North American Decoys at Auction | November 9 & 10, 2022

Guyette & Deeter, Inc.

North American Decoys At Auction

November 9 &

2022

The Mark Goldman collection

A third-generation wholesale and retail tobacconist, Mark Goldman began collecting the figures of that trade in 1967. From carved Native American chiefs and maidens, Scottish highland lasses, and Punch figures, to cast zinc and iron counter top displays, Goldman’s collection of 100+ tobacco trade figures is the largest assembled anywhere in the world.

Purchased from private collections, folk art and Americana dealers, and major auction companies over the last half a century, Goldman has lived with and been caretaker of these important pieces of Americana in his downtown Manhattan loft. Many articles have been written about the collection over the last few decades and at least five figures from the Goldman collection were included in the 1997-1998 traveling exhibition produced by the Museum of American Folk Art.

Guyette & Deeter is proud to have been chosen to offer pieces from the Goldman collection in this, and many future, auctions.

Guyette & Deeter, Inc.

North American Decoys At Auction

The live auction will be held at the

Talbot County Community Center 10028 Ocean Gateway Easton, Maryland 21601

The office is open Monday - Friday 9am-5pm for preview leading up to the sale

Tuesday, November 8, 2022 Cocktail Reception and Preview 4:00 PM - 6:00 PM

Wednesday, November 9, 2022 Preview 8:00 AM - 9:30AM Auction 10:00 AM

Thursday, November 10, 2022 Preview 8:00 AM - 9:30AM Auction 10:00 AM

For questions during the auction call 410-745-0485

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

For free decoy appraisal contact:

Jon Deeter | jdeeter@guyetteanddeeter.com | 440-610-1768

Zac Cote | zcote@guyetteanddeeter.com | 207-321-8091

Gary Guyette | gary@guyetteanddeeter.com | 410-745-0485

Cooper Rossner | cooper@guyetteanddeeter.com | 609-560-8028

Important Notices:

■

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

■ DURATION OF GUARANTEE - Requests for a refund on an item purchased through a Guyette and Deeter, Inc. auction must be made within 3 days of the time you take physical possession of your purchases. Whether your items are shipped, delivered, or picked up at the auction site, it is still 3 days from date of possession. This guarantee is null and void if payment is received or mail is postmarked more than 30 days from the sale end date. The guarantee is also null and void if you choose to not take possession of your purchases within the 30 days. If you have paid for your purchases within the 30 days but Guyette and Deeter, Inc is unable to ship your item within the guarantee period, the guarantee will be extended until 3 days from the shipping delivery date. This policy protects our consignors by enabling us to make consignor payments in a timely manner.

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

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

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

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

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

■ Pick up hours are 1pm – 5pm beginning November 14, or by appointment. Please call ahead so we can have your items ready.

Future Auctions

Robert J. Koenk e S porting & Wildlife Art consultant

Decoys, Sporting Art & Americana Westin Chicago-Lombard Lombard, Illinois

Decoys, Sporting Art

Sheraton Harborside Hotel Portsmouth, New Hampshire

Josh Loewenstein er F ine Sporting Arms Division Head

J. Wesley Dillo n Fir earms consultant

Guyette & Deeter, Inc.

Dale & Gary Guyette

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

Tel: 410-924-5678

gary@guyetteanddeeter.com

Jon & Leigh Ann Deeter

1210 S Talbot St, Unit A St. Michaels, Md 21663 Tel: 440-610-1768

jdeeter@guyetteanddeeter.com

Lacey & Zac Cote PO Box 347 Freeport, ME 04032 Tel: 207-321-8091

zcote@guyetteanddeeter.com

Mike Stevenson

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

Ed Kenney

Merchandise Manager & Shipping

St. Michaels, Maryland

Tel: 410-745-0485 shipping@guyetteanddeeter.com

Allison Banks Auction Coordinator

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

A.J. Smith

Photography

St. Michaels, Maryland

Tel: 410-745-0485 photography@guyetteanddeeter.com

Denise Jarrell Bookkeeper

St. Michaels, Maryland

Tel: 410-745-0485 billing@guyetteanddeeter.com

Cooper Rossner Weekly Auction Manager

St. Michaels, Maryland

Tel: 609-560-8028 cooper@guyetteanddeeter.com

Bill Lapointe

New England Decoy Specialist Swansea, Massachusetts

Tel: 774-644-9426

Mike Roberts Shipping

St. Michaels, Maryland

Tel: 410-745-0485

ups@guyetteanddeeter.com

an important american watercolor by noted sporting artist aiden Lassall ripley. Executed after a day of goose hunting on the Eastern Shore of Maryland at Plimhimmon estate, located on town Creek in oxford Maryland, circa 1945.

Featuring decoys from the collections of Ralph “Bud” Bergstrom

Dave Fannon

Lynwood Herrington

Charlie Hunter, III

Rafe Lapham & Martha Andrea

Charles Long Preston Lowe Doug & Ellen Miller Tom Neelen

Kirby Roberts Janet & John Stahl Jimmy Thompson Faye & Wayne Watson Herb Wetanson Bruce Williams Alicia & Norman Volk

Online Auctions Ending

Rossner 609-560-8028 cooper@guyetteanddeeter.com 1210 S Talbot St, Unit A St. Michaels, MD 21663 www.decoysforsale.com

session one

Frank Finney

1947

Charles,

Eastern

Frank Finney has earned the well-deserved reputation as one of America’s foremost living folk artists. His father, Herman, was of Native American descent and his mother was Dutch, hailing from South Africa. Herman served in the Navy during WWII and was one of the first to explore the decorative culinary arts, fashioning a variety of fanciful table settings of fruit and flowers for the naval officers. Frank attributes his artistic leanings to his father’s tutelage.

Frank was born Royland Frank Smith Finney in Cornwall, England and the family moved to the United States, settling in Virginia, in 1954. As a boy, he was drawn to the outdoors, hunting, fishing, and trapping. By age thirteen he was hunting and carving his own set of decoys. While he no longer hunts, he continues to be an enthusiastic angler, plying his home waters at the southern tip of Virginia’s Eastern Shore, and enjoys pursuing a wide variety of species both summer and winter. He describes himself to this day as, “a waterman”.

Frank proudly served in the Army during the Vietnam War and fought in the infamous 1968 Tet Offensive where he was wounded. His service earned him the V-Valor Battalion Award, The United States Army Commendation Award and The Purple Heart. Following his recovery after a lengthy hospital stay, he returned to Virginia where he worked as an engineer for five years on the revitalization of the Cavalier Hotel in Virginia Beach. He also worked as a commercial fisherman before turning to his art full time.

Frank and Mary Finney

Frank is accomplished in a wide variety of mediums including wood, stone, bone, shell, and metal. He has also executed a number of exceptional pieces of flat art. His work adorns the interiors of some of our Country’s most historic landmarks including the Old Ebbitt Grill in Washington. Finney creations grace some of the most prestigious collections of celebrities, politicians, writers, and individuals in America. Kirk Douglas, Nicole Kidman, Mrs. Colin Powell, Mary Margret and Jack Valenti and Jacqueline Kennedy, among others, have prominently displayed his work in their homes, and numerous shows and exhibitions across the country have focused on his art.

He credits two individuals, in particular, as playing pivotal roles in his life. His close friend and inspiration, socialite and notable New York folk art collector, Martha Bartlett, has had a profound effect on him and his work. Today he works in conjunction with his wife, Mary, whom he describes as “extremely talented” and his “creative partner”. Frank is devoutly religious and considers himself philosophical about this world and his role in life. He continues to work today, alongside his wife, in his studio overlooking the mouth of the Chesapeake Bay.

Frank as a young man w/ ducks

Old Ebbitt Grill

1 Full size preening swan, Frank Finney, cape charles, Virginia. Hollow carved with raised wings. Reared back and turned head that is preening one wing. Deep relief wing and tail feather carving. Unsigned. Measures 36” long. Very minor discoloration, otherwise excellent and original. (5,000 - 8,000)

2 * Fantastic carved bird tree, Frank Finney, cape charles, Virginia. At 19” tall, this tree displays a variety of 21 songbirds, all different species. Includes hummingbirds, finch, oriole, and a tern. All birds have glass eyes. The tree extends from a turned, multi color wooden base and has been paint ed and darkened with varnish to create the appearance of age. Excellent and original. (8,000 - 12,000)

3 standing santa claus with gifts, Frank Finney, cape charles, Virginia. Santa’s gifts include four wrapped boxes, a number of sporting items including decoys by Ira Hudson and shorebirds by William Bowman, a two piece fly rod and net, a lanyard of four duck calls, a shotgun and bag of corn, a dog and boat model, a can of oysters, and a roll of cigars. One cigar fits into Santa’s mouth. Carved flask in one of Santa’s pockets, and a pair of binoculars around his neck. “Merry Christmas” painted on base. Unsigned. Stands 25.5” tall including base. Made to look older with a crazed layer of varnish; excellent and original.

Provenance: Charles Long collection. (5,000 - 8,000)

6 miniature preening gray peacock pheasant, Frank Finney, cape charles, Virginia. In back preening pose with relief wing and tail feather carving. Maker’s ini tials carved in underside. Measures 9.75” long. Excellent and original. (1,000 - 1,400)

7 miniature Kalij pheasant, Frank Finney, cape charles, Virginia. Slightly turned head with exaggerated head feath ers. Relief wing, tail, and head feathers. Maker’s initials carved in the underside. Measures 7” long. Excellent and original. (1,000 - 1,400)

4 miniature Daschund, Frank Finney, cape charles, Virginia. Maker’s initials carved on the underside. Dog measures 8” long. Spots of paint were added after the varnish above the dog’s eyes and may have been done in the making; very good and original. (1,000 - 1,400)

5 miniature owl, Frank Finney, cape charles, Virginia. Great horned owl with a dead crow in its talons. Owl’s head is turned 90 degrees with deep relief wing carving. Crow’s bill is open and wings outstretched. Maker’s initials in underside of base. Stands 8.25” tall including base. Excellent and original. (3,000 - 4,000)

8 Folk carved parrot, Frank Finney, cape charles, Virginia. Relief wing carving and fluted tail. “F” carved in underside of base. Stands 8.5” tall. Made to appear older; excellent and original. (1,200 - 1,800)

9 Pair of miniature pheasant, Frank Finney, cape charles, Virginia. Relief feather carving and slightly turned heads. Maker’s initials carved in to the base. Measure 7” and 7.5” long. Excellent and original. (1,200 - 1,800)

10 miniature calling rooster, Frank Finney, cape charles, Virginia. Dropped wings and open beak. Maker’s ink stamp on the underside. Measures 6.25” long. Excellent and original. (1,000 - 1,400)

11 eastern bluebird, Frank Finney, cape charles, Virginia. Slightly turned head with open bill holding a small seed. Raised wingtips, relief wing and tail feather carving. Maker’s initials carved in underside. Measures 5.75” long. Tiny paint rubs on tip of beak, otherwise excellent and original. (1,000 - 1,400)

12 Flame bower bird, Frank Finney, cape charles, Virginia. Head is turned about 80 degrees with extended crest and dropped wingtips. Relief wing and tail feather carv ing. Maker’s ink stamp on underside. Stands 5.75” tall including base. Excellent and original. (1,000 - 1,400)

Ward Brothers Crisfield, Maryland

Some of the many variations of the Ward Brothers styles

The vast majority of carvers either closely adhered to an accepted local tradition or, upon developing their own design that they felt was successful, remain fairly true to that design for their entire career. The Ward brothers’ constant striving for perfection, however, coupled with their boundless and restless creative spirit, was responsible for the creation of a wider variety of styles and designs than possibly any other decoy carver or team of carvers.

Born in coastal Crisfield, Lem and Steve were surrounded from birth by the oystering and crabbing industries that dominated the life of the town. Somewhat ironically, neither brother worked as a waterman nor hunted commercially but, rather, followed in their father’s primary trade as barbers. Both men were, like their father, avid hunters and fishermen and surely were well aware of other hunters and decoy carvers in the community. Steve carved his first simple decoy from a natural branch in about 1907; others followed, but the first decoys were simply for their own use.

During WWI, while Steve served in the army, Lem sold his first decoy commercially. These, for very obvious reasons are referred to a his “Fat Jaw” models similar to (lot 21). These first steps away from barbering and into the world of commerce resulted in a very attractive and certainly serviceable decoy design. The deep-seated

natural creativity of both Steve and Lem, however, was never satisfied and the team created an impressive array of designs over the ensuing years, all extremely effective and desirable. Some of the earliest canvasback models can be seen in lots 354 and 355. Eventually, the angle and attitude of the heads began to shift to the right or left and away from a stagnant straight forward presentation.

At various times in their career, carvings were focused on imparting a sense of movement into the design. Notably among these would be the early 1921 decoys featuring an exaggerated rump. Lot 14 is an example of an early, blind eye, turned head and high rump model.

An attempt was made in the 30’s at the wider commercial market when the brothers’ work was offered through the famous VL&A Sporting Goods Stores but, in general, the preponderance of their sales originated directly from the small work area in their old barber shop in Crisfield. The most famous form from this period is known as the 36 model. Lots 349 and 350 show the characteristics commonly seen in this period.

A switch to the readily available balsa after WWII saw brief experimentation with this material. Lots 16,17, 18, 351-353 and 362 are all excellent examples of from the

balsa period, two of which were entered into the New York carving contests by the brothers. They were proud of these models and publicity from their winnings soon followed these competitions.

The vast majority, if not all, of their work through the 1950’s was destined for the water. With the introduction of alternate construction materials, the demand for the working wooden bird began to decrease rapidly. Fortunately for the brothers, by the time of this transition, their popularity with the collecting community was beginning its meteoric rise and the carving team began to focus more on purely decorative designs or requests for carvings, based on their past concepts. This period or transition away from working models produced incredible decorative models, 99-102 and gunning style decoys referred to as shooting stools.

Lem and Steve can rest with the knowledge that their collective creative genius is now receiving its due recognition through accolades from myriads of appreciative admirers across the country.

13 Very rare rigmate pair of mallards, Ward Brothers, crisfield, maryland, circa 1930. Only three pair of this style are known. All three pair were ordered by Governor Tawes and given by him as gifts. Hen with tucked and slightly turned head that is cocked to one side. Drake with head turned approximately 45 degrees. Wide head and bill carving. Hen with fancy paint detail. Measure 16.75” and 17.75” long. Strong original paint protected under an early coat of varnish; minor separa tion at neck seats; tiny chip on one edge of hen’s bill; slight separation at body seam around hen with some discolored filler material on underside of tail area. (40,000 - 60,000)

14 early black duck, Ward Brothers, crisfield, maryland, circa 1920. Head is turned approximately 45” degree with upswept bill and scratch feather paint detail. Measures 15.75” long. Original paint on head and bill; early repaint taken down on body showing much of the original scratch paint; moderate to significant wear; separation and minor flaking at neck seat; hit by shot; old chips in each side of tail; crack along one lower side. (12,000 - 18,000)

15 Pair of bluebills, Ward Brothers, crisfield, maryland. 1932 models with slightly turned heads and thick stipple paint on back and sides. This pair, while signed 1932, are obviously from the crossed wing period of 1928. Measure 16.25” long. Original paint with moderate gunning wear; hen is lightly hit by shot; minor separation at neck seats; shot strike in the back of drake’s head with a tight crack running from it; one eye was replaced. (12,000 - 18,000)

According to the book The Ward Brothers’ Decoys by Ron Gard and Brian McGrath, it is only the models made in the year 1928 that exhibit painted crossed wing tips. Examples of other species with this unusual detail can be found on p. 50, plate 43, p. 59, plate 33 and 34, p. 62, plate 52.

16 Pair of mallards, Ward Brothers, crisfield, maryland. Balsa body with slightly turned heads and inserted cedar tails. Signed on the blue painted undersides. Both with a small “N” branded in underside. Measure 16” and 16.5” long. Original paint with very minor wear, protected under a thin coat of varnish; tight crazing on the front and back of each head. Provenance: Herb Wetanson collection.

17 competition greenwing teal, Ward Brothers, crisfield, maryland. Balsa body with slightly turned head and extended crest. Inlayed staple and line tie on underside. Signed and dated 1951, also “Winner at NY Decoy Show” on underside. Measures 12.25” long. Decoy was never used; excellent and original.

Provenance: Herb Wetanson collection. (4,000 - 6,000)

18 competition widgeon, Ward Brothers, crisfield, maryland. Balsa body with slightly turned head. Signed and dated 1951 on the underside. Also “Third place NY Show” on underside. Measures 15.25” long. Decoy was never used; hairline separation at neck seat; small paint rubs, otherwise excellent.

Provenance: Herb Wetanson collection. (4,000 - 6,000)

19 early canada goose, Ward Brothers, crisfield, maryland, circa 1928. Wide head with detailed bill carving, and deep ice groove behind neck seat. Measures 24” long. Very early paint is a mix of original and in use repaint with moderate to significant flaking and wear; filled drying cracks in body; some separation at neck seat; crack through neck.

Provenance: Charles Long collection. (3,000 - 5,000)

20 Goldeneye hen, Ward Brothers, crisfield, maryland. 1936 style with slightly turned head. “F” branded in underside for the collection of Henry Fleckenstein. Measures 13.25” long. Overpaint was taken down to much of the original surface showing moderate discoloration and wear; repair to a large chip in top of head; some wood loss and rough area near tail area. (1,200 - 1,800)

21 early bluebill drake, Ward Brothers, crisfield, maryland. Fat jaw model with wide, bulbous head and wide upswept bill. Signed and dated 1918 at a later date on the underside. Measures 14” long. Mix of original and very early in use repaint with moderate gunning wear; both eyes are replaced; separation at neck seat; drying cracks along the back; old chip in the tail was shaved down; old filler added to loss of wood on underside.

Provenance: Charles Long collection. (2,000 - 3,000)

22 root head canada goose, elliot Brothers, easton, maryland, 2nd quarter 20th century. Applied root head and neck with incised bill carving. Measures 28” long. Original paint with significant gunning wear; drying cracks in body with nails added in one side.

Provenance: Charles Long collection.

Literature: “Chesapeake Bay Decoys” Bobby Richardson, p. 79, exact decoy pictured. (1,500 - 2,500)

23 High head canvasback, Lloyd tyler, crisfield, maryland, circa 1930s. Raised and slightly turned head. Measures 17.75” long. Original paint with moderate discol oration and wear; early applied tail is possibly a replace ment; split in underside with old filler added.

Provenance: Charles Long collection. (1,000 - 1,400)

24 Pair of buffleheads, clarence creighton, Hoopers island, maryland. Identified and dated 1968 on the underside. Measure 11” long. Original paint with moder ate paint shrinkage on hen; area on center of drake’s back has been darkened; heads are very slightly loose. (600 - 900)

25 rare mallard drake, Josiah travers, Vienna, maryland, circa 1950s. Reared back head and upswept bill. Measures 13.5” long. Original paint with very minor wear; minor roughness on tip of tail; hairline drying cracks in body. (1,200 - 1,800)

26 Pair of canvasbacks, elliot Brothers, easton, maryland. Hen in preening pose. Drake’s body appears to be lath turned. Measure 13” and 15” long. Strong origi nal paint with very minor wear; some old filler added to a chip on the top of hen’s head; drake lightly hit by shot with a reglued crack in neck.

Provenance: Charles Long collection. (800 - 1,200)

27 Pintail drake, by a member of the sterling Family, crisfield, maryland. Original paint with discoloration and minor wear; thin crack through neck; lightly hit by shot; tight drying cracks in body; minor roughness on one edge of bill; older thin wash of white on neck and breast was taken down. (600 - 900)

c ameron m c i ntyre

b. 1968 | New Church, Virginia

How to approximately date Cameron’s carvings by looking at his signature:

My earliest signature circa 1983-1988 was a simple carved “ CM”. In approximately 1989 I started carving “CTM” without serifs. About 1993 I made the initials a bit bolder with serifs, somewhat similar to the Cobbs. That style continued until about 2000, when I began to make the initials more refined and delicate and finished the “M” with a flourish.

28 a st. clair Flats style canada goose, cameron mcintyre, new church, Virginia, 2022. Hollow with bot tom board and “CTM” carved in underside. Additionally the word “Longpoint” is carved into the bottom board, ref erencing the Longpoint Company in Ontario, known to be one of the most exclusive duck hunting clubs in Canada. Extremely hollow carved with a reaching and slightly turned head. Leather line tie is attached with a tattered piece of cotton rope. Surface on this decoy demonstrates Cameron’s ability to show age in modern paint. Measures 30” long. Excellent and original with stress to create the appearance of age. (3,500 - 4,500)

29

Well carved hollow black duck, cameron mcintyre, new church, Virginia, 2022. Inlet construction between the neck and body with a head that is gently resting on a full crop. Carved eyes. “CTM” carved in underside. Excellent original paint that has been stressed to create the appearance of age. (2,000 - 2,500)

30 Very plump curlew, cameron mcintyre, new church, Virginia, 2022. In reaching pose with plump belly and “CTM” carved in the underside. Slightly extend ed tail with whittle marks still present and a light brown wash. Measures 17” long. Body and paint have been stressed slightly to create the appearance of age.

(1,000 - 1,500)

31 swimming brant, cameron mcintyre, new church, Virginia. Hollow carved in the style of Nathan Cobb, Jr. with split tail carving and turned swim ming head pose. “CTM” carved in the underside. Measures 21.25” long. Made to look older with filled nail holes and drying cracks; excellent and original. Provenance: Herb Wetanson collection. (2,000 - 3,000)

32 curlew, cameron mcintyre, new church, Virginia. Fat body with relief wing carving and carved eyes. Hardwood bill splined through back of head. “CTM” carved in underside. Measures 14.5” long. Made to appear older; excellent and original. (1,200 - 1,800)

33 miniature canvasback drake, cameron mcintyre, new church, Virginia, 2022. In the style of Lee Dudley with “CTM” carved under the tail. Slightly raised neck seat. 5” long. Excellent original paint that has been stressed to create the appearance of age. (500 - 800)

34 miniature canvasback drake, cameron mcintyre, new church, Virginia, 2022. A Cameron McIntyre style upper bay canvasback with “CTM” carved in underside. Measures 5”. Excellent original paint that has been stressed to create the appearance of age. (500 - 800)

35 american merganser drake, mark mcnair, craddockville, Virginia. Hollow carved with relief wing carving and inlayed neck seat. “McNair” carved on underside. Measures 22” long. Made to appear older; excellent and original.

Provenance: Charles Long collection. (1,200 - 1,800)

36 Fat ruddy duck, mark mcnair, craddockville, Virginia. Relief wingtip carving and reared back head. “McNair” carved in under side. Measures 9.25” long, and 7” wide. Excellent and original. (800 - 1,200)

37 Hollow carved golden plover, mark mcnair, craddockville, Virginia. Relief wing and split tail carving. Thinly hollowed with inlayed bone escutcheon at stick hole. “McNair” carved in the underside. Measures 12” long. Excellent and original.

Provenance: Charles Long collection. (1,000 - 1,400)

38 running yellowlegs, mark mcnair, craddockville, Virginia. Relief wing and split tail carving. “McNair” carved in underside. Measures 15.75” long. Excellent and original (800 - 1,200)

39 Pair of semipalmated plover, mark mcnair, craddockville, Virginia. Each mounted on wire legs.

Scratch feather paint detail on backs. “McNair” carved in the undersides. Measure 8” long. Excellent and origi nal. (1,200 - 1,800)

40 Hollow carved curlew, mark mcnair, craddockville, Virginia. Deep relief wing and split tail carving. Carved eyes and splined hardwood bill. An early example with “MSM” carved on the underside.

Measures 13” long. Made to appear older; excellent and original.

Provenance: Kirby Roberts collection. (1,200 - 1,800)

41 Greater and lesser yellowlegs, mark mcnair, craddockville, Virginia. Carved in the style of Ira Hudson with relief wingtip carving and scratch feather paint detail. “McNair” craved in the undersides. Measure 8.25” and 13.5” long. Excellent and original. (1,200 - 1,800)

42 running curlew, mark mcnair, craddockville, Virginia. Carved in the style of the world record curlew from the Phillips rig sold by Guyette & Deeter in July, 1997. Relief wing and split tail carving. “McNair” carved on the underside. Measures 23” long. Made to look older with a darkened surface and hairline cracks; excellent and original.

Provenance: Charles Long collection. (1,000 - 1,400)

Fred a llen

Monmouth,

43 rare preening mallard drake, Fred allen, monmouth, illinois, last quarter 19th century. Hollow carved with head turned and bill buried in to feathers. Decoy was never weighted. Measures 12.5” long. Original paint with minor wear under at thin coat of var nish; moderate wear on top of head; many small dents, including a long one on one side; very minor roughness on edge of tail; tight drying cracks in underside.

Provenance: Recently found at a house in Florida. (6,000 - 9,000)

c harles Walker

- 1954 | Princeton, Illinois

Around 1935 Charles walker made six pintail drakes and a dozen mallards for Princeton Gun Club member Henry Gross. In 1956, wh en George Skinner bought Henry Gross’s membership share, number 22 , he also acquired the rig of pintails and mallards as part of th e deal. Eventually Skinner began selling the decoys to collectors and t herefore his name is attached to them, hence Skinner rig #22. The only o ther two pintails that Walker made were for Princeton Gun Club membe r, Merle Brown, membership number 28. He also made a dozen mallar ds for Brown. Brown sold his share to Ted Vance hence the Vance ri g #28. Sometime in 1960 Ted Vance sold Joe French his two pintails, la ter in the 70’s he sold the mallards to Joe Tonelli.

Joe French tried to buy the Skinner rig pintails but could not get the deal done. Gene Konopasek bought three, he kept one and traded one to Bill Mackey and one to Harold Haertel. The other three w ent to Joe Tonelli in 1970. Tonelli kept one, sold one to Bill Carr an d one to Ed Moore. This decoy is stamped Ed Moore on the underside.

44 important pintail drake, charles Walker, Princeton, illinois, 1st quarter 20th century. Two piece hollow body with flat bottom and raised wings. High alert head with classic loop feather combing over back and tail. Number “22” written on under side, with the name “Ed Moore” stamped in underside. Measures 18.5” long. Strong original paint with light gunning wear; tight cracks in neck, one which was profession ally restored with a very small amount of inpainting in that area; an early professional restoration to a chip in the top of the bill; neck seat has been reset tightly. (25,000 - 35,000)

Charles Walker was born in Princeton, Illinois and never really left the area, choosing to stay where waterfowl shooting was at its best. Walker hunted locally including at the Princeton Club, a club exclusively for Princeton area hunters.

While Walker was not a full-time professional carver, as were Robert Elliston and Charles Perdew, and he produced significantly fewer birds, he is still considered one of the best of the Illinois River region by today’s collectors. He produced between two to three hundred decoys later in his life from about 1925 to 1950, many of which were made and sold to members of the Princeton Game and Fish Club.

r

obert e lliston

1847 - 1911 | Bureau, Illinois

Robert Elliston (1847 – 1915) of Bureau, Illinois crafted some of the finest decoys to emerge from the Illinois River area. His work was the inspiration for generations of carvers to follow, including Charlie Perdew and other respected regional carvers. Hunters, too, recognized the quality of his work and the demand for his decoys only increased with time. At the turn of the century, those sportsmen that demanded and could afford the very best, purchased Robert Elliston decoys.

45 Bluewing teal hen, robert elliston, Bureau, illinois, last quarter 19th century. Hollow carved with scratch feather paint detail on back. “WHW” branded in the underside. Menzel col lection paper label on underside. Measures 12.5” long. Original paint with very minor gunning wear; a few shot strikes; hairline crack in neck seat; minor chipping and roughness on edge of bill Provenance: Ex Menzel collection.

(20,000 - 30,000)

Elliston’s decoys were made of the finest white pine with the bodies hollowed out of two equal pieces. The heads were well caved with a very detailed bill and had eyes set very high giving a frogeyed look. The painting was superbly done by his wife Catherine and set a high standard for other Illinois River carvers that came later. He made mallards in the greatest number, but also made pintails, teal, bluebills, redheads, canvasbacks, ringnecks, coots and Canada geese. The decoys were weighted by a lead strip on the bottom that was stamped “THE ELLISTON DECOY”. Robert was the first to make turned head sleepers. By all standards, Robert Elliston rates as a classic maker.”

“Decoys of the Mississippi Flyway”, Alan Haid

Bert Graves 1880 - 1956 | Peoria, Illinois

46 Pair of pintails, Bert Graves, Peoria, illinois, 2nd quarter 20th century. Hollow carved with comb feather paint detail on drake. Both retain the original Graves weight. Measure 18” long. Original paint with minor gunning wear, mostly on drake; minor separation at hen’s neck seat; hairline crack in underside of hen; minor roughness on edges of bill with hairline crack and narrow chip on one side of hen; touchup to flaking around eyes. (6,000 - 9,000)

Graves made a number of notable rigs for wealthy sportsmen in the Peoria area and his work is known as far away as Stuttgart, Arkansas and Manitoba, Canada. One of his better-known rigs was branded “CJC”. It has been stated that this was for “Chet” Caswell of Peoria. This may be a misspelling for no one by that name appears in the Peoria census records. However, a Charles Justin Caswell (1899 – 1979) lived at 1550 Ellis St. in Peoria and ultimately would be heavily involved with the notable LoHeide – Caswell typesetting and printing office located in that city. It was he who was fortunate enough to own some of Grave’s absolute best black ducks.

47 rare black duck, Bert Graves, Peoria, illinois, 2nd quarter 20th century. Hollow carved with the original Graves weight. Branded “CJC” twice on the underside for the Charles J. Caswell rig. Measures 17” long. Original paint with very minor gunning wear; a few small dents on one side and back; professional tail chip repair and a dime size spot of touchup on one side of head (4,000 - 6,000)

48 mallard, Bert Graves, Peoria, illinois, 2nd quarter 20th century. Hollow carved, white sided model with the original Graves weight on underside. Measures 17” long. Original paint by Catherine Elliston with minor wear; very minor roughness on edge of bill, otherwise excellent structurally. (3,000 - 5,000)

49 Pair of oversize mallards, cline mcalpin, chicago, illinois, 2nd quarter 20th century. Hollow carved with wide bodies. “MAC” painted on the undersides. Measure 17” long. Original paint protected under the original coat of varnish with minor discoloration and a few paint flakes; small dent in top of drake’s head, otherwise excellent structurally. (1,200 - 1,800)

50 Pair of mallards, cline mcalpine, chicago, illinois, 2nd quarter 20th century. Hollow carved with original lead wights on underside. Measure 15” long. Original paint with very minor wear protected under the origi nal coat of varnish; excellent structur ally. (1,200 - 1,800)

51 Pintail drake, cline mcalpin, chicago, illinois, 2nd quarter 20th century. Hollow carved with slightly turned head and comb feather paint detail. Measures 15” long. Original paint with minor discoloration; a few small dents; hairline drying crack in neck. (600 - 900)

52 mallard drake, charles Perdew, Henry, illinois, 2nd quarter 20th century. Hollow carved with slightly turned head. Comb feather paint detail on sides. Retains the original Perdew weight. Measures 15.25” long. Near mint original paint; protected under the original coat of varnish that has yellowed slightly; hairline crack in one eye, otherwise excellent structurally.

Provenance: Herb Wetanson col lection. (3,500 - 4,500)

53 Pair of canvasbacks, Bert Graves, Peoria, illinois, 2nd quarter 20th century. Hollow carved with comb feather paint detail. Retain the original weights. Measure 16.5” long. Original paint under a thin coat of varnish with minor discoloration and wear; multiple spots of touchup to drake’s head, neck, and breast; short hairline crack on one side of hen’s head. (2,000 - 4,000)

54 Pair of mallards, Bert Graves, Peoria, illinois, 2nd quarter 20th century. Hollow carved with the original Graves weights on under sides. Measure 16.75” long. Original paint with minor discoloration and wear; hairline crack through neck and one eye of drake. (4,000 - 6,000)

Jim s chmiedlin

1945 - 2015 | Bradfordwoods, Pennsylvania

55 Pair of mallards, Jim schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with slightly turned heads. Hen with head turned upwards slightly. Relief wing and tail feather carving. “JAS’ branded on under sides. Also with maker’s reward for return label. Measure 18” and 19” long. Mint. (10,000 - 14,000)

56 excellent gadwall, Jim schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with reared back and slightly turned head. Relief wingtip carving. Branded “JAS” on underside, also with maker’s reward for return label. Inscription on underside reads,”Upper body Cyprus from Iron City Brewery Fermenting Tanks, 100 year old plus wood”. Measures 17.5” long. Near mint. (8,000 - 12,000)

o liver Lawson

b. 1938 | Crisfield, Maryland

57 * excellent pair of decorative gadwall, oliver Lawson, crisfield, maryland. Standing on base, mimicking a beach scene. Both with highly detailed feather carving and raised wingtips. Hen with open bill and slightly turned, outstretched head. Signed and dated 1977 on the back of driftwood. Base measures 25” wide, drake stands 12.5” tall including base. Chip in one of hen’s tail feathers, otherwise excellent and original.

Provenance: Lynwood Herrington collection. (8,000 - 12,000)

58 * excellent pair of decorative black ducks, oliver Lawson, crisfield, maryland. Both standing on base depicting a beach scene. Both with raised wingtips and highly detailed feather carving. Hen with open bill and outstretched neck. Drake with slightly turned and tucked head. Signed and dated 1975 on drift wood. Base measures 30” across, black ducks are 15” and 19” long. Excellent and original.

Provenance: Lynwood Herrington collection. (8,000 - 12,000)

59 Pair of mergansers, John scheeler, mays Landing, new Jersey. Hollow carved. Both with raised, turned heads and extended crests, relief wing and tail feather carving. Signed and dated 1972. Measure 16” and 17” long. Excellent and original. Provenance: Lynwood Herrington collection. (3,000 - 5,000)

60 Widgeon drake, John scheeler, mays Landing, new Jersey. Slightly swimming, turned head pose. Relief wing and tail feather carving. Signed and dated 1972. Measures 16” long. Tiny paint flake at tip of tail was darkened, other wise excellent and original.

Provenance: Lynwood Herrington collection. (2,500 - 3,500)

61

Pair of canvasbacks, Jim Foote, Detroit, michigan. Hollow carved with highly detailed feather carving. Raised, crossed wingtips and slightly turned heads. Drake’s head in tucked pose. Both signed and dated 1977. Measure 13” long. Very minor paint rubs on tips of tail feathers, otherwise excellent and original (4,000 - 6,000)

61

62 * Decorative pair of king eiders, Paul Burdette, toronto, ontario. Titled “Spring Thaw/King Eider”. Depicts two standing eiders on a base depicting a frozen coastal scene. Drake with open bill. Both with slightly turned heads. Highly detailed feather carving with raised, crossed wingtips. Base measures 28.5” across, drake stands 20.5” tall including base. Very good original paint; repairs to cracks in three of the four legs; reset breaks in two of drake’s wing feathers; some touchup to the grey on drake’s bill; small chips in two of the tips of hen’s tail feathers. (5,000 - 8,000)

Accompaning plaque. States awards that carving has won.

