North American Decoys at Auction | April 27 & 28, 2023

Guyette & Deeter, Inc.

North American Decoys At Auction

April 27 & 28, 2023

Guyette & Deeter, Inc. North American Decoys At Auction

The live auction will be held at the The Westin Chicago Lombard 70 Yorktown Center

Lombard, Illinois 60148

In conjunction with the North American Decoy Collectors Association Show | April 25 - 29, 2023

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

Wednesday, April 26, 2023

Cocktail Reception and Preview

4:00 PM - 6:00 PM

Thursday, April 27, 2023

Preview 8:00 AM - 9:30AM Auction 10:00 AM

Friday, April 28, 2023

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

August 8 & 9, 2023

Decoys, Sporting Art & Americana

The Venue at Portwalk Place

Portsmouth, New Hampshire

September 11, 2023

Fine Sporting Arms

Chesapeake Bay Maritime Museum

St. Michaels, Maryland

November 2023

Decoys, Sporting Art & Americana

Easton, Maryland

Robert J. Koenk e S porting & Wildlife Art consultant

Josh Loewenstein er F ine Sporting Arms Division Head

J. Wesley Dillo n Fir earms consultant

Jon & Leigh Ann Deeter

1210 S Talbot St, Unit A

St. Michaels, Md 21663

Tel: 440-610-1768

jdeeter@guyetteanddeeter.com

Gary Guyette Consultant

St. Michaels, Maryland Tel: 410-924-5678

gary@guyetteanddeeter.com

Lacey & Zac Cote PO Box 347

Freeport, ME 04032 Tel: 207-321-8091

zcote@guyetteanddeeter.com

Ed Kenney Merchandise Manager & Shipping St. Michaels, Maryland Tel: 410-745-0485

shipping@guyetteanddeeter.com

Mike Stevenson Graphic Designer St. Michaels, Maryland Tel: 410-745-0485

michael@guyetteanddeeter.com

Denise Jarrell Bookkeeper

St. Michaels, Maryland Tel: 410-745-0485

billing@guyetteanddeeter.com

Allison Banks Office Manager

St. Michaels, Maryland Tel: 410-745-0485

auction@guyetteanddeeter.com

A.J. Smith Photography

St. Michaels, Maryland Tel: 410-745-0485

photography@guyetteanddeeter.com

Mike Roberts Shipping

St. Michaels, Maryland Tel: 410-745-0485

ups@guyetteanddeeter.com

Cooper Rossner

Weekly Auction Manager

St. Michaels, Maryland Tel: 609-560-8028

cooper@guyetteanddeeter.com

Bill Lapointe Decoy Consultant and Writer

Swansea, Massachusetts Tel: 774-644-9426

collection

Both George and Miriam Van Walleghem were longtime residents of Grosse Pointe Woods, Michigan. George passed away last year at 93 years of age. Born in Detroit July 18, 1929, George was inducted into the U.S. Army in 1952 and promoted to the rank of sergeant while serving in the Korean Conflict in an artillery unit. Upon his discharge at the age of 25, George made a dream come true when he opened The Round Table Restaurant in St. Clair Shores, Michigan. The Round Table soon became a local institution known for its delicious home-cooked meals and warm setting, all provided at the hands of George himself. When George initially remodeled his restaurant, he met and hired Miriam Kaupiz as his interior decorator and then beloved wife for 63 years.

Early in the mid-1960s George wanted to pursue his interest in pheasant hunting; but admitted, “I was a terrible shot.” So, he decided to try duck hunting and engaged respected outdoorsman and early decoy collector Ed deNavarre, as his guide, who also introduced George and Miriam to duck hunting’s counterpart decoy collecting. Ed guided George and Miriam through acquiring initial pieces that formed the foundation of the Van Walleghem’s fantastic collection. Their first decoys were two canvasbacks purchased from the rig of famed carver Ferdinand Bach of St. Clair Shores, regarded as one of the region’s exemplary makers. Ed is credited with discovering the classic rig of Bach decoys, so it was George and Miriam that had first pick from the rig. One day Ed informed them about a sale of decoys from the St. Clair Flats Shooting Company that Barney Crandall and Judge Harry M. Sietz, Jr. were holding at the Monroe Holiday Inn. This first sale of the club decoys was restricted to Michigan residents only. Charmed by the selections, they purchased fifteen outstanding Canadian ducks carved in the late 1800s. Several of them being offered in this sale retain their original price stickers from that event.

George with good friend, Michael Hall.

Ed also introduced them to another influential collector Ed Childs by telling George and Miriam that “no collection would be complete without some low head Nate Quillin redheads and Ed Childs is the only person with any good ones.” Childs did indeed have great specimens of the decoys they were seeking but wasn’t interested in selling. When Ed passed away, George and Miriam secured a pair of the rare low head Quillin’s from his widow. As their interest evolved to encompass folk art in general in the early 1970s, George and Miriam connected with Michael Hall, an astute and well-regarded artist, collector and professor at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. “We first met Michael when he came to our home in Grosse Pointe Woods to look at our collection,” Miriam reminisces. “He really helped us shape our current view of duck decoys as pieces of art and true sculpture.”

