.

Provenance: Kangas collection. Formerly in the Quay collection. Exhibited in “Hooked on Wood: The Allure of the Fish Decoy,” The Center for Art in Wood, Philadelphia, May-June 2012, illustrated at introduction of catalog.

Literature: “New World Folk Art and Cross-Cultural Inspirations, 1492-1992, curated by John Hunter and Gene Kangas, Cleveland State University, p. 46, similar example.

226

(6,000 - 9,000)

Lawrence Irvine Winthrop, Maine

324

Extremely rare striped bass fish plaque, Lawrence Irvine, Winthrop, Maine. One of three known and likely the earliest. Plaque is 48” long, fish is 36.25” long, with 4” thick body. Fine carving and paint detail for Irvine. Glass eye. One of the fins has been broken off and reattached, otherwise very good and original.

Provenance: Private collection, Winthrop, Maine. (10,000 - 14,000)

227

325 325

Carved and painted lake trout on plaque, Lawrence Irvine, Winthrop, Maine. Plaque is 36” long and painted to simulate birch bark. Fish is 28” long with 3.5” deep body. Very good and original.

Provenance: Private collection, Winthrop, Maine.

326 326

(2,000 - 3,000)

Carving of a rainbow trout on wooden plaque, Lawrence Irvine, Winthrop, Maine. Plaque is 23.5” long, fish is 15” long with 1.75” thick body. Very good and original.

Provenance: Private collection, Winthrop, Maine.

327

(1,500 - 2,500)

Atlantic salmon, Dubay. Well executed carved Atlantic salmon.

327

With individual carved scales, gills, mouth, and fins. Appears to be 40 or so years old. Measures 45” long. (2,000 - 3,000)

328 328

Carved trophy fish, Atlantic Salmon. Reads “First Restigouche salmon taking by R.N. Davis, 31 lbs. Home pool brandy brook camp, July 1949.” 42” long. Nice patina, structurally good.

Provenance: Michaan collection. (500 - 700)

228

329

331

330

332

329

Pair of bronze big horn sheep busts on marble and hardwood base, Gerald Balciar. Limited edition 3/20,

wingtips, a tail that extends over the base of the book.

dated 1982. Approximately 15” tall. Original and good.

a lodge figure of some sort. 12” tall. Natural surface on

Book is painted and shows nice paint mellowing. Possibly owl with a worn patina; well carved feet; crack at back of

(1,750 - 2,250)

body; otherwise very good. 330

Bronze of a woodcock in leafed forest, Jim Foote, Gibraltar, Michigan. Copyright and 6/15 at bottom of base. 8” tall. Excellent.

332

(1,000 - 1,500)

Carved fish on mounted base, John Hyatt, Pekin, Illinois, 2nd half 20th century. Leaping bass has hook set in mouth with line tie mounted to base. Base of carving

331

Well carved owl mounted on top of carved wooden book, possibly 2nd quarter 20th century. Owl has glass eyes inserted wooden ears, carved shoulders and

is made to simulate water. Measures 10” high. Very good and original.

Provenance: Governor Jim Thompson collection. (400 - 600)

229

Elmer Crowell 1862 - 1952 | East Harwich, Massachusetts

230

333

Well carved pair of canvasbacks, Elmer Crowell, East Harwich, Massachusetts. This is the finest pair of Elmer Crowell canvasbacks known to exist. Carved wings, carved tail, and rasping on the back of the head all contribute to make this an exceptional creation by one of America’s most important decoy makers. Both have Crowell’s early oval brand in the underside. Drake is 14.5” long. Both have slightly turned heads with rasping on the back of the head. Carved, crossed wingtips and fluted tails. Near mint original paint; drake has a small amount of touchup where some tiny flakes of filler have come out of the neck seat; hen has had a professional repair to a neck crack with a thin line of touchup.

(40,000 - 50,000)

231

334

Early goldeneye drake, Elmer Crowell, East Harwich, Massachusetts, circa 1910. Pre brand. Slightly turned head. Rasp marks at back of head and feather painting at wing tips and tail. 15” long. Strong original paint with light gunning wear; a few rubs mostly on back; one small area with filler missing at one side of breast.

232

Provenance: Kirby Roberts collection.

(8,000 - 10,000)

335

Black duck, Elmer Crowell, East Harwich, Massachusetts. Pre brand. Slightly lifted head. Original paint; minor wear; two short cracks at back side of neck; three shot marks.

336

(3,000 - 4,000)

Early pre brand black duck, Elmer Crowell, East Harwich, Massachusetts. Very thick body with slightly turned head. Worn original paint; age split in underside; lightly hit by shot.

Literature: “New England Decoys,” John and Shirley Delph. (1,200 - 1,500)

233

337

Rare pre brand mallard hen, Elmer Crowell, East Harwich, Massachusetts, circa 1900. Similar period and paint pattern as those made for J.C. Phillips. Just under 17” long. Branded “CM” in underside. Slightly turned head and painted crossed wingtips. Near mint original paint with good tone and patina.

Literature: “New England Decoys,” John and Shirley Delph. (15,000 - 20,000)

234

337 Mayo family brand from Orleans, Massachusetts

235

236

338

Gracefully carved pintail drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside twice. 17” long with slightly turned head, relief wingtip carving, and fluted tail. Near mint original paint with fine feather paint detail; very minor wear to the tip of the tail. (15,000 - 20,000)

237

238

339

Large mallard drake, Elmer Crowell, East Harwich, Massachusetts. 17.5” long. Slightly turned and lifted head. Fine feather paint detail. Crowell’s oval brand is in the underside. Several small spots of touchup on both lower sides; a little on the top of head as well; structurally excellent.

(15,000 - 20,000)

239

New Jersey shorebirds

From page 46 of “American Bird Decoys,” by William J. Mackey, Jr.

340

Extremely rare godwit, from New Jersey, last quarter 19th century. Two piece and extremely hollow. Inscription on underside attributes the decoy to William Boice, Atlantic City, New Jersey. Hollow carved, 20” long. With shoe button eyes. Original paint with minor wear; minor roughness to very tip of bill.

Literature: “The Art of the Decoy,” Adele Earnest, p. 57, rigmate pictured. “American Bird Decoys,” William J. Mackey, Jr., p. 46, exact decoy pictured. (12,000 - 15,000)

240

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

342

Classic curlew, Harry V. Shourds, Tuckerton, New Jersey, circa 1900. 12.75” long. Original paint; very minor wear; old touchup to several areas where paint flaked off of the bill.

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

(12,000 - 16,000)

342

341

Robin snipe in spring plumage, Harry V. Shourds, Tuckerton, New Jersey, 1st quarter 20th century. 9” long. Original paint;

341

with very minor wear; several tiny dents and shot marks. (10,000 - 14,000)

241

343

346

344

347

345

343

348

Yellowlegs, Lou Barkalow, New Jersey, circa 1900. Wooden bill splined through back of head. 8.5”

346

Peep, Long Island, New York. In the Seaford style with carved eye and carved shoulders. Bill is splined

long. Original paint; small area of overpaint under one

through back of head. 8” long. Original bill was broken,

side of tail.

and reglued by Russ Allen; thin original paint is worn with

(600 - 800)

numerous shot scars evenly distributed. 344

Golden plover from the south shore of Massachusetts, 1st quarter 20th century. 10.5” long with tack eyes. Original and good.

347

(650 - 950)

(700 - 900)

Large curlew, Ephraim Hildreth, Cape May, New Jersey. Hot brand in underside. “E.Hildreth”. A large bold carving. 12” long. Thin original brown paint; numerous shot

345

Yellowlegs from the Hingham, Massachusetts area. Tack eyes. 11” long. Original paint with slight wear; lightly hit by shot; fairly large shot scar on one side of head; bill is an old replacement.

(650 - 950)

scars, mostly to one side; bill is a replacement. Provenance: Bruce Williams collection. 348

(700 - 900)

Ruddy turnstone, William Sorrentino, Absecon, New Jersey, circa 1900. “William Sorrentino” is written on underside of tail. 8.5” long. Original paint that is muted and worn evenly; bill is a replacement.

242

Provenance: Bruce Williams collection

(800 - 1,200)

350

349

Black bellied plover, Harry V. Shourds, Tuckerton, New Jersey, circa 1900. 9.75” long. Original paint that has

350

Curlew, Daniel Lake Leeds, Pleasantville, New Jersey, circa 1900. Leeds’ more refined style carving, with bold shoulders and split

darkened with age; minor wear; traces of

dropped tail. Feather markings on each side. Wet

writing on underside near stick hole.

on wet blended breast and transition from dark brown to light. In pen on underside, “Purchased

Provenance: Bruce Williams collection.

directly from Dan’s great grandfather 1995.” 13.5”

(4,000 - 6,000)

long. Bill is a professional replacement; strong original paint; some discoloration to underside; very light flaking and inpainting where bill was splined through back of head.

Provenance: Bruce Williams collection. (4,000 - 6,000)

243

351

352

351

Large curlew, McCarthy family, Cape May, New Jersey, last quarter 19th century. Glass

“McCarthy family, Cape May 1880. John Hillman

simulating feathers that extends from back of head

collection 1965-1988.” Small beaded glass eyes with

to tip of tail. On underside is written “McCarthy fam-

McCarthy style painting. Very good and original.

in underside of bill where paint has flaked. Glass eyes. 13” long. Original paint; a few very tiny rubs, otherwise very good and original. Provenance: Bruce Williams collection. (5,000 - 7,000)

244

Yellowlegs, McCarthy Family, Cape May, New Jersey, last quarter 19th century. Underside says

eyes with an almost impressionistic paint pattern

ily, New Jersey, 1880.” Quarter inch, very tight crack

352

Provenance: Bruce Williams collection. (4,000 - 6,000)

354

353

Yellowlegs, Taylor Johnson, Point Pleasant, New Jersey. Kramer collection stamp on underside. Pleasing draw knife marks are

Rare curlew, Jonas Sprague, Beach Haven, New Jersey, last quarter 19th century. 16” long. Beadle head style. Bill is

still visible on much of body. Chip near stick

doweled through to back of head. Slight ridge

hole. Original paint.

down back. Original paint that has darkened

354

(3,500 - 4,500)

with age; structurally good.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr.

(4,000 - 6,000)

245

Calls

355

Very rare 12 count duck call display wheel, Bill Clifford, River Forest, Illinois. 9” tall. Very good with some minor flaking to varnish on the calls with dark wood.

Provenance: Formerly in the Paul Tudor Jones collection.

(6,000 - 10,000)

355

356

Duck call, Bill Clifford, River Forest, Illinois, 2nd quarter 20th century. Laminated barrel. 6.5”. Reed and wedge block are replacements. (2,000 - 3,000)

356

246

357

Box turkey call, Neil Cost, Greenwood, South Carolina. 9.5” long. Signed and dated 1982 and has turkey foot stamp on underside. Extra laminate along bottom base. Very good and original.

357 358

(1,000 - 1,500)

Box turkey call, Neil Cost, Greenwood, South Carolina. 9.5” long. Signed and dated 1979. Turkey foot stamp added to side of call. Very good and original.

359 358

(800 - 1,200)

Box turkey call, Neil Cost, Greenwood, South Carolina. 9.75” long. Signed and dated 1992 with turkey foot stamp on underside. Very good and original.

360

(800 - 1,200)

Box turkey call, Neil Cost, Greenwood, South Carolina. 9.5” long. Signed and dated 1980, also stamped “The Gobbler Shop.” Very good and

359

original. 361

(800 - 1,200)

Box turkey call, Neil Cost, Greenville, South Carolina. Signed and dated 1976 on underside. Carved sides and top. Paddle measures 9.5”. Very light wear.

(800 - 1,200)

360

361

362

Duck call, Bill Clifford, Illinois. Lanyard with a Jack Minor band that states “We must obey God” and an avise duck band. All original with in use wear.

(800 - 1,200) 362

247

Shotgun shell boxes

362a

363

Two piece shotgun shell box, Blanchard Cartridges. 12 gauge. Laflin and Powder Company.

363

Buff box with wrap label. Some discoloration and edge

buff box with wrap label. Bottom box has a tear to one

wear; possible inpainting to scuff mark at bottom of box.

side; staining and fading.

Provenance: Formerly in the McCleery collection.

Formerly in the Paul Tudor Jones collection. (1,000 - 1,500)

364

366

Shotgun shell box, Peters High Gun. 12 gauge with

366

Four shotgun shell boxes. Ajax Heavies 12 gauge,

snipe on front label. Buff box with full wrap label. Stain

3”, two piece box, pointer 12 gauge full wrap label has

on back label; very light wear.

some staining. And two piece Peters League Rabbit.

Formerly in the Paul Tudor Jones collection.

(500 - 700)

Group of four gun powder tins. Two Deadshot from American Powder Mills, Boston, Massachusetts. One

Staining on both front and back labels. Rare shotgun shell box, Peters Quickshot, a rare box, but in rough condition; Top portion has been strengthened on underside; significant inpainting to front label; bottom box has broken away on three sides.

Deadshot from Massachusetts Powder Works. And one

Provenance: Formerly in the McCleery collection.