62

63 * Pintail hen, tom shumate, Gibraltar, michigan. Hollow carved with raised wing and open bill preening feathers. Detailed feather carving throughout. Signed and dated 1980. Measures 14.25” long. Original paint with minor rubs at tips of feathers; crack in top and sides of face in between the eye and bill

Provenance: Lynwood Herrington collection. (800 - 1,200)

64 * Pintail drake, Paul Burdette, toronto, ontario. Thinly hollowed with slightly turned head and highly detailed feather carving. Raised, crossed wingtips and extended tail sprig. Measures 18” long. Excellent original paint with minor to moderate discoloration on breast and sides from early sap bleed; one raised wingtip was cracked and reglued.

Provenance: Lynwood Herrington collection. (2,000 - 3,000)

65 Pair of cinnamon teal, Jack Franco, assonet, massachusetts. Dated 1976. Hollow carved with slightly turned heads and raised, crossed wingtips. Highly detailed feather carving. Signed on the undersides. Measure 11” long. Repair to raised wingtip on each, otherwise near mint.

Provenance: Lynwood Herrington collection. (1,200 - 1,800)

66 Pair of red breasted mergansers, charles “Duke” Grobaker, st. michael’s, maryland. Hollow carved with raised, slightly turned heads. Extended crests and raised, crossed wingtips. Signed and dated 1986 and 1987. Measure 18” and 19.5” long. Excellent and original.

Provenance: Lynwood Herrington collection. (1,000 - 1,400)

67 chickadee, oliver Lawson, crisfield, maryland. Standing on carved holly branch. Raised, crossed wingtips and detailed feather carving. Bird measures 4.5” long, stands 7” tall including bass. Excellent and original.

Provenance: Watson collection.

(1,000 - 1,500)

68 Pair of hooded mergansers, Halbert Dean. Slightly turned heads with extended crests and raised wingtips. Highly detailed bill and feather carving. Identified, signed, and dated 1994 on underside. Measure 12” and 12.5” long. Excellent and original.

Provenance: Watson collection.

(2,500 - 3,500)

69 Bundle of bluebirds, ernie muehlmatt, salisbury, maryland. Depicting multiple bluebirds huddled together, carved from a single piece of wood. Carving can be placed in a base, which mimics a tree stump. Measures 7” wide. Minor paint rubs and a few paint flakes; one of the bills was tightly reset.

(1,000 - 1,400)

70 sleeping canvasback, Bob Kerr, smiths Falls, ontario. Hollow carved with round inlayed bottom board. Head is turned back and bill is tucked under one feather. Signed and dated 1976. Measures 11” long. Excellent and original.

Provenance: Lynwood Herrington collection. (600 - 900)

m ason Decoy Factory 1896 - 1924 | Detroit, Michigan

71 rigmate pair of widgeon, mason Decoy Factory, Detroit, michigan, circa 1905. Standard grade glass eye model. Measure 13” and 13.5” long. Strong original paint with minor gunning wear; small chip and roughness on tip of drake’s tail and bill; minor flaking to the original neck filler on both.

Provenance: Dr. Mansel Pearce collection. (6,000 - 9,000)

David B. Day was the son of attorney Luther Day and his wife, E llen Isabel Barnes. He was destined to follow in his father’s chosen occupa tion, and he attended the University of Michigan Law School, graduating in 1 888. Upon graduation, he became a member of the firm Day, Lynch, and Day a nd continued to practice law for his entire working life. He must have been professionally successful for, at least between the years 1910 and 1930, he and his wife enjoyed the services of a live-in maid or servant in their home on Market Avenue North in Canton. He was a duck hunter and conserv ationist who could afford the finer things the sport had to offer as evid enced by his being accepted into the membership of the selective Toussaint S hooting Club in 1905. The Toussaint Shooting Club was formed in 1885 by a gr oup of wealthy and prominent businessmen from the Cleveland area. At its heigh t, this club managed approximately 1,350 acres within the “Great Black Swamp .”

72 Pair of mallards, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Special order, premier grade models with thicker than typical bill carving and slightly turned heads. Made for the rig of D.B. Day and so branded. Hollow carved with appealing paint detail. Measure 17” and 17.5” long. Strong original paint with minor dis coloration and wear; hen is moderately hit by shot; minor separation at neck seats; each with a typical professional tail chip repair.

(5,000 - 8,000)

73 Bluewing teal, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Hollow carved, premier grade with relief bill carving and glass eyes. Measures 12.25” long. Strong original paint protected under a thin coat of var nish; minor flaking and wear; dent in one side; short hairline crack in bill. (4,000 - 6,000)

74 Bluewing teal hen, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Hollow carved premier grade with relief bill carving and glass eyes. “J.M.B.” branded in underside. Measures 12.25” long. Original paint with minor gunning wear; moderately hit by shot; slight separation at neck seat with head being slightly loose; short hairline crack in bill; touchup around eyes indicating they may be replaced. (3,000 - 5,000)

75 Bluebill drake, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Hollow carved premier grade with relief bill carving and glass eyes. Measures 14” long. Strong original paint with minor flaking and wear; hairline crack along back; a few small dents and shot marks; very minor roughness on tip of bill. (3,000 - 4,000)

Black duck, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Challenge grade with incised bill carving and glass eyes. Bold feather looping on body. Challenge ink stamp on the underside. Measures 17.25” long. Strong original paint pro tected under a thin coat of varnish that covers mostly the top and sides; minor flaking to filler at neck seam; minor roughness on edge of bill; in factory filled split in the underside with a 4” piece missing. (2,000 - 3,000)

77 redhead drake, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Hollow carved premier grade with relief bill carving and glass eyes. Measures 15” long. Original paint with very minor wear; lightly hit by shot; tight separation around body seam; separation at in factory filled crack in one side. (2,500 - 3,500)

78 canvasback, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Hollow carved, premier grade with relief bill carving and glass eyes. “G.R. Ford” branded twice in the underside. Measures 16” long. Original paint with minor discoloration and wear; minor flaking at neck seat; hairline cracks in one side with small spot of touchup on one side of breast; crack along the other side was filled and touched up; two small spots of touchup on back. (1,500 - 2,500)

George Warin 1830 - 1905 | Toronto, Ontario

George was born in England, the son of shoemaker and agricultural laborer, William, and his wife Elizabeth. In 1851, he was still residing in England with his family, working as an agricultural laborer alongside his father. It is unclear when he arrived in Canada, but, by 1861, he was living in Toronto with his parents, brother James (1831 – 1884), and sister Sarah, however, his exact occupation is unknown (see note 1).

By the mid 1800’s, the Toronto waterfront was teaming with boatbuilders (there were 19 such firms listed there in 1880). According to the 1861 Canadian census, George had taken up the trade of “boatbuilder”, one that would go on to dominate his life. In his early years he, and his brother James, worked for a boat company owned by Bob Rennardson but they soon bought the company from him, retaining Rennardson as a trusted worker. At least as early as 1876, George is found listed in the Toronto directory under “G & J Boatbuilders”.

Both duck hunting and rowing were extremely popular pursuits, and Warin was instrumental in both areas. He applied for, and was granted, a number of related patents, including one for an improved sliding rowing seat and one for a “Warin’s shooting skiff”. George was an accomplished rower in his own right and went on to teach the sport to five-time world champion, Ned Hanlon. Hanlon was subsidized and managed by fellow Toronto boatbuilder (and decoy maker of note), David Ward (1838 – 1912). Warin’s other passion was that of duck hunting, and the financial success of his company allowed him the ability to travel throughout

Canada in pursuit of the best of the sport. Being a master woodworker and boatbuilder, he certainly possessed the necessary skills and tools needed to produce his own decoys. In 1874, he was one of the founding members of the elite St Clair Flats Shooting Company, and, in 1901, was selected to guide and supply the decoys for the Prince of Wales (who was to become King George V) and his royal hunting party to Lake Manitoba. At some point, one of his hunting ventures had a less than happy outcome when a gun discharged, resulting in the loss of his left hand and lower forearm. Apparently, this did surprisingly little to affect his shooting, drafting, woodworking or boat handling skills.

George and Sarah Ann Warin

In 1873, his younger brother, James, had married Sarah Ann Cooper Page (1854 – 1926) and George, being single, lived with them and their five children. James died young in 1884 and, in 1887, George married his widowed sister-in-law (he age 57 and she age 33), and they went on to have five additional children of their own. They resided at 116 Seaton Street, Toronto, in a home that was, necessarily, quite large.

As mentioned, George’s success in business allowed him to enjoy many of life’s niceties. One of those was owning his own summer retreat which he referred to as “Fort Warin” at Hanlan’s Point on Toronto Island. The Island was also the home of the Royal Canadian Yacht Club and their rowing regattas. Here he spent many happy moments with his family and died there after a long illness.

His decoys have been found in the rigs of a number of wealthy sportsmen, including those at the St Clair Flats Club, the Long Point Company and elsewhere. His work proved to be the inspiration for a number of well-regarded carvers to follow, men such as John Wells and others.

Notes: One reference indicates that he may have worked briefly as a policeman on Toronto Island.

Patent 1887

Royal hunting party, 1901, Lake Manitoba. Prince of Wales in doorway

79 canvasback drake, George Warin, toronto, ontario, last quarter 19th century. Thinly hollowed with .25” bottom board. “A.L.” branded in underside. Decoy has been exhibited at the Ward Museum in Salisbury, Maryland and has been awarded 1st prize in the pre 1900 diver category at the Ohio Decoy Collectors and Carvers Association Show. Measures 15” long. Original paint with minor gunning wear; single shot strike on head; head is slightly loose

Provenance: “Traditions in Wood,” Patsy Fleming, editor, p. 156, exact decoy pictured. (8,000 - 12,000)

80 canada goose, George Warin, toronto, ontario, last quarter 19th century. Painted in the style of those found in the Price rig. Very hollow with bottom board construction. Glass eyes and raised neck seat. This rig of Warin decoys displays the finest feather painting of any geese that he made. Measures 24” long. Strong original paint with light gunning wear; a few dents; tightened neck crack repair; partial bill replacement and tail chip repair by Russ Allen. (8,000 - 12,000)

81 one of a kind mallard drake, Bud tully, Peterborough, ontario. Head is turned approximate ly 50 degrees. Deep relief wing carving with crossed, raised wingtips and curly tail sprig. Feather rasping throughout. Hollowed from the underside with two large drill holes. “J.D. Tully” carved in the underside. Measures 14” long. Near mint.

Provenance: Winner of the working Decoy Contest at the Canadian Nationals Sportsman Show in 1958. (6,000 - 9,000)

82 canvasback drake, tom chambers, toronto, ontario, 1st quarter 20th century. Long, solid body style. Branded “Thos Chambers Maker” and “JT McMillan” for J.T. McMillian, member at St. Clair Flats Shooting Company 1913-1946 . Fine comb feather paint detail on back and sides. Strong original paint; two hairline cracks in body; a knot that has pushed up slightly; flaking around eyes; repair to a sliver of the lower portion of the bill.

Provenance: Preston Lowe collection. (3,000 - 5,000)

83 canvasback drake, carl rankin, mitchells Bay, ontario, 2nd quarter 20th century. Solid body decoy with carved ice groove behind neck seat. Feather rasping on head and body. Used at the Mud Creek Club. Measure 15.75” long. Original paint with minor gunning wear; heavily hit by shot in one side; otherwise excel lent structurally. (600 - 900)

84 rare canvasback hen, carl rankin, mitchells Bay, ontario, 2nd quarter 20th century. Solid body decoy with carved ice groove behind neck seat. Feather rasping on head and body. Used at the Mud Creek Club. Measure 15.75” long. Original paint with minor gunning wear; excellent structurally.

(1,000 - 1,500)

85 Bluebill drake, ivar Fernlund, Hamilton Bay, ontario, last quar ter 19th century. Thinly hollowed with .25” bottom board and reared back head. Thick comb feather paint detail. Measures 13.75” long. Mostly original paint with minor to moderate flaking and wear; two shot strikes on bill; some old repaint to flaking on the black area of head and neck.

(1,500 - 2,500)

86 Bluewing teal hen, Bill cooper, Verdun, Quebec, 2nd quarter 20th century. Slightly turned head and deep relief feather carving. “GBM” branded in the underside. Also stamped “Mackey”. Measures 10.75” long. Original paint with very minor wear; filled shot strike at one wing patch, otherwise very good structurally. (1,500 - 2,500)

87 Hollow carved black duck, Bill cooper, Verdun, Quebec, 2nd quarter 20th century. Slightly turned head and deep relief feather carving. Scratch feather paint detail. Measures 15.25” long. Original paint with minor to moderate gunning wear; excellent structurally. (1,500 - 2,500)

88 Pair of black ducks, Bill cooper, Verdun, Quebec, 2nd quar ter 20th century. Slightly turned heads and deep relief feather carv ing. Scratch feather paint detail. Measure 15” long. Original paint with minor to moderate gunning wear; black on undersides is a sec ond coat; underside of bill on one was reshaped and touched up. (1,200 - 1,800)

89 excellent pair of standing woodducks, William Gibian, onancock, Virginia. Slightly turned heads with extended crests. Hen with raised, crossed wingtips. Both with relief wing and tail feather carving. Carved bases with simulated birch limbs. “Gibian” carved in underside of each. Maker’s business card on underside of bases, indicating these are the first ever with bases of this type. Measure 15.5” and 17” long, drake stands 12.25” tall including base. Near mint. (5,000 - 8,000)

90 * Preening curlew, William Gibian, onancock, Virginia. Wing up model with head turned and bill open with a single feather in the bill. Relief wing carving. “Gibian” carved on the underside. Also with maker’s business card on underside of base. Stands 19.25” tall. Excellent and original. (2,000 - 3,000)

91 * Large walking curlew, William Gibian, onancock, Virginia. Walking pose with slightly turned head and raised, crossed wingtips. Relief feather carving. Maker’s business card on underside of base. Curlew measures 19.5” long, and stands 18.5” tall including base. Some flaking and restoration to jesso on legs with a few spots of inpaint ing, otherwise excellent and original.

Provenance: Charles Long collection. (2,000 - 3,000)

92 Preening wood duck, William Gibian, onancock, Virginia. Hollow carved. Head turned, with exaggerated crest that wraps around neck area. Raised wingtip and comb feather detail. “Gibian” carved on the underside. Measures 14” long. Very minor sap bleed, otherwise excellent and original.

Provenance: Charles Long collection. (1,500 - 2,500)

93 Pintail drake, William Gibian, onancock, Virginia. Hollow carved with reared back, breast preening head. Raised, crossed wingtips and inserted hardwood tail sprig. “Gibian” carved on the underside, also with maker’s business card under plexiglass. Measures 18.25” long. Original paint with very minor discoloration; small paint rub on breast (1,500 - 2,500)

e ddie Wozny b. 1959 | Cambridge, Maryland

Eddie Wozny, a native of Maryland’s Eastern Shore, is a profess ional woodcarver and wildlife conservationist. His interest in woodcarvi ng arises from his appreciation of wildlife and the environment coupled with the e njoyment of working with his hands.

“I receive great satisfaction from seeing my vision emerging from a block of wood”

After receiving a degree in Biological Sciences from Salisbury State College, his interests compelled him to try and reproduce the abundance he saw in nature. Basically self-taught, Eddie developed his own tech niques and unique carving style.

Eddie’s work includes a vast array of waterfowl, shorebirds, up land game fowl, birds of prey, and songbirds. He also enjoys carving fol k art and animals. They range in size from a tiny hummingbird to full si ze eagles. For the past 30+ years he has displayed his work at all the major w ildlife art and carving shows. His carvings are also available at selected wildlife and sporting art galleries. His work has been published in The Was hington Post, Decoy Magazine, Country Living, Chesapeake Life, and Attraction Magazine.

94 Wood duck drake, eddie Wozny, cambridge, maryland. “W” carved in underside and signed by maker. This bird is ani mated in many ways with its turned head, sweeping tilted crest, raised wing with separated wingtips and fanned carved tail. Made in 2022. 12” long. Excellent in all respects. (1,250 - 1,750)

95 * Full size decorative bald eagle, eddie Wozny, cambridge, maryland. A commissioned piece depicting a bald eagle with greenwing teal in talons. Eagle with outstretched wings and open mouth. All mounted to a large piece of driftwood. Detailed relief feather carving with neck feathers separated from body. Eagle’s wingspan measures 39”, stands 40” tall including base. A few minor paint rubs, otherwise excellent and original. Provenance: Charles Long collection. (6,000 - 9,000)

96 * Full size flying canada goose, eddie Wozny, cambridge, maryland. Made to be mounted on the wall. Wings extended. “W” carved in underside. Carved feather detail on both top and bottom of wings and tail. Appears to be hollow construction. Wingspan of 53”. Excellent and original. (2,500 - 3,500)

97 Decorative flying curlew, eddie Wozny, cambridge, maryland. Raised wings with relief feather detail. Signed and “W’ carved on underside. Measures 19.5” long. Excellent and original.

Provenance: Charles Long collection. (1,000 - 1,400)

Ward Brothers Crisfield, Maryland

The Ward brothers, Lem and Steve, made a number of career trans itions during their lifetime. Initially, they followed in the footsteps of their father and e arned a livelihood as barbers in the small, rural, waterfront community of Crisfield, MD.

Waterfowl hunting was in their blood, and their talent for carv ing decoys to lure the migrating birds was soon recognized by local gunners and, eventually, spo rtsmen from all corners of the United States. They put aside the clippers and razors and picke d up their knives, rasp and paints and earned a living producing a seemingly never-ending stylisti c array of working decoys through the middle part of the 20th century. Until that time, wood was the primary choice of material with which to fashion these necessary “tools of the trade”. Eventual ly, newer, “modern”, materials and manufacturing processes allowed for the production of less expe nsive decoys and the brothers, once again, had to alter their means of making a living. This t ime, the change was not as dramatic, yet just as life altering.

The decoy producing team’s fame allowed them to quickly adapt to the reduction in demand for their birds meant solely for the marsh and enter into the realm of decorative carvings. By the 1960’s this transition had been completed. Additional species of birds were added to their repertoire, including non-waterfowl, such as grouse and flickers. In 1967, Steve carved his one, and only, eagle which was lovingly painted by Lem (see note 1). This was a monumental piece of work that required a large expenditure of time and material – it was, indeed, a gamble financially. Steve priced the bird accordingly at five thousand dollars – a significant sum. The carving sat first in the shop and then into the living room of the Ward home, where it remained for three years before eventually finding a buyer at the stated price.

Truly representing the wild, free, and majestic nature of our country, the bald eagle was selected as our national symbol by the second Continental Congress in 1782. Once abundant in North America, the species became rare in the mid-to-late 1900s—the victim of trapping, shooting, and poisoning as well as reproductive failures caused by pesticides. By 1978, the bird was listed for protection under the Endangered Species Act. Successful conservation measures and renewed human concern has led to a dramatic resurgence in the continental population and the bird was removed from the endangered species list in 2007. Steves’ inspired interpretation of the bird is a fitting tribute to Halieetus leucocephalus.

Note: After Steve’s death in 1976, Lem went into a deep depression and suffered a series of very serious medical issues. As a means of helping him, friends gave him the materials and urged him to resume carving and painting. He chose to produce his own eagle which was nearing completion (but never painted) at the time of his death in 1984.

98 extremely rare and important decora tive bald eagle, Ward Brothers, crisfield, maryland. Full size standing eagle on a natural perch with head turned roughly 80 degrees. Deep relief wing and tail feather carving. Signed and dated ‘67 - ‘68. This is the first time this eagle has ever been offered at auction. Eagle measures 27” from tip of tail to top of head. Stands 59” from floor. Original paint under a thin coat of varnish with very minor discoloration; a few small dents; some cracks on lower legs and toes; hairline drying cracks in filler where legs meet the body.

Literature: “The Ward Brothers Decoys,” Ron Gard and Brian McGrath, p. 115 and 116. (40,000 - 60,000)

Framed letter that is included with lot.

Eagle displayed at Upper Bay Decoy Show in late 60’s.

99 * Pair of flying mallards, Ward Brothers, crisfield, maryland. Applied wings with relief feather carving. Heads are turned. Hen with open bill. Both signed and dated 1948 on back of wing. Particularly fine paint detail on back of hen. Measure 15” from bill to tail, with a 15.5” wingspan. Original paint with very tight crazing; small dents and a few very minor paint rubs otherwise excellent. (8,000 - 12,000)

100 standing greenwing teal, Ward Brothers, crisfield, maryland, 2nd quarter 20th century. Balsa body with slightly turned head and applied peach basket stave wings. Short hairline crack in breast; spot of touchup on one side and on tip of tail; thin line of touchup along one side of neck seat; jesso and touchup added on legs and thighs. Provenance: Herb Wetanson collection. (6,000 - 9,000)

101 2/3 size canada goose, Ward Brothers, crisfield, maryland. Balsa body with slightly turned head and applied peach basket stave wings. Measures 16.25” long. Original paint with very minor wear; small dents in balsa, mostly around tail.

Provenance: Herb Wetanson collection. (4,000 - 6,000)

102 Preening black duck, Ward Brothers, crisfield, maryland. Head is turned with open bill preening one wing. Raised wingtips and detailed feather carv ing. Signed and dated 1959 on underside. “Norris Pratt Collection Hollow cottonwood” on underside. Measures 12.25” long. Original paint with tight craz ing throughout; hairline crack through one side of neck; small chip in tip of one tail feather.

Provenance: Herb Wetanson collection. (4,000 - 6,000)

a n important selection of Lem Ward’s oil paintings

Barbers by trade, the Ward brothers, universally recognized as two of the most talented decoy carvers in North America, also possessed an oftenminimized breadth of artistic talents that extended far beyond the crafting of fine waterfowl sculpture.

The pair, living in what, initially, was an isolated backwater hamlet, were practically isolated from outside artist and wildfowl reference material. Their talents were innate and, for the most part, self-taught. Reportedly, Lem enrolled in an art correspondence course in the 1920’s but, other than that, neither individual received any formal artistic training.

Both brothers greatly enjoyed singing and would often break into song regardless of where they were located or what they were doing. In 1927, they formed a barbershop quartet that performed throughout the region. They acquired a love of poetry from their mother and both penned numerous poems of their own. Lem had an extremely retentive mind and could repeat lengthy verses of his favorite poems, purely from memory.

By the 1950’s, the widespread introduction of decoys made of plastic and other “modern” materials forced the brothers to focus their talents on more decorative and complicated carvings and the demand for their work spread far beyond the hunting community. As the daily challenge of creating multitudes of birds began to wear on the team, both brothers sought

respite in other forms of artistic expression. Steve began to experiment with producing other related objects such as bookends, jewelry boxes and other decorative items. Lem, although he had painted some pieces earlier, such as a vase of roses in 1935, expanded his repertoire to include landscapes and images of his beloved waterfowl in their natural habitat. His tools were frugal and those that he was accustomed to – a coffee can full of brushes and palettes of clam and oyster shells. These delightful paintings clearly reflect his love for, and thorough knowledge of, his subjects.

Ultimately, age and sickness were to take its inevitable toll on both men. Steve’s eyesight began to fail, and he slowly began to exit carving. Lem suffered a stroke in his 76th year and, with the encouragement of Jack Schroeder, his recovery included the execution of more and more accomplished pencil sketches which he continued to draw until the end.

For the vast, multitalented abilities of the brothers, and in recognition of their cultural impact on the wider Chesapeake community, Salisbury State College, for the first time in its history, conferred honorary degrees on six eastern shoremen including Steve and Lem. Both Received Doctor of Letters Degrees. A worthy recognition for two, selfproclaimed “dumb ole country boys”.

103 Lem Ward’s painting pallet from the 1970s. Thick oil paint mixtures on top of paper have dried to create a very textured surface. Framed in with three of Lem’s paint brushes attached to the sides. 14.5” x 17.5”. (700 - 900)

104 Lem Ward (1896-1984), oil on canvas. Image measures 15.5” x 23.5”. Signed lower right and dated 1974. A V formation of tun dra swans. Professionally framed. Excellent.

Provenance: This painting has hung in the Ward Museum for the last two decades.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath, p. 128, exact painting. (4,000 - 6,000)

105 Lem Ward (1896-1984), oil on board. Depicts five landing pintails. Signed and dated 1948 lower right. Measures 19.5” x 15.5”. Minor discoloration on the original coat of varnish, otherwise excellent.

Provenance: Ex Henry Fleckenstein collection.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath, p. 128, exact painting. (3,000 - 5,000)

106 Lem Ward (1896-1984), oil on canvas. A setter on point in a marshy landscape, titled “Mack”. Signed and dated 1945 lower right. Image mea sures 19.25” x 25.25”. Scattered flaking in upper part of sky; minor yellowing to varnish; scattered in painting to flaking throughout. (2,000 - 4,000)

107 Lem Ward (1896-1984), oil on canvas. A group of Canada geese coming into a corn field. Signed and dated 1972 lower right. Image mea sures 13.5” x 15.5”. A few small spots of discoloration, otherwise excellent.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath, p. 121, exact painting (1,500 - 2,500)

110 Lem Ward (1896-1984), oil on board. Small painting depicting a pair of flying geese. Signed and dated ‘75 lower right. Image measures 7.5” x 9.5”. Very good and original. (800 - 1,200)

111 Lem Ward (1896-1984), oil on tie. Two flying mallard drakes. Signed at the bottom. Framed under glass with cardboard cutout suit. Tie mea sures 18” long. Moderate discoloration and paint rubs; some staining on upper part of tie. (600 - 900)

108 Lem Ward (1896-1984), oil on board. Depicts four flying mallards. Signed and dated 1961 lower right. Image measures 17.5” x 23.25”. Minor discoloration and flaking; some rubs to the surface; creasing to top left corner from blunting.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath, p. 88, exact painting. (1,200 - 1,800)

109 Lem Ward (1896-1984), oil on canvas. An early painting of a pair of landing mallards. Unsigned, but with the maker’s ink stamp on back of stretcher. Image measures 15.25” x 19.25”. Moderate discoloration and staining; a few scratches and punctures; canvas is slightly loose with areas that have been pressed in; minor crazing on breast of drake. (1,200 - 1,800)

112 Peter corbin (b.1945), oil on canvas. “Out of the Mist” a goose hunting scene with silhouette decoys and two hunters in a brush blind. Signed and dated 1981 lower right. Image measures 29.5” x 41.5”. Scattered spots of light discoloration in sky; thin .75” scratch near one decoy, otherwise excellent and original.

Provenance: Charles Long collection. (3,000 - 4,000)

a iden Lassell r ipley

1896 - 1969

An outdoors enthusiast and conservationist, Aiden Lassell Ripley adapted his early painting style and subject matter to suit his personal passion and, in so doing, became one the of the masters of sporting art in America. Ripley often hunted geese along the Atlantic coast and was likely a guest at Plimhimmon in the late 1940’s.

the Guns of December

By Roger Vaughan | December 14, 1986 Printed in the Washington Post

WELCOME TO THE EASTERN SHORE SPORTING LIFE, WITH ITS HAND -- CARVED DECOYS, $ 200 WAXED -- COTTON ENGLISH HUNTING JACKETS, PUMP -- ACTION REMINGTONS, PROPERLY HIDDEN BLINDS AND, OF COURSE, A SKY FULL OF CANADA GEESE.

Plimhimmon farm near Oxford on Town Creek, named by its original owner -- a sea captain -after a mountain in Wales. One day in the late 1940s, a shooting buddy of Myers, the late Roy Walsh, whose book, Gunning the Chesapeake, is still a standard among serious hunters, told Myers he had some wealthy pals from Yale who he bet would love to shoot geese enough to pay for the privilege. “He suggested it would be money on the side,” Myers says, “and farmers were always looking for winter money.”

Myers and Walsh started the Plimhimmon Gun Club, with themselves as guides. The Yalies were their first customers. After a few years Myers and Walsh dropped the “club” idea and concentrated on business, which was booming. Big companies angling for government contracts filled Plimhimmon’s blinds with an impressive array of top military brass from nearby Washington. The old “American Sportsman” television show filmed a hunting segment at Plimhimmon with Curt Gowdy, Bing Crosby and Phil Harris. And there were lighter moments, like the time the ultimate greenhorns, King Mahendra and Queen Ratna Rajya Laxmi of Nepal, came to try their luck.

“I figured it was my farm, so I told Roy, ‘I’ll take the king, you take the entourage,’ “ Myers says. “We got in the blind and the king handed me this Italian gun he had picked up in New York at Abercrombie & Fitch, and said, ‘Load this.’ I looked at the gun, then I looked at the king, then I called Roy in the other blind, ‘Come over here -- you take the king.’ “

113 aiden Lassell ripley (1896-1969), watercolor. “Geese at Plimhimmon,” depicts a goose hunting scene with gunners in two sep arate binds. Signed lower left. Plimhimmon is the name of a large estate located on Town Creek in Oxford, Maryland. Image measures 19” x 29”. Excellent and original. (15,000 - 25,000)

Brett s mith b. 1958

114 Brett smith (b.1958), oil on canvas. Titled “Duck Storm”. Depicts two hunters in a boat with ducks flying overhead. Signed lower right. Signed and titled on the verso. Measures 35.5” x 29.5”. Excellent and original. Provenance: Charles Long collection. (6,000 - 9,000)

115 Brett smith (b.1958), oil on board. Titled “The Mallard Hole”. Depicts two hunters in a blind hunting ducks over decoys with a black lab watching the incoming birds. Beautifully painted morn ing sky. Signed and dated 1996 lower right. Signed and titled on the verso. Image measures 19.5” x 29.5”. Two small spots of inpaint ing on center of top edge, other wise very good and original.

Provenance: Charles Long col lection. (5,000 - 8,000)

116 Brett smith (b.1958), oil on canvas. “Winter Wings”. Depicts a pair of hunters and lab setting out decoys, with a group of mal lards circling above. Signed lower left. Titled and signed on back of canvas. Canvas measures 17.25” x 23.25”. Excellent and original.

Provenance: Charles Long col lection. (2,000 - 4,000)

e dmund o sthaus

1858 - 1928

Born in Hildesheim, Germany, Osthaus studied at the Royal Acade my of Arts in Dusseldorf between 1874 and 1882, immigrating to the United States in 1883. He became the director of the Toledo Academy of Fine Arts between 1886-1893, eventually leaving to devote himself fulltime to painting, shooting, and following field trials. He was a charter member of the Natio nal Field Trial Association formed at Newton, North Carolina in November 1895.

As one of the top American sporting painters in his time, he wa s greatly admired by wealthy families such as the Vanderbilts and the Mor gans. These families and great art collectors commissioned paintings in order to decorate large and spacious walls in their grand homes.

117 edmund osthaus (1858-1928), oil on canvas. Image measures 19” x 26”. Four multi-colored hounds baying after having treed a racoon. Signed lower right. Gilt frame. Two small repairs, one to upper right side about the size of a golf ball, and one to lower right approximately the same size; as viewed under blacklight no visible in painting; varnish has darkened slightly. (35,000 - 45,000)

118 Lynn Bogue Hunt (1878-1960), gauche. Goose hunt ing scene with decoys and hunter. Signed lower edge. Image measures 14.5” x 10.75”. Excellent and original. Provenance: Charles Long collection. (4,000 - 6,000)

119 John Whorf (1903-1959), water color. Depicts five mallards land ing. Signed lower left. Image mea sures 14.75” x 21.5”. Very minor toning, otherwise excellent and original. (4,000 - 6,000)

120 ed Hatch, large oil on canvas. Depicts two landing mallards. Drake with banded leg. Image measures 61” x 33”. Excellent and original.

Provenance: Charles Long collection. (3,000 - 4,000)

121 David Lazarus (b.1952), oil on canvas. Three flying mallards. Signed lower right. Image measures 15.5” x 19.5”. Rub in top left corner with small amount of flaking in clouds, otherwise excellent.

Provenance: Charles Long collection. (1,000 - 1,400)

123 William schaldach (18961982), watercolor. Depicts a pair of morning dove. Signed lower right. Image measures 10.75” x 14.75”. Minor toning near mat, mostly in upper sky; otherwise very good and original. (800 - 1,200)

122 Herman simon (1846-1895), water color. Portrait of a setter. Signed and dated 1896 lower right. Image mea sures 17.75” x 13.25”. Excellent and original. (1,000 - 1,500)

125 William Henry machen (1832-1911), oil on canvas. 17.5” x 13.5”. Two hanging wood cock.

Signed lower right. Gilt frame. This painting has been protected in a glass case, so it remains in a near mint condition; some crackleware in gray area above bird’s tails and small area of birds; as viewed under UV light no areas of restoration are visible. (2,000 - 3,000)

124 David Hagerbaumer (1921-2014), watercolor. Depicts a single flying wood duck. Signed and dated 1959 lower left. Image measures 8” x 9.75”. Minor toning from age and slight waving to the sheet, otherwise very good. (1,200 - 1,500)

125

126 David Hagerbaumer (1921-2014), watercolor. Depicts a flight of snow geese over a rig of stick-up decoys. Matted and framed. Measures 18” by 29 3/4”. Very good and original. (1,500 - 2,000)

127 roland clark (1874-1957), two drypoint etchings. One tit iled “Over the Top”, depicting flushing pheasant. Edition of 45. Professionally framed and matted, image measures 2.75” x 4”. The other circa 1923, depicts five quail flushing. Professionally framed and matted, image measures 3” x 4.75”. Both signed lower right. Very good and original. (600 - 800)

128 Kay Williams (20th/21st century), oil on canvas. Image mea sures 16.5” x 26.5”. Professionally matted and framed. Signed lower right. Titled “Dog Days of Summer”. Well executed painting of a yel low lab cooling down in the summer heat. Excellent in all respects. (2,500 - 3,500)

129 William m. Hollywood (19232007, uK), oil on canvas. Of two shelducks at water’s edge.

Image measures 19.5” x 29.5”. Signed lower right. Professionally matted and framed. Excellent. (3,000 - 5,000)

Marc began his career painting the various workboats of the Chesapeake Bay. At the time he was limited to capturing them from the perspective of one standing on a dock or shoreline. Today, he is recognized as one of America’s premier marine artists.

Now he spends hundreds of hours a year on the Bay, with the Waterman who he so fervently respects. This particular painting tells a story. It captures Marc’s view of how a past Maryland Governor’s attempt to overly restrict and regulate Maryland’s watermen, all in the name of the “environment”, would “tie their hands” and signal the beginning of the end to their way of life.

The painting speaks loudly to the need to maintain the long tradition and proud heritage of Chesapeake Bay Waterman and acknowledge their contribution to Maryland and the Eastern Shore. We must never allow a tradition of responsibly harvesting oysters, blue crabs, and striped bass, contributing not only to the local communities but markets across the country, to fade away.

130 marc castelli (20th century), large watercolor. Image measures 28.5” x 20.5”. An oyster fisherman with hands tied from frayed rope. A political state ment about the challenges of oyster fishing in the bay, and the governor’s final solution. Dated and signed bottom, 4/25/10. Professionally framed. Excellent and original. (3,000 - 5,000)

130

131 milt Weiler (1910-1974), watercolor on paper. 7.5” x 10.25”. “Bufflehead drake 1910, Ira Hudson, Chincoteague, Virginia”. Signed under decoy. Professionally matted and framed. A couple very small spots on paper, otherwise very good.

Provenance: Dr. Lloyd Griffith collection. (600 - 800)

132 milt Weiler (1910-1974), watercolor on paper. 7.5” x 10.25”. “Ruddy duck drake 1890, Lee Dudley, Knotts Island, North Carolina”. Professionally matted and framed. Three small spots otherwise very good and original.

Provenance: Dr. Lloyd Griffith collection. (600 - 800)

133 milt Weiler (1910-1974), watercolor on paper. 7.5” x 10.25”. “Black duck 1920, Robert McGaw, Havre de Grace, Maryland”. Professionally matted and framed. Very good and original.

Provenance: Dr. Lloyd Griffith collection. (600 - 800)

134 art Lamay (b.1938), watercolor. Depicts a standing night heron with watercolor also on the mat. Signed lower center. Glass measures 23.25” x 19.25”. Excellent and original. (800 - 1,200)

135 Henry P. “Harry” megargee (1887-1978), a group of five original oil illustra tions. Each oil on canvas board is framed and has writing on the back indicating these were made for the US Playing Card Company, exclusive rights to reproduce on to sets of playing cards. Each is signed Harry Megargee on back, 270 Forest Drive, Springfield, New Jersey. Willet painting is signed lower left and measures 15.5” x 11.5”.

Redheads titled “Pitching to a Bar” signed lower left, measures 15.75” x 11.75”. A small piece of the canvas board is missing at lower corner. Wilson snipe, signed lower right, measures 15.5” x 12”, small piece of canvas board missing from lower right and upper right. Pintails is not signed on front or back, measures 13.75” x 9.75”. Pointer and ringneck pheasant, measures 15.5” x 11.5”. Under UV examination no inpainting or crackalature is visible. (3,000 - 5,000)

Dr. e dgar Burke

1889 - 1950 | Jersey City, New Jersey

Edgar Burke was born in Germany and immigrated with his family to the US in 1897. As a young man, he returned to Germany but, by the 1930’s, he was a practicing surgeon at the Jersey City Medi cal Center, ultimately becoming the Assistant Medical Director at that Institution. He was a life-long bachelor and apparently lived o n the grounds of the Hospital while he worked there. In retirement, h e moved to Litchfield, Ct where he passed away and is buried.

An avid sportsman, Burke enjoyed every aspect of the field sport s. While in New Jersey, he developed a deep interest in archeology, and he enjoyed racing pigeons. A dedicated fly fisherman, he spen t a great deal of time in the Kennebago watershed in northwestern Maine where he developed his famous streamer the “Dr Burke”. He authored “American Dry Flies and How to Tie Them” which was published by the Derrydale Press for The Anglers Club of NY. He greatly enjoyed hunting, especially for waterfowl, an d his financial position allowed him the luxury of visiting a number of well known clubs along t he Atlantic, especially the Green Island Club in Ocracoke, North Carolina. He made a small number of decoys for his own use and, perhaps a few close friends. His abilities so impressed Eu gene Connett that Connett had him write the section on “Making and Painting Decoys” for his b ook “Duck Shooting Along the Atlantic Flyway”.

He illustrated a number of the most widely read sporting books of his day for some of the most respected authors of the time. Today, he is appreciated and enj oyed for his wonderful painted images that accurately depict a wide range of sporting scenes.

136 rare pair of greenwing teal, Dr. edgar Burke, 2nd quarter 20th century. Cork body decoys with quarter inch bottom boards. Maker’s name painted on the underside. Measure 11.5” long. Original paint with very minor wear; minor rough ness on tips of tails; heads are slightly loose; small nail added on one side of hen’s head to secure a tight crack.

Provenance: Ex Ron Gard collection

Literature: “Decoys of the Shelburne Museum,: p. 32 rigmates. “Duck Shooting along the Atlantic Tidewater,” p. 261. (800 - 1,200)

Green Island Club

139 Dr. edgar Burke (1889-1950), oil on canvas laid on board. Depicts a single flying pintail. Signed and dated ‘43 lower left. Matted and framed under glass. Image measures 15.5” x 11.5”. Moderate to significant yellowing from varnish; scattered crazing throughout; some inpainting over varnish on upper wing. (800 - 1,200)

140 Dr. edgar Burke (1889-1950), watercolor. Pair of pheasant. Signed and dated 1924 lower left. Image measures 8” x 10.5”. Very good and original. (800 - 1,200)

137 Dr. edgar Burke (1889-1950), oil on canvas board. Measures 19.5” x 15.5”. Signed lower right. Image of three black ducks landing in marsh. As viewed under UV light no restoration or repairs; image is slightly dirty. (1,500 - 2,000)

138 Dr. edgar Burke (1889-1950), oil on canvas board. Four redheads setting in. Signed lower right. Image measures 15.5” x 19.5”. Image appears good under UV light with no restoration or repairs; one small scratch at water’s edge where it meets cattails lower left. (1,000 - 1,500)

139

141 141a

141 Jim Foote (1925-2004), oil on canvas. Depicts two fishermen in a boat. Signed and dated 1988 lower right. Image measures 29.25” x 42.5”. Very good and original. (4,000 - 6,000)

141a * trout plaque, Jim Foote, Gibraltar, michigan. Full round carving applied to backboard. With open mouth, relief gill and eye carving. Backboard is signed and dated 1989. Trout measures 22.75” long, backboard is 17” x 27”. Small reset chips in pelvic fin and lower tail, otherwise very good and original. (2,000 - 3,000)

t he c urlew of n antucket

Native Wampanoag for “the Far Away Land”, and known locally as “The Old Grey Lady”, Nantucket Island, 30 miles off the southern coast of Cape Cod, established its claim to fame through the whaling industry. This dangerous venture drew island men to sea for years at a time in pursuit of the leviathans and their valuable oil. Their labors lit homes across the country and provided essential lubricants and perfume basics while the animal’s bones and baleen supplied a durable construction material for a wide variety of utilitarian and decorative purposes. Eventually, larger ships necessitated slowly abandoning the Island’s shallow harbor and, by the first half of the 1800’s, the industry had shifted much of its focus to the port of New Bedford on the mainland. In 1846, a major fire swept the Island’s oil-soaked waterfront destroying countless businesses and homes. Slowly, the remaining inhabitants emerged from a period of drastic economic decline and Nantucket established a new reputation as an elite tourist destination.

Men on the Island had long pursued the passing great flocks of shorebirds, mostly as a welcome addition to the dinner table. Islanders had long burned over the moors to promote adequate grasslands for their vast herds of sheep which were raised there after the passing glory of the whaling industry. These areas also provided ideal foraging ground for numerous shorebirds that were drawn to the isolated, offshore local for feeding or resting areas. Certainly, other species frequented the Island, but through the early to mid-1800’s the most common targets were eskimo curlew and golden plover. The eskimo curlew had all but vanished from the Island by 1900 and the take of goldens had been reduced by about half. The Jack curlew on Nantucket had a similarly dismal existence on the Isle. Seemingly, they had never been truly abundant. As the 18th century slid into the nineteenth, they may have once been relatively common but, as noted in a number of early ornithological records, the population numbers on Nantucket diminished drastically throughout the 19th century. When discussing the species, early reports document their decline in

“Rare in New England” (Samuels 1870)

“Rare migrant, Spring and Fall” (J.A. Allen 1879)

“Cannot be considered a common bird” (Sterns, New

“Becoming fewer in number every year” ( Samuels 1897)

“Rare spring and Uncommon Fall migrant “ ( G.M. Allen, Massachusetts 1909)

“No one has a good reason to give for shooting these birds, yet it is certain that whereas they were once abundant they are now almost rare.” (Blanchan, 1912)

Noted Boston sportsman George Mackay, who commonly gunned on Nantucket, reported in an early issue of the Journal of the American Ornithological Society (AUK):

“ - - - reliable accounts - - - show that in the summer of 1833 some fifteen hundred of these birds passed the season on the Islands of Tuckernuck, while for the seventeen years previous to 1892, he never saw more than one hundred on the average annually, and in the later years even this number has decreased”.

The state ornithologist for Massachusetts, Edward Forbush, reported in 1912:

“In Massachusetts, these birds feed largely on fiddler crabs, large grey sand spiders, June beetles and huckleberries”. “ - - - the adult birds are so shy that few gunners find that it pays to hunt them. They are indifferent food at best, and for this reason there is little market demand”.

After reviewing these records, it is hard to understand why decoys for these birds were carved at all. Certainly, we must think that those that were carved were, indeed, very few in number. Further, those that were produced must date to an early period in the 1800’s. Yet, sportsmen/artists on Nantucket did carve small numbers of these decoys and their efforts represent some of the very finest examples of their kind to be found anywhere along the Atlantic seaboard.

NOTES: Historically known as the Hudsonian Curlew, the species is now commonly designated as a Whimbrel. In the 1800’s and 1900’s on Cape Cod and its Islands they were called “Jack Curlew” to differentiate them from their longbilled relative. Elmer Crowell referred to his carvings of the species as “Jack” curlew.

142 Pair of curlew, charles F. coffin, nantucket, massachusets, 3rd quar ter 19th century. Large, two-piece body decoys. Measure 13.75” long. Original paint with moderate flaking and wear; a few small dents; tightly reset chip at the back of one neck seat with some old filler to a missing piece; spots of old brown touch up on both; very early bill replacements.

Provenance: Ex Thomas Figge collection. Private West Coast collection. (50,000 - 80,000)

143 Pair of curlew, charles F. coffin, nantucket, massachusets, 3rd quarter 19th century. Large, two-piece body decoys. Measure 13.75” long. Original paint with moderate flaking and wear; a few small dents; small spots of early touch up on both; very early bill replacements.

Provenance: Ex Thomas Figge collection. Private West Coast collection. (50,000 - 80,000)

c harles Frederick c offin

Charles was the son of wealthy whale oil merchant, Henry, and his wife Eliza Starbuck. The household was a large one that included Charles’s eight brothers and sisters as well as two domestics. Henry was one of the most influential residents of 19th century Nantucket. He and his brother Charles G, following in the whaling footsteps of their father Zenus and grandfather Captain Micajah Coffin, established the firm of “C.G & H Coffin” and built grand homes for themselves across from one another at 75 and 78 Main St. They owned a number of whale ships, and they were among the last of the Nantucket whaling companies to close its books; its last ship, the “Constitution”, sailed in 1857 and was sold in New York upon its return home in 1863. Henry was proud of his son, Charles F, and had a portrait painted of him which now hangs in the San Antonio Museum of Art. With this background, it was almost inevitable that young Charles would become engaged in business on the Island.

For a short period in the 1850’s Charles set out on his own as a “dry goods merchant” and, in 1859 married Eliza P Gardner, daughter of whaling captain, John Gardner. In 1860 he had property valued at $2500 (the equivalent of almost $90,000 today), a respectful sum for a young, 25-year-old businessman! The draw of the whale, however, must have still been in his blood for, by 1863 when he registered for the Civil War draft, he had transitioned to an “oil manufacturer/merchant”. This would have been about the time that his father and uncle closed the firm of “C.G. and H Coffin”. By 1864, he and his young family had relocated to Boston on the mainland where he became a respected member of the community and a member of the Masons. He listed his occupation as “oil merchant/manufacturer”, apparently working through the last of the whale oil to petroleum transition. By 1900, he had returned to Nantucket and to his early business experiences, this time as a “grocery merchant”.

Charles and his brother, like his father and uncle, were shrewd businessmen. With the slow, but inevitable, decline in the whaling industry on Nantucket, the family recognized the future of the Island as a tourist destination. His father, Henry, had used his wealth to purchase tracts of land along the shore for future development. Likewise, Charles F was quick to capitalize on the idea and he, too, became involved in land development for the summer “rusticators”. By the third quarter of the 1800’s the Coffins were developing plots of land at Siasconset, Sankoty Heights, Sunset Heights and Low Beach.

Charles’ success in business allowed him to enjoy his leisurely pursuits, which included a bungalow on the moors of the Island, where he and the family would spend many happy summer days. One can romanticize that the decoy grouping offered here was, at one time, stored, or perhaps even carved, at this pleasant retreat.

Charles F and Eliza Coffin

Henry Coffin

Charles on porch, Nantucket

a t ale of Golden Plover s hooting on n antucket

In Mary E Starbuck’s 1929 book, “My House and I”, she relates the excitement that the yearly arrival of the plovers generated on Nantucket:

“The plover were due the last week in August, and about the twenty seventh or twenty eighth an easterly storm usually herald their approach. The birds would stop overnight on their way south. Sometimes portions of the commons near the ponds were burned over that the birds might be lured to linger and search for food in the bare spaces. Certain insects were said to swarm in the warm earth.

There would be an evening when Stepfather would hurry home earlier than usual from the “Cap’ns’ Room” where he always spent two hours before supper. He would rush in excited as a young boy, his blue eyes shining, and his voice vibrating with eagerness as he called out, “They’re going over! Put up my lunch! We’re off in the morning at four o’clock”. I would drop whatever I was doing and so would anyone else who happened to be there, except mother, who sat unmoved and tolerant. And we would follow Stepfather out into the dooryard and stand listening while the grape leaves flapped in the east wind, and the Macy elms across the street swished with the sound of boisterous surf…

And then out of the inky blackness overhead there would come a faint little peeping note. “There! Hear ‘em!”

The sounds came nearer, a little soft, staccato whistle, then louder, a bit shriller but the notes dropping still softly, though more quickly, and then the upper air was filled with the nervous, plaintive notes of the plover until the whole atmosphere seemed to become of an unbearable density with the mysterious crying of the invisible birds, driven by instinct into the blackness, pathetically leaving the known for the unknown.

It was poignant and exciting beyond words. Gradually the air cleared and only a faint and lonely, more plaintive peeping was heard at intervals, until at last there sounded in our ears but the surfing of the trees and the riotous flapping of the grape leaves in the wind”.

Mary Starbuck’s stepfather was Nantucket native, Captain James Wyer (1816 – 1899). Members of the Wyer family on the Island are known to have carved shorebird decoys and served as guides for visiting sportsmen. A “Captain Wyer” is prominently mentioned annually between the years 1878 and 1891 in “The Shooting Journal of George Henry MacKay 1865- 1922”

Captain James Wyer, Courtesy Nantucket Historical Association

t he Folgers of n antucket

The Folger family on Nantucket dates from the very earliest European settlement on the Island. Peter Folger (1617 – 1689) and his brother arrived in the area of today’s Boston in 1635 aboard the ship Abigail as part of the “Great Puritan Migration”. In 1644, he married an indentured servant girl, Mary Morrill, whom he had met on the crossing, and they soon settled on Martha’s Vineyard where he taught the local natives and transcribed their language. He was one of fourteen tradesmen invited by the original proprietors to settle on Nantucket and work in their designated trades in exchange for a half share of the Island. Folger brought valuable talents as an interpreter to the Indians, miller, and surveyor. Peter and Mary had a large family of eight children. His youngest child, Abiah (1667 – 1752), was to become the mother of Benjamin Franklin.

Like the Husseys, Coffins, Starbucks, Macys and a handful of others, the Folger family grew exponentially on Nantucket and the name is well represented on the Island today, with sites such as “The Folger House”, “Folger Avenue”, Folger Lane”, Folger Road”, Folger

Court”, “Folger Hill”, Folger Marsh”, and “Folger Creek”, to name but a few. Peter’s many contributions to the Island are recognized today with a stone monument at the location of his home. As one can imagine, family names were often repeated and tracing individual lines of decent can be extremely difficult, if not often impossible.

One auction reference, provides the following provenance for a rigmate to the plover being offered here as follows:

“Willian Folger rig to Franklin Folger (1842-1923) collection, by descent in the family of Franklin Folger Webster, by descent in the family Donald C O’Brien Jr collection”.

With the size and commonality of family names on Nantucket, these individuals appear to be the correct ones referred to in the provenance cited. This would date the origin of the rig to a very early period in Nantucket’s history, a period that nicely coincides with dates when the golden plover was extremely prevalent on the Isle before suffering years of steady decline. The remarkable state of preservation seen on many Nantucket shorebirds may be attributed partially to their use on the moors, seldom being exposed to direct saltwater contact, and careful handling by their frugal Quaker owners, who were accustomed to keeping their possessions “shipshape”.

William Folger

Franklin Folger, Jr

Franklin Folger Webster

1980

Franklin Folger

Florence Kempton Folger 1865

1946

144 important golden plover, Folger family, nantucket, massachusetts, last quarter 19th century. Carved wing outline with split and dropped tail. Glass eyes. Retains the metal inset support at the stick hole, which most of this famous rig had. Measures 11” long. Fine original paint with minor wear.

Provenance: Ex James McCleery collection. Lot 314 in the McCleery sale, with stamp on underside. (20,000 - 30,000)

145 Golden plover from nantucket, massachusetts, 3rd quarter 19th cen tury. Hard chine line along lower edge, typical of many Nantucket shorebirds. Measures 10.25” long. Original paint with moderate flaking and wear under an early coat of varnish; drying crack along one side. (2,000 - 3,000)

146 Black bellied plover from nantucket, massachusetts, 3rd quarter 19th cen tury. Hard chine line along lower edge, typical of many Nantucket shorebirds. Measures 10.25” long. Original paint with moderate flaking and wear under an early coat of varnish; small chip near stick hole; bill is a professional replace ment. (2,000 - 3,000)

147 Golden plover, captain Harris, nantucket, massachusetts, last quar ter 19th century. Solid body with tack eyes. Measures 10” long. Original paint with very minor wear; a few small shot marks, otherwise excellent structurally. (1,200 - 1,800)

148 Golden plover from the morton rig, nantucket, massachusetts, last quarter 19th century. Relief carved wingtips. Branded “WS Morton” on under side of tail. Double stick holes where wire legs were used. Measures 10.25” long. Original paint with minor wear; minor chipping and roughness on edge of tail and wingtips, some of which were touched up; small chip near one stick hole; bill is an old replacement with filler at a chip behind head. (3,000 - 5,000)

William Bowman

149 Dowitcher in content pose, William Bowman, Lawrence, Long island, new York, last quarter 19th century. In fall plumage with relief wing carving and extended wingtips. Shoe button eyes. Believed by some to have been made by Charles Sumner Bunn. Measures 9.25” long. Original paint with minor wear; lightly hit by shot; small crack in front of face; touchup to an area approximately 3/8” square on face; the original bill was cracked and tightly reset.

Provenance: Ex John and Virginia Chua collection. (15,000 - 25,000)

150 robin snipe, obediah Verity, seaford, Long island, new York, last quarter 19th century. Relief wing carving and carved eyes. Original paint with moderate discoloration from an early coat of varnish; minor gunning wear; moderately hit by shot; piece on one side of tail is missing with roughness to the area. (8,000 - 12,000)

151 running sanderling, obediah Verity, seaford, Long island, last quarter 19th century. Relief wing carving and carved eyes. “JB” branded in underside. Measures 8” long. Original paint with moderate discol oration and wear under an early coat of varnish; dry ing crack along head and neck secured by four old nails has opened slightly; hairline crack in bill. (4,000 - 6,000)

152 Greater yellowlegs, captain Wilbur corwin, Bellport, Long island, circa 1900. Relief wing carving. “WC” branded in underside. Measures 12.5” long. Original paint with minor gunning wear; bill appears to be an early replacement. (1,500 - 2,500)

153 curlew, chief eugene cuffee, south Hampton, Long island, new York, 1st quarter 20th century. Wide body with dropped wing carving, tack eyes, and bone bill. Measures 15” long. Strong original paint with very minor

wear; very minor separation at filler on back of neck seat; hairline separations at wood grain along one side; old filler added to a defect in the wood on the underside from when the decoy was made. (3,500 - 4,500)

154 Black bellied plover, chief eugene cuffee, south Hampton, Long island, 1st quarter 20th century. Emerging plumage with dropped wingtip carving and carved eyes. “Fleming” written on the underside. Measures 9.75” long. Original paint with minor wear; reglued crack through neck; lightly hit by shot. (800 - 1,200)

155 Yellowlegs, William southard, seaford, Long island, new York. Deep relief wing carving and carved eyes. Measures 11.25” long. Original paint with minor to moderate wear; lightly hit by shot; small chip repair to back of head; old bill was cracked and reset with black thread; black feather detailing on white areas appears to have been added at a later date. (4,000 - 6,000)

156 Black bellied plover, William Bowman, Lawrence, Long island, new York, last quarter 19th century. Relief wing carving and tack eyes. Believed by some to have been carved with C.S. Bunn. Measures 10.5” long. Old in use repaint with moderate flaking and wear; heavily hit by shot. (1,500 - 2,500)

157 Black bellied plover, obediah Verity, seaford, Long island, last quarter 19th century. In emerging plumage with deep relief wing carv ing and carved eyes. Measures 10.5” long. Mix of original and early in use repaint that was taken down; heavily hit by shot; bill is an early replacement. (2,000 - 3,000)

158 robin snipe, John Dilley, Quogue, Long island, last quarter 19th century. Fancy paint detail. Measures 10” long. Original paint with moderate to significant flaking and wear; lightly hit by shot in one side; tight crack along one side; separation at wood grain on other. (2,500 - 3,500)

159 Yellowlegs, captain John mccarthy, Wildwood, new Jersey, last quarter 19th century. Small bead eyes. Measures 10” long. Small amount of filler added on top of where bill meets face; otherwise excellent and original. (4,000 - 6,000)

160 Black bellied plover, captain Bill Harris, Brigantine, new Jersey, last quarter 19th century. Known as Brigantine Bullheads, with long body and wide bulbous head. Measures 12.25” long. Original paint with minor discoloration and wear; lightly hit by shot; old chip in one side of tail; crack in bill was reset with small amount of touchup. (2,500 - 3,500)

163 Duck call, attributed to Perry Hooker by Jim thompson. Arkansas style stopper with plastic reed. Measures 6” in length. Very little wear.

Provenance: Jimmy Thompson collection. (600 - 800)

164 Duck call, tom turpin, reelfoot Lake, tennessee. Three ducks stamped on barrel. Wedge block has the number 4. Measures 6.75”. Very light wear.

Provenance: Jimmy Thompson collection. (500 - 700)

161 Duck call, sharpie shaw, reelfoot Lake, tennessee. “Sharpie Shaw” stamped in barrel. Measures 7” in length. “MM” carved in barrel and “M” carved in stop per. Wedge block and reed have good age, but could be a replacement. Moderate to heavy in use wear; structurally good. (1,500 - 2,000)

162 excellent carved duck call, charles Perdew, Henry, illinois. Three mallards with amber colored bakalight mouth piece. 6” long. Excellent and original. (3,000 - 5,000)

165 Duck call, tom turpin, reelfoot Lake, tennessee. Barrel has three ducks stamped and stopper has 77 stamped. 6.5” long. All parts look to be original; light wear.

Provenance: Jimmy Thompson collection. (600 - 800)

166 Duck call, probably Johnny marsh, reelfoot Lake, tennessee. No markings on barrel. Fruitwood stopper. 6.5”. All parts appear to be original.

Provenance: Jimmy Thompson collection. (400 - 600)

167 Duck call, Johnny marsh, reelfoot Lake, tennessee. Johnny Marsh signature on barrel. Hardwood stopper. Measures 6.75”. Appears to be all original with light wear.

Provenance: Jimmy Thompson collection. (400 - 600)

168 Duck call, sharpie shaw, reelfoot Lake, tennessee. “Sharpie Shaw” is stamped on barrel with gold paint in the letters. Made out of burl wood. Measures 7” in length. All parts appear to be original; very light wear.

Provenance: Jimmy Thompson collection. (2,000 - 2,500)

169 Duck call, probably Johnny marsh, reelfoot Lake, tennessee. No markings on barrel. 6.5” All parts appear to be original. Very light wear.

Provenance: Jimmy Thompson collection. (400 - 600)

170 Duck call, a.m. Bowels, Little rock, arkansas. Four raised and checkered panels. Stamped AM Bowles on top of barrel. Measures 6” in length. Light wear around mouth piece. (400 - 600)

In 1890 when the typical days wage was just $1.00 per day, James T. Beckhart was selling his fancy checkered calls for $5.00. It has been said that more people bought them as mementos of their duck hunting trip to Big Lake than for their utilitarian use. In Big Lake, Live decoys were popular,ducks were as thick as mosquitos and calls were seldom necessary for a good shoot.

Beckhart was a guide, market hunter and boat builder whose family made a living from the bounty provided by the “great swamp”. It is thought that he started making calls commercially around 1890. The business became wildly successful over the next few years.

171 rare and important duck call, James t. Beckhart, Big Lake, arkansas. Four raised and checkered pan els. With “James T. Beckhart” stamp in collar at top of barrel. All parts appear to be original. Measures 6”. Call is in near excellent condition. (12,000 - 15,000)

172 two vintage duck calls. One by Clyde Harbin, Memphis, Tennessee, 6.5” long. According to Clyde Harbin’s log, the call was originally made for R.E. Holland in November 1949. End of stopper is marked H 12”, light wear roughness around one side of collar. Other is checkered, Arkansas style stopper. Shows light wear.

Provenance: Jimmy Thompson collection. (800 - 1,200)

173 two duck calls, tom turpin, memphis, tennessee. Both have three ducks stamped in barrel. Lighter call is marked number 2 on stopper. Darker call has a “U” in both wedge block and stopper. Wire wrapping around lanyard groove and crack running from top of barrel to 1/3 length of barrel. Measures 6.25” long.

Provenance: Jimmy Thompson collection. (800 - 1,200)

174 Four calls, c.a. Walker, memphis, tennessee. Three retain mallard water label. Longest measures 6”. Very good with light wear.

Provenance: Jimmy Thompson collection. (800 - 1,200)

175 Five duck calls, a.m. Bowles, Littlerock, arkansas. Four are stamped at top of barrel. Longest measures 6”. All show very light in use wear; short rounder call has a tiny dent in one side.

Provenance: Jimmy Thompson collection. (500 - 1,000)

176 six duck calls, cub creek, rip Fanning, Lexington, tennessee. Three retain water labels. Longest measures 7.25”. All show in use wear.

Provenance: Jimmy Thompson collection. (800 - 1,200)

177 Five cedar duck calls, charles Perdew, Henry, illinois. All five are stamped “Chas. IL. Perdew, Henry, Ill”. Longest measures 6”. All have in use wear and one has initials DOC carved in barrel. Provenance: Jimmy Thompson collection. (800 - 1,200)

178 nine duck calls, e. stofer. Five are marked “Stofer, KCMO”. Tallest call, which measures 6.25”, is marked “Special Stofer duck call”. One is simply marked “Stofer”. Two are marked “Stoffer Lonejack MO”. One call marked “KC MO” is missing a wedge block.

Provenance: Jimmy Thompson collection. (1,500 - 2,500)

179 Four duck calls. One Cecil Leker with label. One checkered call by Perry Wade. One call with mallard flying by E.L. Quinn. A checkered Tennessee call by Fay Holt. Good to excellent.

Provenance: Jimmy Thompson collection. (600 - 800)

180 a group of calls, earl Dennison, newbern, tennessee. Call on far right is Aubrey Headden, Obion, TN. Various lengths, sizes, and conditions. Longest measures 6.25”. One is missing a wedge block and reed. (800 - 1,000)

181 eight duck calls. All appear to show honest age and are by different makers. Longest call is marked “JF” at tip of stop per. Shorter call with lay marks resemble Skippy Barto. Lighter colored wood call has replaced wedge block. All calls show light wear.

Provenance: Jimmy Thompson collection. (1,200 - 1,500)

182 six duck calls. Two mallard calls with Chick Major labels. Two calls with Major’s red and black water labels. One marked Dixie on side of barrel. And one unmarked. Conditions range from mint to light wear.

Provenance: Jimmy Thompson collection. (800 - 1,200)

183 Five duck calls. Smallest call has label with Hudgins hen duck call, Nashville, Tennessee. One has carved duck on barrel from Catlett Darnell. One is checkered on both barrel and stopper. All are in good to excellent condition.

Provenance: Jimmy Thompson collection. (500 - 800)

184 Four duck calls. Includes one by Doug Rice, Sam Spiegel, Art Providence, and Earl Dennison. Rice call with brass collar. Dennison call with “ED” carved in barrel. Measure from 5” to 7.25” long. Very minor rubs, otherwise excellent. (400 - 600)

185 three duck calls, Jack Wilson, Flint, michigan. Two in box with additional reed and business card. Light wood color is signed on barrel. Longest 6”. Excellent and original.

Provenance: Jimmy Thompson collection. (800 - 1,200)

186 Four duck calls, by various mak ers. One by Alvin Taylor one with label on barrel, one by Buddy Duke, one by Greg Hood, and one by Bill Grant which is signed and numbered 1610 on brass ring at col lar and has an inset metal decoration with mallard on barrel. Longest 5.5” long. All calls are very good to excellent.

Provenance: Kirby Roberts collection. (800 - 1,200)

187 Four calls in original boxes. A timber lake mallard call by Mike McLemore. Call by J and K Duck Calls, Jerry Weatherford. A call by Shawn Tankersley of Troy, Tennessee. And a call by Howard Harlan, Nashville, Tennessee. Excellent and origi nal; in original boxes.

Provenance: Jimmy Thompson collection. (800 - 1,200)

188 six duck and goose call sets by vari ous makers. By Bill Hatch, Ken Martin, Art Beauchamp, John McKean, Skip Campbell, both are dated 98 on brass col lar, and set by Wendell Carlson. All are very good to excellent.

Provenance: Kirby Roberts collection. (800 - 1,200)

189 three sets of duck and goose calls, various makers. Paul England, both signed on barrel, Mike Galloway, and Ron Neely. All are in excellent condition.

Provenance: Kirby Roberts collection. (500 - 800)

190 three sets of duck and goose calls, various makers. Greg Keats, Joe Lares, and Dick Abner. Very good to excellent.

Provenance: Kirby Roberts collection. (800 - 1,200)

191 three sets of duck and goose calls, various makers. Dwayne Colbert, Tom Weigel, and Todd Alofs. All are excellent.

Provenance: Kirby Roberts collection. (500 - 800)

192 six contemporary goose calls, by various makers. L to R: Charlie Bishop, Dwayne Cobert, Ron Clough, Dave Jackson, Tom Weigel, Joe Jaroski. One by Dwayne Cobert, one by Ron Clough and branded Clough on the barrel, one by Chas Bishop, one by Dave Jackson, one by Tom Weigel signed on barrel, and one by Joe Jaroski with his signature on brass collar. Longest measures 8.25”. All are in unused condition.

Provenance: Kirby Roberts collection. (600 - 800)

193 two duck and goose call sets. One by Greg Hood and one by Dr. DD Hull. Very good to excellent.

Provenance: Kirby Roberts collection. (500 - 800)

194 two contemporary duck calls. By Terry Norris, Ridgley, Tennessee. Longest 6.5”. All are in unused condition.

Provenance: Jimmy Thompson collection. (1,000 - 1,500)

195 three duck and goose call sets, vari ous makers. Charles Hess, checkered calls by Robert Mueller, and Johnny Bill Weiss. All are in very good to excellent condition

Provenance: Kirby Roberts collection. (400 - 600)

196 six contemporary duck calls, various makers. One by Don Faigley. Two by Marv Myer, both have Marv’s name in the bar rels. One is in the style of Kinny & Harlow with an Reelfoot style stopper. One by Tom McMahon, signed McMahon #6/30 of a sleeping duck with glass eyes. One by Robert Fort, checkered barrel and Reelfoot style stopper. With RF stamped in barrel. One decorated detailed feather carving by Brian Schultz of Hornbeak, Tennessee. Signed on stopper #96, 3/96. Tallest call measures 7”. All are excellent and original. Provenance: Kirby Roberts collection. (1,000 - 1,500)

197 ten calls, various makers. Three crow calls and seven duck calls. Mostly vintage by various makers including John Spotts with water label. One by John Asbille, Reelfoot Lake with burled barrel and sticker. An early call by Stofer, not marked on barrel. Call by Cecil Leker with label on barrel. Two unknowns and three crow calls. One that is two piece made from burl and appears to show good age. Tallest mea sures 6.5”.

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

198 two early vintage shorebird whistles. One with round brass end is stamped “A&F” for Abercrombie and Fitch. Measures 3.5” long. Other does not have markings and the solder has broken so the two pieces are separated. (800 - 1,200)

199 Five contemporary duck calls, vari ous makers. Call with Birdseye maple barrel is signed by Sean Jackson. One by Bill Gaukel. One by Mike McLemore with Echo Calls Jaxaar stamped at top of bar rel. One by Ray Wright with The Grand Marsh. And one short Arkansas style call with no markings. Tallest measures 6.5”. Excellent and original.

Provenance: Kirby Roberts collection. (800 - 1,200)

200 Four duck calls, various makers. A Reelfoot style call by John “Son” Cochran, which retains label on barrel. A call by Dan Crooks. Call by Haddon Perdew. And one by Oscar Quam with water label on barrel. Longest 6.5”. All are in very good to excellent condition.

Provenance: Kirby Roberts collection. (600 - 800)

201 two sets of matching duck and goose calls. One set by Dr. Vincent Euse. And one by Dennis Poeschel. One large store display call by Faulk’s. And one large display style call by Dennis Pouschel that measures 18”. All are very good to excellent condition.

Provenance: Kirby Roberts collection. (600 - 800)

203 Duck call, abe Kinningham (1908-1989), Blytheville, arkansas. Possibly the finest call known by this maker. Four raised and carved acorns. The Reelfoot style stopper. According to Jim Thompson, Kinningham was a mechanic who had his own garage. Thompson bought this call form G. Debout along with 31 other calls of various makers. This acorn call was Mr. Kinningham’s prized personal call, he hunted Big Lake and the surrounding area. Thompson pur

202 Goose call, sean mann, trappe, maryland. Fluted maple call with “The Eastern Shoreman” handwritten on the barrel. Writing was done by Sean Mann’s sister free hand style. This call was made in 1985 and is one of the first 12 calls made by Sean. Measures 10.25” long. Near excellent condition.

Provenance: Charlie Hunter, III collection. (3,000 - 5,000)

chased the call Nov 1991. 6.5”. Very light wear; structurally good.

Provenance: Jimmy Thompson collection. (2,000 - 3,000)

204 Duck call, B.F. Brogdon. Reelfoot style stopper. Call measures 5”. Very light wear; small wood imperfection at top of barrel.

Provenance: Jimmy Thompson collection. (800 - 1,200)

206 two duck calls, a.m. Bowles, little rock , arkansas. Both have raised and checkered panels. One has brass ring around collar. Both are stamped “AM Bowles” at top of barrel. Longest measures 6.75”. Excellent.

Provenance: Jimmy Thompson collection. (1,000 - 1,500)

207 two duck calls, Ferris Gardner. Both barrels are made from a burled piece of wood. Have Reelfoot style stop pers. 5” long. Both appear to have some in use wear one call may have replaced wedge block; varnish appears to have worn off at mouth piece on one; both show light in use wear.