Oriental Smokeless from Portland, Maine. Tallest mea-

Formerly in the Paul Tudor Jones collection.

sures 6” long. Provenance: Formerly in the McCleery collection. Formerly in the Paul Tudor Jones collection. (800 - 1,200)

248

Formerly in the Paul Tudor Jones collection. (700 - 1,000)

365

Provenance: Formerly in the McCleery collection.

365

Two piece shotgun shell box, Austin Powder Company. Quickshot, Cleveland, Ohio. Two piece

(600 - 900)

367

Rare two piece shotgun shell box, Leroy L. Leland, Baltimore, Maryland. Two piece buff box with wrap around label. Hand load shells, 12 gauge, number 9 with DuPont smokeless powder. Bottom box has been strengthened with supports glued to edges of inside; excellent graphics have light wear.

(2,000 - 3,000)

367

368

Very rare shotgun shell box, California Powder Works. 10 gauge, Invincible. Two piece buff box with full wrap label. Some staining, mostly to one side label; box appears to be structurally good, but has not been opened as it is protected by a tight wrapped plastic seal; some color fading.

Provenance: Formerly in the McCleery collection. Formerly in the Paul Tudor Jones collection. (2,000 - 3,000)

368

369

100 count shotgun shell box, The Dominion Cartridge Company. 10 gauge track shells. Buff box with printed graphics. A few holes in bottom box, staining and wear at corners.

Provenance: Formerly in the McCleery collection. Formerly in the Paul Tudor Jones collection. (1,500 - 2,000)

369

370

Rare shotgun shell box, Robinhood Ammunition Company. Swanton, Vermont. 10 gauge buff box. Original label is in good condition with average wear on all four sides; box has had a piece of paper added to strengthen one side which prevents this two piece box from opening.

Provenance: Formerly in the McCleery collection. Formerly in the Paul Tudor Jones collection. (1,500 - 2,000)

370

249

William Bowman 1824 - 1906 | Lawrence, Long Island, New York

250

371

Greater yellowlegs in content pose, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. 11.5” long with relief wing carving, extended wingtips, and shoe button eyes. Near mint original paint on most of the decoy; old touchup to several spots of paint loss on bill; structurally very good.

Provenance: Chua collection. Formerly in the collection of Milt Weiler. Old tag on underside reads “Bill Bowman greater yellowlegs in Classic Decoy,” referring to Weiler’s classic shorebird decoy portfolio.

(65,000 - 95,000)

251

372

Exceptional dowitcher in resting pose, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. 9.25” long with shoe button eyes, relief wing carving with extended wingtips. Lightly stamped “T.F. Norton”. Near mint original paint with very good patina; structurally excellent.

Provenance: Once in the collection of the Stoney Brook Museum. Literature: “Gunner’s Paradise,” Jane Townsend, p. 128, exact decoy pictured. (50,000 - 70,000)

252

253

374

373

Yellowlegs, William Bowman, Lawrence, Long Island, New York. 12.75” long. His earlier carv-

374

Yellowlegs, Valentine Watts, Long Island, New York, 1st quarter 20th century. Just over 11”

ing style with relief wing carving and extended tips.

long. Relief wing carving with extended wingtips

Shoe button eyes and thigh carving. Near mint

recessed shoe button eyes. Very similar to work of

original paint with discoloration; professional repair

William Bowman. Original paint with very minor dis-

to one wingtip.

coloration and wear; several small dents.

(3,500 - 5,500)

(2,500 - 3,500)

254

375

Rare willet, William Bowman, Lawrence, Long Island, New York, last quarter 19th century. Just under 12” long. Relief wing carving with extended wingtips and shoe button eyes. Original paint; minor wear, mostly on the extremities; wear to the wood at the stick hole; bird has been covered with a coat of wax.

Provenance: Formerly in the collection of Fred Caseman.

(20,000 - 30,000)

255

376

Rare curlew, Obediah Verity, Seaford, Long Island, New York, 3rd quarter 19th century. 14.5” long. With large carved eyes, beadle head, and relief wing carving. Original paint; good patina and very minor wear; bill is an old well done replacement.

Provenance: Ex Mackey collection.

Literature: “American Bird Decoys,” William J. Mackey, Jr., p. 44, exact decoy pictured.

Plate 23 of “American Bird Decoys,” William J. Mackey, Jr.

256

(14,000 - 18,000)

377

Rare oversize whimbrel or curlew, Obediah Verity, Seaford, Long Island, New York, 3rd quarter 19th century. 13” long. Relief wing carving and carved eyes. One of a group of four found in the mid 1980s in the Hudson River Valley in Upstate New York. Original paint has darkened with age; very slight wear; small rough spot on edge of one wing; bill is a professional replacement by Cameron McIntyre.

(6,000 - 9,000)

257

379

378

258

378

Extremely rare sanderling, Andrew Verity, Seaford, Long Island, New York, last quarter 19th century. Only 6 3/8” long. Carved eyes and relief wing carving. Slightly flat sided. Original paint with minor discoloration and wear; tiny rough spot on underside of bill.

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

(12,000 - 15,000)

378

379

Large and impressive black bellied plover, Obediah Verity, Seaford, Long Island, New York, last quarter 19th century. One of the largest and more plump examples we have sold. So called “beetle head” style. 11” long. Bill is a professional replacement by Cameron McIntyre; fine original paint; numerous small cracks in breast and underside; worn to bare wood on side, opposite side has wood imperfection; wear marks around head. (10,000 - 15,000)

379

259

381

380

260

380

Dowitcher in fall plumage, John Dilley, Quogue, Long Island, New York, last quarter 19th century. 10” long with shoe button eyes. Original paint with minor wear; hit by shot, mostly on breast; some paint flaking at bill. (4,500 - 6,500)

380

381

Impressive dowitcher in fall plumage, John Dilley, Quogue, Long Island, New York. The highest grade that Dilley made with carved wing and incredible paint feathering from top of head extended through tail. Glass bead eyes. “TMC” is written in pencil under tail. 10” long. Excellent original paint; small amounts of flaking at bill and around shoulders edge. (10,000 - 15,000)

381

261

Daniel Demott 1847 - 1931 | West Hempstead, New York At the turn of the 20th Century, as more and more Americans moved from the country to more urban environments, they tried to bring the nature they had left behind into their homes and even into their fashion. People collected butterflies, eggs, dried flowers, shells and stuffed birds and mammals. Women wore hats decorated with feathers, entire birds, and even small mammals and reptiles. Tens of millions of birds were taken at the height of the feather-trade years, between 1870 and 1920. The two groups most damaged by fashion hunting were the white egrets, or herons, and the small terns. American fashionistas were in a frenzy over feather hats. Haute headwear made from real bird plumage was seen everywhere. The delirium was so widespread, in fact, that by 1886, Douglas Brinkley wrote in “The Wilderness Warrior”, “more than 5 million birds were being massacred yearly to satisfy the booming North American millinery trade. Along Manhattan’s Ladies’ Mile — the principal shopping district, centered on Broadway and Twenty-Third Street — retail stores sold the feathers of snowy egrets, white ibises, and great blue herons.” He continued, “Dense bird colonies were being wiped out in Florida so that women of the ‘private carriage crowd’ could make a fashion statement by shopping for aigrettes. Some women even wanted a stuffed owl head on their bonnets and a full hummingbird wrapped in bejeweled vegetation as a brooch.”

262

Easter Parade, New York City, 1911.

The statistics were staggering. Good Housekeeping reported in its winter 1886-1887 issue: “At Cape Cod, 40,000 terns have been killed in one season by a single agent of the hat trade.” On Cobb’s Island along the Virginia

Coast, an “enterprising” New York businesswoman bagged 40,000 seabirds —at 40 cents apiece — to meet the demands of a single hat-maker. The magazine questioned the sense — and sensibilities — of such inhumane behavior. Others echoed these feelings, “Humanitarians and reformers may labor to save the birds,”

observed the Norfolk Virginian on September 29, 1897, “but these labor in vain and will so long as fashion says to womankind wear wings, and mirrors tell the fact, fatal to birds, that feathers are becoming.”

In New York, common terns were historically impacted by hunting and the millinery trade. In 1844 both Giraud and DeKay recorded that terns were historically abundant on Long Island in the mid 1800s. By the early 1900s, however, they were almost extirpated (from New York) by the plume trade. Eventually, it was the ladies themselves that sought to put an end to the widespread destruction of the birds for mere fashion. In 1896, two well healed Boston socialites, amateur naturalist Harriet Lawrence Hemenway and her cousin Minna B. Hall began to distribute letters and hold teas to entice other likeminded women in Boston to join their crusade to boycott the wearing of feathered hats. Their efforts were so successful that it led to the formation of the Massachusetts Audubon Society in 1896, the first of

many such groups in the country and the impetus for the formation of the National Audubon Society. Their wealthy husbands, many of whom were hunters themselves, became involved and exerted their influence that ultimately resulted in the passage of laws meant to end the shooting. In 1900, Congress passed the Lacey Act that prohibited the transport across state lines of birds taken in violation of state laws. This met with marginal success and, in 1913, the Weeks – McLean Law was passed, which outlawed market hunting and the interstate transport of birds. Ultimately, in 1918, the Migratory Bird Treaty Act was passed, and many bird populations eventually began to rebound. The extremely few tern decoys that have survived are silent testimony to this chapter in our waterfowling history. While perhaps difficult to understand today, the plume trade provided necessary income to the hard working baymen of Long Island and others along the Atlantic seaboard.

263

Demott is an old family name in Hempstead, New York. Daniel’s parents, Michael and Amelia (Emaline?) were farmers in Hempstead and Daniel would remain a lifelong resident of the town. In 1870 he wed 21-yearold Anna and the couple raised three children, Alma, Perry and Robert. He supported the family as a “miller” through 1910. For the rest of his life he resided primarily at 386 Rockaway Avenue and worked variously as a “house carpenter”, “mill hand”, “cabinet maker” and “carpenter”. Obviously, he had experience with both tools and woodworking, skills which would become readily apparent in his well fashioned decoys. His wife died in 1926 and he lived out his remaining years, still working as a carpenter, with his daughter, Alma, and her husband. He is buried in the Rockville Cemetery in the Lynwood section of Hempstead. There is no written record of his hunting exploits but, based on his willingness to switch to whatever occupation would best serve the needs of his family, he would have taken advantage of any opportunity to gun both for his own table and to supply the needs of both the game and millinery markets in nearby New York City. As a young man, the area around his home was regarded as one of the largest oyster-producing regions in the world and his neighbors listed their occupations as variously, “oystermen” or “bayman”. This would seem to imply that he, as well as his neighbors, were no strangers to the nearby bay and marshes. It is believed that Daniel carved decoys as early as 1865. Based on his short obituary, he left a soft footprint on this earth. His legacy, however, are his finely crafted shorebirds and a handful of some of the rarest and finest tern decoys ever carved on Long Island.

264

382

Extremely rare working tern decoy, Daniel Demott, East Rockaway, New York , last quarter 19th century. 12.5” long. Glass eyes. Original paint with moderate wear; slight roughness to tip of tail; thin surface crack in one lower side.

Provenance: Chua collection. Formerly in the collection of Dr. James McCleery. McCleery stamp on underside. Decoy comes with its original McCleery stand with both Sotheby’s and Guyette & Schmidt sticker on underside. Literature: Dr. James McCleery collection, Guyette & Schmidt/Sotheby’s, January 2000, lot 345, exact decoy pictured. “Call to the Sky,” Robert Shaw, p. 51, exact decoy pictured.

(25,000 - 35,000)

265

Hans Janner, Sr. 1880 - 1963 | Mt. Clemens, Michigan Spearing Decoy Maker Extraordinaire | By Gary L. Miller In the rarified world of Lake St. Clair fish decoy carvers no one stands taller than Hans Janner, Sr. Physically, he was also a big man for the times. Even at 62 years of age he was still 6’ 1 ½” tall and weighed 180 lbs. He had blue eyes, brown hair, a ruddy complexion and had a scar on his forehead and tattoos on both forearms. By all accounts he was a gruff and rather taciturn fellow. He had arrived in the U. S. in 1902 at the port of New York aboard the vessel Kaiser Wilhelm II out of Hamburg, Germany. He had been born in 1880, about 190 miles south of Berlin in Riglasreuth, Bavaria. Local lore has it that he was an illegal alien who jumped ship in New York, passed into Canada and re-entered the U.S. via the Upper Peninsula of Michigan eventually working his way down to Mount Clemens where he lived for most of the next 55 years. In his later years, Janner worked as a carpentry contractor and reportedly was also a skilled locksmith, blacksmith, machinist and all around mechanic. For a while in the early years he lived in Adair, Michigan where he was a gambler and saloon keeper. A notorious scofflaw and game law violator, Janner carried on a running game of cat and mouse with the local game wardens and consequently refused to allow himself to be photographed. Reportedly he was a rough and crusty character who liked to carve his decoys, flying wood chips and all, right in the family dining room and anyone who dared to challenge him might catch the back of his hand. Apparently well aware of his own genius, he often told his family, “someday these are going to be something, you’ll see”. He was so disliked though that when he died his son, Hans, Jr., burned bushels of the old man’s decoys in the parlor stove; so many so that the melting lead from the decoys plugged up the grate and he had to stop and clean it out to burn more. Although his official death record indicates that he was born in Pittsburgh, Pennsylvania, that is contradicted by earlier naturalization, marriage, birth and census records that state that he was born in Bavaria, Germany. Sometime in the late 1930s, probably as a result of the Social Security Act of 1935, he started to claim he was a U.S. citizen born in Pittsburgh.