Provenance: Jimmy Thompson collection. (800 - 1,200)

208 two duck calls, tom may, Dyersburg, tennessee. One call is hardwood or possibly teak. All parts appear to be original. Very light wear; measures 5”. Other call has cedar stopper, raised mouth piece and is 5”, very good and original.

Provenance: Jimmy Thompson collection. (800 - 1,200)

209 three duck calls, c.a. Walker. Two lightwood calls retain water label. Darker wood call does not have a label. Call with lines turned on barrel measures 5.5”. All three very good to excellent.

Provenance: Jimmy Thompson collection. (800 - 1,200)

210 Box turkey call, neil cost, Greensboro, south carolina. With carved squares and inlays. Signed and dated 1991. Measures 9.5” long. Very good and original. (800 - 1,200)

211 Box turkey call, Lamar Williams, stark, Florida. With carved squares and inlays in the style of Neil Cost. Signed and dated 2002. Two wooden plugs at miss ing knots in one side, otherwise excellent (400 - 600)

212 Box turkey call, neil cost, Greensboro, south carolina. With carved squares and inlays. Singed and dated 1996. Measures 9.5” long. Very good and original. (800 - 1,200)

213 Box turkey call, neil cost, Greensboro, south carolina. With carved squares and inlays. Signed and dated 1993. Measures 9.5” long. Very good and original. (800 - 1,200)

214 three box turkey calls, neil cost, Greensboro, south carolina. Includes two earlier calls, one dated 1970 and one 1976. Carved and inlayed call dated 1998. All signed on underside. Measure 9.5” long. Very good and original. (2,000 - 3,000)

215 three box turkey calls. Two by M.L. Lynch model number 102. One by Am Bowles, Littlerock, Arkansas, stamped Bowles on underside. Bowels measures 8.5”. All show light wear.

Provenance: Jimmy Thompson collec tion. (500 - 800)

216 two fly fishing reels, abel manufacturing, camarillo, california. A super 10, in good working condition, but with moderate wear. And a number 2, appears to be unused and retains original shipping box. (400 - 600)

217 Group of duck call books. Two Reelfoot Lake books by Russell Caldwell one is first edition, and other is revised edition, Duck Calls by Brian McGrath, A leather bound cover book titled Louisiana Duck Calls, Darren J Fontenot, Custom Duck Calls, Vol 2,” James C. Fleming, Custom Calls, James C Fleming, Turkey call makers past and present, Mick’s Picks, Minnesota Duck Calls Doug Lodermier. Books range from excellent to light wear.

Provenance: Jimmy Thompson collec tion. (500 - 1,000)

218 Large relief carved plaque, oscar Peterson, cadillac, michigan. Glass eye. Excellent fine detail paint. A large, thick board with metal strapping. Excellent carving detail in fish fins, around mouth, gill plates, and below eyes. Includes Peterson’s copper trap tag with name and address. Plaque measures 11.5” x 33.5” x 1.5” thick from back of board to top of fish. Excellent original paint with some flaking to the board above the fish; tight crazing on board shows excellent age and patina; a few small scratches in the fish’s upper body.

- 45,000)

219 Fish decoy, Hans Janner, mt clemens, michigan, 2nd quarter 20th century. Glass eyes and cop per fins. Probably made from mahogany or walnut. A blueish green paint was lightly applied and wiped away, as Janner quite often did. Carved gill and mouth. With two different glass eyes. Measures 13” long. Original and good.

rovenance: Ex Steven Michaan collection. Alicia and Norman Volk collection. (5,000 - 8,000)

220 Fish decoy, Hans Janner, mt clemens, michigan, 2nd quarter 20th century. Red tack eyes with carved gills and mouth. Carved from walnut. Shaded green on back with white painted belly. Fins are a later replacement. Measures 12” long. Moderate in use wear, resulting in scratches and some paint loss. (3,000 - 5,000)

221 a large perch fish decoy, isaac Goulette, mt clemens, michigan, circa 1950. Measures 8.5” long. Rare to find this length fish in an unused condition. (700 - 900)

222 Perch fish decoy, isaac Goulette, mt clemens, michigan, circa 1950. 7.5” long. Slight mellowing to the white paint under belly and a tiny mark of paint missing from one fin, otherwise excellent and original. (600 - 800)

223 Perch fish decoy, isaac Goulette, mt clemens, michigan, circa 1950. 5.5” in length. Strong original paint with small loss around belly weight; tiny amount of paint loss at tip of mouth. (600 - 800)

224 rare perch fish decoy, isaac Goulette, mt clemens, michigan, circa 1950. This size is not common and difficult to find, measures 3.75” long. Excellent original paint; small loss around belly weight. (600 - 800)

226 * Large rainbow trout fish decoy, chubby Buchman, mt clemens, michigan. Glass eyes and metal fins with wooden tail. “AJB” stamped in belly weight. Open mouth with three line ties. Measures 13.5” long. Excellent original paint with a tiny bit of loss at top of tail. (700 - 900)

228 * small mouth bass fish decoy, Jim Foote, Gibralter, michigan. Signed and dated 1992. Excellent detailed scale carving with highly detailed wooden fin carving. Measures 10” long. Excellent and original (1,500 - 2,000)

225 * Large bass fish decoy, chubby Buchman, mt clemens, michigan. Metal fins and wooden tail. “AJB” stamped in underside of belly weight. Glass eyes. Carved open mouth. Measures 11” long. Excellent and original (700 - 900)

227 shad or white fish decoy, chubby Buchman, mt clemens, michigan. Glass eyes, metal fins, and wooden tail. Detailed carving around gill plate. Measures 12” long. Decoy is not weighted as it is a floater. (400 - 600)

229 trout fish decoy, Fred Lexow, minnesota, circa 1930. Glass eyes with painted metal fins. Measures 5.5” long. Strong original paint protected by a coat of varnish; one small blemish near line tie; small areas of flaking on fins.

Provenance: Ex Frank Pasiewicz collection.

Literature: “The Fish Decoy,” Art Kimball, Volume 2, p. 105, exact decoy pictured. (2,000 - 3,000)

230 Fish decoy, unknown maker, minnesota, circa 1930. Glass eyes, multi tone green paint and painted scale pat tern on sides. Side fins are batwing style. Measures 5.5” long. Original paint with slight roughness along top of body and paint loss along underside; paint on fins is partially worn off.

Literature: “The Fish Decoy,” Art Kimball, Volume 2. (800 - 1,200)

231 Fish decoy, William Faue, Hanover, minnesota, circa 1940. Metal fins with red head and dot pattern along top of body. Measures 6.5” long. Original paint protected by a coat of varnish; light wear; some paint loss to fins and around lower edge of body. (600 - 800)

232 Fish decoy, Frank mizera, ely, minnesota, circa 1930. Black fish on fish design. Metal fins with wooden tail. Measures 9” long. Strong original paint with light wear; tiny spots of paint loss at fins and some discoloration to white on underside. (800 - 1,200)

233 Fish decoy, Frank mizera, ely, minnesota, circa 1930. Blue with black and white spots. Metal fins with wooden tail. Measures 5.5” long. Strong original paint with light in use wear; tiny dent near tail; varnish coating has darkened some; very light in use wear. (500 - 700)

234 Group of three fish decoys, minnesota, circa 1950. Two pan fish and one trout. Largest pan fish measures 7.25” long, has copper fins and serrated tail with tack eyes. Original paint protected by a coat of varnish with light in use wear. Second pan fish has carved painted eyes, chip carved body, and metal side fins. Measures 5.5” long and is worn with moderate wear. Trout has painted tack eyes, carved gill, mouth, and textured body. Original paint protected by a coat of varnish that has mellowed, tip of tail has been chipped and is missing. Measures 5.5” long. (400 - 600)

235 Group of five working frog decoys, from minnesota. One by Fred Gibson, measures 5.5” long. Very good with light wear. Two by Frank Waltham, both showing light to moderate wear but original paint. One stamped Aestorrs on bottom of weight. Other is unknown. (1,500 - 2,000)

Fish decoy, Leroy Howell, Hinkley minnesota, 3rd quarter 20th century. Flower fish design. With natural head, green body, and red and white spots. Measures 6.5” long. Excellent and original. (1,000 - 1,500)

237 Fish decoy, Leroy Howell, Hinkley, minnesota, circa 1940. Flower fish design with natural head. Red, white, and black dots. Measures 6.5” long. Strong original paint with minor flaking on tail; very good and original. (800 - 1,000)

238 Fish decoy, Leroy Howell, Hinkley, minnesota, circa 1940. A rare scaled natural side fish with red and yellow eyes. 5” long. Very light wear; fins have tarnished. (400 - 600)

239 Pike fish decoy, Leroy Howell, Hinkley, minnesota. Flower fish design with natural head. Measures 10.5” long. Strong original paint with some flaking near belly weight. (1,200 - 1,800)

240 Fish decoy, Leroy Howell, Hinkley, minnesota, 2nd quarter 20th century. Red and white, two-toned, wood tailed sucker. Measures 8.5” in length. Strong original paint with some flaking and paint loss to one fin, oth erwise near mint. (800 - 1,000)

241 Fish decoy, Leroy Howell, Hinkley, minnesota, 2nd quarter 20th century. Red and white croppie. Measures 8” long. Strong original paint; some loss around belly weight. (800 - 1,200)

242 Fish decoy, Leroy Howell, Hinkley, minnesota, 2nd quarter 20th century. Tricolor with green, turquois, and white. Measures 7” long. Original paint protected by a light coat of varnish; small amount of discoloration near pins at tail fin; very light wear. (800 - 1,200)

243 Fish decoy, Leroy Howell, Hinkley, minnesota, 2nd quarter 20th century. Red and white pan fish. Measures 7”. Original paint protected by a coat of varnish that has mel lowed; small amount of paint loss at one fin. (800 - 1,200)

244 Fish decoy, Leroy Howell, Hinkley, minnesota, 2nd quarter 20th centu ry. Natural finish with red paint over top half of body. Measures 6.5” in length. Original paint with some loss around belly weight and very small amount of flaking around one fin. (800 - 1,200)

245 two fish decoys, Leroy Howell, Hinkley, minnesota, 2nd quarter 20th century. Both are red and white. Both measure 6.5” in length. Both are original paint with some loss at one fish’s fin. (600 - 800)

246 Fish decoy, Lake chautauqua, new York, circa 1900. Carved gill, mouth, brass tack eyes. Copper metal fins and leather tail. Black bars across top of body which is painted green with white on underside. Gills and mouth are accented with red. Measures 8” long. Strong original paint with very light wear. (1,500 - 2,000)

247 Fish decoy Lake chautauqua, new York, circa 1900. Carved gill and mouth. Brass tack eyes. Metal fins and leather tail. Multi shades of green with black and blue horizontal dots. A bolder, thicker fish than most. Measures 8” long. Original paint with very light in use wear. (800 - 1,200)

248 Fish decoy, Lake chautauqua, new York, circa 1900. Metal fins and leather tail. Carved gill. Brass tack eyes. No apparent line tie. Measures 7” long with unusual scratch pained fins. Appears to have not been used, but has age and shelf wear. (800 - 1,200)

249 Fish decoy, Lake chautauqua, new York, circa 1900. Metal fins and leather tail. Carved mouth. Line tie through body. Brass tack eyes. Measures 7” long. Two tone original paint that has worn to bare wood, mostly on underside; moderate in use wear.

Provenance: Ex Chuck Mangin collection. Dave Fannon collection. (1,000 - 1,500)

250 Fish decoy, Lake chautauqua, new York, circa 1900. Metal fins and leather tail. Carved gills and mouth. Painted metal eyes. Dark brown, tan, and white painted body with red horizontal dots. Measures 7” long. Original paint with light in use wear. (800 - 1,200)

251 Fish decoy, Lake chautauqua, new York, circa 1900. Metal fins, leather tail, and tack eyes. Carved mouth and gill plates. Line tie through body. Measures 7” long. Worn original paint from in use wear.

Provenance: Ex Chuck Mangin collection. Dave Fannon collection. (1,000 - 1,500)

252 Fish decoy, Lake chautauqua, new York, circa 1900. Carved gill and mouth. Metal fins. Wooden tail. Line tie through body. Measures 8” long. Multi coats of paint with a later coat of varnish that create a pleasing color pallet which has crazed evenly; body has moderate in use wear. (800 - 1,200)

253 Fish decoy, Lake chautauqua, new York, circa 1900. Metal fins with leather tail. Brass tack eyes. Measures 8” long. Original paint, multi tone dark blue to white on belly with moderate in use wear.

Provenance: Ex Chuck Mangin col lection. Dave Fannon collection. (1,000 - 1,500)

254 Fish decoy, Lake chautauqua, new York, circa 1900. Leather tail and metal fins. Brass tack eyes. Carved gill and mouth. Line tie top quarter of body. Measures 6.5” long. Original paint with moderate in use wear; tail appears to be a later replacement.

Provenance: Ex Chuck Mangin col lection. Dave Fannon collection. (1,000 - 1,500)

255 Fish decoy, Lake chautauqua, new York, circa 1900. Carved gills and mouth. Metal fins, leather tail, and line tie through body. Measures 7” long. Old paint some of which has been strengthened over the original layers; moderate in use wear.

Provenance: Ex Chuck Mangin col lection. Dave Fannon collection. (1,000 - 1,500)

256 Fish decoy, Lake chautauqua, new York, circa 1900. Metal fins and leather tail. Carved gills and mouth. Brass tack eyes. Line tie through body. Measures 6.75” long. Original paint with small areas of strengthening around white areas of underside. (800 - 1,200)

257 Fish decoy, ernie newman, carlton, minnesota, 2nd quarter 20th century. 9” long. Pike. Orange fish with blueish back and white belly. Glass eyes and metal fins. Light in use wear. (800 - 1,000)

258 Fish decoy, ernie newman, carlton, minnesota, circa 1950. Sucker. Measures 7.25” long. Classic color scheme, red head, white body, dark grey back. Glass eyes and metal fins. Original paint with light in use wear; one larger flake of missing paint on underside. (800 - 1,000)

259 Fish decoy, ernie newman, carlton, minnesota, circa 1950. Sucker with yellow body, brown nose, and brown paint on pel vic and side fins. Glass eyes. Measures 7.25” long. Light in use wear; original paint; small areas of flaking with one large spot on one side of body. (600 - 800)

260 Fish decoy, ernie newman, carlton, minnesota, 2nd quarter 20th century. Pike. 8” long. Pearl head with red body and black paint on back. Moderate wear with flaking evenly distributed. (500 - 800)

261 Fish decoy, ernie newman, carlton, minnesota, 2nd quarter 20th century. Pike with cut mouth. 8.5” long. Gold and red. Glass eyes. Crazing over much of body; original paint. (800 - 1,000)

262 Fish decoy, ernie newman, carlton, minnesota, circa 1950. Sucker with red body, gold back, and white belly. Metal fins and glass eyes. Measures 8.5” long. Even crazing over the original paint; some minor flaking, mostly around tip of head. (600 - 800)

263 Fish decoy, ernie newman, carlton, minnesota, 2nd quar ter 20th century. This fish has been restored by World Champion carver, Harley Reagan of Iron River, Michigan. Orange head, yellow body with green back, and two tone spots along side. Measures 9.25” long. (500 - 800)

264 Brook trout fish decoy, oscar Peterson, cadillac, michigan, 2nd quarter 20th century. 9.375” x 1” wide x 1.75” tall. Dome tack eyes. Taken down to original paint; over coat was removed leaving sur face a bit smooth; structurally good. (1,800 - 2,000)

265 Fish decoy, oscar Peterson, cadillac, michigan, 2nd quarter 20th century. Brook trout with paint ed, tack eyes. So called “cut gill” model. Measures 7” long, 1.25” tall, .6” wide. Original paint protected by a coat of varnish; flaking at metal fins and underside of belly. (1,500 - 2,000)

266 Brook trout fish decoy, oscar Peterson, cadillac, michigan, 1st quarter 20th century. A rare design with red spots, dome tack eyes. Measures 9” long x 5.75” x 1.75”. Strong original paint protected by a coat of varnish; crazing mostly around tail and top of back; area of resto ration at top of head and around mouth; some paint loss around belly weights. (2,000 - 3,000)

267 Fish decoy, Frank mizera, ely, minnesota, 2nd quarter 20th cen tury. A small fish decoy with cheater hooks attached. Silver body with red and black paint on fins, gills, and mouth. Measures 5” long. Mint. (400 - 600)

268 three fish decoys, ernie newman, carlton, minnesota. Batwing bait fish decoys, or jigging lures. All are rare in the scope of Newman’s work. Longest measures 3.25”, smallest 2.75”. Range from excellent to crazed and lightly worn. (600 - 800)

269 three fish decoys, ernie newman, carlton, minnesota. All three are batwing style. Two have glass eyes. Longest measures 5.5” long. Smallest is 3”. Range from moderate wear and paint flaking to near mint. (600 - 800)

Philippe s irois

Phillippe Sirois began making fish replicas in the 1930s; they are prominent among North American trophy fish. Being a devoted angler, Sirois made fish an important part of his life; reportedly, he fished every day of his adult life, weather and work permitting, on Maine’s rivers, streams, and the Atlantic coast. Species carved by him include bass, bluefish, muskie, perch, pickerel, pike, salmon, and various trout.

Sirois believed that water quality influenced the coloration of fish. Thus, the clear water of Lake Auburn produced light colored fish, while murky lakes spawned darker fish of the same species. To support his theory, he identified fish carvings by coloration to bodies of water.

His wooden fish were mounted onto boards chosen from available lumber. Most have rounded ends and were grainpainted simulating native birch or maple while others were varnished. Sirois tended to edge boards and accent the borders with contrasting colors.

Source: NEW WORLD FOLK ART, Old World Survivals and CrossCultural Inspirations, 1492-1992; Cleveland State University

270 rare flying grouse, Phillipe sirois, arrowsic, maine. Tack eyes. Applied wings and tail. Legs and feet are from a real grouse. Measures 16.5”, with 14.5” wingspan. Paint and filler flaked from one side of neck; one tail feather tightly reglued, otherwise very good and original. (1,000 - 1,400)

271 * stripped bass plaque, Philippe sirois, arrowsic, maine. Carved mouth and gills. Detailed scale stamping along side. Bass measures 32” long, back board 37.5” wide. Original paint protected under the original coat of varnish with minor discoloration; reset pelvic fins, otherwise excellent.

Provenance: Ex Gene and Linda Kangas collection. (2,500 - 3,500)

272 * trout plaque, Philippe sirois, arrowsic, maine. Closed mouth with incised gill and mouth carving. Trout measures 22.75” long, backboard 28” wide. Excellent original paint protected under the original coat of varnish; pelvic fin is off and included with carving, otherwise excellent. (800 - 1,200)

276

273 * Flip tail trout plaque, Phillippe sirois, arrowsic, maine. Open mouth and relief gill carving. Applied wooden fins. Trout measures 13.25” long, backboard 17” wide. Crack with old glue added across back of back board, which is not visible on the front side; trout is excel lent and original. (800 - 1,200)

274 * Lake trout plaque, Phillipe sirois, arrowsic, maine. Open mouth with incised gill and fin carving. Painted tack eyes. Trout measures 24.5” long, backboard measures 28.5” wide. Early reglued chip in the top of the tail, otherwise excellent and original. (800 - 1,200)

275 * carved bass fish plaque, Phillippe sirois, arrowsic, maine. Open mouth and incised gill and scale carving. Bass measures 19.5”, backboard 27.75” wide. Spot of tou chup on upper part of mouth; chip in lower fin; otherwise very good. (800 - 1,200)

276 * trout plaque, Phillippe sirois, arrowsic, maine. Open mouth and carved gill. Trout measures 19.75” long, backboard 24” wide. Pelvic fin is missing; pectoral fin was reset; small chip in top and bottom of tail that has been darkened. (800 - 1,200)

277 * salmon plaque, Phillippe sirois, arrowsic, maine. Incised mouth and gill carving with cross hatched scale carving. Painted tack eyes. Maker’s name on the back. Salmon measures 20” long. Backboard measures 24.25” wide. Areas of touchup to white along belly and lower side, otherwise very good and original. (800 - 1,200)

278 * salmon plaque, Phillippe sirois, arrowsic, maine. Close mouth with applied fly. Cross hatch scale carving on sides. Salmon measures 20.75” long, backboard 23.5” wide. Reglued chips in dorsal fin, pectoral fin, and lower part of tail; one pelvic fin is missing; small chip in top part of tail was darkened. (400 - 600)

279

* Large salmon plaque Phillippe sirois, arrowsic, maine. Open mouth with incised gill carving. Cross hatch scale carving on sides. Salmon measures 31.5” long, back board 37.5” wide. Original paint protected under the original coat of varnish with minor discoloration; anal fin is off and included with carving; minor separation at center body seem; large area on top of head and face with tou chup. (800 - 1,200)

280 * Brown trout plaque, Phillippe sirois, arrowsic, maine. Open mouth and incised gill carving. Trout mea sures 19” long, backboard 23.75” wide. Minor discolor ation under a thin coat of varnish; hairline crack in pecto ral fin, otherwise very good and original. (800 - 1,200)

281 * exceedingly rare state of maine double mount plaque, Lawrence irvine, Winthrop, maine. Backboard carved as the outline of the state of Maine with mounted leaping salmon and chickadee. Chickadee with relief wing carving and dropped wingtips. Fly is relief carved and painted onto the face of the fish. Open mouth with relief gill and eye carving. “Maine” painted on the backboard. Plaque measures 21.75” wide x 34” tall. Salmon is 20” long. Original coat of varnish has yellowed very slightly, otherwise excellent and original. (2,000 - 4,000)

282 * Pickerel plaque, Lawrence irving, Winthrop, maine. Open mouth and relief gill and eye carving. Fish measures 23.25”, plaque measures 33”. Repair to a small chip in tip of pectoral fin; chip in bottom part of tail was reset and touched up; otherwise very good. (1,000 - 1,400)

283

* Brown trout plaque, Lawrence irvine, Winthrop, maine. Open mouth with relief gill and eye carving. Signed by the maker on the back. Trout measures 16.5”, backboard measures 21” wide. Small amount of touchup on the tip of the pelvic fin; tiny chips on top and bottom of tail have been dark ened. (800 - 1,200)

284 * small trout plaque, Lawrence irvine, Winthrop, maine. Open mouth with relief gill and eye carving. Trout measures 10.75” long. Backboard measures 17.5” wide. Reset crack in pectoral fin; touchup to edge wear on two lower fins, otherwise very good and original. (800 - 1,200)

285 * trout plaque, reg edwards, mechanic Falls, maine. Open mouth with metal teeth. Wooden name tag lower right. Also with carved smaller fish lower left. One pelvic fin was cracked off and reglued, the other is missing; otherwise very good and original. (1,500 - 2,500)

286 * trout plaque, reg edwards, mechanic Falls, maine. Mounted on barnwood backboard with name plate on lower left. Trout measures 17.5” long, backboard 23” wide. Excellent and original. (1,500 - 2,500)

287 * salmon plaque from scotland, circa 1950s. Relief carved gills and fins. Salmon measures 29” long, back board measures 32.25” wide. Original paint under the original coat of varnish; minor crazing and wear; a few

spots of touchup, including a 3” long spot along side with filler added. (1,500 - 2,500)

288 Large musky plaque, Bill Feasal, Green springs, ohio. Carved in the style of Oscar Peterson with relief mouth, gill, and fin carving. Attractive piece of tiger maple used for backboard. Fish measures 45” long, backboard measures 50” wide. Original paint with tight crazing throughout; minor discoloration at thicker areas of varnish near gill plates and fins. (400 - 600)

289 rainbow trout plaque, Bill Feasal, Green springs, ohio. Carved in the style of Oscar Peterson with open mouth and relief carved gills and fins. Trout measures 26.25”, plaque measures 38” wide. Original paint with minor discoloration and paint flaking, mostly on back of trout; hairline cracks across body of trout; minor separation where fish is applied to backboard. (400 - 600)

290 Leather reinforced green painted creel, John clarke, oregon, 1st quarter 20th century. Side hole lidded creel. Leather hinge area with embossed ruler. Woven areas painted green. Matching tooled leather shoulder strap. Measures 16.25” wide. Minor fading and wear from age; otherwise excellent and original. (2,000 - 4,000)

291 tooled leather reinforced creel, last quarter 19th century. Side hole creel with tooled leather flap to cover hole. Leather hinge area with embossed ruler. Tooled leather front pouch. “Peters #5” stamped in upper back. Measures 16.5” wide. Minor discoloration from age; minor rubbing and wear to leather; a few minor breaks and losses to weave of basket. (1,500 - 2,500)

292 Leather reinforced woven creel, George Lawrence, Portland, oregon, last quarter 19th centu ry. Numbered 404 on upper backside. Maker’s metal tag on lower front side. Moderate rubbing and wear to leath er on body and lid; creasing wear and some minor loss at hinged section of leather. (1,500 - 2,500)

293 Very rare leather belt and buckle, George Lawrence company, Portland, oregon. Maker’s label embossed on back side near buckle. Tooled decoration on belt with solid brass buckle. Displays various types of decorative stamping. Supple leather and nice patina; structurally good. (300 - 500)

294 native american fishing creel, last quarter 19th cen tury. Possibly Apache with center hole lid. Tightly woven basket. Measures 15” wide. Originally dyed with colored patterns that have faded; very minor breaks in weave, otherwise very good and original. (2,500 - 3,500)

295 Large red painted creel, 1st quarter 20th century. Woven creel with custom leather harness. Side hole leads to a compartment in the bottom of the basket. Hinged lid opens to a top compartment with removable basket. Measures 15.5” wide. Original reddish brown paint with moderate wear; some wear with minor losses to bot tom corners of weave. (600 - 900)

296 Painted wicker creel, 2nd quarter 20th centu ry. Center hole creel with metal reinforced hole. Early leather shoulder strap. Measures 13.25” wide. Original green paint with moderate wear; one hinge replaced long ago with a piece of twine; scattered powder post beetle holes throughout; otherwise very good structurally. (400 - 600)

297 Woven birch bark creel, 2nd quarter 20th cen tury. Pine sides and lid with woven pieces of birch bark of contrasting color. Brass hinges and tacks. Measures 12” wide. Moderate flaking and wear with some minor losses to woven birch bark; minor edge wear on lid; small dents and scratches to wood parts. (800 - 1,200)

298 contemporary fishing creel, Joe e. neale, Woolwich, maine. Canvas and birch bark covered wood slat con struction. With bent wood belt loops. Custom hand cut metal hinges. Two trout and lake scene painted on front. Signed on underside of lid. Measures 14” wide. A few very minor rubs, otherwise excellent and original. (800 - 1,200)

299 contemporary fishing creel, Joe e. neale, Woolwich, maine. Canvas and birch bark covered wood slat con struction. With bent wood belt loops. Custom hand cut metal hinges. Trout and lake scene painted on front. Signed on underside of lid. Measures 14” wide. Excellent and original. (800 - 1,200)

300 a collection of wooden bowls. Largest measures 14.5” and has an old pleasing worn coat of green paint. Second largest is a footed burled painted bowl, structurally good original period paint, 10.5”. Next is a footed bowl with original period paint that is slightly worn. Next is a burled footed bowl, natural surface, measures 5.5”. Next is small burl bowl measures 4.75”. And smallest burled bowl measures 2.5”.

Provenance: Tom Neelen collection. (2,000 - 3,000)

301 carved tourist trade mask, northwest coast indian, 1st quarter 20th century. Relief carved facial features. Slightly hollowed on the back side. Appealing paint pattern on face. Made for hanging on a wall. Measures 9.5” tall. Original paint with minor discoloration and wear; small dents and scratches otherwise very good structurally. (1,500 - 2,500)

302 a set of three full size wooden carved finch songbirds. Each perched on a branch extended from a heart shaped wall mount. Polychromed paint with painted tack eyes. Each shows good age, probably 2nd quarter 20th century. Tallest measures 6.5”. Original paint with some flaking, mostly on the two white colored hearts; some edge wear on tails on both house finch and a scratch at the top of wing feathers on one house finch.

Provenance: Tom Neelen collection. (500 - 800)

303 a pair of folk art carved bookends. Each is relief carved from a single piece of wood of a hunting scene. Smallest measures 9.5” x 10” and is a carved and painted scene of a man with a lever action rifle being attacked by a bear. Other is a carved and painted scene of a bear being treed by hounds, 12.5” x 10.5”. Both appear to be circa 1940. (800 - 1,200)

305 early maliseet or mi’qmak, birch bark canoe model from maine. Larger than typical model size, at 87” long. Depicts a moose and native American with headdress. Minor rubs and wear; some yellowing from the original coat of varnish. (3,000 - 5,000)

304 Wooden polychromed pair of bookends carved in the style of eskimo figures. Possibly from the Grenfell Missions of Newfoundland. Each measures 6.5” x 2.5”. Circa 1940. Original paint with some light flaking in areas. (400 - 600)

306 three early paddles. Including two 19th century Native American paddles. One by the Aleutian of Alaska, in worn black paint with T-grip handle. Another Eastern Woodland Indian paddle. The third of laminate construction with layers terminat ing at different points along paddle end. Widest with chipping and roughness on edge of paddle and a few hairline cracks; drying crack in handle of black paddle. (1,000 - 1,500)

307 rare owl, Henry Winter, Long island, new York, mid 20th century. Relief wing carving and gouge feather detail. “H Winter” carved in back of base. Stands 9.75” tall. Excellent and original.

Provenance: Tom Neelen collection. (800 - 1,200)

308 spread wing eagle, Henry Winter, Long island, new York, mid 20th century. Applied wing and relief feather carving. “H Winter” carved in back of base. Stands 10.5” tall. A screw was added in back of base to secure a split in the back; old filler added to crack and above screw holes, otherwise very good and original.

Provenance: Tom Neelen collection. (800 - 1,200)

309 two eagle carvings, Henry Winter, Long island, new York, mid 20th century. One with relief wing and feather carving. Stands 11.25” tall. The other with outstretched wings and turned head, measures 10.25” tall. Both with “H Winter” carved on the back of base. Both very good and original.

Provenance: Tom Neelen collection. (800 - 1,200)

310 a well carved spread wing eagle wall plaque, possibly John Bellamy, Portsmouth, new Hampshire, 1st quarter 20th century. Natural wood with red and blue painted flag. Red eye, tongue, and inside of bill. Measures 23.5”. Break at one tip of upper right wing and blunted end on left wing, otherwise very good and original.

Provenance: Tom Neelen collection. (800 - 1,200)

311 a carved sailor’s keepsake box with a collection of 15 miniature items. Including a set of American spurs, axes, small revolver, three pocket knives, a pipe wrench, a straight razor, kitchen knife, a musical instrument, some sort of pulley, weaving tools, and garden shears. All contained in a carved box with fish scale decoration that measures 7.5”.

Provenance: Tom Neelen collection. (800 - 1,000)

312 Vintage carved wall plaque in the style of a Bellamy eagle. With spread wings. Appears to be 2nd quarter 20th century. Measures 20” long. Original gold paint that has mellowed and aged nicely. Provenance: Tom Neelen collection. (500 - 800)

313 relief carved wall pocket, last quarter 19th century. Front panel with carved elk and fir tree. Back panel with a flying eagle, star, and crossed American flags. “1926” carved in relief on back. Measures 11.5” wide x 17” tall. Paint on back panel and inside of pocket has been stripped down to mostly bare wood; the rest in original paint with minor flaking and wear; large chips missing from top of back panel; moderate flaking to lower part of back. (500 - 800)

314 Group of three carved rooster, sue mcclure, Brasstown, north carolina. All three carved from hardwood. Two have “SM” carved in the base. Tallest measures 9”. One with broken bill, otherwise in good to excellent condition.

Provenance: Tom Neelen collection. (400 - 600)

315 two folky owl carvings. Smallest is dated 1975, mounted to a branch with glass eyes and decorative stylized paint. Measures 9”. Largest stands 17”. Original paint; wire mounted legs and carved eyes. Appears to be 30-40 years old. Both are excellent and original

Provenance: Tom Neelen collection. (400 - 600)

session t W o

Thursday, November 10, 2022 | 10:00 am Eastern Virginia

316 Plump bufflehead hen, Delbert Hudson, chincoteague, Virginia, circa 1950s. A football style body with extended paddle tail. Square pad weight on underside, along with museum inventory numbers “62.89.45”. Measures 12” long. Very strong original paint with light age wear; this decoy is very well preserved (5,000 - 8,000)

317 canvasback drake, ira Hudson, chincoteague, Virginia, 1st quarter 20th century. Partially inlayed neck seat and tack eyes. Fluted paddle tail. Measures 15.75” long. Original paint with minor flaking and wear; minor roughness on edge of tail; small loss to wood near knot in one side.

Provenance: Charlie Hunter, III collection. (2,000 - 3,000)

318 Brant, ira Hudson, chincoteague, Virginia, 1st quarter 20th centu ry. Tack eyes and carved ice groove. Measures 16.75” long. Original paint with moderate flaking and wear; small dents and shot marks; small chip in edge of tail; blunting and minor roughness at tip of bill; separation at one side of neck seat; reglued crack through neck with glue drips and touchup in that area (3,000 - 4,000)

319 canada goose, Doug Jester, chincoteague, Virginia, 2nd quarter 20th century. Tack eyes. Made of cotton wood. 24” long. Strong original paint with wear around tail; numerous nails have been added to the back of the neck to secure hairline fractures, but structurally all original.

Provenance: Charlie Hunter, III. collection. (2,000 - 2,500)

320 Black duck, miles Hancock, chincoteague, Virginia. Scratch feather paint detail and tack eyes. Never rigged or weighted. Measures 16.5” long. Original paint with very minor wear; minor separation at filler in one lower side that was added in the making to a defect in the wood.

Provenance: Charlie Hunter, III collection. (400 - 600)

321 Pair of bufflehead, miles Hancock, chincoteague, Virginia, circa 1950s. Measure 11.5” long. Original paint with very minor discoloration and wear; very good structurally.

Provenance: Charlie Hunter, III collection. (600 - 900)

322 canvasback hen, miles Hancock, chincoteague, Virginia, 2nd quar ter 20th century. Raised neck seat and wide body style. Measures 14.5” long. Original paint with minor discol oration and wear; crack through neck; minor roughness on edge of bill; powder post beetle marks in underside.

Provenance: Charlie Hunter, III collection. (500 - 800)

323 canada goose, miles Hancock, chincoteague, Virginia, 2nd quarter 20th century. Tack eyes and clas sic tiger striping on sides. Metal rig tag from Millville, Delaware. Measures 23” long. Original paint with minor to moder ate gunning wear, mostly on head and neck; some roughness on one side of bill, otherwise very good structurally.

Provenance: This decoy was found by Henry Fleckenstein and Ron Gard after a buying trip to Edson Grays house. They saw a sale sign and ended up finding this exact goose in the attic of a home in Millville Delaware. (1,000 - 1,400)

324 swimming canada goose, ira Hudson, chincoteague, Virginia, 2nd quarter 20th century. Brass tack eyes with a neck, bent at almost 90 degrees. Wet on wet feather blending on sides and back. Measures 27” long. Restoration to a crack in the neck where the neck makes the turn, original piece was reset; excellent original paint; crack in underside of body; some dents and scratches on back near tail. (6,000 - 9,000)

325 * Flying redhead wall plaque, ira Hudson, chincoteague, Virginia. Slightly turned and out stretched neck. Applied wing with incised feather carv ing. Measures 18.75” long. Mix of original and early touchups and inpainting; filler and touchup around neck seat; reglued chip in tail; leg is an early replacement.

Provenance: Charlie Hunter, III collection. (2,500 - 3,500)

326 * Flying greenwing teal hen, ira Hudson, chincoteague, Virginia, 2nd quarter 20th century. Football style body, with applied inset wings. Turned and reaching head. Carved to be mounted on the wall. In pencil under one wing is writ ten “female teal 1949.” Retains Charlie Hunter sticker and Julia & Guyette auction tag from February 1, 1992. Classic scratch painting on wings and head. 14” long. Original paint that has darkened with a coat of varnish; paint and filler loss where wings are inset in to body; feet are a later replacement; head was retightened with some paint and filler added to that area.

Provenance: Charlie Hunter, III collection. (3,000 - 5,000)

327 canada goose, eli Doughty, Hog island, Virginia, last quarter 19th century. Branded “J.A. Doughty.” on underside, as well as Hunter collection tag. A hole drilled in the center of the underside so the decoy could also be used on shore. A wonderful and well cut tail separation extends from mid body back. Presumable in the making patch in one side. Measures 26” long. Multiple coats of old paint; head that is replaced, but probably 80-100 years ago; several cracks in neck.

Provenance: Charlie Hunter, III collection. (2,000 - 3,000)

328 swimming brant, Hog island, Virginia, last quarter 19th century. Relief carved wingtips, carved eyes, and inserted hardwood bill. Tommy O’Connor ink stamp on underside. Measures 21.5” long. Old working repaint with moderate to significant flaking and wear; drying splits along back; professionally replaced head with vertical drying cracks in back of neck; small beetle holes in head and bill.

Provenance: Charles Long collection. (2,000 - 3,000)

329 merganser hen from cobb island, Virginia, last quarter 19th cen tury. Inlet neck and relief wingtip carving. Tack eyes. 15” long. Worn original paint; several drying cracks; minor roughness to tail; crack in neck.

Provenance: Richard Oliver’s November 1990 sale, lot 295 and front cover. Charlie Hunter, III collection. (2,000 - 4,000)

330 Blue wing teal from Hog island, Virginia, 1st quarter 20th century. Sharp and deep relief carved wings. Swinging lead weight on the underside. A rigmate to this decoy can be viewed at the Chesapeake Bay Maritime Museum in St. Michaels, Maryland. Measures 11” long. Paint has worn to much bare wood with a warm patina; small dents and shot marks; minor roughness on tip of tail; drying cracks in breast and back; some old filler added to a crack in front of neck and upper breast.

Provenance: Collins July 1994 sale, lot 467. Charlie Hunter, III collection. (1,200 - 1,800)

331 oversize black duck, chincoteague, Virginia, circa 1930s. Forward slanting neck seat with carved ice groove. Large cottonwood body. Measures 17” long. Original paint with moderate to significant wear; roughness on top of head and tip of bill; body is worn where line tie was wrapped around the center.

Provenance: Charlie Hunter, III collec tion. (500 - 800)

332 rare rig of six black ducks, Dave ‘umbrella’ Watson, chincoteague, Virginia, 2nd quarter 20th century. All with balsa bodies and all in different head positions. Includes a sleeper, two with turned heads, one with straight head, and two feeders. With inlet lead weights. Measure from 8” to 16.25” long. Early in use repaint, likely by Watson, with minor to moderate gunning wear; dents and shot marks; rough ness on edge of one tail; some separation at two neck seats; one eye is missing.

Provenance: Charlie Hunter III collection. (2,500 - 3,500)

333 Hollow carved black duck, charles Birch, Willis Wharf, Virginia. An earlier example of Birch’s work with raised neck seat and tack eyes. Measures 17” long. Old in use repaint; a few hairline cracks and dents.

Provenance: Ex D.C. North collection.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr., p. 139, exact decoy pictured. (1,500 - 2,500)

334 Hollow carved brant, Delbert

“cigar” Daisey, chincoteague, Virginia. Slightly forward and turned head, with relief wing carving. Branded “Cigar” on underside, also signed and dated 1982. Measures 18.75” long. Original paint with very minor wear; minor discoloration and sap bleed on breast and tail area.

Provenance: Charles Long collection. (1,000 - 1,400)

335 canvasback drake, Delbert “cigar” Daisey, chincoteague, Virginia. Slightly turned head and wooden keel. Branded “Cigar”, also signed and dated 1959. Measures 16.25” long. Strong original paint with very minor rubs; filler on top of head has risen very slightly.

Provenance: Charles Long collection. (1,000 - 1,400)

336 Pair of red breasted mergan sers, Delbert “cigar” Daisey, chincoteague, Virginia. Carved in the style of Doug Jester, with extended tines of the crest. Signed and branded “Cigar” on the underside. Measure 12.25” long. Very minor discoloration, otherwise excellent and original.

Provenance: Charles Long collection. (800 - 1,200)

337 Pair of bluebills, Delbert

“cigar’ Daisey, chincoteague, Virginia. Relief wing and detailed feather carving. Branded “Cigar” on underside. Measure 11” long. Original paint with minor discoloration; tight dry ing crack along hen’s underside.

Provenance: Charles Long collection. (1,000 - 1,400)

338 Pair of ruddy ducks, Delbert

“cigar” Daisey, chincoteague, Virginia. Relief wingtip carving. Signed and branded “Cigar” on underside. Measure 10” long. Excellent and original.

Provenance: Charles Long collection. (800 - 1,200)

339 Hollow carved bufflehead, Delbert

“cigar” Daisey, chincoteague, Virginia. Signed and dated 1970. Also branded “Cigar”. Measures 10.75” long. A few minor paint rubs, otherwise excellent and original. (800 - 1,200)

340

Preening shoveler, J. corbin reed, chincoteague, Virginia. Applied, raised wing with head turned back in preening pose. Relief carved feet and raised wingtip. Stamped “JC Reed” in underside. Measures 13.25” long. Excellent and original (1,200 - 1,800)

341 Pair of red breasted mergansers, oliver Lawson, crisfield, maryland. Slightly turned heads with extended crests. Signed on the undersides. Measure 16.5” long. Very minor discoloration, otherwise excellent and original.

Provenance: Charles Long collection. (1,000 - 1,400)

342

Goldeneye drake, charlie Joiner, chestertown, maryland. Flat bottom style with slightly turned head. Signed and dated 1966 on underside. Measures 14.25” long. Original paint with very minor discolor ation; a few tiny dents; otherwise excellent structurally. (1,200 - 1,800)

343 rigmate pair of redheads, charlie Joiner, chestertown, maryland. Both signed on underside. Strong original paint with some small spots of discoloration; otherwise excel lent. (800 - 1,000)

344 redhead hen, Don Briddel, mt airy, maryland. Relief wingtip carving and slightly turned head. Identified, signed, and dated 1984. Also stamped 8/4/4. Underside of decoy with pen and ink drawing by the artist. Measures 12” long. Excellent and original. (600 - 900)

345 redhead drake, Ward Brothers and Don Briddel. Two piece body with relief carved wingtips and slightly turned head. Inscription on underside states the body was carved by the Ward Brothers, head and paint by Don Briddel, dated 1962. Measures 12.5” long. Original paint with very minor discoloration; small dent at one wingtip; some flaking to filler on top of head (600 - 900)

346 Pair of greenwing teal, robert Litzenberg, elkton, maryland. Drake with extended crest. Both signed and dated 1991. Measure 11.75” long. Near mint. (400 - 600)

347 Pair of bluewing teal, robert Litzenberg, elkton, maryland. Signed and dated 1989 on underside. Measure 11.75” long. Near mint. (400 - 600)

348 Pair of cinnamon teal, robert Litzenberg, elkton, maryland. Signed and dated 1990 on underside. Measure 11.5” long. Near mint (400 - 600)

Ward Brothers Crisfield, Maryland

349 canada goose, Ward Brothers, crisfield, maryland. Slightly turned and lifted head with detailed bill carving. Fine feather paint detail. Signed and dated 1943 at a later date by the Ward Brothers. Measures 24” long. Strong original paint with minor gunning wear; discoloration on white under the tail; hairline cracks in breast; filler added to a crack in the back and underside when the decoy was made with some separa tion at the crack in back; tight crack on one side of neck.

Literature: “Decoys of the Midatlantic Region,” Henry Fleckenstein, Jr. (15,000 - 25,000)

The Canada goose has become the symbol of wildfowl art on the Eastern Shore. This is interesting because the population of Canada geese at the turn of the century was small when compared with the current population today. The geese were not rare but their numbers were small in relation to the number of ducks present in the Chesapeake Bay area. If twenty geese were killed by one group it was noteworthy, whereas, a kill of a hundred canvasbacks was a common occurrence. It was not that goose hunting wasn’t done, it was just that

duck hunting was more popular and successful. As the game laws began to change the ducks declined and the geese increased. A key law that assisted in this change was the 1935 federal regulation that prohibited baiting (feeding). As the natural food for the ducks deteriorated, they began to rely on grain feeding by hunters, and when this was outlawed, the diving ducks began a sharp decline. The geese, on the other hand, were primarily field feeders and more and more land was tilled to produce grain.

The Ward Brothers’ Decoys, A COLLECTOR’S GUIDE, Ronald J. Gard and Brian J. McGrath, The Thomas B. Reel Company

350 canvasback drake, Ward Brothers, crisfield, maryland. 1936 model with turned head. Stipple painting to white areas on back and sides. Measures 16” long. Strong original paint that has mellowed nice ly; a few rubs, mostly to body; very small professionally restoration to nail area at tip of bill. (8,000 - 10,000)

351 Pintail hen, Ward Brothers, crisfield, maryland. Dated 1955 on underside and personalized to Mr. and Mrs. J Sudy. Slightly turned head, balsa body, raised split wing tips. 16” long. Excellent original paint and feather detail; a very tiny rub was darkened at speculum area; hairline crack in bill; small amount of crazing at back of head (4,000 - 6,000)

352 Pair of canvasbacks, Ward Brothers, crisfield, maryland. Balsa body with slightly turned heads. “MK” branded in the undersides for the collection of Dr. Mort Kramer. Measure 16” long. Original paint with minor gun ning wear; minor separation at neck seats; small dents in

balsa; crack in one side of drake’s neck with some filler and touchup along crack and to a shot strike near eye. (4,000 - 6,000)

353 Widgeon drake, Ward Brothers, crisfield, maryland. Balsa body with slightly turned head and wooden keel. Signed and dated 1948 on underside. Decoy comes with a photo of Lem Ward holding the exact decoy. Measures 15.75” long. Original paint with moderate gunning wear; many small dents from use; minor roughness on one edge of bill; spot of filler on back from when the decoy was made. (3,500 - 4,500)

354

354 canvasback hen, Ward Brothers or possibly noah sterling, crisfield, maryland, 1st quarter 20th cen tury. Reared back head on raised neck seat. With wide body and dropped paddle tail. Measures 15.25” long. Ward brothers paint with moderate wear; filled split along back and breast has opened slightly; cracks in neck with some glue visible; bottom .5” of neck is made as sepa rate piece; repair to small chip in one side of tip of bill.

(3,000 - 4,000)

355 rigmate pair of early canvasbacks, Ward Brothers, crisfield, maryland. Fat jaw, circa 1918, models. Wide bodies with hump backs and short extended tails. Heads are reared back with long exaggerated bills. Measure 15” long. Both are in old working restored paint; hen’s head has been broken off and reattached; both have tight body cracks; drake has neck cracks with some separation in that area.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath, p. 13, hen pictured, including an xray on previ ous page. (4,000 - 8,000)

356 silhouette canada goose, Ward Brothers, crisfield, maryland. Reaching head pose. Made for use in a field or shallow water. Tack eyes. Signed “Steve Ward 1952”. Measures 32.25” long. Original paint with minor gunning wear; chip in tail; white on tail area is a second coat; ver tical cracks in wooden stake. (800 - 1,200)

357 silhouette goose decoy, Ward Brothers, crisfield, maryland. Tucked head, stick up goose for use in a field or shallow water. Tack eyes. Signed by Steve Ward and dated 1952. Measures 25.25” long. Original paint with minor crazing and wear; chip and minor roughness on tip of bill with some touchup in that area; small amount of touchup on one side of neck. (800 - 1,200)

358 important original photograph of Lem Ward celebrating his last hunt. Lem is at water’s edge with a Chesapeake retrieving a downed goose. Possibly using the same silhouette decoys offered in the previous lots. On the back says, “This picture was taken by Danny Hoggsman on my last hunting trip at Peter Thompson’s farm, 1955” and signed Lem Ward. Measures 10.75” x 12.5”.

Literature: Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath, forward, exact photo. (400 - 600)

359 1936 style mallard bookends, Ward Brothers, crisfield, maryland. Glass eyes and slightly turned heads. 6.5” tall. Strong original paint; very minor amount of touchup to end of hen’s bill; two small dents at top of her head. (1,800 - 2,200)

356

Ms. Ida Ward Linton holding lot 357, in front of the Ward Shop Museum

361 rigmate pair of gunning model ruddy ducks, Ward Brothers, crisfield, maryland. Signed and dated 1965. Written “Norris Pratt collection” written on underside. Line keeper attached as a keel. Both heads are tucked and slightly turned. Side pocket grooves, wing and tail carving. This is one of the better pair of shooting stool ruddy ducks we have seen. Measures 12” long. Excellent original paint with a tight crack in underside of drake that slightly extends into the breast and under tail

Provenance: “Ward Brothers Decoys,” Ron Gard and Brian McGrath, p. 54, exact decoys picrured. (6,000 - 9,000)

362 redhead hen, Ward Brothers, crisfield, maryland. 1948 style with balsa body and slightly turned head. Signed and identified as Best Grade on underside. “MK” branded on underside for the collec tion of Dr. Mort Kramer. Measures 14.75” long. Original paint with very minor wear; small drips of white paint on back and one side; very good structurally. (2,000 - 3,000)

363 Pair of canvasbacks, Ward Brothers, crisfield, maryland. Hollow carved, shooting stool model with heads turned approximately 60 degrees. Thick stipple paint on backs. Signed and dated 1968 on the under side. Measure 16” long. Spot of stippled paint on end of drake’s bill has worn slightly to the white undercoat, otherwise both are excellent and original.

Provenance: Charles Long collection. (3,500 - 4,500)

364 Pair of bluebills, Ward Brothers, crisfield, maryland. Hollow carved, shooting stool models. Signed and dated 1968 on underside. Slightly turned heads and thick stipple paint on backs. Exact decoys pictured in “The Decoy as Art” a book of profes sional photography by James A. Warner and Margert J White. Book and framed page included. Measure 14.25” and 15.25” long. Original paint with very minor discoloration and wear; excellent structurally. (3,000 - 5,000)

365 Pair of goldeneye, Ward Brothers, crisfield, maryland. Hollow carved with slightly turned heads. Both signed and dated 1966. Measure 14” and 14.75” long. Original paint with minor rubs; hen with scat tered crazing and paint shrinkage.

Provenance: Herb Wetanson collection. (3,000 - 5,000)

366 Pair of redheads, Ward Brothers, crisfield, maryland. Hollow carved, shooting stool models with slightly turned heads and thick stipple paint. Both signed, hen dated 1966 and drake 1967. Measure 14.5” long. Original paint with minor wear; tight crack along drake’s back; two small spots of touchup on drake’s bill; some paint shrinkage on hen.

(3,000 - 5,000)

367 Brant, chauncey Wheeler, alexandria Bay, new York, 1st quarter 20th century. Round body style with “thorn in heart” carving on back. Glass eyes. Two piece solid body. Measures 18.5” long. Original paint with edge wear around tail; one chip in that area that has been reglued; two cracks at and below neck seat. (5,000 - 8,000)

368 Bluebill hen, chauncey Wheeler, alexandria Bay, new York, 1st quarter 20th century. Typical eye groove carving. Measures 16.25” long. Original paint with minor to moderate wear; crack in one eye; lightly hit by shot; minor separation at neck seat with head being slightly loose.

Provenance: Preston Lowe collection. (1,500 - 2,500)

369 Pair of redheads, chauncey Wheeler, alexandria Bay, new York, 1st quarter 20th century. Two piece vertically laminated balsa bodies that are slightly oversized with detailed comb feather paint detail on drake. Measure 17.5” long. Original paint with minor gunning wear; separation at body seam; filled defects in wood on hen’s back and neck seat with some of the filler flaked at neck seat; roughness on edge of tails with a chip repair on one side of drake’s; neck crack repair and bill replacement on drake; roughness and minor loss on lower edge of hen.

Provenance: Preston Lowe collection. (3,000 - 5,000)

370 rare canvasback drake, chauncey Wheeler, alexandria Bay, new York, 1st quarter 20th century. Scully collection stamp on underside. Balsa body with intri cate comb detail on back and sides. “KW” also carved in underside.Original paint on head and light-colored area of decoy; a few small spots of touch up on head; early repaint to black areas with professional res toration to area around neck; a few small dents and rubs from light wear.

(1,000 - 1,500)

371 Bluebill hen, chauncey Wheeler, alexandria Bay, new York, 1st quarter 20th century. Typical eye groove carv ing, but lacking glass eyes. Measures 15.75” long. Original paint with minor to moderate gunning wear; lightly hit by shot; repaired crack through neck; separation at neck seat with head being slightly loose; chip ping and roughness at edge of tail.

Provenance: Preston Lowe collection. (1,500 - 2,500)

372 Goldeneye hen, chauncey Wheeler, alexandria Bay, new York, 1st quar ter 20th century. Typical carved eye groove and nicely blended feather detail. “E” stamped four times on the underside. Measures 15” long. Original paint with minor gunning wear on front half of decoy and moderate to significant bubbling and paint loss on back half from heat exposure; chipping and roughness on edge of tail; tight crack through neck and on one side of neck seat; head is very slightly loose.

Provenance: Preston Lowe collection. (600 - 900)

373 Bluebill drake, chauncey Wheeler, alexandria Bay, new York, 1st quar ter 20th century. Eye groove carving and comb feather paint detail. Measures 15.75” long. Comb feather paint detail is original with minor gunning wear; black areas and bill an early second coat; with minor wear; chipping and roughness at edge of tail; head is slightly loose with a narrow chip along one side of neck; lightly hit by shot with a larger shot strike in bill.

Provenance: Preston Lowe collection. (1,200 - 1,800)

374 merganser hen from upstate new York, similar to work of ed Dingman, 1st quarter 20th century. Measures 13” long. Original paint with rough area on crest and back of head; shot scar through one eye; professional restoration to tip of bill. (700 - 1,000)

375 Bluebill hen, Frank coombs, alexandria Bay, new York, circa 1952. “H Greene Redwood, NY” stamped in underside. Made by Coombs for Marion Greene and given to her husband, Horace, in 1952. Measures 14” long. Near mint, unused. (1,200 - 1,800)

376 Preening mallard, roy conklin, alexandria Bay, new York, circa 1960. Raised and extended head, reaching over back. Excellent, fine feather combing and feather paint detail. 14.5” long. Near mint. (2,500 - 3,500)

377 Black duck, roy conkln, alexandria Bay, new York, circa 1960. Long body style with slightly turned head. Measures 18.5” long. Excellent original paint with very minor tail chip repair. (2,250 - 2,750)

378 Black duck, roy conklin, alexandria Bay, new York, 2nd quarter 20th century. Turned head and glass eyes. 16” long. Original paint with some spots to exposed primer.

(1,500 - 2,000)

379 * rare flying mallard drake, Ken Harris, Woodville, new York. Wings extended, but tilted as if the bird is turning in flight. Glass eyes with combing under wings and belly. Includes rare stand made by Harris. Measures 19” long. Very good and origi nal. (1,500 - 2,000)

380 * Group of three full-size flying wall plaques, Ken Harris, Woodville, new York. A wood duck, measures 16”. A greenwing teal and bluewing teal. All are signed on the back. All are in very good to excellent condition. (1,500 - 2,500)

381 rare standing mallard drake, Ken Harris, Woodville, new York. Signed under the base. Raised and extended, carved wingtips, feathers and tail. Head is turned. Mounted to a piece of driftwood. Stands 11” tall. Excellent and original. (1,250 - 1,750)

s tevens Brothers Weedsport, New York

382 Fine rigmate pair of bluebills, stevens Brothers, Weedsport, new York, last quarter 19th century. Both have Stevens stencil on underside. Both heads still swivel as they should. Drake has fine comb painting. Measures 14” long. Both are in original paint with minor wear; overpaint was taken down on underside of drake; hen has had a neck repair with paint restoration to much of the neck. (5,000 - 8,000)

383 Black duck, Harvey stevens, Weedsport, new York, last quarter 19th century. 17” long. Original paint with minor wear, mostly on the underside; short hairline crack in back and in underside. (2,000 - 3,000)

385 Bluebill drake, stevens Brothers, Weedsport, new York, last quarter 19th century. So called hump back or sleeper model. Fine scratch painting on speculum and combing similar to those on the finest Stevens decoys. 13” long. Strong original paint with an area on one side of head and breast that may have a disturbed surface due to finish feeder or black thin wash.

Provenance: Ex Bill Towner collection. (1,500 - 2,500)

386 Goldeneye drake, stevens Brothers, Weedsport, new York, last quarter 19th century. Low head style with inlayed lead weight and line tie staple. Measures 13.5” long. Original paint with moderate flaking and wear; significant flaking along one lower side and tail; minor roughness on edge of bill; split in underside runs on to breast and tail slightly. (1,000 - 1,500)

Henry o sbourne Bellmore, New York

387 Pair of red breasted mergansers, Henry osbourne, Bellmore, new York, mid 19th century. Carved eyes and extended crests. Both with relief carved separation between bill and face. Hen branded “A.D. Haff” and “A.Y. Bishop” on underside. Lead weight on underside is stamped “Gus.F.Bishop Babylon”. Measure 14.75” and 16.25” long. Original paint with moderate wear; thin wash on hen’s white areas; tight drying cracks along backs; chipping and minor separation at neck seats; glass eyes were added and since removed from hen.

Provenance: Ex Robert Gerard collection. (10,000 - 14,000)

388 canvasback drake, Joel Barber, 2nd quarter 20th century. “Barber decoys” stamped in underside. Includes a copy of “Modern Decoys” by Joel Barber, number 67 of 950. Measures 16” long. Original paint with minor wear; a few small dents; otherwise very good structurally. (2,000 - 3,000)

389 Bluebill from Long island, new York, 1st quarter 20th century. Raised neck seat and glass eyes. Measures 13.5” long. Original paint with moderate gunning wear; tight crack through neck; hit by shot with one shot mark causing a small chip in tail; strip of white paint taken down on one side of the decoy (1,200 - 1,800)

390 redhead hen from Long island, new York, circa 1900. Wide hollow carved body with .5” bottom board. “N. Floyd. Jr” branded in underside. Original paint with moderate flaking and wear; a few drips of black paint on back and one side; hairline crack in tip of bill; eyes are replaced. (1,200 - 1,800)

391 american merganser drake, John Lee Baldwin, Babylon, new York, 2nd quarter 20th century. Hollow carved with two piece body and glass eyes. Unrigged. Measures 17” long. Strong original paint with some discolor ation; a few small rubs. (1,000 - 1,500)

394

393 rare brant, Henry Kilpatrick, Barnegat, new Jersey, 1st quarter 20th century. Two piece hollow body with raised neck seat. Measures 19” long. Strong original paint with very minor discoloration and wear; minor flak ing; decoy was wrapped and stored in news paper, and some of the print is visible on the surface of the original paint.

Provenance: Phil and Beverly Ryser collection.

Literature: “Classic New Jersey Decoys,” James R. Doherty, p. 303, exact decoy pic tured. (5,000 - 7,000)

394 rare brant, Dude crane, tuckerton, new Jersey, 1st quarter 20th century. These decoys were originally thought to have been made by Lou Barkelow. Collector stamp 1554 in underside. Two piece hollow body with tack eyes. Measures 20.5” long. Excellent original paint; some small rubs from light wear. (1,500 - 2,000)

394a excellent and early canada goose, clark madera, Pitman, new Jersey, 1st quarter 20th century. Hollow carved with raised, for ward slanting neck seat. Stylized paint pattern with detailed feathering. Measures 23.25” long. Untouched original paint with good patina and minor wear; tight paint crazing on back and one side; tight crack through neck, otherwise excellent structurally.

Provenance: Guyette & Schmidt, November 2001, lot 573 and front cover. (15,000 - 25,000)

Frank Buchner 1870 - 1947 | Erie, Pennsylvania

The mid 1800’s was a period that witnessed a great deal of immigration to the United States by people seeking a new, and more prosperous life. Frank’s father, Wilhelm Frederick Buchner, arrived in the United States from Germany sometime around 1865, and soon married his wife, Anna. She, in turn, was the child of Canadian and Irish parents. Frank’s father soon “anglicized” his name to William and worked as a butcher. William and Anna raised their family of nine children, including Frank. The father must have instilled in the children a strong appreciation for their German roots, as would become evident in Frank’s decoys.

By the time Frank was 21, he was working as an “engineer” on one of the many ships plying the waters of Lake Erie. He remained a “Marine Engineer” on various crafts for the vast majority of his working life. References indicate that he spent much of his time on what were referred to as “sand suckers”, large craft used to dredge the channels of the ports along the Lake and, for an extended period, he was employed by the Erie Sand and Gravel Company. His wife, Ella, passed way in 1936 and reportedly, in 1938, ill health forced his retirement. He is said to have purchased a farm in Albion, PA where he raised horses. The 1940 census, however, records him as widowed,

with no listed occupation, and living in Conneaut, PA with his son, William, and his family. With the shortage of manpower during World War II, even though he was 70 and in poor health, he was persuaded to, once again, return to the water as Chief Engineer aboard a Liberty ship. Constantly plagued by a poor heart, in 1945, he returned to Albion to live with his son, finally enduring a lengthy stay of just over two years in the State Hospital in Conewango, where he passed away. He is buried in Erie.

Buchner (R) and Harry Kurtz

Erie Art Museum 2016

An article in the “Illustrated London News”, dated January 5th, 1889, titled “Duck-Shooting on Lake Erie” reported: “In no part of the world is there better duck shooting than on Lake Erie”. This was a wellknown fact to Buchner and other hunters along the lakefront. The sport provided welcome food for the table, especially during the hard times of the Depression in largely blue collar Erie. Buchner proceeded to carve decoys that were perfectly functional for the environment in which they would be used. They were bold for visibility over vast expanses of water, and most possessed wide, flat bottoms that allowed them to ride the chop well. Their appeal today, however, is their wonderful “folky” expression of both form and detail. To suggest wing patterns and shoulder separation, Buchner incorporated familiar Germanic symbols that he would have known since youth, and his marine background allowed him to artfully blend these with familiar nautical motifs such as anchors.

The result was designs that accurately mimicked natural plumage patterns and, quite simply, attracted the ducks - as well as today’s collector admiration.

The success of his decoys was the inspiration for an entire school of carvers to follow, notably the Kurtz family, Ken Chandley, Marty Jensen and others. His decoys today are considered true masterpieces of design and have been featured in a number of exhibits, notably multiple displays at the Erie Art Museum in 1998 and 2016. His decoys have won shows throughout the country, winning “first in class” at the 2019 Ward Museum Antique Decoy Contest.

395 canvasback drake, Frank Buchner, erie, Pennsylvania, 1st quarter 20th century. Wide body with relief wing carv ing, including heart and anchor. Reared back head. Measures 15” long. Original paint with moderate flaking and wear; chips in underside of bill; cracks through base of neck with three nails added to secure head. (4,000 - 6,000)

A boldly sculptured canvasback caught the attention of the deco y collecting community in March 1991 when it was entered in the “ folk category” of the vintage decoy competition at the annual Ohio D ecoy Show. It was the first representative example of an Erie, Pennsy lvania 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 befor e and it easily won the category. Two of the judges made offers to buy t he 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 s tory of Erie’s finest decoy maker came to light. Frank Buchner (1871-194 7), the maker of the decoy, was the most prolific and talented decoy car ver from the area and he is worthy of the title “Father of the Erie Scho ol” of decoys.

396 rigmate pair of bluebills, Frank Buchner, erie, Pennsylvania, 1st quarter 20th century. Stylized wing and feather carving, typical of the maker. Copper rig tags from J.F. Buchner on underside. Measure 14” long. Original paint with moderate gunning wear; minor roughness on edges of tails; reglued crack through drake’s neck; some filler and touchup added to a defect in wood on one side of drake’s head. (5,000 - 8,000)

397 Bufflehead hen, Frank Buchner, erie, Pennsylvania, 1st quarter 20th century. Rare spe cies for this maker, with stylized wing and feather carv ing. Measures 11.25” long. Original paint with moder ate flaking and wear; thin second coat of white on underside and lower sides has mostly worn away; bill is a professional replacement. (2,000 - 3,000)

398 small bluebill drake, Frank Buchner, erie, Pennsylvania, 2nd quarter 20th century. Incised heart carving on back. Yellow bead eyes. Copper rig tag on the underside for J. F. Buchner. Measures 12.75” long. Original paint with moderate wear; early second coat of white on lower sides; cracks in neck; small dents and shot marks. (800 - 1,200)

399 Very rare canvasback drake, nate Quillen, rockwood, michigan, 3rd quarter 19th century. Branded “CJS” in underside for Charles J. Shefield 1843 - 1887 Pointe Mouillee Shooting Club. Edges of bill are extremely thin and delicate, as with the classic Quillen tail on this style of decoy. Hollowed from a drill hole underneath the tail. Very thin inlet head. Original paint that has been applied over a coat of sealant which is the same process Quillen used with his low head redheads; crack in neck has been secured; small chip with touchup in one side of bill; small dent in one side of head; small amount of flaking on body otherwise very good and original. (7,000 - 10,000)

400 Very rare pair of bluebills, Ferdinand Bach, Detroit, michigan, 2nd quarter 20th century. Tucked and slightly turned heads. Relief carved wingtips and gouge carved tail feathers. Both with wide head carving. “F.B.” carved in underside of each. Measure 12” and 13” long. Thick original paint with very minor gunning wear; small chip in one side of drake’s bill with touchup; otherwise excellent structurally.

Provenance: Consigned by a member of the Bach family. (15,000 - 25,000)

Rig of Bach decoys.

I vividly recall driving from Grand Rapids with my father (Ferdinand Bach III 1931-2020) to my grandfather’s (Ferdinand Bach 1888-1967) house the day we received word of his passing. I was responsible for arranging all of the decoys that were brought to me for travel, this consisted in placing them in a neat row across the back seat of my father’s car and in the footwells, with a few more in the trunk. When we returned home, all were spread out on the study floor and this pair was selected to sit on the mantel in the study.

These are the Blue Bills from my grandfather’s house. This pair of decoys resided for almost the next 50 years in my father’s study. They have never been separated from each other.

John Ferdinand Bach iV

402

401 cork body greenwing teal, tom schroeder, Detroit, michigan. Cork body with .5” bottom board. Inserted tail and carved, extended crest on head. Maker’s name and 1960 stamped twice in underside. “DWS” also stamped. Measures 10.75” long. Original paint under the thick coat of original varnish; with moderate discoloration and very minor wear; wooden keel was removed, otherwise excel lent structurally. (3,000 - 5,000)

402 Working black duck, Jim Foote, Detroit, michigan. Hollow carved with slightly turned and tucked head. Deep relief wing feather carving with raised, crossed wingtips. Signed and dated 1970, a competition bird from the National Decoy Contest. Measures 14.5” long. Excellent and original. (1,200 - 1,800)

403 rare canvasback drake, owen Gromme, milwaukee, Wisconsin. Signed “O.J. Gromme ‘70” on underside. A bold body with hump back and reared back head. Detailed bill carving, wing and tail outline. Gromme was one of the leaders of the Milwaukee Museum carvers. Measures 14” long. Excellent original paint; white areas have mel lowed and discolored slightly to create a fine patina; tight crack runs underneath tail, along bottom, and up into breast; otherwise very good and original. (7,000 - 10,000)

404 mallard hen, Ferd Homme, stoughton, Wisconsin, 2nd quarter 20th century. Tucked and turned head with detailed wingtip and tail carving. Two piece hollow body with intricate feather painting. Measures 16” long. Excellent original paint with virtually no wear; under side appears to have been repainted when the rigging was removed; a hole in the back has been plugged, as decoy was probably a lamp at one time. (6,000 - 8,000)

405 Pair of oversize canvasbacks from Wisconsin, 2nd quarter 20th century. High heads with incised bill carv ing. Both branded “B.A.M.” on underside. Measure 19.5” long. Original paint under the original coat of varnish; shows minor gunning wear; a pleasing crazed surface on much of the decoy; roughly a dozen spots of touchup to flaking on hen’s head, neck, and back; excellent structurally (4,000 - 6,000)

406 extremely rare oversize mallard hen, otto Weinart, oshkosh, Wisconsin, 2nd quarter 20th century. Hollow carved laminate body with head turned 45 degrees. Measures 21” long. Original paint under a thick coat of varnish; show ing moderate discoloration, flaking, and wear; small dents and shot marks, many of which are filled. (1,200 - 1,800)

At one time, Heron Lake, nestled in southwestern Minnesota, was known as the Chesapeake of the west. Spanning an area of 12 mil es long and about two and a half miles wide at the turn of the cen tury, it was home to between 25 and 30 market hunters and several duc k clubs. Vast numbers of puddle ducks and divers were drawn to th e areas wild celery beds.

In 1880, hunters recorded flights of canvasbacks numbering in th e tens of thousands. Abe Nelson was known as one of the area’s best hunters. His specialty was shooting canvasbacks for market. He is also t hought to be the first known decoy maker on the lake. At the time, wild game brokers were paying 50 cents for canvasbacks, and all other duc ks brought much less. Nelson’s decoying methods were so successful that there was actually a push by the government to ban decoy hunting on the lake.

407 rare and important canvasback drake, abe nelson, Heron Lake, minnesota, 1st quarter 20th centu ry. Nelson is considered the father of the Heron Lake decoys according to Doug Lodermeier, author of Minnesota Duck Decoys, who designated two pages in his recent book to this exact decoy. Scalloped painting around the breast area. Measures 13.5” long. Strong original paint that has darkened with age and wear; some scratches and dents. (3,000 - 5,000)

408 Bluebill drake, Heron Lake, minnesota, 1st quarter 20th century. Similar to the work of Joe Marr. Glass eyes with wooden keel. Vermiculated feather paint ing on back. Measures 12.5” long. Original paint that has worn evenly on sides, edges, and head; two shot scars in bill; small chip missing from tip of bill.