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In a 1985 interview, Hans Janner, Jr. estimated that between 1905 and 1960 his father made hundreds of fish decoys of which perhaps 150 survive. The bulk of them were probably made during the 1930s. The decoys themselves often have a sculptural quality being large and robust in form and having large curved wooden tails with a rather prominent caudal peduncle. They are known in sizes from 6” to 17” but are most commonly found in the 11” to 13” range. The basic forms were roughed out with a hatchet and drawknife from blocks of mahogany, walnut, cherry, pine and red cedar of which mahogany is probably the most common. They were then whittled into final form and finished by scraping and sanding. Normally they are fitted with brass or copper pectoral, pelvic, anal and sometimes with one-piece combination dorsal and adipose fins that are exaggerated to allow adjustment of the swimming radius. A few examples have no dorsal or adipose fins at all. The fins were often cut out of brass machinery identification tags scavenged from friends and relatives. Two of the companies whose tags he used have been identified as P. H. E. & T. CO. (Port Huron Engine & Thresher Co.), Port Huron, Michigan, and General Fire Truck Company of Detroit, for whom Andrew Trombley, Janner’s son-in-law, reportedly worked. A look inside a Janner decoy reveals a unique fin anchoring technique. The anchor tabs on the fins are slit several times to form fingers that can be bent over in alternate directions in “tin knocker” fashion inside the empty weight cavity, then bonded in place by the hot lead. Eyes range from thumbtacks and slices of plastic rods to glass taxidermy eyes and pinned-through beads. Line ties are the multiple holed dorsal type or in the absence of a dorsal fin, screw eyes. There are usually two rather smallish looking oblong lead weights that double as anchors for all the fins. The exterior lead exposure is minimal but the weights are actually much more extensive on the inside than it would first appear. The paint on a Janner decoy might run the gamut from no paint at all to exuberantly detailed literal interpretations. More often, however, they are abstractly painted with the paint applied with a rag or by finger painting. A common theme with Janner was to leave part of the decoy, usually the back, unpainted letting the natural color and grain of the wood supply the decoration. Another variation was the so-called “ghost fish” scheme where he painted an image of another fish on the side of the decoy, sort of a fish within a fish. Janner has had and continues to have many imitators. To add to the confusion, his son-in-law, Andrew Trombley, reworked

some of Janner’s old decoys and undoubtedly finished up others that were left undone. In addition to son-in-law Trombley, he was associated in various ways with a number of other noted Mount Clemens area carvers. Emil Richert and Otto Rickert were both brothers-in-law. Harold Rickert was his nephew. Capt. Henry Peltier was his next-door neighbor and Janner’s daughter, Lillian, was married to Peltier’s son, Constant. August Janner and Hans, Jr. were his sons. Herman Tilch was a close friend. All of these and many others were undoubtedly influenced by Janner’s work. Carvers continue to imitate him to this very day. Ironically, his son, Hans, Jr., claimed that his father’s favorite decoy to fish with was a very productive small trout decoy that unbeknownst to either Janner was made by Oscar Peterson.

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The name, Hans Janner, Sr., has become synonymous with the best in Lake St. Clair fish decoys. They have enjoyed a rather extensive exhibition history: Michigan State University in 1976, The Art Center in 1978, Cranbrook Academy of Art Museum in 1987, Museum of American Folk Art in 1992, and are now on permanent exhibit in many of the nation’s finest museums and private collections. They have been illustrated in numerous books and periodicals. (See bibliography). In recent years a plan was proposed by Mount Clemens city officials to preserve the house at 281 Cass Avenue where the Janners lived for over 50 years.

Wonderful and important rock bass fish decoy, Hans Janner, Mt. Clemens, Michigan. Red eyes with upswept lower jaw and unusual double fin treatment. Sculptural adipose fin. Carved from a piece of hardwood, probably walnut. 11” long. Original paint with some loss at fins and around belly weight.

Provenance: From the collection of David Nichols of York Harbor, Maine. Nichols started Collecting fish decoys in the late 70’s This fish has been in David’s collection for over 25 years. Purchased from Mike and Julie Hall after it was included in an exhibition at the Cranbrook Academy of Art February, 1987.

Literature: “The Decoy as Folk Sculpture,” Cranbrook Academy of Art Museum, February, 1987, exhibition book, p. 50 exact decoy.

(25,000 - 35,000)

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384

A rare and desirable “so called” ghost fish, Hans Janner, Mt. Clemens, Michigan, circa 1930. Carved walnut. With decorative copper and brass fins. The painting on each side of the body emulates what has been known to be called the ghost fish, or fish on fish. Glass eyes with carved mouth and gills. Two belly weights in underside. 13” long. Original paint that has flaked away from belly weights; otherwise structurally good. (25,000 - 35,000)

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Important bass fish decoy, Hans Janner, Mt. Clemens, Michigan, circa 1930. Carved walnut with traces of silver and off white paint on sides of body; decorative metal fins and glass eyes. Two belly weights with a lower jaw that protrudes upward in typical Janner fashion. 12” long. Very light wear evenly distributed.

Provenance: Steven Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 167, exact decoy pictured.

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(15,000 - 25,000)

384

385

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386

Two Lake Chautauqua fish decoys, last quarter 19th century. 7.5” long with leather tails, metal fins, and tack eyes. Original paint; minor wear; slight roughness to tails.

(1,750 - 2,250)

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Large spearing decoy, Lake Chautauqua, New York, circa 1900. Tack eyes with metal fins. Gray and white paint. This extraordinary fish measures 18” long. Original paint; small amount of staining at one side; even, light wear over most of body.

(2,000 - 3,000)

387

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Three fish decoys, Lake Chautauqua, New York, circa 1900. One fish has traditional line tie through back of body, tack eyes, carved gills and mouth, gills and mouth have been painted red, side and top of fish is natural and belly has been painted white. Largest is all natural wood that has oxidized with grain shrink to provide an appealing surface. Smallest is all natural wood that has darkened to show great age. All three have classic leather

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tails. Largest measures 8.5”. (1,000 - 2,000)

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Fishing spear, owned by Ed Irwin and used on Lake Chautauqua, New York, circa 1900. Five spear points. Points measure 7.5”. Spear is attached to a wooden handle, total length 67”. Light rust; structurally good.

Provenance: Ex Chuck Magin collection.

(700 - 1,000)

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270

390

Three vintage frog spearing decoys. Two appear to be by the same maker, H. Ferres Dunton (1874-1968), Algansee, MI. Both are carved and painted wood with protruding eyes, extended legs, and belly weights on underside. Green frog is in original paint, other frog had an original coat of green then was painted red/ orange a very long time ago; with a coat of varnish; extensive wear and are worn to bare wood in places. Third has metal fins, belly weight, strong original paint with light wear. Largest is 6.25”.

Provenance: Steven Michaan collection.

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Literature: “American Fish Decoys,” Steven Michaan, p. 197 & 201, exact decoys. (1,500 - 2,000) 391

Three frog decoys, 1st half 20th century. All appear to be period working frog decoys. All three have belly weights, two have carved eyes, one has small nails as eyes. Longest measures 6”. Smallest is in strong original paint with light wear; other two have original paint with moderate wear.

Provenance: Steven Michaan collection. (1,000 - 1,500)

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Sucker fish decoy, Jesse Ramey, Cadillac, Michigan, circa 1930. Tack eyes, with carved sucker mouth and gills. 13” long. Original paint protected by a coat of varnish; moderate wear; coat of varnish has darkened slightly; chip at top of tail; paint loss and rusting at fins.

Provenance: Steven Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 183, exact fish pictured. (1,500 - 2,000) 393

Two spearing decoys, Fred Rhodes, circa 1920. Both have glass eyes and are uniquely hol-

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low, with applied aluminum fins. As Rhodes was from Kalamazoo, his fish decoys feature typical Heddon style “V” fins, a signature of the factory’s fish, according to Steven Michaan. These decoys have the unique feature of an adjustable sliding belly weight. Longest measures 11” long, other is 7.5”. Both fish are in original paint, protected by a coat of varnish; fins have been bent and straightened; both have small areas of flaking, with moderate wear.

Provenance: Steven Michaan collection.

Literature: “American Fish Decoys,” Steven Michaan, p. 193, smallest fish, exact decoy pictured.

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(1,500 - 2,500)

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Delaware River

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Very rare hollow carved Canada goose from the Gray rig, Philadelphia, Pennysvalnia. “T. Gray” brand on underside. 22.5” long. Unusual pose with neck resting on body, then raising up with turned head. Original paint; minor discoloration and wear; small amount of filler and paint missing from some of the nails that join the body halves.

Provenance: Ex collection John Dillworth, New Jersey. Ex collection Fred and Kathy Giampietro, New Haven, Connecticut. Ex collection David Teiger, New Jersey. Private Massachusetts collection. Literature: Tom Geismar and Harvey Kahn, Spiritually Moving: A Collection of American Folk Art Sculpture (New York: Harry N. Abrams, 1998) cat. no. 52, pictured in color; Gene and Linda Kangas, “T. Gray’s Migrant Goose Decoys,” Decoy Magazine, July/August 2011, illus. in color p. 25 and on the cover.

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(27,500 - 32,500)

The long, graceful neck of the goose allowed many of the finest carvers the opportunity to present their subjects in any number of appealing, life like poses. The results were sometimes astonishing. Not only did the varied head positions add exceptional realism to the rig, thus greatly increasing the hunters’ chances of success, but the many forms seen in nature allowed the carver to stretch his artistic abilities to their fullest. The masterworks of men like Elmer Crowell, Charles Safford, Joe Lincoln, Charles Osgood, the Cobb family, the Wards and others, exemplify the wide range of attitudes created. While the makers of many of the recognized greatest rigs of decoys are well known, some, unfortunately, still reside in the shadows of anonymity. One of these artists would be the creator of what has become known as the “T. Gray” rig of geese. The name stems from the fact that a few of the less than one dozen known examples from the rig bear these initials branded into the bottom. This may represent the name of the carver, or it is just as likely that the brand merely identified the owner of the decoys. Over the years, a number of locations have been suggested as the place of origin for the rig. These range from the Delaware River/Philadelphia/Susquehanna area to Connecticut or another of the New England states. In the July/August 2011 issue of “Decoy Magazine”, authors and historians Gene and Linda Kangas, published a very thoughtful evaluation of all the facts available at the time. Their findings provide compelling evidence that the maker of the rig was, logically, from Massachusetts and, quite possibly, from the South Coast area (south of Cape Cod to the Rhode Island line). They note the following:

1. The initial “discovery” of the rig as a lot, occurred at a 1980’s Richard Oliver auction in Maine. The dealer selling the decoys was from Massachusetts and he indicated that the rig was found in Massachusetts. (Note: John Dilworth of New Jersey had acquired four examples prior to 1981 but it is not clear if these were part of the “Maine lot” and one example from the rig was purchased as early as 1959 by a Washington, D.C. couple. 2. Two well known, seasoned, Connecticut collectors bought two from an antique dealer in Boston. At the time, the antique dealer suggested that they had come from the Wareham (MA) area. Again, it is not clear if these were a part of the initial group from Maine. 3. When researching the article, The Kangas’ talked to respected, long time dealer/collector Ted Harmon from Cape Cod who indicated that, in the 1970s, he missed purchasing a lone example of a sleeper from the rig at a shop in Mattapoisett, Massachusetts. (a town adjacent to Wareham). 4. Decoys from the few known examples are in various states of surface preservation. At least one has been repainted by Elmer Crowell from East Harwich on Cape Cod (MA). Someone could have brought the decoy to his shop for maintenance or Crowell could have picked up the bird on one of his many trips “off Cape” to visit various shooting stands. His trips from his home on the Cape to stands at the Massachusetts/Rhode Island line would have taken him directly through the towns of Wareham and Mattapoisett. 5. The forms seen in members of the Gray rig closely resemble attitudes seen in carvings by Crowell. It is unsure who may have influenced who – if at all. In 1992 Frank Schmidt obtained three of these geese from a Philadelphia Family who told him they had been used at a hunting camp near the mouth of the Delaware River, south of Philadelphia. In July 2002 Guyette & Schmidt, Inc. sold early Buffalo, New York collectors Gordon and Ginny Hays’ decoys. In their collection were two Canada geese from the Gray rig. Their purchase notes stated that they bought the decoys in Georgetown, D.C. in 1959. While we are left to puzzle over the actual maker of the decoys, we do have the limited examples of the unknown artisan’s work that have survived to admire and appreciate. Three examples are prominently pictured in the important reference “Spiritually Moving – A Collection of American Folk Sculpture” by Geismar and Harvey and individual examples reside in a small number of elite private collections.