Provenance: Ex Burt Preston col lection. Found by him while he lived in Minnesota prior to his move to Seattle. (1,500 - 2,500)

409 canvasback drake, Heron Lake, minnesota, 1st quarter 20th century. So called “horse head” with wooden keel and reared back head. Measures 12.75” long. Old in use repaint on body with moderate flaking and wear; original paint on head with multiple shot strikes; minor separation at neck seat. (500 - 800)

410 canvasback drake, Heron Lake, minnesota, 1st quarter 20th cen tury. Tack eyes and concave underside. Measures 13.25” long. Thick repaint with minor discoloration and wear; small dents; crack through neck. (500 - 800)

411 Bluebill drake, Joseph marr, Heron Lake, minnesota, 1st quarter 20th cen tury. Reared back head and wooden keel. Measures 12.5” long. In use repaint with moderate gunning wear; flaking and roughness around a knot in back; hairline cracks in one eye. (500 - 800)

412 canvasback drake, Heron Lake, minnesota, 1st quarter 20th cen tury. So called “horse head” style with reared back head and wooden keel. Measures 12.5” long. In use repaint with moderate flaking and wear; area of dry rot on underside; separation at a crack through neck; small chips and roughness on bill; chunk of wood missing on one side of head. (500 - 800)

413 coot, ollie Gunderson, ashby, minnesota, 2nd quarter 20th century. Sloped breast and upswept tail. Measures 13.5” long. Early in use repaint with minor discoloration and wear; separa tion at neck seat; bill was cracked off and reglued with a small chip missing in under side of bill. (500 - 800)

414 canvasback drake, by a member of the Ducharme family, st ambroise, manitoba, 2nd quarter 20th century. Long bill and tack eyes. Slope breast and wooden keel. Measures 13.5” long. Body was repainted as a hen; mod erately hit by shot; some chipping and roughness on high point of bill where it meets the head; roughness on one lower edge. (500 - 800)

415 canvasback hen, Duncan Ducharme, st ambroise, manitoba, circa 1950s. Slope breasted with thin metal keel. Measures 14.25” long. Original paint with minor gunning wear; hairline cracks in breast and body; filler was added to a missing knot in back when the decoy was made. (500 - 800)

416 oversize canvasback, Joe Ducharme, st ambroise, manitoba. Measures 19” long. Thin second coat by the maker with moderate gunning wear; hit by shot, mostly in one side; crack through one side of neck; head is slightly loose. (400 - 600)

417 early canvasback, James currier, Havre de Grace, maryland, 2nd quarter 20th century. Early roman nose carving. Measures 16.25” long. Original paint with moder ate discoloration and minor wear; very good structurally. (1,000 - 1,400)

418 canvasback drake, richard Hipple, Havre de Grace, maryland, 2nd quarter 20th century. Hipple was the father-in- law of Robert McGaw, and taught McGaw how to carve. “HH” carved in underside for Harry Hipple. A second working dog bone weight added over the first. Measures 15.25” long. Original paint with minor to moderate gunning wear; hairline cracks in back; minor roughness on top of head

Literature: ‘Waterfowling on the Susquehanna Flats’, Michael Daley, pg. 154, exact decoy pictured. (500 - 800)

420 High head canvasback, taylor Boyd, Perryville, maryland, 1st quarter 20th century. Long body, high head style. Measures 17” long. In use repaint with moder ate gunning wear; tight drying crack along back; slight separation and roughness at neck seat. (1,500 - 2,500)

421 rare redhead drake, Dick Howlett, Havre de Grace, maryland, last quarter 19th century. “RECKLESS” brand in underside. Old in use repaint, numerous cracks and small rough areas; chip missing from underside of bill; heavily hit by shot; area of dry rot with some flaking on back; crack through neck and bill

Literature: ‘Waterfowling on the Susquehanna Flats’, Michael Daley, pg. 173, exact decoy pictured. (1,200 - 1,800)

419 canvasback, John Graham, Havre de Grace, maryland, last quarter 19th century. From the rig of P.K. Barnes, and so branded on underside. Line tie weight stamped “RBG”. Measures 13.25” long. Old in use repaint with moderate flaking and wear; minor roughness on edge of tail.

(1,200 - 1,800)

422 canvasback, Ben Dye, Perryville, maryland, 3rd quarter 19th century. “F” branded in the under side for the collection of Henry Fleckenstein. Also with Fleckenstein collection ink stamp. Measures 12” long. Old overpaint was taken down showing moderate wear; crack through neck.

Provenance: Ron Davis collection. (2,000 - 3,000)

423 canvasback drake, John Wickes, northeast, maryland, 2nd quarter 20th century. Slightly raised neck seat and upswept tail. Measures 16.5” long. Original paint with minor discoloration and wear; excellent struc turally.

Literature: ‘Waterfowling on the Susquehanna Flats’, Michael Daley, pg. 314, exact decoy pictured. (600 - 900)

424 rare black duck, alexander Bennett, Havre de Grace, maryland, last quarter 19th century. Hand chopped body. Large painted tack eyes. Measures 17” long. Original paint under a thick coat of varnish with flaking and wear; minor separation at neck seat; filler and touchup around a repair in neck with a layer of varnish over head and neck.

Literature: ‘Waterfowling on the Susquehanna Flats’, Michael Daley, pg. 71, exact decoy pictured. (1,200 - 1,800)

425 Pair of high head pintails, captain Jess urie, rock Hall, maryland, 3rd quarter 20th century. Measure 17” and 18” long. Second coat by Urie with very minor wear; tight crack through hen’s neck; small dents on each. (600 - 900)

426 Bluebill hen wooden wing duck, from maryland, circa 1900. Thin lead weight on underside with addi tional metal piece for affixing to a sink box. “F” branded in underside for the collection of Henry Fleckenstein. Measures 13.5” long. Original paint with moderate flaking and wear, mostly around neck seat area; small dent in one lower side; hairline crack in front of neck seat.

Provenance: Charlie Hunter, III collection. (800 - 1,200)

427 rare wooden canvasback wingduck, unknown carver, last quarter 19th century. Exceptionally thin profile. Measures 15.5” long. Paint has weathered away on back; minor wear to tip of bill; and top of head.

- 1,750)

428 early pair of canvasbacks, charles Joiner, Bettertown, maryland, circa 1950. “R” carved in underside of tail of hen. Somebody has dated the drake 1952 and signed “C.W. Joiner, Bettertown Maryland”. Both have 50’s feather paint patterns. Measure 16” long. Original paint with minor gunning wear; cracks in neck. (800 - 1,200)

429 early gunning light, circa 1900. With three oil lamps, sharing a custom oil reserve pan. Glass on sides and front. Back with hinged access door. Measures 25” tall x 17” wide. Discoloration and staining from age; drying cracks in boards with some cordage added to some of the cracks; some chipping along top edge.

Provenance: Charlie Hunter, III collection. (800 - 1,200)

430 Vintage green painted gunning light used on tilghman island, maryland. Oil lamp on inside with mirror and two glass panes. Stands 16” tall with wire handle. Early paint surface that is worn to a nice patina.

Literature: Outlaw Gunner”, Harry Walsh, p.7587. (800 - 1,200)

431 two canada geese cast iron andirons. Both are hollow on underside. These were made from James Holly Canada goose bod ies, circa 1900. Measure 18” long. Rusted and pitted; show good age.

Provenance: Charlie Hunter, III collection. (800 - 1,200)

432 an unusual 100 count shotgun shell con tainer. Made from metal, embossed with a dog head on the top. Manufacturer painted with a textured green surface. Leather car rying strap. Measures 10” x 10”, 3.25”. Made for 12 gauge shells. Probably made in the 1940s. A few rubs with light wear. (400 - 600)

433 Vintage gunning box full of 12 gauge brass shells. Approximately 60 brass shells, mostly Winchester. A worn powder tin, reloading tools, and some lead shot. Tag on side of box reads “W Baker”. Box measures 18” x 12” x 4.5”. (300 - 500)

434 extremely rare bluewing teal iron sink box decoy. Possibly the only known sink box decoy after the work of George Petersen, Detroit, Michigan. Measures 10.75” long. Old paint, worn mostly to a primer coat with rusting; holes form the casting in the underside back and one side.

Provenance: Charlie Hunter, III collection. (1,000 - 2,000)

435 iron sink box decoy, 1st quarter 20th century. Modeled after a premier grade bluebill by the Mason Decoy Factory. Measures 13.75” long. Paint has worn off; bill was cracked off and tightly reattached. (600 - 900)

436 iron sink box decoy, captain Wilbur corwin, Bellport, Long island, circa 1900. Measures 13.5” long. Paint has worn off, otherwise very good. (600 - 900)

437 iron sink box decoy, captain Wilbur corwin, Bellport, Long island, circa 1900. A bluebill hen. George Ross Starr ink stamp on underside. Measures 14” long. Most of the paint is missing, otherwise very good.

Provenance: Ex collection George Ross Starr. (600 - 900)

438 iron sink box decoy, cecil county, maryland, last quarter 19th century. Line tie hole in tail. Measures 13” long. Original paint with significant discoloration and wear; overall very good. (600 - 900)

iron sink box decoy, cecil county, maryland, last quarter 19th century. Modeled after a John Graham decoy. Measures 12.5” long. In use repaint with minor wear; bill was off and reattached. (300 - 500)

440 swan, John Williams, cedar island, north carolina, 1st quarter 20th cen tury. Head in look down pose. Exact decoy pictured on page 4 of “Chesapeake Bay Decoys,” Bobby Richardson editor. Measures 25.5” long. Older restored paint with minor discoloration and wear; large filled split along one lower side; the original splined bill was cracked down and reglued with a seam visible; old chip in one side of bill.

Provenance: Charlie Hunter, III collection.

Literature: “Chesapeak Bay Decoys,” Bobby Richardson, p. 4, exact decoy pictured. (6,000 - 9,000)

“Chesapeak Bay Decoys,” Bobby Richardson, p. 4.

441 redhead, Lee Dudley, Knotts island, north carolina, circa 1900. “LD” branded in underside.

Measures 11.5” long. Head is a later replacement by Linwood Dudley; worn old paint with drying cracks in body and tail; crack through neck with two nails added to secure

Provenance: Charles Long collection. (3,000 - 5,000)

442

Bluebill drake, irving Fulcher, 2nd quarter 20th century. Three piece laminate body. “IF” carved in underside. 14” long. Separation at laminate and dis coloration to white areas; a few small rubs exposing primer coat. (800 - 1,200)

443 extremely rare swan, attributed to alvirah Wright, Duck, north carolina, circa 1900. Raised neck seat and tack eyes. Measures 27” long. Multiple coats of old paint with significant flaking and wear; multiple crack repairs in neck with filler and touchup; one side with older restored paint; multiple drying splits along the body; old chip in tail.

Provenance: Charlie Hunter, III collection. (8,000 - 12,000)

445 Hollow carved swan, currituck Gun club, 1st quarter 20th cen tury. Hollow carved from the underside, with a sheet of tin covering the hole. Large tack eyes. “W Curtis” branded in to one lower side. Measures 38” long. Multiple coats of old paint with moderate flaking and wear; head is a replacement by John Paxton; lots of tight drying cracks in body; head swivels. Provenance: Charlie Hunter, III collection. (3,000 - 5,000)

e lmer c rowell

1862 - 1952 | East Harwich, Massachusetts

446 important and well carved golden plover, elmer crowell, east Harwich, massachusetts, circa 1915. Crowell’s nearly perfect oval brand in the underside. “Golden Plover” written on the underside of base. Also bears “JF” and the number “248” for the collection of Joe French. A slightly content and yet alert pose with raised wing tips. Excellent paint detail. Measures 8” in height. Strong original paint with an area of restoration above the left thigh, including some of the wingtips; paint restoration to a portion of the backside of the base. (18,000 - 25,000)

There is probably no one name more readily and widely recognizable in the world of decoys and decorative bird carving than A.E. Crowell. He preferred to be called simply Elmer and this gives us our first insight into this unassuming individual who was to achieve such widespread fame in his own lifetime and perhaps, even more so today.

His unquestioned mastery of the art form has earned him the tit le of the “Father of American Bird Carving”. Elmer’s efforts grace co llections both large and famous as well as small and unpretentious. His work i s proudly included in institutions such as the American Museum of Folk Ar t in New York, The Museum of Art in Boston, the Shelburne Museum in Vermont an d a host of others. Conceivably, no other carver has had so many books, periodicals or articles written about him. His barn workshop has been prese rved and will serve as a lasting monument to his life and work. Anthony Elmer Crowell’s outstanding carvings will continue to be the cornerstones of co llections and cherished possessions for decades to come.

448 miniature long tail duck, elmer crowell, east Harwich, massachusetts. Maker’s rectangular stamp on the underside. Also “Old Squaw” carved in the underside. Measures 4” long. Original paint with almost no wear; tiny dent in one lower side other wise excellent structurally; underside of base was painted black. (1,200 - 1,800)

447 miniature merganser, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp on the underside. Also “Shelldrake” in pencil. Measures 5.75” long. Original paint with minor discoloration; tiny paint rub and spot of touchup up on tip of tail. (1,200 - 1,800)

450 miniature goldeneye, elmer crowell, east Harwich, massachusetts. Maker’s blue paper label on the underside. Also stamped “JF” for collection of Joe French. Measures 4” long. Bill was reset with small amount of touchup, otherwise excellent and original. (1,200 - 1,800)

449 miniature canvasback hen, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp on the underside. Measures 4.25” long. Strong original paint with almost no wear; reset bill and lower part of face with touchup. (1,200 - 1,800)

452 miniature widgeon drake, elmer crowell, east Harwich, massachusetts. Maker’s rect angle stamp on the underside. Also numbered 24 in pencil. Measures 4 1/8” long. Excellent and original. (1,200 - 1,800)

451 miniature bluebill, elmer crowell, east Harwich, massachusetts. Maker’s rectan gle stamp on underside. Also signed in pencil. Measures 3.25” long. Excellent original paint under a thin coat of varnish; excellent structur ally. (1,200 - 1,800)

454 miniature merganser, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp on underside. Measures 5.75” long. Excellent and original. (1,500 - 2,500)

453 early miniature tern, elmer crowell, east Harwich, massachusetts. Maker’s ink stamp on the underside. Raised, crossed wingtips and split tail carving. Measures 3.75” long. Original paint with very minor discolor ation; professional repairs to extended wing and tail areas; professional bill chip repair. (800 - 1,200)

456 miniature redhead, elmer crowell, east Harwich, massachusetts. Maker’s rect angle stamp and signature on the underside. Measures 4” long. Excellent and original. (1,200 - 1,800)

455 miniature running brant, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp on underside. Measures 5.25” long. Original paint under at thin coat of varnish; minor crazing around base; tou chup on top of bill. (1,000 - 1,500)

458 miniature bufflehead, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp in underside. Measures 3” long. A few tiny paint rubs, otherwise excel lent and original. (1,000 - 1,500)

457 miniature mallard, elmer crowell, east Harwich, massachusetts. Raised wingtip and maker’s rectangle stamp on underside. 5” long. Professional neck crack repair; oth erwise very good and original. (1,000 - 1,500)

460 miniature woodduck, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp on the underside. Carved, extended crest. Measures 4.25” long. Tiny paint rub on tip of tail, otherwise excellent and original. (1,200 - 1,800)

459 miniature pair of canvasbacks, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp on the undersides. Also number 13 and 14 in pencil. Measure 4.5” and 5” long. A few tiny paint rubs, otherwise excellent and original. (2,500 - 3,500)

462 miniature canada goose, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp on underside. Measures 5.75” long. Original paint with minor crazing; spot of filler and touchup on one side, pos sibly where a screw was added to secure a hairline crack along the underside.

(1,000 - 1,500)

461 miniature black duck, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp and number 20 on the underside. Paint flakes on tip of bill and one lower edge of base, otherwise excellent and original. (1,000 - 1,500)

464 miniature bufflehead, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp on the underside. Also with an ink stamp saying it was property of John S. Dumont. Measures 3.25” long. A few very minor paint rubs, otherwise excellent and original. (1,200 - 1,800)

463 miniature running merganser hen, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp on the underside. Measures 5” long. Fine crazing on rock base, otherwise excellent and original. (1,000 - 1,500)

466 miniature running brant, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp and signature on under side. Measures 5.75” long. Very minor blunt ing with a small paint flake on tip of bill; very minor roughness on tip of raised wings was darkened, otherwise excellent. (1,200 - 1,800)

465 miniature mallard, elmer crowell, east Harwich, massachusetts. Maker’s rect angle stamp and signature on the underside. Also dated 1942 with the ink stamp from the Donald B. Howes collection. Measures 5” long. Excellent and original. (1,000 - 1,500)

468 miniature american merganser drake, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp on underside. Also number 17 in pencil. Measures 5” long. Original paint with minor to moderate discoloration on white areas; very minor flaking on base. (1,000 - 1,500)

467 miniature mallard hen, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp and number 2 on under side. Measures 5” long. Tiny paint rub on tip of bill, otherwise excellent and original. (1,000 - 1,500)

470 miniature goldeneye, elmer crowell, east Harwich, massachusetts. Raised wingtips and maker’s rectangle stamp on underside. Measures 4” long. Excellent and original. (1,000 - 1,500)

469 miniature long tail duck, elmer crowell, east Harwich, massachusetts. Raised wingtips. Maker’s rectangle stamp on under side. Measures 3.75” long. Excellent and original. (1,000 - 1,500)

472 miniature running black duck, elmer crowell, east Harwich, massachusetts. Maker’s ink stamp on underside. Measures 5.5” long. Thin coat of varnish; near mint. (1,200 - 1,800)

471 miniature running long tail duck, elmer crowell, east Harwich, massachusetts. Maker’s rectangle stamp and signature on underside. Measures 4” long. Some tiny dark spots on one lower side, otherwise excellent and original. (1,000 - 1,500)

nearly full size chickadee, elmer crowell, east Harwich, massachusetts. In feeding pose with maker’s rectangle stamp on underside of base. Measures 3.75” long. Original paint with almost no wear; tiny paint flake at one wing; tiny spots of touchup on bill and around eyes. (2,500 - 3,500)

474 miniature pintail, elmer crowell, east Harwich, massachusetts. Raised wing tips. Maker’s rectangle stamp on underside. Also signed “A.E. Crowell” in pencil script. Measures 5.5” long. Professional repair to a chip in tip of tail, otherwise excellent and original. (1,000 - 1,500)

Harold Gibbs

1886 - 1970 | Barrington, Rhode Island

Harold Gibbs was truly an individual whose life was inextricably tied to Narraganset Bay. He was born in Middleboro, Massachusetts to Reuben Andrew Gibbs and his wife Fannie (Nelson). Reuben moved his family to Barrington, RI in 1892 and opened a grocery store which also served as the local post office and bakery. Harold graduated from Barrington High School and briefly worked as a trapper for the Wm M Harris Fur Co in Providence. He then began to work for his father at the R.A. Gibbs grocery store as a “clerk”, “salesman”, and eventually, about 1918, “Manager”. In 1908, he married Mabel H Collamore, and one year later they had a daughter, Barbara. By 1920 he had left the grocery business and he appears in the census as “keeper – Game Preserve”. This would have been for Isaac Merriman, a wealthy textile merchant from Fall River, MA on his 300-acre hunting stand on the Palmer River in Swansea, MA. The Merriman camp utilized both live decoys and a large rig of premier Masons. Harold remained with Merriman for four years before moving on to the Bristol Rubber Company and, in 1916, he and Mabel purchased a home on Sowams Rd on the banks of the Warren River, where they resided for the remainder of their lives. As an avid hunter, fisherman, trapper, and birder, the industrial setting offered no appeal and he soon left the rubber company to spend the remainder of his life surrounded by the fish and game he loved and, especially, the shellfish of Narraganset Bay. He worked as a lobsterman out of Sakonnet Point and then scalloped in the Sakonnet River. By 1930, he had purchased a larger boat which allowed him to swordfish as well as tend his lobster gear. He eventually gave up lobstering and worked for the Warren Oyster Company as “watchman” over their beds in Nayatt and Warwick in Narraganset Bay. Here, he developed a deep interest in shellfish biology

and conservation, turning his boat, the Bahama, into a floating laboratory studying the phytoplankton that the shellfish depended upon for food. This resulted in his publishing a number of articles in respected fisheries journals. In 1939, he had earned enough of a reputation that the Rhode Island Governor appointed him State Administrator of Fish and Game. He was an outspoken advocate for the natural resources and wildlife of the State and, due to his perceived lack of support by the State General Assembly, resigned from that position in 1946. His work, however, resulted in Rhode Island College awarding him an honorary master’s degree in education in 1947. He returned to the Bay, this time studying the biology of the quahog (hardshell clam), conducting research for a Long Island shellfish company and the U.S. Department of Fish and Wildlife. He was appointed by the Governor to the New England Interstate Water Pollution Control Commission and, in 1961, was one of the first members of the Barrington Conservation Commission.

475 miniature walking turkey, Harold Gibbs, Barrington, rhode island. With applied horse hair beard. Signed “H Gibbs” on underside of base. Turkey measures 5.75” long. Excellent and original. (400 - 600)

R.A. Gibbs Store, c. 1900.

He was a member of the Barrington Rod and Reel Club. A dedicated fisherman, he was a founding father of the “Rhody Fly Tyers” as well as a member of the first chapter of Trout Unlimited in Rhode Island. In the 1940’s he was the originator of the “Gibbs Striper Fly”, an example of which is included in the permanent collections of the Museum of Fly Fishing in Manchester VT. The Museum credits him as being “- - - the father of modern striper (rockfish) fishing in the Northeast” , and records his bucktail as ”- - - one of the first attempts at suggesting a specific forage fish, the silverside” . He was an accomplished writer, publishing numerous articles in sporting periodicals, such as “Outdoors” and “The Salt Water Sportsman. He also wrote on issues such as gun safety for the Orvis Company in Vermont.

It is believed that Gibbs’ first carvings were working decoys for his own use. He did carve a very small number of miniatures in the form of decoys for a fly-tying friend in Bristol, RI and these may provide a clue as to what his full-size birds might have

looked like. His real artistic talent, however, rested on his miniature birds. These were first executed for his daughter as toys, and they were cherished by her, so he was soon carving them for her friends and neighbors. In a 1942 article in the Providence Journal, he was recorded as saying: “ I decided if my little birds were going to be distributed among our friends, I’d better put a little care into them, so I began to make exact miniatures of real birds” . He hated the title “carver” and insisted on being called a “whittler”. Demand for his “little birds” began to soar and he was soon selling them through Orvis. A typed list from the 1930’s indicates that he was selling sets of 25 miniature shorebirds for $75.oo, possibly influenced by similar sets by Elmer Crowell. He did a number of male and female groupings, perhaps inspired by contemporary RI miniaturist, A.J. King (1881 – 1959) of North Scituate. His work, in turn, influenced fellow Ocean State carver Arthur J. Peltier (1907 – 1982) of Warwick.

Harold Gibbs’ wife of 60 years passed away in 1968 and he died a short two years later at the home of his daughter in Westport, MA. One would like to believe he was casting his Gibbs streamer for stripers in the rips at the mouth of the Westport River at the time. In 1974, a 30 acre parcel on Prudence Island in the Bay was donated to the State for permanent preservation by the Blount Seafood Company of Warren in his name. He is one of the premier carvers discussed in Joe Ellis’ excellent thesis, “Birds in Wood and Paint”, and his “little birds” are actively sought by serious collectors.

476

476 two miniature owls, Harold Gibbs, Barrington, rhode island. One initialed, one with “H Gibbs” on underside of base. Measure 3” and 3.5” tall including base. Excellent and original. (500 - 800)

477 miniature osprey and great blue heron, Harold Gibbs, Barrington, rhode island. Both with relief wing carving. Osprey with raised wingtips. Both signed on underside of bases. Heron stands 3.5” tall including base. Tiny chip in tip of osprey’s beak, oth erwise excellent. (500 - 800)

478 Four miniature upland game birds, Harold Gibbs, Barrington, rhode island. Includes two ruffed grouse, a woodcock, and a pheasant. All signed on underside of bases. Measure from 3” to 5.75” long. Excellent and original. (600 - 900)

479 Four miniature waterfowl, Harold Gibbs, Barrington, rhode island. Includes a woodduck, widgeon, pintail, and mallard. All but the widgeon have raised wingtips. All signed on underside. Measure from 2.75” to 3.75” long. Excellent and original. (800 - 1,200)

480 three miniature waterfowl, Harold Gibbs, Barrington, rhode island. Includes a black duck, mallard hen, and pintail. All with raised wingtips and signed on undersides. Measure from 3.75” to 4” long. Excellent and original. (600 - 900)

481 three miniature waterfowl, Harold Gibbs, Barrington, rhode island. Includes a canvasback, hooded merganser, and Canada goose. Goose with raised wingtips. All signed on the undersides. Measure from 3.25” to 4.25” long. Excellent and original. (600 - 900)

482 miniature pintail drake, John Blair, Jr, Philadelphia, Pennsylvania, 1st quarter 20th century. Upswept tail and classic Blair paint pattern. Measures 5” long. Dry original paint with minor flaking and wear; some roughness on tip of tail; glue visible at neck seat with head affixed slightly off the neck seat. (800 - 1,200)

483 miniature chickadee, Jess Blackstone, Peterborough, new Hampshire. Typical feather rasping. Identified, initialed, and numbered “2438” on underside. Measures 3.5” long. Excellent and original. (400 - 600)

484 * Pair of half-size flying ruffed grouse, carl malmstrom, Long cove, maine. Relief wing and tail feather carv ing. Signed on the backs. Measure 7” long. A few minor paint rubs and chipping at tips of wing feather, otherwise very good. (500 - 800)

485

* Pair of flying mallards, George reinbold, Pennsylvania. Made to hang on a wall, with applied outstretched wings. Drake is signed on the underside. Measure 10.5” and 11.5” long, with 14” wingspan. Detailed original paint with very minor flaking; small chip in one feather of each.

Provenance: Charles Long collection. (600 - 900)

486 * a grouping of three wall plaques, John Lee Baldwin, Babylon, new York, 2nd quarter 20th century. Described as his “shield plaques”, in a 1935 Outdoor Life article. One displaying five half body mallards in flight. And two single drake’s in flight. Each plaque measures 11” tall. All are excellent and origi nal; two of the miniature mallards have cracks in neck. (800 - 1,200)

487 Pair of 1/2 size bookends, Dr, Lewis Webb Hill, Boston, massachusetts. Two widgeon drakes. One in swimming pose, one with slightly turned head. Both with relief wing and raised, crossed wingtips. Each signed on top of base. Measure 10.25” and 10.5” long. Excellent paint detail, showing almost no wear; professional neck crack repair to the swimmer; tiny chip in tip of one tail, otherwise excellent structurally (1,500 - 2,000)

488 Four pairs of miniature waterfowl, Joe Fallon, Havre de Grace, maryland. Includes pair of woodduck, ruddy duck, pintail, and greenwing teal. All with applied, raised wingtips and upswept tails. Ruddy duck drake with fanned out tail. All signed and dated 1971, 72, or 73. Measure from 5” to 6” long. Small amount of touchup over some sap bleed on top of greenwing teal drake’s tail; otherwise all are excellent and original. (1,000 - 1,400)

a lbert Laing

489 sleeping bluebill, albert Laing, stratford, connecticut, 2nd quar ter 19th century. Hollow carved with head turned over back. Angled neck seat. “Laing” branded in underside. Measures 13.25” long. Early in use repaint by Shang Wheeler with moderate flaking and wear; small chip in one side of tail; drying splits in neck seat; cracks in breast with a wooden patch added to replace damaged wood. (15,000 - 25,000)

Albert Laing’s impact on decoy history is immense and almost unmeasurable. It is best described in the words of those that have written the most about him.

“No single individual ever exerted a more direct or lasting influence on the design and making of decoys. Albert Laing must be ranked as one of our greatest decoy makers.” When discussing a particular sleeping black duck: “The black duck by him in plate 46 is to a decoy collection what a Rembrandt is to an art museum.”

William J. Mackey, Jr.

“Among collectors today, no name is held in higher esteem than Albert Laing. He is acclaimed as the father of the Stratford School and recognized as one of the greatest decoy carvers who ever lived.”

Henry C. Chitwood

“Laing was an innovator, and he was the first, if not the first ever, to make hollow floating decoys – a model that became

490 rare brant, Keyes chadwick, martha’s Vineyard, massachusetts, 2nd quarter 20th century. According to historian Jackson Parker in his chapter on decoys of Massachussets for “The Great Book of Wildfowl Decoys,” he states on page 21 that Keyes Chadwick only made a dozen brant. Measures 19.5” long. Original paint with minor wear; minor to moder ate crazing on breast; large split along the underside with a chip missing in lower part of breast; minor roughness on edge of tail; minor separation at back of neck seat. Provenance: Charlie Hunter, III collection.

Literature: “The Great Book of Wildfowl Decoys,” Joe Engers, editor, p. 61 rigmate pictured. (3,000 - 5,000)

491 rare widgeon drake, Joseph Lincoln, accord, massachusetts, 1st quarter 20th century. Branded “C.N. Smith” on underside. 14.5” long. Original paint with moderate discolor ation and minor gunning wear; early filled crack in underside; some roughness on tip of bill. (4,000 - 6,000)

492 Pair of oversize mallards, elmer crowell, east Harwich, massachusetts, 1st quarter 20th century. Maker’s oval brand on under side. Slightly turned heads. Measure 18.25” long. Original paint with moderate wear under an early coat of varnish; hen with tail chip repair; drying cracks along bodies; crack in base of hen’s neck; dent in top of drake’s head; reglued crack in drake’s neck. (3,000 - 4,000)

493 redhead, elmer crowell, east Harwich, massachusetts, 1st quar ter 20th century. Slightly turned head with large glass eyes. Maker’s oval brand on the underside. Also brand ed “Q” for the Quandy collection. Measures 16” long. Original paint with minor gunning wear; hairline crack in tail; reglued crack in base of neck with some restoration to the neck filler; very early second coat on head and bill. (4,000 - 6,000)

494 scoter, Gus Wilson, south Portland, maine, 2nd quarter 20th century. Slightly forward head pose with carved eyes and inlayed neck seat. Slight relief wing carving. Measures 15.75” long. Dry original paint with minor gunning wear; very minor rough ness on edge of bill; hairline cracks in base of neck and along the back. (1,000 - 1,400)

495 eider hen from maine, 2nd quarter 20th century. “WLC” deeply carved in the underside. Slight swimming pose with long, inlayed neck seat and relief carved bill. Measures 18” long. Original paint under an early coat of varnish that has flaked somewhat; small dents and shot marks; multiple drying cracks in body; cracks in neck; chip in under side of bill.

Provenance: Tom Neelen collection. (1,200 - 1,800)

497

496

* Flying mallard drake, Gus Wilson, south Portland, maine, 2nd quarter 20th century. Original paint with strengthening to each wing below the speculum and area where nail holes have been filled at one wing; paint on most of the back is a second coat; small chip missing from each foot; small cracks; separation at neck and body.

Provenance: Charlie Hunter, III collection. (1,500 - 2,500)

* rare flying mallard hen, Gus Wilson, south Portland, maine, 2nd quarter 20th century. Inletted neck with carved and applied wings. Applied feet, which are positioned for landing. Underside of wings are carved as well as underside of tail. A metal post has been inserted into lower breast for mounting. Wingspan is 27”. Strong original paint with some loss around neck inlet and where wings have been applied to body; tight crack in one wing. (4,000 - 6,000)

lmer c rowell

498 Golden plover, elmer crowell, east Harwich, massachusetts, 1st quarter 20th century. In spring plumage. Fat body with tack eyes and split tail carving. Measures 9.5” long. Original paint with very minor wear; small chip in tip of wing tip; hairline crack in top of bill. (12,000 - 18,000)

499 Golden plover, elmer crowell, east Harwich, massachusetts, 1st quarter 20th century. In fall plumage. Fat body with tack eyes and split tail carving. Measures 9.5” long. Very minor rubs on edge of tail, otherwise excellent and original. (12,000 - 18,000)

501 Pair of golden plover from chatham, massachusetts, last quarter 19th century. Two piece head and body with small tack eyes and very detailed polka dot paint pattern. Measure 9.5” and 10” long. Original paint with mod erate flaking and wear; chip in one bill with the bill being repainted; a few shot strikes on one. (1,500 - 2,500)

502 Yellowlegs, Frank adams, martha’s Vineyard, massachusetts, 1st quarter 20th century. Branded “OSM” on underside. Measures 9” long. Original paint with minor flaking and wear; excellent structurally. (600 - 900)

503 Greater yellowlegs, charles thomas, assinippi, massachusetts, circa 1900. A large decoy, with relief wingtip carving and tack eyes. Used as a model for a rig of special order shorebirds by the Mason Decoy Factory, Detroit, Michigan. Measures 13.5” long. Original paint with moderate gunning wear; hit by shot; split along underside was filled long ago; repaint to flak ing on the bill. (2,000 - 3,000)

504 Black bellied plover, south shore of massachusetts, circa 1900. Raised wingtip carving and large bead eyes. Nelson collection ink stamp on underside. Measures 11.25” long. Original paint with moderate flaking and wear; small chip in one side of tail; old chip on the top of each wingtip has been shaved down; bill is a professional replacement. (2,500 - 3,500)

505 Golden plover from massachusetts, last quarter 19th century. Tack eyes and wide “beetle” head style. Split tail carving. Carrying hole drilled through

tail. Original paint with very minor wear; hairline crack in one side of head.

Provenance: From a hunting rig discovered in 2002 that contained shorebirds by Elmer Crowell and Lothrop Hol mes. (1,500 - 2,500)

506 Hollow carved golden plover from massachusetts, last quarter 19th century. Split tail carving and tack eyes. Three piece hollow carved body. Measures 12” long. Original paint with very minor wear; minor rough ness on tip of wingtips; bill is an early replacement. (1,200 - 1,800)

507 Yellowlegs, cape cod, massachusetts, circa 1900. Split tail and thigh carving. Tack eyes. Measures 11” long. Original paint with minor gunning wear; under a thin coat of var nish; professional repair to half of the bill. Provenance: Ex Lloyd Johnson collection. (1,200 - 1,800)

508 Golden plover, cape cod, massachusetts, last quarter 19th century. Split tail carving and appealing folk art paint pattern. Measures 10” long. Original paint with very minor wear that has darkened with age; moderately hit by shot; bill is a professional replacement. (1,200 - 1,800)

509 Lesser yellowlegs from connecticut, 1st quarter 20th century. Made as a stick up, but with a flat area on breast allowing the bird to sit flat in feeding pose. Pictured on page 183 of “Connecticut Decoys” by Henry Chitwood. Measures 9” long. Original paint with very minor wear; hairline cracks in both sides; bill is very slightly loose

Literature: “Connecticut Decoys”, Henry Chitwood, pg. 183, exact decoy pictured. (1,000 - 1,400)

510 Yellowlegs, ira Hudson, chincoteague, Virginia, circa 1900. Balsa body with relief wingtip carving and scratch feather paint detail. “JB French” ink stamp on underside. Original paint with moderate wear; minor loss at a defect in wood on one side, tight crack in that area; retains the original bill.