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395

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Rare canvasback drake, Dan English, Florence, New Jersey, last quarter 19th century. Two piece hollow body with slanted neck seat, gives the appearance

Rigmate pair of black ducks, Joe Morgan, Tullytown, Pennsylvania. 2nd quarter 20th century. Two piece hollow body. Each has raised Delaware

of a resting decoy. Glass eyes. Carved tail tips. Bob White

River style wingtips and carved tails. One is in a resting

collection stamp on underside. 14” long. Original paint;

pose with bill laying on top of breast. Other has a raised

a few smudges and discoloration to white area on sides;

and slightly turned head. Both have finely detailed and

wear at tip of bill; small area at head; line tie marks visible

soft paint feathering on head. Detailed paint on bodies.

on back.

15” long. Strong original paint; very light wear to some

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edges; crack in neck of high head bird.

Provenance: Bruce Williams collection. Bob White purchased it from Joe Downy of Florence, New Jersey in the 1960’s.

Provenance: Bruce Williams collection. Bruce Williams

(6,000 - 10,000)

collection. “Delaware River Decoys: The Bob White Collection,” The Noyes Museum, 1/24/88-4/10/88.

Literature: “Delaware River Decoys: The Bob White Collection,” exhibition brochure.

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(6,000 - 8,000)

397

Rare mallard hen, John English, Florence, New Jersey, last quarter 19th century. Two piece hollow body with carved back, wingtips, and tail. Tack eyes. 16” long. Paint is a mix of original and old working repaint; chip at tail; head has been broken off and reset; seam separation at body halves.

Provenance: Bruce Williams collection. Ex collection of Johnny Hillman, with Hillman collection stamp on underside. (1,500 - 2,500)

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397

Black duck with turned head, John McLoughlin, Bordentown, New Jersey. Signed. 16.25” long. Carved primaries and secondaries. Fluted tail. Fine feather paint detail. Very good and original.

Provenance: Kirby Roberts collection. (1,400 - 1,800)

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399

Rare pintail hen, Tom Fitzpatrick, Delanco, New Jersey. 17” long with glass eyes. Raised V wingtip carving. Original paint with minor flaking and wear; area on underside of tail and part of underside has repaint; hairline crack partway through neck, otherwise structurally good.

(1,500 - 2,000)

399

400

Rigmate pair of pintails, John McLoughlin, Bordentown, New Jersey. Both are signed by “McLoughlin”. Drake is dated 1948. Both are two piece hollow body. Drake is 18” long. Original paint with light wear.

Provenance: Bruce Williams collection. (2,000 - 2,500)

400

275

John English 1848 - 1915 | Florence, New Jersey

“This is the only John English bufflehead drake in original paint that I have ever seen.” Bob White

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401

Incredibly rare bufflehead drake, John English, Florence, New Jersey. Two piece hollow body. Carved, extended tail, glass eyes. Original pad weight. 11” long. Original paint has worn evenly; some areas of white wing patch missing where line tie was wrapped around body; some crazing and discoloration to white areas, mostly on lower side of body.

Provenance: Bruce Williams collection. Bob White purchased it from Doug Rogers. “Delaware River Decoys: The Bob White Collection,” The Noyes Museum, 1/24/88-4/10/88.

Literature: “Decoy Collector’s Guide,” January-March 1964, p. 23, exact decoy pictured (incorrectly identified as Mark English). “The Great Book of Wildfowl Decoys,” Joe Engers, editior, p. 125, exact decoy pictured. “Delaware River Decoys: The Bob White Collection,” exhibition brochure.

(25,000 - 35,000)

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402

403

402

Goldeneye hen, carved by John English and painted by John Dawson. Carved by English

“The Great Book of Wildfowl Decoys,” Joe Engers,

3rd quarter 19th century and repainted by Dawson

River Decoys: The Bob White Collection,” exhibition

around 1920. Two piece hollow body with tucked

brochure.

editior, p. 128, exact decoy pictured. “Delaware

resting head. Extended carved tail and glass eyes. 12” long. Strong Dawson paint; body seam has separated slightly with mild paint loss in that area. Provenance: Bruce Williams collection. Bob White eventually he retired them from his rig to the shelves of his collection. He owned from 1957 to early 1980s,

wingtip carving, tail, and feathers carved in back. 16” long. Original paint; structurally good. Provenance: Bruce Williams collection. “Delaware River Decoys: The Bob White Collection,” The Noyes

Neck, NY. “Delaware River Decoys: The Bob White

Museum, 1/24/88-4/10/88.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 62, 123, 127, exact decoy pictured.

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Black duck, Bill Quinn, Yardley, Pennsylvania, circa 1930. Two piece hollow body. With raised

when sold his collection to Bruce Williams, Colts Collection,” The Noyes Museum, 1/24/88-4/10/88.

403

(4,000 - 6,000)

Literature: “Delaware River Decoys: The Bob White Collection,” exhibition brochure.

(2,500 - 3,500)

404

Rare and important American merganser drake, John Dawson, Trenton, New Jersey. Two piece body with racey and sculptural head. Painting on back reflects the modern era in which Dawson was painting, a very stylistic design. Tail feathers are slightly extended with individual carving. 15” long. Strong original paint that has mellowed nicely with just the right amount of wear; Bob White restored a crack in neck and small area by eyes.

Provenance: Bruce Williams collection. Bob White purchased it from Harry Knowles, who was a neighbor of John Dawson. “Delaware River Decoys: The Bob White Collection,” The Noyes Museum, 1/24/88-4/10/88. “Ducks, Decoys and the Delaware: A Regional Hunting Tradition,” Bucks County Historical Society, 4/17/04-1/3/05.

Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 20 and p. 45, exact decoy pictured. “The Great Book of Wildfowl Decoys,” Joe Engers, editior, p. 128, exact decoy pictured. “Delaware River Decoys: The Bob White Collection,” exhibition brochure.

(12,000 - 18,000)

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Illinois River

405

408

406

409

407

410

405

Mallard drake, Charles Shelstrum, Tiskilwa, Illinois, circa 1900. Unusual size, only 14.5” long. Original paint;

408

slightly turned head. Paint appears to be a second coat

with a light coat of old varnish; minor wear.

by Perdew; slight crazing to white paint at neck; small worn spot on one side, otherwise very good and original.

Provenance: Carl Nemec collection. Formerly the hunting

(1,250 - 1,750)

rig of Doug Mosley, Princeton, Illinois. “DM” is painted on the underside. 406

(1,750 - 2,250)

409

Rare pintail drake, Verne Cheesman, Macomb, Illinois. Slightly turned head. 14.25” long. Original paint

low body with “A” carved in underside. Alert high head. 17” long. Original paint on head and bill; black areas on body

repaint; a few small dents.

have been repainted; original coat of white on body has

Provenance: Carl Nemec collection. Formerly in the col-

been covered by a very thin coat of white that is almost

lection of Joe French, Marathon, Florida. Small “JF” brand

transparent; line tie marks around neck; light wear.

in underside. #449 Joe French collection, Jack Stimson Carman Ill in Nov 1956. 407

Canvasback drake, Jack Eppel, Peoria, Illinois, circa 1940. Eppel made decoys for his personal use only, and this is one of two dozen canvasbacks. Two piece hol-

on parts of the back, head and bill; the rest has old in use

Mallard drake, Charles Perdew, Henry, Illinois. Very

(1,500 - 2,500)

Pair of mallards, Oscar Althoff, Beardstown, Illinois. Both have slightly turned heads. Original paint with almost no wear; protected by its original coat of varnish; significant varnish shrinkage has darkened; small dent in center of hen’s back.

Provenance: Governor Jim Thompson collection.

410

Very rare bluewing teal, Tube Dawson, Putnam, Illinois, 2nd quarter 20th century. Branded “L.T.” on

(700 - 1,000)

lower side for Leon Thompson, who was a market hunter in Henry, Illinois. Two piece hollow body. 11.5” long. Thin original paint with moderate wear; some paint loss; body seam was reglued with glue flaking in that area.

Provenance: Meyer collection.

Provenance: Governor Jim Thompson collection.

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

(3,000 - 5,000)

(600 - 900)

410a

Canvasback drake, Charles Perdew, Henry, Illinois. Two piece hollow body. Retains original Perdew weight. Strong combing on back and sides. 16” long. Excellent original paint; small rub at one side of cheek; tiny nick near one eye. (6,000 - 9,000)

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411

Pair of full size greenwing teal, Charles Perdew, Henry, Illinois. Hen is in preening pose, drake has slightly turned head. Both have relief wingtip carving and drake has a small crest. Drake is 11” long. Excellent and original, Charlie’s finest paint.

Provenance: Otto Meyer collection.

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(12,000 - 15,000)

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412

Rigmate pair of mallards, Charles Perdew, Henry, Illinois, circa 1950. Both have slightly turned heads. Two piece hollow bodies and Perdew weights. 15” long. Both are original paint and are protected by a coat of varnish; near mint; at top of drake’s head, a rub was darkened at two very tiny spots.

Provenance: Otto Meyer collection.

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(6,000 - 9,000)

413

Pair of mallards, Robert Elliston, Bureau, Illinois, last quarter 19th century. Both retain Elliston weights. Both are from the W.H. Duppee rig, and so branded. Original paint; with minor wear; thin crack through drake’s neck; hen has several tiny dents; hen has a light coat of varnish.

Provenance: Carl Nemec collection.

(7,500 - 10,000)

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414

415

414

Mallard drake, Bert Graves, Peoria, Illinois. From the Casswell rig, branded

Rigmate pair of mallards, Bert Graves, Peoria, Illinois. From the Casswell rig.

“CJC” twice in underside. Retains Graves

“CJC” branded twice in underside of

weight. His earlier “white sided” style

both. Retain original Graves weights. 16”

with fine combing and feather paint

long. Both are in original paint protected by

detail. Original paint with slight wear; sev-

a coat of varnish; average gunning wear,

eral tiny spots where filler has lifted from the

with shot scars to one side of body and

nails holding the body halves together.

head of drake; a few small rubs expose bare

Provenance: Carl Nemec collection. (3,500 - 4,500)

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415

wood.

(2,500 - 3,500)

416

417

416

Very rare preening mallard drake, Robert Elliston, Bureau, Illinois, last quarter 19th century. Second coat of paint

417

Pintail drake, Robert Elliston, Bureau, Illinois, last quarter 19th century. 17” long. Retains Elliston weight. Original paint

by Millie Graves; moderate discoloration and

with moderate wear; neck seam has glue in

wear, mostly on head; a few small dents.

it and there is a sliver of wood missing from

(3,000 - 4,000)

the bottom of the neck.

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

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420

418

421

419

418

Mallard drake, Jack Eppel, 1st quarter 20th century. A very rare example, as the head is turned

Low head style cork body gadwall, Harold Haertel, Dundee, Illinois. Signed. 14.25” long. Original paint with

approximately 90 degrees. Two piece hollow body. 14”

minor wear; structurally good; small chip missing from top

long. Original paint that has crazed at green areas; two

of tail otherwise structurally good.

small chips near tail; coat of varnish that has darkened.

420

Provenance: Otto Meyer collection.

421

Crow, Charles Perdew, Henry, Illinois. Two piece hol-

(800 - 1,200)

Provenance: Governor Jim Thompson collection. (700 - 1,000)

low body with glass eyes. 14.5” long. Original paint with 419

Pair of crows, Harold Haertel, Dundee, Illinois. Inscribed on underside, “For Harold Corbin, 1969”. Both have glass eyes. Matching carved bases. 17” long x 12” tall. Near mint.

Provenance: Otto Meyer collection.

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(800 - 1,000)

light wear.

Provenance: Governor Jim Thompson collection. (800 - 1,200)

422

423

Snow goose decoy, Herman Glick, Havana, Illinois. Hollow body with removable head. Sides have applied pieces of tin. Underside of base says, “One of one

423

Crow on wire legs, Hadden Perdew, Henry, Illinois. Stamped “HP 84” between the legs. 14” long. Excellent and original.

(350 - 450)

snow goose, field rig 1930s.” Herman Glick was the father of Merle Glick. 28.5” long. Original paint; some slight separation around tail; discoloration on top of back.

Provenance: Governor Jim Thompson collection. Ex Harry Freenslate collection.

(800 - 1,200)

424

Pair of hollow carved widgeon, George Sibley, Whitehall, Michigan. Both have slightly turned heads with inserted hardwood bills. Original paint; minor to moderate discoloration and wear; small dents; one eye has been replaced; a small chip on top of hen’s tail.

Provenance: Formerly in the collection of Joe French. French’s number 176 is on the underside of each. (3,500 - 4,500)

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Mandt Homme 1905 - 1964 | Stoughton, Wisconsin

Mandt Homme

426

Canvasback drake, Mandt Homme, Stoughton, Wisconsin, circa 1940. Turned head with tack eyes. Detailed layered feather and wing carving. Carved, crossed wingtips and carved tail. Comb painting on side pockets and back. Two piece hollow body. Keel has been removed. 15” long. Strong original paint; some light gunning wear; slight bluntness to one side of tail; a few small areas of paint flaking.

Provenance: Consigned by the family of A.T. Shearer, who bought the decoy directly from Homme and used it in his gunning rig. (5,000 - 8,000)

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A small town just south of Madison is where three of Wisconsin’s best decoy carvers lived and hunted. The impressive decoys made by these three famous carvers, Ferd Homme, Mandt Homme and Enoch Reindahl, are sought after by serious collectors across the country. Their style, now known as the “Stoughton Style”, can be characterized by realistic full body sculptures, often in a resting or sleeping pose. Ferd carved decoys as a hobby and probably completed only 100 decoys in his lifetime. Raised crossed wing tips are a common characteristic of most of Ferd’s carved decoys, along with hand carved primary feathers. Ferd preferred to hand carve during the winter months and paint in the spring, using live ducks on the lake as models. The painting techniques vary with combinations of wet on wet blending with areas of heavy combing. Ferd painted in a highly realistic style and took great care to capture the finer details. The combination of these attributes works to create life like characteristics that can be enjoyed either on the water or on a shelf.

427

Very rare oversize canvasback drake, Mandt Homme, Stoughton, Wisconsin, circa 1930. Branded “A.T. Shearer” in underside. Two piece hollow with bottom board. Carved, crossed wingtips and carved tail. Strong feather combing with faint but detailed feather loop painting at top of back. 18” long. Original paint; shot marks that have been filled; tight cracks at neck; a dent at one side of head; spots of discoloration; some white paint spatter mostly on one side of body.

Provenance: Consigned by the family of A.T. Shearer, who bought the decoy directly from Homme and used it in his gunning rig.

(8,000 - 12,000)

291

Items of interest

428

Setter weathervane, possibly Washburne Company, 1st quarter 20th century. Full body copper with traces of gold gilding and verdigris have worn away and weathered over time. Structurally the weathervane appears to be good and measures 32” long. (5,000 - 8,000)

292

429

Large and impressive full body copper weathervane of eagle mounted on globe, last quarter 19th century. This weathervane makes a great impression with its spread wings, open beak, and fanned tail. Surface shows some gold gilding and green verdigris. 54” wingspan. Small dents and some repairs where there were separations to welds. (8,000 - 12,000)

293

430

Large three masted sailing ship copper weathervane. Intricate detail with verdigris surface. 54” long x 40” tall from bottom of ship to top of mast. Ship name stamped in copper at stern reads “Peters”. Appears to have good age. Two of the ropes have been broken at one side of well, otherwise structurally good. (6,000 - 9,000)

294

431

Full body copper weathervane of a spread wing eagle, last quarter 19th century. The striking figure of an eagle with an open beak and dropped feet was probably attached to a ball originally. Wings are spread and tail is fanned. 38” long wingspan. Most of surface appears to be original; flaked off in some areas; dent near one side of head and in underside of wings; small areas of separation; aged as expected since it has been outdoors for at least a century.

(4,000 - 6,000)

295

432

Red Goose Riding Toy. “Half the fun of having feet, is wearing Red Goose Shoes.” From 1836 to 2004 Jefferson City, Missouri was home to six or more factories servicing government and private contracts while using inmates of what was once the largest prison in the US. This coveted riding toy was used as a trade advertisement piece , circa 1920, by the Red Goose Shoe CO., and it was manufactured J.M. Hays decoys company. At 10” long x 16” tall it retains the Red Goose trademark logo on back. The head and front wheels rotate. Very few of these are known to have survived, and each is different and unique because they were hand assembled. Original paint; structurally good.

Provenance: Kangas collection. Literature: “Goose Chase Through American History,” Gene Kangas, Decoy Magazine, July/August 2017, exact carving pictured. “Animals in American Folk Art,” Wendy Lavitt, p. 64, related example.

296

(4,000 - 6,000)

433

Very rare painted sailcloth matt sailor’s compass, Lunenburg County, Nova Scotia, 1st quarter 19th century. In original circular frame, 27.25” long. Sailcloth matts where somewhat common in Lunenburg County, but we never saw one made to hang on wall. Very good and original.

Provenance: Guyette collection. Purchased from Chris Huntington in the late 1970s.

(1,000 - 1,400)

434

Two decorative canoe paddles with scenes painted on them, crossed in a heart that is 2.5” thick. Carving appears to be from the late 1800s and is probably from Maine. Paddles are 31.5” long. Carving detail on paddle handles and edges of heart. One paddle has a hunting scene of a man shooting at a deer in a field on one side and two men fishing from canoe on the other. The other paddle has a fish painted on one side and an American Indian looking at some deer drinking out of a stream. Heart has a bear and tree limbs on one side, and what appears to be a large bird on other. Overall very good; the side of heart with bird has small areas of paint missing; several spots of discoloration on the scene of men fishing.

Provenance: Formerly in the collection of John Delph. (2,000 - 4,000)

297

435 435

Pine corner cupboard, Hants County, Nova Scotia, last half 19th century. 77.75” tall x 37.75” wide. Hidden compartment on sides of bottom shelf. Beveled inside edge to opening, plate rail on top shelf. Original buttermilk brown paint with minor wear.

Provenance: Guyette collection. Purchased from Barb Schwinamer Antiques around 1980. Barb had just purchased it at a yard sale and had it in the back of a pickup truck; her husband and I unloaded it for her. I asked her how much it was; she said it’s really nice, I want $1,000. I said I’d take it; she said nevermind she wanted to keep it; her husband made her sell it. (1,250 - 1,750)

436

Tapered leg two drawer side table, Lunenberg county, Nova Scotia, last half 19th century. Square nail construction. Dove tailed drawers. Stands 29.5” tall plus 3.25” back splash. Back corners of back splash are dove tailed. Original buttermilk red paint; minor wear and few spots of touchup.

Provenance: Guyette collection. Purchased from Murray Stewart Antiques, Mahone Bay, Nova Scotia, late 1970s. (650 - 950)

436

298

437

438

437

439

Settle bench or bonlea, Prince Edward Island, Canada, late 1800s. 74” long x 34” tall. Original

features a hand decoration on the skirt and top,

brown buttermilk paint; worn, mostly on seat; original

wear, mostly on the edges.

strap hinges and square nails; backboards have shrunk so there are spaces between them, the top

made by using the side of someone’s hand; minor

Morris Patten antiques, Truoro, Nova Scotia around

two were moved down at a later date.

1980. Morris just purchased it out of a house in Picton, Nova Scotia.

Provenance: Guyette collection. Purchased from Wayne Leary, Monkton, New Brunswick in the late 1980s.

438

(1,000 - 1,400)

Provenance: Guyette collection. Purchased from

439

(650 - 950)

A very large set of Indian exercise clubs, circa 1940. At about 15 pounds each, these impressive

Sheraton stand. Pine and hardwood construction.

exercise clubs are in brown paint with natural handles

Mid 19th century. Dove tailed drawer. 28” tall, top

and are cone shaped with lathed decoration. Stands

is 17.5” x 24”. In original buttermilk paint; the stand

at 29” tall.

(1,200 - 1,800)

299

440

Queen Anne hanging shelf, Liverpool, Nova Scotia, mid 18th century. This lovely shelf features original buttermilk paint and was made with hand forged nails. It measures 44.5” wide x 31” tall. Minor wear; small damage to the tongue and groove wood on back and one side.

Provenance: Guyette collection. Purchase from Chris Huntington in the late 1970s.

(1,000 - 1,400)

440

442

441

Full body copper weathervane of a crowing rooster. Shows good age. Comes with directional. Rooster

442

on post is 24” tall. Numerous dents and imperfections.

Rare 19th century red bean winnower, Lunenburg County, Nova Scotia, last quarter 19th century. 23” in diameter. Original buttermilk red paint; minor wear; several

(400 - 600)

small mouse chews in split ash.

Provenance: Guyette collection. Purchased one afternoon door knocking with Earl Rodenzer, Pleasantville, Nova Scotia.

300

(350 - 450)

444

443

Hubley cast iron teal door stop. 11.5” long. Original

443

paint with some discoloration and rust.

444

(1,500 - 2,000)

Rare folk art bird, Albert Zahn, Door County, Wisconsin, 1st half 20th century. Red and white figure mounted on base. Tin wings were applied, then painted green. Zahn is considered a regional folk artist whose work is in strong demand. 6.5” long. Original paint with some discoloration.

445

(500 - 800)

446

Two vintage wooden cigar boxes. With desirable

446

Two 19th century “wallpaper boxes.” A large

graphics. Woodcock with inked image at top of box

blue box, and smaller off white box. Newspaper

and paper label with pointer holding woodcock on

dated on inside of blue box says May 12, 1829.

one side. Other box “two homers, they always come

Paper tape has been used to reinforce both top

back” graphics of pigeon pair on both inside label

and bottom seems of this box. Original wallpaper

and outside. Largest box 10” long. Both boxes show

shows wear; green paint appears to have turned

wear with some staining and paper tears.

dark or black. Smaller box has paper dated 1831.

Provenance: Formerly in the McCleery collection. Formerly in the Paul Tudor Jones collection.

has wooden bottom. Shows wear, flaking and discoloration.

(1,000 - 1,500)

(3,000 - 5,000)

301

447

Incredible collection of vintage falconry hoods. 48 total. The collection consist of both Dutch and Anglo-Indian style hoods. These are typically made from Kip leather or subtle kangaroo hide. Ages vary, but all appear to be at least 50 years old and some may be early 20th century. Some have designs tooled in to the making. Some have feather decoration on top. Most are made from leather, with the exception of one that appears to be stitched cloth. All have been mounted on a leather covered display case. Conditions vary; all are worn and used and have a good patina.

Provenance: Consigned from a Philadelphia estate.

(4,000 - 6,000)

Falconry (or hawking) is the ancient art of taking wild quarry with a trained bird of prey. An ancient sport that has been practiced since preliterate times, references to falconry appear as early as 680 BC in China. Inscribed stone slabs from the Middle East dating to the 13th century BC depict the use of falcons, and cave paintings from prehistoric sites may represent even earlier references to falconry. European merchants and adventurers became familiar with falconry in the Middle and Far East and, on their return home, took falcons and falconers with them. Interest spread rapidly and it is believed to have reached the Mediterranean about 400 AD. Germanic tribes acquired the sport around the sixth century AD and, by 875 AD, it was practiced widely through western Europe and Saxon England. Interest in falconry peaked during the Middle Ages. It became a highly regulated, revered, and popular sport among nearly all social classes in Europe. In Western Europe and Great Britain, falconry went beyond being a sport of royalty, or being practiced as a food gathering necessity, and its popularity became a status symbol in Medieval society. Some laws went

302

so far as to dictate what social class could own which species of bird. Shakespeare made over fifty references to falconry in his plays. The value of the birds skyrocketed, and in some cases, falcons were substituted for gold in payment of ransoms. During the 17th century, after the advent of the shotgun, the enclosure of open lands, and numerous social upheavals, falconry virtually died out, surviving in Europe largely through the enthusiasm of members of hawking clubs. The office of “Master of the Mews”, a position for the King’s best falconer, still exists in England today.

In North America, the story is quite different. There seems to be no tangible evidence of any practice of the sport by the native peoples. Columbus had at least one falconer in his party and there is a reference to a New England Pilgrim falconer but, seemingly, neither had any lasting influence on the practice on these shores. References from the 18th and 19th century are very rare. An article in the December 1920 issue of “National Geographic Magazine” aroused the interest of some and, by the 1930s, a minor revival centered around men associated with universities on the east coast. Their enthusiasm was largely based on an interest in nature and Natural History, rather than hunting with the birds. As one author expressed it, “it was more about having than hawking”. The sport slowly gained in popularity after WWII and now flourishes under the control of rigid State and Federal laws with a Code of Ethics established by the North American Falconers Association that was formed in 1961.

Hoods are believed to be an Arabic contribution to falconry, brought to Europe by the Crusaders. The hunting instinct is natural in the birds and the purpose of the hoods is, primarily, to calm the bird and aid in their training as it relates to their interactions with their human handlers. Three styles of hoods exist that are commonly divided into “Dutch”, “Arabic” and “Anglo Indian”. There are also some references to a “Jordanian” style hood. Makers and owners lavish great care and expense in the creation of these articles. Examples of finely crafted, diamond encrusted hoods made with exotic skins and leathers exist. The cultural significance and artistic merit of falconry hoods have warranted their inclusion in the collections of museums such as the Victoria and Albert Museum in London, the Boston Museum of Fine Arts in Massachusetts, the Cooper Hewitt Smithsonian Design Museum in New York, the United Kingdom’s Museums of the National Trust and the Textile Research Center and Museum in Leiden, The Netherlands.

303

448

Outstanding robin snipe in spring plumage from Accomack, Virginia, 3rd quarter 19th century. In rare feeding pose, with raised “V” wingtip carving and carved eyes. 8” long. Original paint with good patina and very minor wear; slight roughness to tip of tail and wingtips.

Provenance: D.C. North collection. Ex William J. Mackey, Jr. collection, collection stamp on underside. Ex Davison Hawthorne collection.

Literature: “American Bird Decoys,” William Mackey Jr., p. 158 center, exact decoy pictured.

304

(9,000 - 12,000)

Page 158 of “American Bird Decoys,” by William Mackey, Jr.