Provenance: Ex Joe French collection. (2,000 - 3,000)

511 Yellowlegs, cobb island, Virginia, last quarter 19th century. Relief carved wingtips and small bead eyes. Measures 9” long. Original paint with significant wear down to much of the bare wood; heavily hit by shot; old nails added along one lower side to secure some drying cracks; bill is an early replacement. (2,000 - 3,000)

512 Feeding peep, circa 1900. Tiny little shorebird with relief wing carving. Possibly from Long Island. Measures 4.75” long. Remnants of old paint on sides; surface is mostly down to bare wood; minor blunting on tip of bill; a few tiny shot marks and hairline cracks. (600 - 900)

513 running robin snipe, accomack, Virginia, last quarter 19th century. Measures 9.5” long. Original paint with moderate wear; tight drying cracks along one side of body and lower part of head with a wooden dowl on underside of face; minor chipping at stick hole.

- 3,000)

514 Yellowlegs, Harry V. shourds, tuckerton, new Jersey, last quarter 19th centu ry. Measures 10.5” long. Original paint with minor discoloration and wear; hit by shot; original stick hole was filled with filler and a new one drilled; wooden stick is glued in. (1,500 - 2,500)

516 tin sanderling, strater & sohier, Boston, massachusetts, last quarter 19th cen tury. Rare species by this maker. Includes the original oak dowel. Measures 7” long. Original paint with very minor flaking and wear; crack in one side of head, otherwise excellent structur ally. (500 - 800)

517 two shorebird whistles, last quarter 19th century. Unstamped. Measure 3” tall. Minor discoloration and pitting on one; otherwise very good.

Provenance: Herb Wetanson collection. (400 - 600)

518 Black duck, Dan english, Florence, new Jersey, 1st quarter 20th century. Hollow carved with tucked head and raised wingtips. From the Winter rig, with “C Winter” stamped twice in lead weight. Also “C Winter Bristol, PA” stamped in underside. Bob White collec tion ink stamp on the underside. Measures 15” long. Second coat of paint by English with minor gunning wear; lightly hit by shot; tiny chip in one side of bill.

Provenance: Winter rig, Bristol, Pennsylvania. Ex Bob White collection. Private western col lection. (2,500 - 3,500)

519 sleeping black duck, William Quinn, Yardley, Pennsylvania, 2nd quarter 20th century. Hollow carved with head turned over back and bill buried into feath ers. Raised wingtip carving. Measures 13.75” long. Second coat of paint by Quinn with minor wear; chip in center tail feather, other wise very good structurally. (1,200 - 1,800)

520 Black duck, William Quinn, tullytown, Pennsylvania, 2nd quarter 20th century. Original paint with minor wear; old repair to a chip in center tail feather; reset crack through neck; a few small spots of touchup to paint flake and a shot strike. (3,000 - 5,000)

521 Black duck, Joe King, edgely, Pennsylvania, 2nd quarter 20th cen tury. Hollow carved with relief wingtip and incised feather carving. Measures 15” long. Original paint with very minor wear; a few shot marks, otherwise excellent structur ally.

Provenance: Herb Wetanson collection. (5,000 - 8,000)

522 Black duck, William Walker, edgely Pennsylvania, 2nd quarter 20th cen tury. Hollow carved with tucked head and raised wingtip carving. Maker’s name and town stamped in to lead weight. Original paint with minor gunning wear; lightly hit by shot and minor roughness on edge of tail, oth erwise very good structurally. (2,000 - 3,000)

523 Black duck, Jess Heisler, Burlington, new Jersey. Three piece body with tucked head and raised wingtip carving. “JAH” branded in underside for Johnny Hillman. Measures 14.75” long. Original paint under a thin coat of varnish with minor gunning wear; a few shot marks and minor roughness on edge of tail, otherwise very good structurally. (1,200 - 1,800)

524 * Walking curlew, William Gibian, onancock, Virginia. Deep relief wing carving with raised, crossed wingtips. Two clam shells carved on wooden base. Maker’s business card on under side of base. “Gibian” carved on underside of curlew. Curlew measures 14” long, and stands 12.75” tall including base. Minor flaking to paint on legs near thighs, otherwise excellent.

Provenance: Charles Long collection. (1,200 - 1,800)

525 * Preening willet, William Gibian, onancock, Virginia. Metal stand made to appear like legs. One wing outstretched with head turned and preen ing. The other wing outstretched and dropped. Relief feather carving, “Gibian” carved on underside. Measures 14.5” long, stands 16.75” tall. Excellent and original.

Provenance: Charles Long collection. (1,500 - 2,500)

526 * Large preening curlew, William Gibian, onancock, Virginia. Head is turned, preen ing an outstretched wing. Detailed wing and tail feather carving. “Gibian” carved on the underside. Measures 16” long. Excellent and original.

Provenance: Charles Long collection. (1,500 - 2,500)

527 miniature killdeer, William Gibian, onancock, Virginia. Relief wing carving and raised wingtips. “Gibian” carved in the underside. Maker’s business card on underside of base. Measures 11” long, and stands 8.25” tall including base. Excellent and original. (1,500 - 2,500)

528 Pair of golden plover, William Gibian, onancock, Virginia. One in feeding pose. Both with relief wing carving and “Gibian” carved in underside. Measure 11” long. Very minor sap bleed, otherwise excellent and original. (1,200 - 1,800)

529 rare pair of working Phalarope, William Gibian, onancock, Virginia. Hollow carved with slightly turned heads and relief wing tip carving. Splined hardwood bills. “Gibian” carved on underside of each. Measure 12.5” long. Very minor discoloration and a few minor paint rubs, otherwise excel lent and original.

Provenance: Charles Long collection. (1,200 - 1,800)

One of the most famous decoy rigs within the decoy collecting world is the ‘G.K. Schmidt’ rig for several reasons. The condit ion of most of these decoys bearing the brand are mint and unused. Mos t of the rig was found at an estate auction during the late 1960’ s. The ‘G K Schmidt’ brand is burnt into the bottom of the decoys, and it looks as if it was done yesterday. There are also examples of R obert Elliston mallards, pintail, canvasbacks, and Mason Pintails fou nd with the ‘G K Schmidt” brand that were repainted by Edna Perdew . It should be noted that there were two different ‘G.K. Schmidt’ brands, one was smaller than the other. When Mr. Schmidt ordere d a second round of decoys from Charles Perdew, he sent decoys purchased from Robert Elliston ten years earlier and had Edna Perdew refreshen or repaint them. This was not likely necessar y as the decoys seemed to have seen little to no use.

530 Pintail drake, robert elliston, Bureau, illinois, last quartet 19th century. Hollow carved with a second coat of paint by Edna Perdew. Retains the original Elliston weight. “GK Schmidt” branded in the underside. Measures 17” long. Excellent second coat of paint by Edna Perdew with very minor wear; excellent structurally.

Provenance: Herb Wetanson collection. (5,000 - 8,000)

531 mallard drake, charles Walker, Princeton, illinois, 2nd quarter 20th century. Hollow carved with relief wing carving and slightly turned high head. The number 28 stenciled on underside for Princeton Gun Club mem ber Ted Vance. Measures 16.5” long. The original coat of varnish was professionally removed; original paint with minor wear; lightly hit by shot; minor roughness on edge of tail; some loss to wood at roughness on one edge of bill; fine crazing on head and neck; short drying cracks in front of neck. (5,000 - 8,000)

532 rare rigmate pair of pintails, charles Perdew, Henry, illinois, 1st quarter 20th century. Fine paint by Edna Perdew. Both retain Perdew weights. Measure 15.5” long. Hen is original paint with very slight wear, mostly on bill, reglued crack in bill; drake has original paint with significant wear to the bare wood on much of underside, original paint with very minor wear on rest of decoy; hairline crack in drake’s neck and in underside of body. (6,000 - 9,000)

534

533 Pair of mallards, Bert Graves, Peoria, illinois, 1st quarter 20th century. Hollow carved, white sided models painted by Catherin Elliston. Retain the original weights. “P” branded in underside for Puckaway Club. Measure 17” long. Original paint with minor to moderate wear; tight paint crazing throughout; hairline cracks in drake’s breast; crack through hen’s neck with two small nails added to secure, small amount of old touchup in that area. (5,000 - 8,000)

534 Pair of mallards, charles Perdew, Henry, illinois, 2nd quarter 20th century. Hollow carved with comb feather paint detail on sides of drake. Both retain the original Perdew weight. Both from the Otto Meyer rig. Measure 16” long. Original paint with very minor discoloration and wear; a few small dents in drake; tight crack through hen’s neck.

Provenance: Otto Meyer rig. Herb Wetanson collection, purchased from Randy Root. (6,000 - 9,000)

535 mallard drake, charles Perdew, Henry, illinois, 2nd quarter 20th century. Hollow carved with original lead weight. Stenciled “Travis” on the underside. Measures 15.75” long. Original paint with moderate discoloration from an early coat of varnish; very minor wear; very good structurally.

Provenance: Herb Wetanson collection. (3,500 - 4,500)

536 canvasback drake, Bert Graves, Peoria, illinois, 2nd quarter 20th century. Hollow carved with comb feather paint detail. Retains the original Graves weight. “E.R.”

painted twice on underside. Measures 17” long. Original paint with minor to moderate wear; a few minor dents; flaking to filler above nails securing body seam, otherwise very good structurally. (2,500 - 3,500)

537 mallard drake, Bert Graves, Peoria, illinois, 2nd quarter 20th century. Hollow carved with comb feather paint detail. Retains the original Graves weight. Measures 16.75” long. Original paint under an early coat of varnish; minor discoloration and wear; hairline crack on one side of head, otherwise excellent structurally. (2,500 - 3,500)

538 Pair of oversize mallards, Bert Graves, Peoria, illinois. Comb feather paint detail on drake. Hen retains original Graves weight. “GO” painted on underside of drake. Measure 22.75” long. Original paint with moderate discoloration, flaking, and wear; hit by shot; drake with a chip in the tip of tail; crack through each neck.

- 6,000)

539 standing woodduck, Frank Finney, cape charles, Virginia. Made in the style of Elmer Crowell with relief carved wingtips and tail feathers. Slightly turned head with extended crest. Maker’s ink stamp on underside of base. Measures 18.5” long, and stands 15” tall including base. Hairline separation at one side of neck seat, otherwise excellent and original.

Provenance: Charles Long collection. (2,000 - 3,000)

540 Decorative canada goose, Frank Finney, cape charles, Virginia. Carved in the style of the Ward Brothers Canada goose used as the logo bird for the Ward Museum, Salisbury, Maryland. Hollow carved with relief wing feather carving and raised, crossed wingtips. Slightly turned head with detailed bill carving. Unsigned, but purportedly purchased directly from the maker. Measures 23” long. Original paint with very minor wear; some sap bleed on breast; hairline separation at body seam.

Provenance: Charles Long collection. (2,500 - 3,500)

541 important carving, Frank Finney, cape charles, Virginia. Of Lem Ward standing on a barber pole holding his hat in one hand at top of head and Ward brothers fat jaw bluebill drake in other. Measures 10”. Excellent and original. (800 - 1,200)

542 Preening widgeon drake, Frank Finney, cape charles, Virginia. Carved in the style of the famous Elmer Crowell widgeon of similar form, with head turned and reared back, and applied raised wingtips. Unsigned. Measures 15.25” long. Original paint with very minor discoloration; some crazing and bubbling to paint on breast with spots of white paint showing.

Provenance: Charles Long collection. (1,200 - 1,800)

543 morning dove, Frank Finney, cape charles, Virginia. Maker’s initials carved in the underside. Measures 15.5” long. Excellent and original. (1,200 - 1,800)

545 * Walking pintail, Frank Finney, cape charles, Virginia. Modeled after John James Audubon’s aquatint plate 390. In walk ing pose with outstretched neck and open bill. Relief wing and tail feather carving and raised wingtips. Maker’s initials carved in to the base. Pintail measures 24” long. Original paint with minor discoloration; small chip in tip of tail; moderate discoloration on natural stained base.

Provenance: Charles Long collection. (1,200 - 1,800)

546 running curlew, Frank Finney, cape charles, Virginia. Carved in the Cobb Island style with split tail and eye carving. Unsigned. Measures 15” long. Made to appear older; very good and original. (600 - 900)

547 miniature penguin, Frank Finney, cape charles, Virginia. Carved in the style of Charles Hart, Glouster, Massachusetts. Slightly turned head. Stands 7.5” tall. Hairline paint separation at base of beak, other wise excellent and original. (800 - 1,200)

544 Hollow carved black duck, Frank Finney, cape charles, Virginia. Carved in the Ward brothers early style with upswept bill and scratch feather paint detail. Slightly turned head and high rump. Unsigned. Measures 19.5” long. Paint on body was made to appear older; drying crack along the under side; otherwise excellent.

Provenance: Charles Long collection. (1,200 - 1,800)

551 mountain bluebird, Frank Finney, cape charles, Virginia. Relief wing carving and raised wingtips. Relief tail feather carving. Maker’s initials carved in underside. Measures 5.25” long. Excellent and original. (400 - 600)

miniature red-tailed hawk, Frank Finney, cape charles, Virginia. Deep relief wing carving and raised wingtips. Relief wing and tail feather carving. Maker’s ini tials carved in underside. Stands just under 6” tall includ ing base. Excellent and original. (500 - 800)

Yellow throated vireo, Frank Finney, cape charles, Virginia. Open beak and relief tail feather carving. Maker’s initials carved in underside. Measures 6.25” long. Excellent and original. (500 - 800)

550 Painted bunting, Frank Finney, cape charles, Virginia. Relief wing carving and raised wingtips. Relief tail feather carv ing. Maker’s initials carved in underside. Measures 5” long. Excellent and original. (400 - 600)

552

Vermillion flycatcher, Frank Finney, cape charles, Virginia. Deep relief wing carving with dropped wingtips. Relief tail feather carv ing. Maker’s initials carved in underside of base. Measures 6” long. Excellent and original. (500 - 800)

553 Wood thrush, Frank Finney, cape charles, Virginia. Dropped wings and upswept tail with relief feather carving. Maker’s initials carved in underside. Measures 5.5” long. Excellent and original. (500 - 800)

554 miniature pileated woodpecker, Frank Finney, cape charles, Virginia. Deep relief wing carving and raised wingtips. Carved, extend ed crest and relief tail feather carving. Maker’s initials carved in underside. Measures 6.25” long. Excellent and original. (400 - 600)

555 Black crested titmouse, Frank Finney, cape charles, Virginia. Relief wing and exaggerated head feather carving. Relief tail feather carving. Maker’s initials carved in underside. Measures 4” long. Excellent and original. (400 - 600)

556 miniature hardwood dolphin, Frank Finney, cape charles, Virginia. Open mouth and carved eyes. Initials carved in underside of dol phin. Maker’s ink stamp on underside of base. Measures 5” long. Excellent and original. (400 - 600)

557 Pilot whale, Wyatt collins.

Measures 10.5” long. Mounted on base. 9” tall. Glass eyes. Excellent and original. (400 - 600)

558 * Leaping leopard frog mounted on base, steve Weaver, cape cod, massachusetts. Frog has lepped from the base, its arms, fin gers and legs are extended. Glass eyes. Signed “SAW” and titled “Too Quick to Catch” dated 2016. Frog measures 6” long. Excellent and original. (1,500 - 2,500)

559 Full size semi palmated plo ver, steve Weaver, cape cod, massachusetts. Signed underside of base. Influenced by the work of Elmer Crowell. Glass eyes with split tail. A feather from the bird is carved in to the base, which is signed “SAW”. Measures 5”. Excellent and original. (1,000 - 1,500)

560 miniature yellowlegs, steve Weaver, cape cod, massachusetts. Mounted on a carved base with a feather applied to the base. Signed “SAW”. Walking yellowlegs with head turned, split dropped tail. 3.5” tall. Excellent and original. (1,000 - 1,500)

561 miniature black duck, marty Hanson, Hayward, Wisconsin. Fat body with relief wingtip carving. Base initialed “MH” and dated 04. Signed on the underside. Measures 5” long. Excellent and original. (600 - 900)

562 Pair of miniature curlew, mark mcnair, craddockville, Virginia. Carved in the Cobb Island style. With relief wing, split tail, and carved eyes. Signed and dated 2015 on underside of stands. “M” carved in underside of each. Measure 4.25” long. Excellent and original. (1,200 - 1,800)

563 Yellowlegs, Lloyd cargile, Baltimore, maryland. Carved in the style of Ira Hudson with scratch feather paint detail. Signed and dated 1985 on underside. Measures 13.5” long. Stand included. Made to appear older; very good and original. (600 - 900)

564 ruddy turnstone, mark mcnair, craddockville, Virginia. Carved in the style of Obediah Verity, with relief wing carving and carved eyes. “McNair” carved in the underside. Measures 8” long. Excellent and original. (800 - 1,200)

565 Yellowlegs, mark mcnair, craddockville, Virginia. Thin neck and tack eyes. “McNair” carved in underside. Measures 11.5” long. Excellent and original.

Provenance: Kirby Roberts collection. (800 - 1,200)

566 Black bellied plover, mark mcnair, craddockville, Virginia. Applied raised wingtips and tack eyes. “McNair” carved in underside. Measures 10” long. Excellent and original. (800 - 1,200)

harles Bergman

567 mallard drake, charles Bergman, astoria, oregon, 1st quarter 20th century. Hollow carved with an “x” carved in the underside indicating it was from Bergman’s personal rig. Measures 16.75” long. Original paint with moderate discolor ation and wear; small dents and shot marks; minor roughness on edge of tail; professional neck and tail repair.

Provenance: Stahl collection. Purchased from an antique shop outside of Astoria years ago. (3,000 - 5,000)

568 early pair of bluewing teal, mason Decoy Factory, Detroit, michigan, last quarter 19th century. Standard grade glass eye models. Measure 12” long. Original paint with moderate flaking and wear; under a thin coat of varnish; most of the neck filler is missing; hairline drying cracks in breasts and along back of hen; separation at a long knot in one side of hen. (2,500 - 3,500)

569

Goldeneye hen and drake, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Hollow carved premier grade with relief bill carving and glass eyes. Measure 14.25” and 14.5” long. Both in original paint with minor to mod erate wear; drake with a thin second coat on wing patches and white of body taken down to the origi nal surface showing moderate wear; both lightly hit by shot; heads are slightly loose; blunting and minor roughness on each bill. (3,000 - 5,000)

570 early bluebill hen, mason Decoy Factory, Detroit, michigan, last quarter 19th centu ry. Round inlayed weight on underside. Branded “T.W.P.” Head is slightly turned. Measures 13.5” long. Original paint with minor to moderate wear under an early coat of varnish; drying crack along back; lightly hit by shot; neck filler was replaced long ago.

Provenance: Preston Lowe collection. (800 - 1,200)

571

american merganser drake, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Hollow carved premier grade with relief bill carving and extended crest. Measures 17.75” long. Original paint with moderate flaking and wear; minor dents and roughness on edge of tail; body seam has opened somewhat along one side; chip in one side of crest with touchup in that area and around base of neck. (3,000 - 5,000)

572

Bluewing teal, mason Decoy Factory, Detroit, michigan, 1st quar ter 20th century. Challenge grade with incised bill carving and glass eyes. “GH” stamped into the underside near the round inlet lead weight. Measures 12.5” long. Original paint with minor gunning wear; small dents; some sepa ration at an ‘in factory’ filled split in the underside; tiny amount of glue visible at neck seat. (3,000 - 4,000)

573 Greenwing teal, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Standard grade glass eye model. Small inlayed weight on the underside. Measures 11.75” long. Original paint with minor wear under an uneven coat of varnish; thin wash to the white areas; restored neck filler; hole through back and underside was filled and touched up. (1,200 - 1,800)

574 Greenwing teal hen, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Standard grade glass eye model. Measures 12” long. Original paint with minor wear; tight crack along one side with some paint touch up on that side and 2” around back of neck seat; restored neck filler. (600 - 900)

575 Willet, mason Decoy Factory, Detroit, michigan, 1st quarter 20th century. Tack eye model with iron bill. Mackey collec tion ink stamp on underside. Measures 12.5” long. Original paint with very minor wear; a few small dents and shot marks; otherwise very good structurally. (3,500 - 4,500)

576 Yellowlegs, mason Decoy Factory, Detroit, michigan, 1st quarter 20th cen tury. Tack eye model with iron bill. “Joe French” written in invisible ink on the under side. Measures 12.5” long. Original paint under a thin coat of varnish showing minor wear; area of touchup on one side of back; very good structurally. (1,500 - 2,500)

577 Yellowlegs, mason Decoy Factory, Detroit, michigan, 1st quarter 20th cen tury. Tack eye model with iron bill. Measures 11.25” long. Original paint with moderate wear, mostly on one side; a few small dents otherwise very good structurally. (600 - 900)

578 robin snipe, mason Decoy Factory, Detroit, michigan, 1st quarter 20th cen tury. Tack eye model with iron bill. Measures 10” long. Original paint with minor discol oration and wear; small dents and minor separation at wood grain in one side; small amount of filler and touchup where bill meets face; feather detailing was added along the back at one point, and these spots were darkened. (2,000 - 3,000)

579 Black bellied plover, mason Decoy Factory, Detroit, michigan, circa 1900. Glass eye model with iron bill. Measures 10.25” long. Original paint with moderate flaking and wear; drying crack along one side of back. (2,000 - 3,000)

580 Pair of mallards, Herter’s Decoy Factory, Waseca, minnesota, 2nd quarter 20th century. Model per fect with deep relief wing and tail feather carving. .75” bottom boards were added at the factory. “GBM” and “Mackey” branded in the underside. Also with the McCleery ink stamp for the collection of Jim McCleery. Measure 14” long. Strong original paint with minor wear; lightly hit by shot; chip in one of hen’s eyes; hen’s head is slightly loose. (1,200 - 1,800)

581 owl, Herter’s Decoy Factory, Waseca, minnesota, 2nd quarter 20th centu ry. Balsa body with relief wing carving and separated wingtips. Large glass eyes and bear claw beak. Stands 19” tall. Original paint with minor flaking, mostly on ears and edge of wingtip; a few small dents otherwise very good structurally. (1,200 - 1,800)

two factory owl decoys, swisher & soules, Decatur, illinois. A snowy owl mounted to piece of wood. Shows heavy in use wear with some white paint that has faded, one side is miss ing both eyes. Measures 17”. Brown owl is one of the rare models that has the extended flocked wings, measures 12.5” in length. Areas of brown flock missing from body.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid, similar examples. “American Decoys,” Quintina Colio, p. 78 (1,000 - 1,500)

583 stuffed canvas owl, Hoosier call and Decoy company, Delphi, indiana. Stuffed canvas with applied canvas bill and ear tufts. Standing on wooden stand. Includes the original carrying bag and Hoosier crow call. Owl stands 21” includ ing stand. Owl with minor discoloration and wear from age; bag with discoloration and stain; call box with edge wear and creases. (800 - 1,200)

584 Large folk art carved owl. Relief wing and eye carving with applied ears and beak. Measures 25” long and stands 33.5” tall with included stand. (1,200 - 1,800)

585 * impressive, full-body flying swan, Frank Finney, cape charles, Virginia, circa 1990. Made to be wall mounted. Hollow carved with applied wings and relief feather carving. Trailing feet and extended neck and head. Wingspan measures approximately 5.5’. Tight cracks in body. (12,000 - 18,000)

586 Pair of hollow carved swans, Frank Finney, cape charles, Virginia. A large, thinly hollowed swan. Head and neck are made of three pieces. “F Finney Pungo VA” carved in underside. Measures 35” long. And a preeningn swan, Thinly hollowed with head turned over back. “F Finney Pungo VA” carved in underside. Measures 30” long. Excellent and original; preener has minor paint rubs.

Provenance: Charles Long collection. (5,000 - 7,000)

589 * Pair of flying pintails, mike Borret, madison, Wisconsin. Made to hang from the ceiling with cupped wings and outstretched legs. Relief wing and tail feather carving. “Borret ‘00” carved in to underside of wings. Measure 21.5” and 23.5” long. Very minor paint rubs; hanging screw on hen’s back was moved with the original hole vis ible, otherwise excellent and original.(1,000 - 1,400)

587 swan, Jim Brockman, Pungo, Virgnia. Hollow with 1” bottom board and slightly turned head. Relief wing and tail feather carv ing. Signed on the underside. Measures 27” long. A few small dents, otherwise very good and original.

Provenance: A survivor of a recent fire that destroyed the maker’s workshop. (800 - 1,200)

590

588 Large swan decoy, eastern shore maryland, pos sibly made by Danny Brannock of cambridge, maryland. Angular body, similar to the Orem family. Tack eyes with long neck and head slightly tilted. Measures 46” long. Thick paint that has flaked and has been stressed and weathered to create the appearance of age. (700 - 1,000)

590 Large decorative black swan, robert moreland, Harrisonburg, Virginia. Deep relief wing carving with raised wingtips. Relief carved legs. Reared back and slightly turned head. Maker’s initials carved in the underside and dated 2015. Measures 31.5” long and 15” wide. Hairline separations at wood seams, otherwise excellent (1,200 - 1,800)

592

591 * Flying canada goose, andre Broussard, st. andre de la calle, Quebec, 3rd quarter 20th century. With applied wings and incised bill carving. Measures 31” long with a 39” wing span. Original paint with minor wear; tight crazing over most of the carving typical of Broussard’s work; tight drying cracks in body with a larger one alone back having been filled. (1,200 - 1,800)

592 * extraordinary pair of pintails, Grayson chesser, Jenkins Bridge, Virginia. This is the only pair of standing full bodied pintails mounted to a single base we have seen by the maker. Each has carved wooden feet, legs, feather and tail detail. Drake’s head is turned, with strong side pocket combing. 12” tall. Both are excellent and original. (1,750 - 2,250)

593 excellent pair of red breasted mergansers, Pat Godin, Paris, ontario. Slightly turned heads, with extended crests and highly detailed bill carving. Relief wing and raised, crossed wingtips. Signed and dated 1994. Measure 15” and 17.5” long. A few tiny paint rubs on tips of tail feathers and top of drake’s head, otherwise excellent.

Provenance: Lynwood Herrington collection. (4,000 - 6,000)

594 Pair of bufflehead, Pat Godin, Paris, ontario. Slightly turned heads with relief carved wingtips. Signed and dated 1993 on underside. Measure 9.5” and 10.75” long. A few tiny paint rubs, otherwise excellent and original.

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

595 * Dove, John scheeler, mays Landing, new Jersey. Perched on a mounted branch with wings extended as if getting ready to take off. Glass eyes, detailed feather painting over entire body with carved feathers throughout wings, tips, and tail. Base has plaque that reads “Mourning dove created by John Scheeler.” Measures 12 long, and 12” tall. Excellent and original. (1,500 - 2,000)

596

597

596 resting Hutchins goose, Jude Brunet, Galliano, Louisiana. Tucked and slightly turned head. Relief wing carving with raised, crossed wingtips. Highly detailed bill and feather carving. Excellent paint detail. Signed and dated 1994 on underside. Measures 17” long. A few tiny chips on one edge of tail and tips of raised wings, otherwise excellent.

Provenance: Watson collection. (4,000 - 6,000)

597 “english caller”, tan Brunet, Galliano, Louisiana. Carved by Tan and painted by Wayne Watson for the Ward World Championship 2006. Raised wingtips and relief wing and tail feather carving. Measures 11.25” long. A few tiny paint rubs, otherwise excellent and original.

Provenance: Watson collection. (2,000 - 3,000)

598 Pair of canvasbacks, Leo mcintosh, Woodville, new York. Slightly turned heads with hen looking upward. Relief wing carving with raised, crossed wing tips. Relief tail feather carving and comb feather paint detail. Signed on the underside with drake dated ‘89. Measure 13.5” and 14.25” long. Minor paint rubs, otherwise excellent and original. (1,200 - 1,800)

599 early pair of goldeneye, marty Hanson, Hayward, Wisconsin. Influenced by Toronto school of carvers. With flat bot toms and slightly turned heads. Incised wingtip carving. “MH” and “JDC” carved in the underside. Measure 14” and 15” long. Strong original paint with very minor wear; a few tiny dents; otherwise excellent structurally. (1,500 - 2,500)

600 Hollow carved scoter hen, Leo mcintosh, Woodville, new York. Carved in the Marblehead, Massachusetts style, with wooden keel. Maker’s name carved in the underside. Measures 17” long. A few tiny paint rubs and flakes, otherwise excellent (800 - 1,200)

601 Pair of red breasted mergansers, ronald Justice, chincoteague, Virginia. Turned heads and exaggerated, extended crests. Relief wingtip carving. Both signed on the underside. Maker’s initials carved in under side of tail. Hen is dated 2003. Measure 14.5” and 15” long. Minor discoloration and sap bleed; a few paint flakes on back of drake; small dent in top of drake’s crest.

Provenance: Watson collection. (1,000 - 1,400)

602 three long tailed duck drakes in different animated positions, Lou schifferl, neenah, Wisconsin. All are signed “Schifferl” on undersides. All three are solid body with applied sprig tail. Longest measures 20”. All have been stressed to create to appearance of age.

(1,000 - 1,500)

603 Pair of canvasbacks, ronald Justice, chincoteague, Virginia. Heads are turned approximately 45 degrees. Drake with one slightly raised wing. Each with raised wing tips. Maker’s initials carved in underside of tail. Carved foot on drake and leg on hen. Signed and dated 2002 and 2003. Measure 14” long. Very minor discoloration and sap bleed on drake, otherwise both excellent and original.

Provenance: Watson collection.

(1,200 - 1,800)

604 Pintail drake, Jimmie Vizier, Galliano, Louisiana. Slightly high headed. Relief wing carving and slightly turned head. Signed and dated 1993. Measures 20” long. Original paint with very minor wear; fine hairline crack at neck seat; a dent with paint flake in one side of tail; minor paint rub on tip of tail. (800 - 1,200)

605 * Pair of chickadees, Jude Brunet, Galliano, Louisiana. Standing on birch twigs. Signed and dated 1992 on underside. Fat little birds with detailed feather carving. Birds mea sure 4.25” long. One has been off and reglued on to branch, otherwise excellent and original.

Provenance: Watson collection.

(1,500 - 2,500)

606 miniature speckled bellied goose, Dennis schroeder, trinity alps, california. Head is turned approximately 80 degrees. Relief wing and tail feather carving with crossed, raised wingtips. Signed and dated 2000 on underside. Measures 5.25” long. Excellent and original.

Provenance: Watson collection.

(1,000 - 1,500)

607 Large eider, charles Jacobs, Grand manan island, new Brunswick, 2nd quarter 20th century. Raised neck seat and tack eyes. “CF Jacobs” branded in underside. Measures 20” long. Original paint with moderate gunning wear; hairline drying cracks along back; minor separation at neck seat; small chip and roughness on edge of tail was darkened. (4,000 - 6,000)

608 Loon, John smith, Berrington, nova scotia. Rare species for the maker. Appealing folk art paint pat tern. Measures 21” long. Original paint with minor discoloration; nails added to one side to secure a split when the decoy was made; minor separation at knots in body; some filler added to a chip in the tip of bill with some missing. (600 - 900)

609 Pair of bluebills, ray andress, Gananoque, ontario. Heads are turned approximately 45 degrees. Comb feather paint detail on drake. Measure 11” and 11.75” long. Original paint with minor gunning wear; minor flaking at base of hen’s neck; minor separation at drake’s neck seat; small chip in one lower side; drake’s bill was cracked down and reset with touchup on the bill. (600 - 900)

610 Hollow carved bluebill, Fred croft, Belleville, ontario, 1st quarter 20th century. Hollow carved with .25” bot tom board stamped “FC” four times in underside. Comb feather paint detail on back. Measures 14.25” long. Original paint with moderate discoloration and wear; lightly hit by shot with two in the tip of bill causing small chips; crack through one eye; many small spots of touchup on body and head.

Provenance: Preston Lowe collection. (600 - 900)

611

Bluebill hen, Davey nichol, smiths Falls, ontario, 2nd quarter 20th century. Relief wingtip and incised tail feather carving. Comb feather paint detail on back and sides. Measures 13.25” long. Original paint with minor gunning wear; a few small dents and shot marks otherwise very good structurally.

Provenance: Preston Lowe collection. (400 - 600)

612 century style canada goose, unknown maker, probably Prince edward island, 1st or 2nd quarter 20th century. Rigged with three metal stakes in under side. A style commonly used in that region. Nicely carved, extended tail. Subtle feather painting around breast. Measures 26” long. Strong original paint with a crack extending through the underside; some small rubs and paint loss; cracks in one side. (1,750 - 2,250)

613 two canada geese decoys, one by John ramsay, summerside, Prince edward island and one by John Brooks, Freeland, Prince edward island. The largest is hol low carved bottom board with a reaching neck and slight swimming position, measures 29” long. Smaller goose is hollow carved, two piece body seam with tack eyes. Head is slightly turned. Measures 25” long. Largest original paint; tight crack running length of back; a few shot scars; some rubs and small rough area on underside of bill. Smaller white areas appear to have been strengthened a very long time ago; some nail holes around neck and underside of tail have rust stain ing; moderate gunning wear. (1,000 - 1,500)

614 canada goose, Henry Leslie, summerside, Prince edward island, canada, 1st quarter 20th century. Hollow carved with slightly turned head. Large metal eyes. Measures 25 1/2” long. Original paint with moderate flaking and wear; drying crack along back; nails added to secure a crack through neck; bill chip repair with an old thin wash of black on head and neck.

Provenance: Charlie Hunter III col lection. (500 - 800)

615 Bronze, Vic Payne. “Good Ole Days,” an artist proof for bronze depicting a boy duck hunting with his grandfather and two dogs. Signed and numbered AP/100. Mounted on a green marble base with brass title tag. Boat measures 44” long, bronze measures 22.75” tall including base. Excellent and original. (5,000 - 8,000)

616 Bronze, Glenn swanson. “Touchdown,” depicting two landing geese with cattails in water. Mounted on a 2” hardwood base, elevated by a custom hardwood stand that is included. Signed and numbered 32/43. Bronze measures 36.75” tall, when on stand full height 69”. Excellent and original.

Provenance: Charles Long collection. (3,000 - 4,000)

617 Bronze, Gary Price. Depicts two flushing pheasant. Signed on the base. Measures 38.5” wide, stands 29” tall. Excellent and original.

Provenance: Charles Long collection. (2,000 - 4,000)

618 “suspicion” John tolmay, bronze. Two water buffalo and two birds. Titled, signed, and dated 2012. Also numbered 6/20. Stands 14” tall includ ing base, measures 24.5” at its widest. (5,000 - 8,000)

Finely carved warthog, mopho Gonde, Zimbabwe. Finely carved from African Leadwood. In running pose with head turned and tail up. Carved bone tusks. Very detailed skin and fur carving. “M Gonde” carved in wood base. Measures 19” from front hoof to back hoof, base measures 28” across. Excellent and origi nal. (3,000 - 5,000)

621 Bronze, Dr. robert taylor. “Water’s Edge,” a leaping mallard drake coming through reeds. Mounted on green marble base with brass title tag. Measures 21” tall including base. Excellent and original.