305

306

449

Extremely rare black bellied plover in feeding pose, attributed to William Mathews, Assawoman Island, Virginia, circa 1900. Head is also cocked about 15 degrees to one side. Relief wing carving. Original paint; minor wear; small rough area on one edge of tail otherwise structurally very good; slight roughness to tip of bill.

Provenance: D.C. North collection.

Literature: “American Decoys,” William Mackey, Jr., p. 159, rigmates.

(10,000 - 14,000)

307

451

450

308

450

Rare lesser yellowlegs, Ira Hudson, Chincoteague, Virginia. At 9 3/8” long, the decoy has a thin, graceful neck and a long bill. Original paint with minor wear; lightly hit by shot; minor paint flaking on bill.

Provenance: D.C. North collection. Ex William J Mackey, Jr. collection. Mackey collection stamp on underside.

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

(15,000 - 20,000)

309

451

Exceptionally well carved greater yellowlegs, Ira Hudson, Chincoteague, Virginia. Just under 12” long with round body, thin neck, and long thin bill. Cheek carving. Original paint; minor to moderate flaking and wear.

Provenance: D.C. North collection. Ex William J Mackey, Jr., collection. Mackey collection stamp on underside.

310

(10,000 - 14,000)

311

453

452

Early black bellied plover, maker unknown from the Eastern Shore, Northampton County, Virginia, mid to late 19th century. Carved eyes, split tail, and

heart shaped wing carving and carved eyes. Branded “P” in underside. The initials “WB” are carved on the underside

the wing to the eye. Also exhibits inserted and splined

for Wessel Brothers. Old paint has mostly been worn off;

hardwood bill, all of the characteristics of the shorebirds

heavily hit by shot; bill is a professional replacement by Frank Finney.

appears to be the original surface showing minor in use wear; a few light shot marks; overall excellent structurally. Literature: “Shorebird Decoys”, Henry Fleckenstein, p. 65, rigmate pictured.

(6,000 - 9,000)

453

312

Running curlew, Wessel Brothers, Modesttown, Virginia, circa 1900. This 14.5” long running curlew has

raised wings with an unusual raised area extending from

from Cobb’s Island. 10” long. Very early working paint

453

Provenance: D.C. North collection.

(3,000 - 4,000)

455

454 D.C. North pictured with lot 455.

454

455

Exceptional root head lesser yellowlegs, Harkers Island, North Carolina, last quarter 19th century. Cork body. Total decoy is 9.25”

455

Outstanding root head curlew, Harker’s Island, North Carolina, last quarter 19th century. Cork body. 14.25” long. Original paint with minor wear

long. Original paint; minor wear; small amount of

on the head, moderate wear on body; small piece

wear to the wood.

missing from cork at one side of neck base; several small rough spots on other areas of cork.

Provenance: D.C. North collection.

Literature: “Great Book of Wildfowl Decoys,” Joe Engers editor, p. 174, exact decoy pictured. (6,500 - 9,500)

Provenance: D.C. North collection.

Literature: “Great Book of Wildfowl Decoys,” Joe Engers, editor, p. 174 exact decoy pictured. This decoy is also featured in “Decoy Magazine,” July 1988 article on D.C. North, where he is holding this decoy, p. 24.

(6,500 - 9,500)

313

456

Pair of dowitchers, Calvin Gaskill, Stacey, North Carolina, circa 1900. 9.5” long. Wide round bodies, with carrying holes carved in each tail. Gaskill was a hunting partner of Mitchell Fulcher. Original paint; minor wear; both bills are working replacements; hairline crack in underside of one.

Provenance: D.C. North collection.

Literature: “Great Book of Decoys,” Joe Engers, editor, p. 174, one is pictured. (9,500 - 12,500)

314

457

Pair of yellowlegs, John Fulcher, last quarter 19th century. Fulcher worked at the Whale Head Life Saving Station on the Outer Banks and carved decoys there. 9 5/8” long with wire bills. Original paint with minor discoloration and wear; both have some paint loss at the back of the head; one has several shot marks on back; blood stains on one breast.

Provenance: D.C. North collection. D.C.’s “N” brand in underside of each.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr., p. 238, exact decoys pictured. “North American Decoys,” Fall and winter 1982, article by Verne Berg, p. 10 & 11. Subject is the unusual find of the 24 shorebird decoys carved by Fulcher. (6,500 - 9,500)

315

458

Pair of peeps, from the hunting rig of Irvin Morris, Atlantic, North Carolina. On original wire stakes. Decoys are only 5 3/8” long. Bodies are somewhat flat sided, but heads are round.

Provenance: D.C. North collection.

(2,500 - 3,500)

458

459

Yellowlegs, a member of the Midgett Family, Rodanthe, North Carolina, circa 1900. 10.5” long with split tail and wire bill.

Provenance: D.C. North collection. Formerly in collection of Jimmie Hannaman, New Orleans, Louisiana. (2,500 - 3,500)

459

460

Dowitcher, Outer Banks, North Carolina, last quarter 19th century. Original paint; minor wear; slight toughness at stick hole.

Provenance: D.C. North collection. Ex Lloyd Johnson collection.

460

316

(3,500 - 4,500)

North Carolina

461

462

461

Canvasback drake, Robert Morse, Duck, North Carolina, 1st quarter 20th century. A

462

Canvasback drake, Ned Burgess, Churches Island, North Carolina. A large and stately

sculptural bird. 16” long. Thin worn original paint;

example with extended tail, classic hard chine

much of body is exposed to bare wood and wood

around midbody. 17” long. Worn original paint;

grain; crack in neck.

rough area at one side of bill.

Literature: “Gunnin Birds,” Kroghie Andresen, p. 172, similar example.

(5,000 - 7,000)

Literature: “Gunnin’ Birds,” Kroghie Andresen, p. 158, similar example pictured.

(6,000 - 8,000)

317

Alvirah Wright 1869 - 1951 | Duck, North Carolina

Wright, a tugboat captain by trade, carved between 300 and 500 decoys. He sold them for fifty cents each. He mainly carved canvasbacks, but also carved a small number of redheads, ruddy ducks, and bluebills. Wright also worked as a lumberman and boat builder.

463

Classic ruddy duck in alert pose, Alvirah Wright, Duck, North Carolina, 1st quarter 20th century. Part of a rig that was repainted as coots 75 or so years ago. Working repaint; thin crack in back; several small dents; fairly large crack in underside.

Literature: “Gunnin’ Birds,” Kroghie Andresen. “Southern Decoys,” Henry Fleckenstein, Jr. (17,500 - 22,500)

318

319

An elderly Alvirah Wright pictured on the porch.

320

464

Very rare redhead drake, Alvirah Wright, Duck, North Carolina. In alert head pose, with well sculpted head and small slightly lifted tail. Just under 16” long. Worn old paint, some of which is original; old “make due” neck crack repair.

Literature: “Gunnin’ Birds,” Kroghie Andresen. (20,000 - 30,000)

321

Ned Burgess 1868 - 1962 | Churches Island, North Carolina

Plaque that accompanies decoy. Written on the back in D.C.’s handwritting is, “Ned Burgess Ruddy, 1982.”

322

465

Important ruddy duck, Ned Burgess, Churches Island, North Carolina, circa 1920s. With a wide, rounded body, much more stylish than is typical. 11.25” long x 5.25” wide. Original paint with minor to moderate wear; small rough spot on one edge of tail; about 20 shot marks.

Provenance: D.C. North collection. D.C.’s “N” stamp in underside. This decoy was the winner of Best Back Bay Decoy ribbon at the Virginia Beach Decoy Show in 1982. Ribbon is included. Literature: “North American Decoys,” Gene and Linda Kangas, p. 10, exact decoy pictured. “Southern Decoys,” Henry Fleckenstein, Jr., p. 227, exact decoy pictured. “Decoy Hunter,” number 11 1983, decoys of the month exact decoy pictured.

(25,000 - 30,000)

323

Ivy Stevens 1876 - 1947 | Knotts Island, North Carolina

Ivey Steven’s decoys are smaller than some of the large battery decoys which were made after the turn of the century. His style was developed early in his childhood on Cedar Island, where he worked, carved and guided for John WIlliams. Ivey made geese, canvasback, redheads, widgeon, black ducks, pintails and a few ruddies and teal. See Gunnin Birds Kroghie Andresen, page 45

324

466

Extremely rare greenwing teal drake, Ivy Stevens, Knotts Island, North Carolina, 1st quarter 20th century. 12.25” long with ice dip behind neck. Raised neck seat. Most of the old overpaint has been scraped off to show original on most of the decoy; minor wear and some old repaint still remains; slight roughness and short crack in tail; crack in underside; old repaint on much of the underside; very lightly hit by shot.

Provenance: D.C. North collection. Purchased by D.C. from Ron Davis. Davis purchased from Joe Martone who was a dentist from Kitty Hawk, North Carolina. Martone was given the decoy by Skeeter Halstead at Back Bay in 1960. Joe and his father hired Skeeter to guide them for several years and Skeeter gave it to him as a memento. Ron Davis stated, “I’ve never seen an Ivy Stevens puddle duck other than this one.”

(15,000 - 20,000)

325

Lee Dudley 1860 - 1942 | Knotts Island, North Carolina

467

Widgeon drake, Lee Dudley, Knotts Island, North Carolina, circa 1900. “LD” branded in underside. 13” long. Several coats of old working paint, some of which is original; restoration to bill by Cameron McIntyre; several shot scars; cracks in neck.

326

(15,000 - 25,000)

468

Canvasback drake, Wallace O’Neal, Currituck, North Carolina. Original weight. 16” long. Original paint that is thin and worn; crack near neck base and one side of cheek.

(2,000 - 3,000)

468

469

Ruddy duck, William Bailey Barco, Currituck, North Carolina. 10.25” long. Old in use repaint; bill repair; small dents; crack in underside.

Literature: “Gunnin’ Birds,” Kroghie Andresen.

(3,000 - 5,000)

469

470

Coot, Joe Hayman, Corolla, North Carolina, 2nd quarter 20th century. Swimming head pose. 13” long. Worn original paint; tight crack in neck.

(3,000 - 4,000)

470 471

Brant, Nelius Midgett, Hatteras Inlet, North Carolina, 2nd half 20th century. 19” long. According to Kroghie Andresen, Midgett is credited with making a rig of brant decoys only. They can be identified with their painted crossed wingtips. Original paint with some darkened rubs and flaking evenly distributed over body and head; tip of bill has been recarved slightly.

Literature: “Gunnin’ Birds,” Kroghie Andresen, p. 345, similar example. (1,200 - 1,600)

471

327

472

475

473

476

474

477

472

Coot, James R. Rowe, Back Bay, Virginia. Stamped

loss at breast; much of body has darkened and could

“JR Rowe” on underside. Wooden bottom with cast metal

possibly be cleaned.

(600 - 800)

head. 11” long. Rowe was a machinist who worked in the Knotts Island and Back Bay area and usually hunted out

Redhead drake, Captain St. Clair Midgett, Hatteras Inlet, North Carolina, 1st quarter 20th century. 18”

of Bay Haven Marina Landing. Original paint with minor

long. Original paint with moderate gunning wear; rubs to

flaking and wear; crack in back.

bare wood; professional restoration to a chip at base of

ship yards in Norfolk, Virginia. He grew up hunting in the

Provenance: Kroghie Andresen collection.

475

neck.

(600 - 900)

473

Canvasback drake, Anderson Munden, Outer Banks, North Carolina, 1st quarter 20th century. Munden mostly made decoys for his own

similar example.

(500 - 800)

use. Slightly extended tail with tack eyes. 16” long. Old

Canvas goose, Mannie Haywood, Kill Devil Hills, North Carolina, 2nd quarter 20th century. Canvas

working repaint; with some flaking and rubs to bare

over wire construction with two piece head. 25”’

wood; crack in neck.

long. Second coat of working paint; discoloration around

476

nail heads; flaking to wooden parts of body.

Literature: “Gunnin Birds,” Kroghie Andresen, p. 44, exact decoy pictured.

474

Literature: “Gunnin Birds,” Kroghie Andresen, p. 341,

(800 - 1,200)

Widgeon hen, Joe Hayman, Coinjock, North Carolina, 2nd quarter 20th century. 16” long. Original paint; crack at top of body; some paint

477

(400 - 600)

Canvasback drake, Back Bay, North Carolina, 1st half 20th century. A large bold body with tack eyes. 17” long. Old working repaint; cracks in neck; heavy wear with wood exposed to most of body.

(300 - 500)

Contemporary carvings 478

Set of three well carved miniature shorebirds, William Gibian, Onancock, Virginia, circa 1980s. Two have “Gibian” carved in underside, plover has a “G” carved in underside. Running curlew is 10” long. All three are excellent and original.

(1,200 - 1,800)

478

479

Group of three black bellied plovers, William Gibian, Onancock, Virginia, circa 1980s. Each is carved “Gibian” on underside. Each of the three plovers are in a different pose, but have carved shoulders and split raised wingtips. One has a lifted wing. Feeder is 12” long. Excellent and original. (1,500 - 2,500)

479 480

Excellent pintail drake, William Gibian, Onancock, Virginia, circa 1980s. Two piece hollow body with exceptionally long sprig tail. Head extended and reaching back over mid point of body. “Gibian” carved in underside with weight and line tie. Excellent combing on body. Split wing and tail carving. 21” long. Excellent and original.

(1,500 - 2,500) 480

481

Gadwall hen, William Gibian, Onancock, Virginia, circa 1980s. Two piece hollow body. Slightly turned head. “Gibian” carved in underside. Weighted with leather line tie. Split raised wingtips. Feather combing on side pockets. 17” long. Excellent and original. (1,500 - 2,500)

481

329

Fish decoys 482

Large and desirable fish decoy, Leroy Howell. Orange and white pattern with red and black eyes. 9.5” long. Excellent original paint; with small area of loss at belly weight; a varnish coat has slightly darkened. (1,500 - 2,500)

482 483

Two fish decoys, Ernie Newman. 8.5” long. Metal fins and glass eyes. Original paint; protected by its original coat of varnish; minor flaking on yellow and red fish; hairline cracks in underside of other fish.

(1,250 - 1,750)

483

484

Very large walleye fish decoy, Leroy Howell, Minnesota, 1st half 20th century. Original gold paint. Double finned. 13.5” long. Small areas of paint loss at fins; some discoloration around top of body. (1,000 - 2,000)

484 485

Fish decoy with metal fins, Earnie Newman. 7 7/8” long. Original paint protected by its original coat of varnish; most of the paint is missing from the fins; small amount of paint missing from underside; structurally good. (1,000 - 1,400)

485 486

Rare size flower fish, Leroy Howell, Minnesota. Bull nose style with orange, white, and black body and flowers. 4.5” long. Even wear over most of fish.

(800 - 1,200)

486

487

Flower fish decoy, Leroy Howell, Minnesota. Early bull nose style with yellow and black dots. 5.25” long. Rear tail is possibly an early replacement.

487

330

(700 - 1,000)

488

491

489

492

490

493

494

495

488

Fish decoy, Leroy Howell, Minnesota, 1st half 20th century. Red and natural finish body with white

492

Pan fish, Leroy Howell, Minnesota. Red and white body. Measures 6” long. Near mint.

(500 - 800)

painted on underside and on fins. 7” long. Original paint protected by a coat of varnish. 489

(500 - 800)

493

Factory fish decoy, South Bend Factory, South Bend, Indiana, 1st quarter 20th century. Five belly weights,

Rare sucker fish decoy, Leroy Howell, Minnesota. Carved mouth. Body is painted gold. 9” long. Original paint; some kind of marks near one side of mouth; tiny chip at tail.

(500 - 1,000)

with scale pattern. 5” long. Strong original paint; small area of cracking at top of back and very mild paint loss

494

around belly weights.

in leaded weight that extends over metal which is then

Provenance: Steven Michaan collection.

attached to a wooden handle. Longest spear tine is 7”,

Literature: “American Fish Decoys,” Steven Michaan, p. 191, exact fish pictured. 490

(400 - 600)

Fish decoy, Leroy Howell, Minnesota. Flower fish with natural sides, yellow and black dots. 6.5” long. Original paint protected by a coat of varnish.

491

total length is 50”. Provenance: Ex Chuck Mangin collection. 495

(800 - 1,200)

(400 - 600)

Very well made fishing spear, probably from Michigan, last quarter 19th century. Hand wrought tines, longest 7.5”. Spear length 51”. Structurally good with light rust.

white with blended colors midway through body. 7” long. Original paint; coat of varnish that has discolored

(600 - 800)

iron with spear tongs secured with metal key. Nine total

Fish decoy, Leroy Howell, Minnesota. Red and

slightly.

Fishing spear, used on Lake Chautauqua, New York. Seven hand wrought tines with metal key. Incased

Provenance: Ex collection Jim Foote and Frank Barron. (600 - 800)

496

497

498

500

499

496

Calendar image of a dog with dog leash. Full calendar pages showing starting with January 1908. Company W.E.. Newman, Plumbing, Heating, stoves, and Tinware, Hillsborough Bridge, New Hampshire. Image is professionally matted and framed. Exposed image measures 14.5” x 10.5”. (300 - 500)

497

Large and early photo of gentlemen fly fishing in a river’s pool. Two guides with push poles in early river boat are ready to assist in a hook up. Appears to be an American scene. Image measures 17” x 36”. Early period frame. Professionally mounted. Small areas of flaking, mostly in pool of water near bottom edge.

Provenance: Steven Michaan collection.

498

Two guns owned by Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Smallest gun

(500 - 800)

appears to be a 22 caliber, Hopkins and Allen Arms, measures 34.5” long and has carved wooden stock, probably replaced. Second gun appears to be a percussion shotgun, measures 50” long.

Provenance: Steven Michaan collection.

499

10 gauge double barrel shotgun side by side with Damascus barrels, Colt’s Manufacturing, Hartford, Connecticut. Patented September 1882. Fancy grade wood on stock

(1,000 - 2,000)

and forearm. Engraving around breach, checkering at both forearm and grip. Gun measures 46” long, barrels measures 30”. Small amount of rust, mostly where breach breaks. 500

(800 - 1,200)

Ceremonial axe from carved wood. “A.O.F.” painted in gold letters one side of blade, “4994” on the opposite side. A.O.F. stands for Ancient Order of Foresters. Well carved sculptural handle with large carved axe blade. Covered by a coat of varnish that has crazed; appears to be circa 1900 or earlier. 36” long.

332

(500 - 800)

501

502

503

504 505

501

Early half hull boat model. Painted and mounted

carver. Boat name is possibly Chum. Model measures areas; flaking and wear at edges; what appears to be

Late 19th century pail bench, Lunenburg County, Nova Scotia. 30.5” tall. 43” long. Made with raised edges

small white paint splatter on top of model, but not visible

on top. In original green paint; slight wear on most of the

from sides.

bench; significant wear on top.

30” long. Paint surface is original; old and crazed in some

502

504

(1,000 - 1,500)

Vintage mahogany gunning box with 39 brass 12 gauge shells, bullet molds, and other tools. Note with box reads that it belonged to Phil Shoot, of Hingham, Massachusetts, who used a gunning stand on Accord

505

Original buttermilk red paint with some discoloration and

Roughness to underside of box otherwise condition of

wear; wear to the wood at one foot.

everything is good.

503

Bowback windsor chair, mid 1800s, central Maine. 18” at the seat, total height 37.5”. Spindles extend through the bowback. Original paint with minor wear mostly on seat; structurally good.

Late 19th century bench, Lunenburg County, Nova Scotia. 17” tall x 45.25” long. “Ozem Naas” is painted was a furniture maker in Lunenburg County, Nova Scotia.

included are the glass plate negatives for the photos.

(800 - 1,200)

(500 - 800)

in cursive in buttermilk yellow paint on each side. Naas

of hunters using the stand. Photos are 4” x 4.75”. Also

Provenance: Purchased by the consignor from Steve Tyng.

Provenance: Guyette collection. Purchased form Doug Selig in the late 1970s.

Pond. Box is 13” x 12” x 4.5”. Included are four old photos

Provenance: Guyette collection. Purchased from Joe and Jackie Davis, Farmington, Maine in early 1980s. (350 - 450)

to painted backboard. Dated 1896 and signed by the

Provenance: Guyette collection. Purchased by Paulene Oickle antiques, Bridgewater, Nova Scotia around 1974. Paulene had just finished buying several pieces of furniture from the Conrad brothers who were doorknockers from down the Lahave River. She hadn’t even really looked at it and charged standard $5 for a bench. When she saw Naas written on it, she got us for another $1.

End of session two

(300 - 400)

333

Index of Carvers Crandall, Horace “Hi”...................................................... 21 Allen, Douglas.. ....................................................... 61A,61b Althoff, Oscar.. ................................................................ 407 Anger, Ken............................................................... 132-136 Audubon, John James............................................ 175-180 Austin Powder Company ............................................. 363 Balciar, Gerald............................................................... 329 Barco, Bailey................................................................... 469 Barkelow, Lou.......................................................... 210,343 Barnard, Charles Nelson.. ............................................... 159 Barton, Roger.. ................................................................ 284 Benson, Frank.. .................................................................. 63 Bergman, Charles.. ...................................................... 15-17 Bernier the Lumbar Man .. ............................................. 274 Bibber, Oscar........................................................... 186,188 Birch, Charles............................................................... 142Q Blackburn, Amos.. ........................................................... 193 Blair, John.. ...................................................................... 265 Blair Family .................................................................... 263 Blair, Sr., John.. ................................................................ 262 Blanchard Cartridges ..................................................362A Blaylock, Ted.. ................................................................... 59 Boice, Henry.. .................................................................. 215 Bourg, Xavier.................................................................... 86 Bowman, William..................................................... 371-375 Boyd, George.................................................... 45-47,97,98 Brooks, John.. .................................................................. 139 Browne, George............................................................... 51 Brunet, Tan...................................................................... 285 Buchner, Frank............................................................. 33-35 Burgess, Ned............................................................ 462,465 Burke, Bruce.................................................................... 282 Burke, Edgar.. .................................................................... 57 Burr, Elisha................................................................ 150,151 California Powder Works .............................................. 368 Cantrall, “Cook”............................................................... 84 Chadwick, Keyes.............................................................. 92 Chambers, Tom.............................................................. 137 Cheesman, Verne.......................................................... 406 Clifford, Bill.........................................................355,356,362 Cobb, Arthur......................................................... 142A,142I Cobb, Jr., Nathan.. ..............................................142H,142N Colt’s Manufacturing ................................................... 499 Conover, Elisha............................................................... 214 Cost, Neil.. ................................................................ 357-361 Cranmer, Bill.. .................................................................. 277 Crowell, Elmer......................... 65,66,75-79,99a,146,333-339 Culver, Reginald............................................................... 95 Daisey, Cigar.........................................................216-226A Dawson, John................................................................. 404 Dawson, Tube................................................................. 410 Demott, Daniel............................................................... 382 Dilley, John .. ............................................................. 380,381

Dobson, Sr., S.G........................................................... 80-82 Dodge Decoy Factory .......................................... 122,124 Dominion Cartridge Company .................................... 369 Downs, John................................................................ 142C Dubay ........................................................................... 327 Dudley, Lee..................................................................... 467 Eaton, Morris................................................................... 190 Elliston, Robert........................ 306,308,318,319,413,416,417 English, Dan.................................................................... 395 English, John............................................................ 397,401 English/Dawson ............................................................ 402 Eppel, Jack..................................................................... 418 Finney, Frank........................................................ 3,4,25,233 Fitchett, Alma............................................................... 142B Fitzpatrick, Tom............................................................... 399 Foote, Charles.................................................................. 96 Foote, Jim................................................................ 257,330 Frady, Mike.............................................................. 278,279 Fulcher, John.................................................................. 457 Gardner/Dexter ......................................................... 43,44 Gaskill, Calvin................................................................. 456 Gearhart, Don.................................................................. 41 Geis, Matt....................................................................... 243 Gibian, William...................................................... 1,478-481 Glick, Herman................................................................. 422 Godin, Pat................................................................ 246,247 Graves, Bert...................................311,313,315,316,414,415 Haertel, Harold..................................................256,419,420 Hancock, Miles............................................................ 142M Hardy Brothers .............................................................. 320 Harm, Ray....................................................................... 61E Hart, Charles............................................................ 253,254 Hayman, Joe........................................................... 470,474 Haywood, Mannie.......................................................... 476 Herbert, Alfred.................................................................. 83 Herter’s Decoy Factory ................................................ 123 Hildreth, Ephraim............................................................ 347 Hillman, Anthony............................................................ 245 Holmes, Ben...................................................................... 89 Homme, Mandt....................................................... 426,427 Horner, Nathan Rowley.....................................199,205,206 Howell, Leroy................................ 482,484,489-488,490-493 Hudson, Delbert.............................................................. 283 Hudson, Ira.............................. 142O,142R,142S,259,450,451 Huey, George................................................................. 195 Hunt, Lynn Bogue............................................................. 55 Hyatt, John...................................................................... 332 Irvine, Lawrence...................................................... 324-326 Isdell, George...............................................................142D Janner, Hans............................................................ 383-385 Janson, Richard................................................................ 20 Jester, Charles.............................................................. 142F Jester, Doug.................................................................. 142K