Provenance: Charles Long collection. (400 - 600)

620 Bronze of a landing mallard with outstretched wings, 20th cen tury. Mounted to a green marble base with cattails. Wingspan is 23.5”, piece measures 30” tall including base

Provenance: Charles Long collection. (800 - 1,200)

622 Bronze, Ken Bjorge. Depicts three landing mallards. Signed and numbered 25/25. Measures 20.5” wide, stands 9.25” tall. Excellent and origi nal.

Provenance: Charles Long collection. (600 - 900)

623 Bronze, David turner, onley, Virginia. “Sitting Duck” depicting a mallard drake with slightly turned head. Signed and dated 07 on underside of tail, also numbered 14/100. Certificate of ori gin from Turner Sculpture included. Measures 16” long. Excellent and original.

Provenance: Charles Long collection. (1,000 - 1,400)

624 Bronze, David turner, onley, Virginia. Crouched, up-looking frog. Signed and dated 1999 on base. Also numbered 79/100. Stands 8.25” tall including base. Excellent and original.

Provenance: Charles Long collection. (800 - 1,200)

Bronze, David turner, onley, Virginia. Ruddy duck with turned head and fanned out tail. Signed and dated 2000 on base. Also numbered 53/200. Stands 6.5” tall including base. Some surface rubs on base, otherwise excellent and original.

Provenance: Charles Long collection. (600 - 900)

Bronze, by an unknown artist. Depicts a preening mallard with raised wingtips. Measures 14.5” long. Excellent and original.

Provenance: Charles Long collection. (600 - 900)

627 cigar store indian trade sign, thomas Brooks, new York city, new York, circa 1875. One of Brooks’ most popular forms with arm raised and hand blocking the sun. A large, imposing Chief holding a bundle of cigars and cube of ‘cut plug’ chewing tobacco. Relief carved catamount on shoulder. Stands 82” including base. Excellent professionally restored surface by Peter Dean of Pennsylvania; minor chipping on tips of feathers; minor separation at seam in arm; retains the original base with iron wheels.

Provenance: The Mark Goldman collection. (60,000 - 90,000)

628 cast zinc cigar store indian trade sign, William Demuth company, new York city, new York, circa 1875. Original mold carved by Samuel Robb and cast by A. Selig in the Williamsburg neighbor hood of Brooklyn, New York. The Wm. Demuth Company was the go-to place for all smokers’ arti cles and smoke shop needs. This form was known as “Indian Hunter” and sold for $80 when new in 1875. Many of these zinc figures were lost to metal scrap ping during America’s war effort of the 1940’s. Figure stands 65” tall, 78” including base. Beautifully restored paint; modern base.

Provenance: The Mark Goldman collection.

Literature: “Artists In Wood”, Frederick Fried, page 53. (20,000 - 30,000)

629 cigar store indian trade sign, attributed to the shop of thomas Brooks, new York city, new York, circa 1885. With carved club in hand and relief carved bear skin robe draped over shoulders. Holding a box of cigars with “F.R. Rice” carved on box. With the purchase of 500 F.R. Rice “Chief” cigars one would receive a certificate. 10 certifi cates would earn you a free cigar store Indian for your business. Stands 60” tall including base. Old paint was taken down to an early surface with some touch up; typical filled drying crack along front; early repair to nose and feathers of head dress; part of cigar box with restoration.

Provenance: The Mark Goldman collection (20,000 - 30,000)

630 cigar store indian trade sign by an unknown carver, circa 1870. Rural tobacconists often com missioned local carvers to provide their trade signs. These “one off” Indians are excellent examples of American folk art. Excellent carving detail on edges of dress and on hair. Stands 68” tall including base. Mix of original and early repaint with moderate flak ing and wear; tight crack along front and hairline cracks throughout; some restoration to feathers and one side of outstretched arm; modern base.

Provenance: The Mark Goldman collection. (20,000 - 30,000)

Silvio Peter Zoratti began employment as a stone mason’s apprentice developing talents with mortar and stone . Eventually deciding to emigrate to the US in 1919.

Zoratti moved to Ohio and worked for the Nickel Plate Railroad constructing and repairing bridges, buildings, and fences. At home in Conneaut, he and his wife Beatrice raised their family, growing most of their own food in a lush garden behind the house. It was not an ordinary garden, however. As Silvio’s ideas for sculptures in stone, concrete, and wood germinated and blossomed, the bountiful garden began to metamorphose into a combined Garden of Eden and Peaceable Kingdom reminiscent of those imagined by Henri Rousseau and Edward Hicks. Zoratti was prolific. In full bloom, his garden was magnificent.

While most wood workers select the best lumber to carve, Zoratti did not shy from less popular trees such as locust which were heavy, dense, and difficult to chisel. He accumulated fence posts pruned limbs, and any other natural supply.

Source: NEW WORLD FOLK ART, Old World Survivals and Cross-Cultural Inspirations, 1492-1992; Cleveland State University

Folk carved standing santa, silvio Peter Zoratti. With a small sack labeled toys on back. Stands 28.5” tall. Original paint protected under a thin coat of var nish; multiple vertical drying cracks; feet have been off and reattached. (1,500 - 2,500)

632 * Large flying albatross, mid 20th century. Incised eye and bill carving. Measures 37” long with a 65” wing span. Old second coat of paint with significant flaking and wear; splits in tail and body; chips in wing tips; blunting to tip of bill.

Provenance: Charlie Hunter III collection. (600 - 900)

633 * Large flying canada goose, mid 20th century. With appled concave wings. Legs and feet are not aplied but carved from the body. Measures 40.5” long with a 54” wing span. Original paint with significant wear down to much bare wood; old chips in wing tips; drying cracks; eyes are missing.

Provenance: Charlie Hunter III collection. (800 - 1,200)

634 Vintage gold painted metal letters, from a Baltimore Woolworth store. All letters included are 14” tall, and spell “F.W. Woolworth Co.” Three peri ods are included, they tend to be rare with this sig nage. Letters show good age and nice patina with small rubs. (3,000 - 5,000)

635 early wooden fire escape sign, 1st quarter 20th century. Made from two boards with breadboard ends. Measures 11.75” x 24”. Dry surface with moder ate discoloration from age; minor flaking and dents; left breadboard end is a very early replacement. (500 - 800)

636 Double sided grocery store trade sign, mid 20th century. Painted wood board with wood frame. “Groceries and Meats”. Measures 13.25” x 56”. Minor to moderate flaking and wear, mostly on one side; drying cracks along board; some chipping and roughness to outer edge; small repair at one corner of frame. (400 - 600)

early tri color trade sign. Painted on board “Whips, Robes, & Co.” circa 1900. Measures 18” x 53”. Strong origi nal paint with excellent lettering; surface is old and crazed with some scratches and discolored areas; area of restora tion to left of W. (2,000 - 3,000)

638 rare chaise lounge, old Hickory company, shelbyville, indiana, early 20th century. Measures 72” long, 25” wide, and 25” tall. A few small breaks in weave; small loss to bark at foot end. (2,000 - 3,000)

639 early paint decorated storage box. Green, orange, and yellow. With an old coat of varnish that has darkened. Appears to be circa 1900 or earlier. Castor wheels have been added to the underside. Stands 15” tall x 28” long x 14” deep. Top panel is made from two pieces with a separation in between.

Provenance: Neelen collection. (500 - 800)

640 Vintage adirondack style cabinet, Flat rock Furniture company, Waldron, indiana. Two draw ers over two doors. Applied hickory pieces and pine top. Measures 43” wide, 24” deep, and stands 37.75” tall. Minor rubs and wear on sides; some dents and scratching to top. (2,000 - 3,000)

641 early bentwood snowshoe inspired lounge chair and ottoman, W.F. tubbs company, norway, maine, 1st quarter 20th century. With brass hardware and rawhide webbing. Chair measures 44” long, stands 37” tall. Ottoman is 31” long. Minor discoloration and wear from use; two cracks in one leg were sanded down; a few cracks and small chips in ottoman. (2,000 - 3,000)

642 six chairs, anderson Furniture company. Similar to work of Moller Furniture Manufacture known for cabin style chairs, tables, and couches. Each has red vinal upphostlered seats and backing with stylized tacks that have aged to have a nice patina. Plywood and pine branch construction. Each measures 35” in height, with a seat at 19”. Chairs show light wear but are structur ally good. (2,000 - 3,000)

643 impressive original watercolor map of shinnecock Bay. Legend on right says “Snipe Shooters Map of Shinnecock Bay Long Island, about 1920”. Birds after Fuertes & Peterson. Map is signed lower right, Walden Pell II. Includes a scale of miles. Shinnecock Lighthouse and Quogue. Professionally framed with plexiglass cover. Measures 24” x 69.5”. (1,000 - 1,500)

644 tramp art wall cabinet, early 20th century. With door over drawer and towel holder configuration. Multiple layers of con trasting colored pieces. Measures 23.5” x 13.75” wide. Original paint with moderate crazing and minor wear; a few small chips and losses to wood; a few tight cracks; approximately four of the carved pieces are replaced. (400 - 600)

645 carved african mask, 1st quarter 20th century. Carved antelope horns and exaggerated ears. May have been mounted on top of a wooden staff. Eyes are carved through. Measures 22” tall. Original surface with moderate wear; rubbing, scratches, and dents throughout; reglued cracks in one ear. (200 - 300)

646 oil on board of brook trout hanging from string. Signed “W.L. Stewart, Maine”. Measures 11.5” x 4.5”. Brook trout is painted with a birch painted background professionally framed. Two small scratches on fish. (300 - 500)

647 oil on paper board of brook trout, attributed W.L. steward. Image is mounted to a framed board. Image mea sures 14” x 5.5”. (300 - 500)

648 six pieces of indian pot tery. Smallest seed pot retains partial sticker from the Hopi villages, 7” wide. Larger tan colored piece measures 8” wide. Four black native American pots. Widest retains a partial red and white sticker from Indian affairs, and one has “itay” scratched in underside.

Provenance: Tom Neelen collection. (2,000 - 4,000)

649 Group of five native american items. A wooden totem with date 1909 on back and signature that is difficult to read, measures 6”. A redwood wall

plaque, relief carved with a face that retains some white and black paint, measures 10.5”. Three items of carved bone: an ink pen with totem motif measures 7”. Hollowed piece of bone carv ing of a face, shows good age. And possible bone ring with face carved in front side.

Provenance: Tom Neelen collection. (800 - 1,200)

650 unique group of five miniature jugs. Largest face jug in dated 1987 with an Oakland Potter stamp on underside, mea sures 5”. Smallest face jug is identified as Bill Flowers, Almond, North Carolina. Light brown jug is stamped “Bergman’s Pottery, North Carolina” on underside. Small brown and white jug with “Mercury” written in blue. Smallest jug is inscribed “Little Brown Jug”

Provenance: Tom Neelen collection. (400 - 600)

651

a match set of dead game paintings on board, Frero, most likely 3rd quarter 19th century. Both measures 28.5” x 20.5”. One is a set of songbirds, appears to be a robin and possibly pas senger pigeon. Other is possibly a finch and wood cock. Both are signed lower “E. Frero”. Both show shrinkage and good age. (750 - 1,250)

652 Jim Foote (1925-2004), oil on board. Depicts a selection of fish spear ing decoys and a spear head. Signed lower right and dated ‘92. Measures 17.25” x 23.25”. Very good and original. (500 - 800)

653 oil on canvas of a salmon, 1st quarter 20th century. Image measures 22.5” x 30.75”. Painting was revarnished with fine crazing throughout; inpainting at lower right corner. (600 - 900)

654 seth steward (1844-1927), oil on canvas. A Maine landscape painted from the top of Mt Kineo looking over Moosehead Lake. Signed on the back of canvas. Image measures 21.5” x 33.5”. A few small spots of inpainting upper left; minor pressure marked canvas in lake area; scattered paint crazing throughout. (2,000 - 4,000)

655 Walt Wheelwright, oil on wood panel. A horse portrait with small dog. Titled “Mary”. Draped blanket with monogram “TCH”. Signed and dated ‹80 lower right. Image measures 15.75” x 21”. Scattered spots of inpainting; minor flaking to varnish; otherwise good (1,200 - 1,800)

656 small oil on board, 19th centu ry. Horse portrait, initialed “JCW” and titled “Jock” lower left. Image measures 9.5” x 11.5”. Spot of inpainting just in front of horse; painting was re-varnished. (600 - 900)

657 seth steward (1844-1927), oil on board. A Maine landscape with lake and mountains. Signed and dated 1921 lower right. Image measures 12.25” x 22.75”. Small spots of discoloration in sky area; otherwise good. (600 - 900)

659 alexandre Louis Jacob, (1876-1972, French), oil on board. Measures 6” x 6”. Marsh scene with person pad dling boat in impressionist landscape trees in back. Signed lower left. Thickly applied paint. Darkened from lack of cleaning but maintains nice patina; a few small pieces from frame. Provenance: Tom Neelen collection. (500 - 800)

660 Walter L. steward, oil on board. Two hanging grouse against a birch bark background. Signed lower right. Image measures 19.5” x 14.5”. Some creasing and minor loss to lower left corner and upper right corner; a few minor flakes and paint rubs; some scattered discoloration.

- 1,200)

archie Boyd teater, oil on canvas. Image mea sures 49” x 29”. Signed lower right. Image of Grand Teton National Park. Possibly painted with a palet knife as this painting retains a very heavy surface. Excellent

- 2,500)

662 Benjamin cam norton (1835-1900) uK, oil on canvas. Study of a race horse in stable. Unsigned. Measures 19.25” x 23.25”. Large area of inpainting around horse’s head. (1,200 - 1,800)

663 anton J. anderson, oil on board. Scene of fisherman in chaotic boat tipping inci dent. Signed lower left “ATA”, dated lower right 1949. Image measures 12.25” x 10.75”. Image appears very dirty, but structurally good.

Provenance: Tom Neelen collection. (300 - 500)

664 Gouache on paper, 2nd quarter 20th century. A pair of flying geese. Signed lower right. Image measures 11.25” x 17”. Very good and original.

Provenance: Charles Long collection. (500 - 800)

665 tom Lieber (b.1949), oil on canvas. Unsigned. Measures 41” x 41”. Very good. (6,000 - 9,000)

666 Frits Hinningsen (1889-1965, Danish), sofa, circa 1936. Cuban flame mahogany with horsehair upholstery. A clas sic design by this master cabinet maker. Measures 94” long. Wear consistent with age and use with minor separations at seems in mahogany; overall very good. (5,000 - 10,000)

667 Large vintage bull fight poster from spain. Image measures 61” x 45”. Artist is Roberto Domingo. Professionally framed behind plexiglass. Poster appears to have been folded at one time, has been laid out. With professional restoration to seams (2,000 - 4,000)

Vintage bull fighting poster from spain. Dated 1936. Image measures 64” x 30”. Professionally matted and framed. Some restoration to imperfections and folds; date of ‘26 was glued to the front of the poster, probably in that same year of 1936; some pieces from edge are missing. (1,500 - 2,500)

669

Large vintage bull fight poster from spain. Image measures 65” x 44”. Artist is Ruano Slious. Professionally framed and mat ted. Professional restoration to seam areas where poster was folded at one time. (2,000 - 4,000)

670 Framed bull fighting poster, Plaza de toros monumental. Poster image is 38” x 21”. Professionally framed so poster floats in the frame. One top edge of poster shows slight wear; as viewed under black light no restoration is present. (800 - 1,000)

t heodore Waddell b. 1941

The work of Theodore Waddell draws a deliberate parallel betwee n his subject and abstract art elements. Cattle and horses are motifs arrang ed formally on the flattened and enveloping painted “ground”, which is chara cteristic of modernism. While his early works were noted for heavily tex tured surfaces, Waddell’s recent paintings are more atmospheric, with translucent wax medium layers suggesting the drift of grazing animals, transiti ons of days, and the movement of seasons.

Waddell grew up in Laurel, Montana, west of Billings. He studi ed art in New York in 1961-62, and was deeply influence by the Abstract Expres sionists -Franz Kline, Willem DeKooning, Jackson Pollack, Hans Hoffman an d others. Waddell noted: “I didn’t realize how important these influences were. These painters wanted you to know that the canvas had a presence, more than their illusionistic predecessors. The paint had its own identity as well with thick swatches, drips, and blurbs.”

In 1982, Waddell’s work was recognized by a curator of the Corc oran Gallery of Art who chose several of his pieces for the Second Western S tate Exhibition. Following the exhibition, his work was the subject of reviews b y the Washington Post and The New York Times. He was also the subject of a News week article. As a result of this attention, his career was firmly established .

Waddell’s paintings represent diverse approaches, styles, and techniques. There are cattle or horses dotting expansive plains. Some are huddled together in winter blizzards, lost in landscapes of thick paint , under the windswept colors of a rising moon. They are brushed, knifed, d ripped, jotted down, and can be grossly real, thickly textured, or feint abstr actions.

In addition to painting, Waddell remains a cattle rancher who raises Angus and lives on the Musselshell River just Northwest of Billings.

672

theodore Waddell (b.1941), oil on canvas. An abstract western of black angus cattle. Signed lower right. Canvas measures 30” x 32”. Excellent and original. (3,000 - 5,000)

671

theodore Waddell (b.1941), large oil on canvas. “Roscoe Sheep #2”. An abstract western of roscoe sheep. Signed lower right. Titled, signed, and dated 1992 on back of canvas. Measures 54” x 54”. Excellent and original. (6,000 - 9,000)

673

theodore Waddell (b.1941), watercolor and gauche on paper. Horses drinking. Signed and dated 1986 lower right. Image measures 22” x 30”. Excellent and original. (2,000 - 4,000)

674 Ben Wilson (1913-2001), oil on canvas. Abstract expressionist work with glued pieces of cloth and paper. Unsigned. Measures 37.5” x 33.5”. A few paint flakes, otherwise very good. (1,200 - 1,800)

“Waterfowl of north america,” William Zimmerman, Frame House Gallery, inc., Louisville, Kentucky, 1974. A large portfolio, 54/1000. Signed in pencil in the margin. Portfolio size approximately 22” x 28”. Portfolio contains 43 bound prints and 2 unbound prints as originally issued. Minimal wear and discoloration on cover. (300 - 500)

Group of 35 decoy books. Used. (500 - 800)

Large group of catalogs and magazines. Used.

- 500)

Lot of approximately 15 books, several auction catalogs, and two boxes of note cards. Used.

- 500)

Lot of 54 books. Used (1,000 - 1,500)

End of

two

Index of Carvers

Adams, Frank 502 Allen, Fred 43 Anderson, Anton J.

663 Anderson Furniture Company

642 Andress, Ray 609 Bach, Ferdinand 400 Baldwin, John Lee 391,486 Barber, Joel 388 Beckhart, James

171 Bellamy, John

310 Bergman, Charles

567 Birch, Charles 333 Bjorge, Ken 622 Blackstone, Jess 483 Blair, Jr., John 482 Borret, Mike

589 Bowles, A.M.

170,175,206 Bowman, William

149,156 Boyd, Taylor 420 Brannock, Danny 588 Briddel, Don 344 Brockman, Jim 587 Brogdon, B.F.

204 Broussard, Andre

591 Brunet, Jude 596,605 Brunet, Tan 597 Buchman, Chubby 225-227 Buchner, Frank 395-398 Burdette, Paul 62,64 Burke, Dr. Edgar

136-140 Cargile, Lloyd

563 Castelli, Marc 130 Chadwick, Keyes 490 Chambers, Tom 82 Chesser, Grayson 592 Clark, Roland

127 Collins, Wyatt

557 Conklin, Roy

376-378 Coombs, Frank 375 Cooper, Bill 86-88 Corbin, Peter 112 Corwin, William 436,437 Corwin, Captain Wilbur

152 Cost, Neil

210,212-214 Crane, Dude

394 Creek, Cub 176 Creighton, Clarence 24 Croft, Fred 610 Crowell, Elmer 446-474,492,493,498,499

Ducharme, Duncan 415 Ducharme, Joe 416 Ducharme family, Ducharme 414 Dudley, Lee

441 Dye, Ben

422 Edwards, Reg 285,286 Elliot Brothers 22,26 Elliston, Robert 45,530 English, Dan 518 Fallon, Joe 488 Faue, William

231 Feasal, Bill

288,289 Fernlund, Ivar 85 Finney, Frank 1-12,539-556,585,586 Folger family 144 Foote, Jim 61,141,141A,228,402,652 Franco, Jack

65 Fulcher, Irvine

442 Gardner, Ferris

207 Gibbs, Harold 475-481 Gibian, William 89-93,524-529 Godin, Pat 593,594 Gonde, Mopho 619 Goulette, Isaac

221-224 Graham, John

419 Graves, Bert

46-48,53,54,533,536-538 Grobaker, Charles 66 Gromme, Owen 403 Gunderson, Ollie 413 Hagerbaumer, David 124,126 Hancock, Miles

320-323 Hanson, Marty

561,599 Harris, Captain Bill 147,160 Harris, Ken 379-381 Hatch, Ed 120 Heisler, Jess 523 Herter’s Decoy Factory 580,581 Hipple, Howard

418 Hollywood, W.M.

129 Homme, Ferd 404 Hooker, Perry 163 Hoosier 583 Howell, Leroy 236-245 Howlette, Dick

421 Hudson, Ira

316-318,324-326,510 Hunt, Lynn Bogue

Cuffee, Chief Eugene

153,154 Currier, James

417 Daisey, Delbert “Cigar” 334-339 Dean, Halbert 68 Dennison, Earl 180 Dilley, John 158 Doughty, Eli 327

118 Irvine, Lawrence 281-284 Jacob, Alexandre Louis 659 Jacobs, Charles 607 Janner, Hans 219,220 Jester, Doug

319 Joiner, Charles

342,343,428 Justice, Ronald

601,603 Kerr, Bob 70 Kilpatrick, Henry 393 King, Joe 521

Kinningham, Abe 203 Laing, Albert 489 Lamay, Art

134 Lawrence, George

292,293 Lawson, Oliver 57,58,67,341 Lazarus, David 121 Lexow, Fred 229 Lieber, Tom 665 Lincoln, Joseph

491 Litzenberg, Robert

346-348 Mache, William Henry

125 Madera, Clark 394A Malmstrom, Carl 484 Mann, Sean 202 Marr, Joseph 411 Marsh, Johnny

166,167,169 Mason Decoy Factory,

71-77,568-579 May, Tom

208 McAlpine, Cline 49-51 McCarthy, Captain John 159 McClure, Sue 314 McIntosh, Leo 598,600 McIntyre, Cameron

28-34 McNair, Mark

35-42,562,564-566 Megargee, Henry 135 Mizera, Frank 232,233,267 Moreland, Robert 590 Muehlmatt, Ernie 69 Neale, James 298,299 Nelson, Abe

407 Newman, Ernie

257-263,268,269 Nichol, Davey 611 Norton, Benjamin Cam 662 Old Hickory Company 638 Osbourn, Henry 387 Osthaus, Edmund

117 Payne, Vic

615 Perdew, Charles

52,162,177,532,534,535 Peterson, Oscar 218,264-266 Quillen, Nate 399 Quinn, William 519,520 Ramsay, John 613 Rankin, Carl

83,84 Reed, Corbin

340 Reinbold, George

485 Ripley, Aiden Lassell 113 Schaldach, William 123 Scheeler, John 59,60,595 Schifferl, Lou 602 Schmiedlin, Jim

55,56 Schroeder, Dennis

606 Schroeder, Tom 401 Shaw, Sharpie 161,168 Shourds, Harry V. 514 Shumate, Tom 63 Simon, Herman 122

Sirois, Phillippe 270-280 Smith, Brett 114-116 Smith, John 608 Southard, William

155 Sterling Brothers

27 Stevens, Harvey 383 Stevens Brothers 382,385,386 Steward, Walter L. 660 Steward, Seth 654,657 Stofer, E. 178 Strater & Sohier,

516 Swanson, Glenn

616 Swisher & Soules, 582 Taylor, Dr. Robert 621 Teater, Archie Boyd 661 Thomas, Charles 503 Tolmay, John

618 Travers family

25 Tully, Bud

81 Turner, David 623-625 Turpin, Tom 164,165,173 Tyler, Lloyd 23 Urie, Jess 425 Verity, Obediah

150,151,157 Vizier, Jimmie

604 W.F. Tubbs Company,

641 Waddell, Theodore 671-673 Walker, C.A. 174,209 Walker, Charles 44,531 Walker, William 522 Ward, Lem

103-111 Ward Brothers

13-21,98-102,345,349-366 Warin, George 78-80 Watson, Dave “Umbrella” 332 Weaver, Steve 558-360 Webb, Dr. Lewis 487 Weiler, Milt 131-133 Weinart, Otto

406 Wheeler, Chauncey

367-373 Wheelwright, Walt 655 Whorf, John 119 Williams, John 440 Williams, Kay 128 Williams, Lamar

211 Wilson, Ben

674 Wilson, Gus

494,496,497 Wilson, Jack 185 Winter, Henry 307-309 Wozny, Eddie 94-97 Wright, Alvirah 443 Zoratti, Silvio

631

1.Personal correspondence, Frank Finney, 9/23,1922

2.https://www.fourwindscraftguild.com/frank-finney

1.Crandell, Bernard W. 1988. “Decoying – St Clair to the St Lawrence”. Boston Mills Press. Erin Ontario.

2.Crandall, Bernard W. 1997. “George Warin Revisited – New Angles On An Old Carver”. Decoy Magazine May/June. Lewes, DE.

1.Berkey, Barr and V and R Berkey. 1977. “Pioneer Decoy Carvers – A Biogra phy of Lemuel and Stephen Ward”. Tidewater Pub. Cambridge, MD.

2.Gard, Ronald and B. J. McGrath. 1989. “The Ward Brothers’ Decoys – A Col lectors Guide”. Thomas B Reed Co. Plano, TX.

3.Lawson, Glenn. 1984. ”The Story of Lem Ward As Told to Glenn Lawson”. Schiffer Pub Ltd. West Chester, PA.”.

1.Berkey, Barry R et al. 1977. “Pioneer Decoy Carvers – A Biography of Lemuel and Stephen Ward”. Tidewater Pub. Cambridge, MD.

2.Cheever, Byron. 1971. “L. T. Ward & Bro - Wildfowl Counterfeiters. North American Decoys”. Heber City, UT.

3.Gard, Ronald J and B.J. McGrath. 1989. “The Ward Brothers’ Decoys – A Collectors Guide”. Henington Pub. Wolfe City, TX.

4.Lawson, Glen. 1984. “The Story of Lem Ward As Told By Ida Ward Linton to Glen Lawson”. Schiffr Pub. West Chester, PA.

5. 2007. “Timeless Treasures: Ward Brothers Decoys”. Ward Museum of Wild fowl Art, Salisbury University. Privately printed. Salisbury, MD.

1.Reuter, F. Turner Jr. 2008. “Animal and Sporting Artist in America”. National Sporting Library Pub. Middleburg, VA.

1.Blanchan, Neltje. 1912. “Birds that Hunt and Are Hunted” Doubleday Page and Co. Garden City, NY.

2.Forbush, Edward H. 1912. “Game Birds, Wildfowl and Shorebirds”. Massa chusetts State Board of Agriculture. Wright-Potter printing. Boston, MA.

3.Graves, Gary R. 2010. “Late 19th Century Abundance Trends of the Eskimo Curlew on Nantucket Island”. Waterbirds 33(2) The International Journal of Waterbird Biology. Washington, DC.

4.Mackay, George Henry. “Shooting Journal of George Henry Mackay. 1865 -1922”, Privately printed for John C Phillips. Cosmos Press. Cambridge, MA.

1.Mackay, George Henry. 1929. “The Shooting Journal of George Henry Mackay – 1865 – 1922”. Privately printed for John C Phillips. Cambridge, MA.

2.Starbuck, Mary Eliza. 1929. “My House and I”. Houghton Mifflin Co. Boston and New York.

1.Deeter, Jon and G. Kangas. 2008. “Frank W. Buchner – The Father of the Erie School of Carving”. Decoy Magazine, Nov/Dec. Lewes, DE.

2.Dudley, John. 2016. “Duck Decoy Exhibit Shows Little Known Part of Regions Past”. Washington Times Washington DC.

3.Dudley, John. 2016. “Erie Art Museum Showcases Local Decoy Carvers of the Past”. Erie Times-News. Erie PA.

4. 1998. “Carved Decoys by Frank Buchner” Pennsylvania Heritage, Winter 1998. PA.

1.Agnew, Dorothy. 1942. “Ornithology Gives Whittler Varied Subjects For Hobby”. Providence Journal, Nov 8. Providence, RI.

2.Ellis, Joseph H. 2009. “Birds in Wood and Paint – American Miniature Bird Carvings and Their Carvers, 1900 - 1970”. University Press of New England. Hanover and London.

3. 1974. “Island Land Given State”. Newport Mercury and Weekly News. Dec 24. Newport, RI.

The Best Decoy Stands Available

Black anodized aluminum construction.

Rubber padded tops & bottoms. Will not mar your furniture or decoys.

3 post and 4 post styles to choose from.

• 1 in to 4 in heights in 1/4 in increments

Custom Sizes and Colors Upon Request

$30 each or 12 for $330 plus shipping and handling

To order call Ken Cole at: (810) 845-2434 E-mail: kencole3@aol.com

Or write to: Ken Cole 201 W. Rising St Davison, MI 48423

Collection Planning Program

ollect t oday, Plan for t omorrow

While you continue to enjoy collecting today, you can rely on Guyette & Deeter to collaborate with you on your estate planning and collection management needs. Whether it’s for tax purposes, estate planning, gifting , charitable giving, or insurance, we can develop and periodically update a comprehensive written appraisal of your collection. We have extensive experience wor king closely with banks, attorneys, trustees, estate officers, probate court, pri vate clients and family members responsible for the dispersal of collections as part of larger estat es.

O ur unmatched market understanding allows us to more accurately document the value and description of each item in your collection. We k now that working together to ensure that your wishes are established now will make it easier to administer your estate lat er.

Co ntact Jon or Zac to discuss our Legacy Planning Program today.

Jon Deeter | 440-610-1768 jdeeter@guyetteanddeeter.com Zac Cote | 207-321-8091 zcote@guyetteanddeeter.com

Flying into

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”.

AUCTION.

ABSENTEE, PHONE, AND ONLINE BIDS

1. Absentee bids are a service provided to our customers free of charge. Every effort is made to execute all absentee bids, however, in the event of an error or omission, or failure to properly execute absentee bids, the Auctioneer shall not be held liable.

2. All absentee bids must be accompanied by a 20% deposit, which will be refunded immediately after the auction if your bid is unsuccessful. If your bid is successful, the deposit will be applied to the purchase price and the balance due upon presentation of your bill. All absentee bidders are notified by mail, whether successful or unsuccessful.

3. Visa and Mastercard numbers can be given in place of a check deposit, if your bid is submitted by phone. Your card number will not be used to make payments for purchases, it is only used as collateral. Your card number will only be used to make payment for purchases if you default on payment.

4. To execute an absentee bid, fill out the enclosed form listing catalog number, description, and your top bid price (not including the 20% buyer’s premium). Send this together with your deposit as soon as possible. If your bids are sent seven days or less prior to the auction, you should call our office three days prior to the auction, to confirm that we have received your bids. If they have not been received at that point in time, we will take your bid over the phone. We cannot guarantee that bids received after the auction has started will be executed.

5. If two or more bids are received on the same item from different people, the bidding will open at the next logical raise above the second highest bid. If two absentee bids are received with the exact same amount, the first one received will take precedence.

6. All bids must be in even dollar amounts. Bids in fractions of dollars will be considered the next lower even dollar amount.

7. Bid increments: The bid increment policy, which also applies to both absentee and phone bidders, is listed under “CONDITIONS OF SALE” (item #4), in the front of the catalog.

8. Open bids, bids with no set top amount, or orders to just simply buy the lot, cannot be accepted. You must have a definite top limit before we can execute your bid. Alternatives to this are as follows:

a. To bid over the telephone. This can be done by simply sending a 20% deposit for what you wish to bid on the object. This will bind whatever bid amount you wish to bid over the telephone. (NOTE: There are only 8 phone lines into the auction room and phone bids will be handled on a first come, first serve basis.)

b. Some bidders concerned that a lot might just go for one bid above their top limit, leave a top bid plus one bid. This works as follows: the top bid submitted might be $1,000, but not wishing to lose the lot for simply $25 more, the party might bid $1,000 + 1 bid if they definitely don’t want to go over a certain price, they would indicate $1,000 +1 ($1,025) (NOTE: One possible problem that occasionally arises with absentee bids is when someone in the audience bids exactly the amount, which you specify is your limit. In such a case, we would not go one extra bid unless your bid sheet indicates “plus one” bid.).

9. If you are a successful bidder, a bill will be sent a few days after the auction. Purchasers should indicate their desired method of shipment, if such is necessary. There is a charge for shipping, labor, materials, and insurance. Please provide notice in writing if items are covered under your own insurance policy. Shipping is done on a first come, first serve basis, and can take up to 4 weeks Please note that a certified check, Visa, Mastercard, or any other form of guaranteed funds will expedite shipping.

10. For expensive oil paintings and delicate carvings, we need a written statement from the purchaser, assuming the responsibility of pursuing any claims, in the event of damage incurred during shipping. Valuable lots need to be sent 2nd day air UPS due to values. Under no circumstances will we be liable for damage to glass or frames, or fragile decoratives, regardless of cause.

11. TERMS Phone and absentee bidders You will be notified one week after the auction of your results. Payment is due upon receipt. Interest will be charged on all balances not paid within 30 days after the bill is sent at the rate of 12% APR. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. If an account is 75 days overdue, the items may be returned to the consignor and overdue buyer will pay the buyers premium and commission from the sale, if they wish to participate in future Guyette and Deeter auctions.

12. Bidding on any article(s) indicates your acceptance of these terms above.

13. If you would like any additional information on any of the lots, please contact: Jon Deeter at (440) 610-1768, Zac Cote at (207) 321-8091, or Gary Guyette at (410) 745-0485.

If you have any questions concerning absentee bids, please call us.

OFFICE:

OFFICE:

PO Box 1170

PO Box 1170

St. Michaels, MD 21663 410-745-0485

St. Michaels, MD 21663 410-745-0485

Fax 410-745-0487

decoys@guyetteanddeeter.com

Fax 410-745-0487 michael@guyetteanddeeter.com

EMAIL

I desire to bid on the following items in the sale. The bids are to be executed by Guyette & Deeter, up to but not exceeding the amount(s) specified on the below bids. All bids will be executed and accepted subject to the Terms of Sale and Absentee Bids Procedure outlined in the catalog. (Please be sure that you understand our procedures before using this Absentee and Phone Bid Form.) Office will not be open until Wednesday after the auction.

A PREMIUM OF 20% WILL BE APPLIED TO ALL ITEMS SOLD, TO BE PAID BY THE BUYER

NAME PHONE

OFFICE USE IN CATALOG # ORDER DESCRIPTION

DATE

BID AMOUNT