Johnson, Lloyd................................................................ 207 Johnson, Taylor............................................................... 353 Joiner, Charles.................................................. 163,165-167 Keller, Ed......................................................................... 307 Kessler, George.. ............................................................. 310 King, A.J....................................................................... 69-72 King, Joe............................................................209,267,268 Lafrance, Mitchell......................................................... 79A Lawson, Oliver...................................................249,250,260 Leeds, Daniel Lake......................................................... 350 Leland, Leroy.................................................................. 367 Leslie, Rob......................................................................... 60 Lincoln, Joseph.......................................................... 99,100 Machen, William.. ............................................................. 62 Madera, Clark.. ............................................................... 197 Malloch, P.D... ................................................................. 321 Marr, Joseph..................................................................... 38 Mason Decoy Factory . . ............108-116,119-121,123A,125 Matthews, William.. ......................................................... 449 McCarthy Family ................................................... 351,352 McGaw, Robert.................................................73,164,167B McIntyre, Cameron......................................................... 5,6 McLoughlin, John................................ 204,234,280,398,400 McNair, Mark..................................................... 7-9,235-242 Midgett, Nelius.. .............................................................. 471 Midgett, St.Clair.............................................................. 475 Midgett Family .............................................................. 459 Moak, Augustus................................................................ 39 Morgan, Joe................................................................... 396 Morse, Robert................................................................. 461 Mueller, Keith........................................................... 231,232 Munden, Anderson.. ....................................................... 473 Newman, Ernie........................................................ 483,485 Nichols, Fred................................................................... 143 O’Neil, Wallace.............................................................. 468 Osthaus, Edmund............................................................. 64 Parker, James................................................................. 203 Parsons, Ed....................................................................167A Perdew, Charles.................. 248,309,317,408,410A-412,421 Perdew, Hadden............................................................ 423 Peters, Scott.................................................................... 140 Peters High Gun ............................................................ 364 Peterson, Oscar.................................................. 40,287-304 Phillips, Ed.. ...................................................................... 161 Phillips, Ike..................................................................... 142J Pice, Charles.. .............................................................. 18,19 Quinn, William....................................................266,269,403 Ramey, Jess.................................................................... 392 Reneson, Bruno.. ............................................................... 93 Reneson, Chet............................................................. 49,50 Rhodes, Fred................................................................... 393 Robinhood Ammunition Company ............................. 370 Ross, Willie..........................................................191,192,196

Rowe, James.................................................................. 472 Russell, John Bucknell..................................................... 323 Salmons, Bradford.......................................................... 212 Sawler, Stan.................................................................... 141 Schmiedlin, Jim............................................................ 10-14 Scholer, John.................................................................... 42 Schweikart, John.............................................................. 36 Seerey-Lester, John................................................ 52-54,56 Shelstrum, Charles.......................................................... 405 Shourds, Harry V.............................198,208,211,341,342,349 Sibley, George................................................................ 424 Sibley, Walter.................................................................... 37 Simon, Hermann Gustav.................................................. 48 Smith, Carter..................................................................... 87 Sorrentino, William.......................................................... 348 South Bend Factory ...................................................... 489 Sprague, Chris................................................................ 213 Sprague, Jonas............................................................... 354 Sterling, Lloyd.................................................................. 261 Stevens, George............................................................. 131 Stevens, Harvey....................................................... 129,130 Stevens, Ivy..................................................................... 466 Swan, John.................................................................... 61D Thengs, Harold................................................................ 128 Thomas, Charles............................................................. 147 Truex, Rhodes.................................................................. 201 Tule Lake Company ..................................................... 117 Tull, Randy....................................................................... 281 Tyler, Lloyd............................................................... 160,162 Verity, Obediah.................................................376,377,379 Veriy, Andrew................................................................. 378 Vizier, Jimmie.................................................................. 252 Walker, Charles............................................................... 312 Wallace, Amos............................................................... 184 Ward, Lem...................................................................... 61C Ward Brothers ........................26-32,68,156-158B,251,254A Watson, Dave............................................................... 142L Watts, Valentine............................................................. 374 Weaver, Steve............................................................. 23,24 Webster, Edwin............................................................. 142E Weeks, Richard................................................................. 74 Wessel Brothers ................................................... 142G,453 West, J.J.......................................................................... 258 Wheeler, Chauncey....................................................... 255 Wheeler, Shang................................................................ 88 White, Bob........................................................ 227-230,286 Wilson, Gus.............................................67,168-174,270-276 Wilson, R.D...................................................................... 244 Wilson, Thomas........................................................ 152,153 Wozny, Eddie...................................................................... 2 Wright, Alvirah......................................................... 463,464 Zahn, Albert.................................................................... 444

Additional information references Lot 15 1 Chatham, Hugh H Jr. 1983. “Bergman Decoys Display Hard Work and Art-

istry”. Decoy magazine. Summer 1983, Vol 7 No 3. Ocean City, MD. Lot 18 2 Kangas, Gene. 2012. “Helsinki of the West”. Decoy Magazine. Sept/Oct 2012. Lewes, DE 3 Miller, Michael R and F.S. Mortensen. 1989. “Wildfowl Decoys of the Pacific Coast”. MBF Pub. Davis CA. 4 Rogers, Kory. 2017. “Birds of a Feather – Wildfowl Decoys At The Shelburne Museum”. Skira Rizzoli Pub. New York, NY. 5 Shaw, Robert. 2010. “Bird Decoys of North America – Nature, History, and Art”. Sterling Pub. New York/London. 6 2000. “American Waterfowl Decoys – The Distinguished Collection of Dr. James M. McCleery”. Auction catalog – Sotheby’s/Guyette and Schmidt. Privately Printed.

Lot 43 1 Lisle, Richard W and Laurence. 1966. “Collectors Trace Origin of Rhode Island Shorebird Decoys”. Decoy Collctors Guide 1966/67 Annual. Burlington,IO. 2 https://mcz.harvard.edu/ichthyology-expeditions 3 www.ancestry.com 4 Little Compton Historical Society 5 Private Collection, Swansea, MA.

Lot 48 1 Cowan, Richard and R LaFountain. 2004. “Wildfowler Decoys”. Decoy

Lot 1 Newberry, Dr. Lloyd S. 2020. “Wings of Wonder – The Remarkable Story of 142a the Cobb Family and the Priceless Decoys They Created on Their Island Paradise”. Sporting Classics Pub. Columbia, SC.

Lot 1 Fleckenstein, Henry A. 1983. “Southern Decoys of Virginia and the Caroli142b nas”. Schiffer Pub. Exton, PA.

2 Marsh, Jack. 2009.“Alma Fitchett and the Smith Island Shorebirds”. Decoy Magazine Nov./Dec. 2009. Lewes DE. 3 Newberry, Dr S. Lloyd. 2020. “Wings of Wonder – The Remarkable Story of the Cobb Family and the Priceless Decoys They Created on Their Island Paradise”. Sporting Classics Pub. Columbia, SC.

Lot 143 1 Hopkins, Gwlady’s. 2016. ”Massachusetts Masterpieces – The Decoy as Art”. Massachusetts Audubon Museum of American Bird Art. Privately printed.

Lot 152 1 Hopkins, Gwladys. 2016. “Massachusetts Masterpieces – The Decoy as Art”. Massachusetts Audubon, Museum of American Bird Art. Privately printed. 2 Paff, Adam E.F. 1929. “Etchings and Drypoints By Frank W. Benson. Houghton Mifflin Co. Riverside Press, Cambridge, MA. 3 Phillips, John C. 1929. “Shooting Stands of Eastern Massachusetts”. Privately printed. Cambridge, M. 4 Weare, Nancy V. 1993. “Plum Island – The Way it Was”. Newburyport Press Pub. Newbury, MA. 5 Williamson, Jay S. 1999. “Decoys of the Newburys, Plum Island and Surrounding Communities”. Privately printed. Historical Society of Old Newbury. Newburyport, MA . 6 1936. “Thomas C Wilson’s Body is Recovered”. Boston Globe Newspaper, March 18, 1936. Boston, MA.

Magazine Pub. Lewes, DE. 2 Daley, Michael. 2021. “Waterfowling on the Susquehanna Flats”. Decoy Magazine Pub. Lewes, DE. 3 McKinney, J. Evans. 1978. “Decoys of the Susquehanna Flats and Their Makers”.Decoy Magazine Pub. Ocean City, MD. 4 Reuter, Turner F Jr. 2008. “Animal & Sporting Artist in America”. National Sporting Library. Middleburg, VA. 5 Sullivan, C. John. 2003. “Waterfowling on the Chesapeake 1819 – 1936”. John Hopkins University Press. Baltimore and London. Lot 155 1 Clayton, John (curator). 2010. “Massachusetts Masters: Decoys, Shorebirds, 6 1886. “The Ducking Season”. The Baltimore Sun (newspaper). Baltimore, MD. and Decorative Carvings”. Ward Museum of Waterfowl Art. Salisbury, MD. 2 Forbush, Edward H. 1912. “A History of the Game Birds, Wildfowl and Shorebirds of Massachusetts and Adjacent States”. Massachusetts State Board of Agriculture. Boston, MA. Lot 88 1 Barber, Joel. 1934. “Wildfowl Decoys”. Winward House Pub. N.Y. 2 Merkt, Dixon MacD. 1984. “Shang – A Biography of Charles E. Wheeler”. 3 Hopkins, Gwladys. “Massachusetts Masterpieces – The Decoy as Art”. MasHillcrest Publications Inc. Spanish Fork, UT. sachusetts Audubon Museum of American Bird Art. Privately printed. Canton, 3 Rogers, Kory W. 2017. “Birds of a Feather – Wildfowl Decoys at the Shelburne Ma. Museum”. Skira Rizzoli Pub. New York, NY. 4 Phillips, Dr. John C. 1926. “Wenham Lake Shooting Record and the Farm 4 Romano, Bob. 2018. “The Legacy Goes On”. Northwoods Sporting Journal, Bag, 1897 – 1925”. Privately Printed. August 2018. West Enfield, ME. 5 Starr, Dr George Ross. 1974.“Decoys of the Atlantic Flyway”. Winchester 5 Shaw, Robert. 2010. “Bird Decoys of North America – Nature, History, and Press. New York, NY. Art”. Sterling Publishing. New York / London. 6 1949. “The Journal” (newspaper obituary), Meriden, Ct. March 19, 1949 Lot 382 1 Sieger, Timothy et al. 2010. “The Decoys of Long Island”. Long Island Decoy Collectors Association. Water Mill, New York. Lot 101 1 Carpenter, Charles H. and M.G. Carpenter. 1987. “The Decorative Arts and Crafts of Nantucket”. Dodd Mead and Co. New York, NY. 2 Forbush, Edward H. 1912. “Game Birds, Wild-fowl and Shore Birds”. MassaLot 394 1 Kangas, Gene and Linda. 2011. “T. Gray’s Migrant Goose Decoys”. July chusetts Board of Agriculture. Wright and Potter Printing. Boston, MA. August 2011 Decoy Magazine. Lewes, DE. 3 MacKay, George Henry. 1929.”The Shooting Journal of George Henry MacKay, 1865 – 1922”. Privately printed by John C. Phillips. Cosmos Press, Cambridge, MA. Lot 447 1 https://avian-behavior.org/hooding-and-birds-of-prey/ 4 Shaw, Robert. 2010. “Bird Decoys of North America – Nature, History, and 2 https://collection.cooperhewitt.org/objects/18386309/ Art”. Sterling Pub. New York/London. 3 https://www.britannica.com/sports/falconry 4 https://www.getours.com/blog/history-of-falconry/

Plus shipping & handling

(810) 845-2434

It’s time SEPTEMBER 2 0 to get back 2 together! 1 ANNOUNCING THE Chicagoland Decoy Show

16-18

Sponsored by the North American Decoy Collectors Assn.

Westin Chicago Lombard 70 Yorktown Center Lombard, IL 60148

• Members Only “Welcome” Reception Thursday, September 16 l 5:30-7pm

• Two-day Ballroom Show

With over 100 dealers offering vintage and contemporary decoys, calls, sporting art, fishing gear and other sporting collectibles for sale

Friday, September 17 l 10am-5pm Saturday, September 18 l 9am-2pm

• Room-to-Room Trading prior to the show • Admission is $5 (free to NADCA members)

FOR ROOM RESERVATIONS: Call Kenia Izquierdo at (630) 719-8083, or Marriott Reservations at (888) 627-9031. Be sure to mention that you are with the “Decoy Show” to get the reduced rate of $126/night. FOR TABLE RESERVATIONS: Contact Matt Bryant at matthew.bryant@wilsonco.com or (785) 201-2923. FOR MORE SHOW INFORMATION: Contact Jeff Seregny at (586) 530-6586 or jseregny@gmail.com NORTH NORTH AMERICAN AMERICAN AASSSSO CIATION OCIATION

All COVID-related CDC and State of Illinois protocols in place at the time of the show will be enforced for the health and safety of attendees and hotel staff.

Guyette & Deeter Online Auctions

Timed Online Only Super Sale | September 23 - 30 One week only - 100+ quality items! Only at www.decoysforsale.com Questions? Call Zac Cote | 207-321-8091

Pair of canvasbacks by the Ward Brothers

Rare and desirable carvings by William Gibian

Pair of mallards Cline McAlpin

Part of a selection of carvings by Bob White

Part of a selection of decoys by the Mason Factory

Part of a selection of decoys by John McLoughlin

Decorative bufflehead by Olive Lawson

Mallard drake by Bert Graves

Canvasback drake by the Ward Brothers

Decoys by Hector Whittington

Part of a selection of decoys by William Cranmer

Part of a selection of carvings by Mark McNair

Standing wood duck by George Strunk

Pair of redheads by Marty Hanson

Canvasback by Ducharme

If you missed the last Super Sale, you will not want to miss this one. 100+ Quality Items - Guaranteed Descriptions - 15% buyer’s premium

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

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NAME OFFICE USE

PHONE IN CATALOG # ORDER

AUCTION DATE DESCRIPTION

BID AMOUNT

394

320

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