George and Miriam also became intrigued with fish decoys in the early 1980s and quickly began finding firstclass examples for their growing collection and ended up buying twenty to thirty fish over the next several years. Many of the fish in their collection were freshly acquired from pickers like Charlie Hart and Jerry Adams credited as being two of the earliest collectors of Michigan fish decoys.

The George and Miriam Van Walleghem

The Van Walleghem collection from their home

“There are an awful lot of people who influenced us as collectors,” said George. “Jim Foote (of Grosse Ile, Michigan) hosted meetings for local collectors which helped us meet others who were interested and that extended our contacts. Jim was a game warden in the southern area of Michigan and most importantly, he had access to the Point Moulle Club where Nate Quillin had been a club manager. It was this connection that helped George and Miriam secure one of Michigan’s most coveted pair of decoys, the infamous bluewing teal pair.”

From that first investment of $55 each for the Bach canvasbacks, the Van Walleghems assembled a folk art collection that is the envy of many. Their pieces have been frequently featured in books and articles about folk art and decoy collecting. They’ve enjoyed traveling to shows, meeting other collectors, buying unique and rare pieces along the way. And George insisted, “Miriam has kept me going all these years. We just love the art of it.”

“It’s truly amazing,” Miriam thinks back, “that we have been able to acquire this truly incredible collection. Our first priority was always our family, our wonderful children Ian, Paul and Anna. Oldest son Ian was the horseman-caring, training, competing, and winning equestrian events. Paul and Anna began tennis lessons around six years of age. How George and I found the time to find and buy wonderful art, I just don’t know. But we did. I guess we just took every opportunity to spend time together.”

- By their friend, Linda Kangas

Herb was born in Dayton, Ohio, on May 3rd, 1938, and raised in Kettering, Ohio, the only son of Herbert W. Desch, Sr, and Elizabeth (née) Coe. Herb received his Bachelor’s degree from the University of Cincinnati in 1961, and Herb earned his MBA from Indiana University, Bloomington, in 1963. Herb spent most of his business career with Anderson Consulting, serving as Managing Partner of the Milwaukee office and Managing Partner of the Anderson Q Center in St. Charles, Illinois.

Herb’s early hunting experiences were in Ohio hunting rabbits with his Dad. After college, Herb became an avid duck, pheasant, goose, and deer hunter while living in Wisconsin. He fell in love with the duck hunt, and his early days were filled with early morning trips with brother-inlaw Len as they ventured to the farm to hunt. Some of his favorite moments were spent in the duck blind with his best hunting buddy, his yellow Labrador retriever, Spud. Herb’s interest developed as opportunities widened, and he discovered new hunting places. He became a Flyway Farms Hunt Club member near Fond du Lac, Wi. Carolynn introduced Herb to wooden decoys when she purchased a Victor at an antique shop while scouting for furniture. Then a Christmas gift of the Decoys and Carvers of the Illinois River ignited the search for more information about wooden carvers and their creations. Herb learned about the Oshkosh Decoy Show and was hooked the minute that he and Carolynn walked through the door and saw rows of tables filled with decoys. He connected with handmade decoys and dove into the world with passion. Herb’s analytical skills served him well as he kept discovering the range of Wisconsin creations surrounding the areas where he hunted. It was a fun pursuit as every available moment was consumed tracking down Wisconsin carvers and setting out to talk with them. He never tired of the conversations and offered endless questions in pursuit of knowledge. Those trips uncovered a wealth of learning and a network of decoy pirates, as they were affectionally named. Herb developed a broad interest in the various personalities he found while collecting. Herb cherished some acquisitions

from Dennis Edwards and Maddog Billings and kept many of those things in his library room with his favorite decoys. Herb became hunting friends with Ron Koch, and they had a tradition of hunting early-season goose and duck together in Wisconsin over a rig of Ron’s decoys. Herb started hunting with rubber decoys and was excited as he transitioned to a range of wooden blocks. Herb learned about the Milwaukee School of carvers from Tom Bosworth, and that knowledge was a significant influence as his collection evolved. When Herb’s career took him to St. Charles, Illinois, it allowed him to engage with the Midwest Decoy Collectors Association. It was natural for him as he joined the board, became Treasurer, and was quickly elected President. Herb’s experience running the global training center for Anderson was an excellent match for developing and maturing the club’s operations. Herb and Carolynn organized show operations, and the club growth accelerated, quickly becoming the premier annual event in North America. In addition, Herb designed and built a decoy database and recruited Tom O’Key from United Airlines IT to help refine the capability. Herb likened the show to spending the week at a duck or deer camp and emerging in the decoy hunting environment. This phase broadened his knowledge of Sporting Art and Illinois River decoys. Herb’s collection kept evolving, and he enjoyed discovering and creating fresh items. He was thrilled to learn of a new find, and his collection became unique. He loved hosting guests at the lake; every visit included the opportunity to discuss and learn from his decoy flock. Herb was particularly interested in gadwall, and Marty Hanson and Cameron McIntyre created these for his rig. Although he enjoyed living near his friends in Naples, Florida, his heart was always rooted in his life at the cottage on Big Cedar Lake in Wisconsin. Herb enjoyed the morning newspapers, entertaining friends, watching Packer games, and taking long pontoon boat rides with his family. Herb and Carolynn have requested that Herb’s library collection be offered together so that others can learn from seeing them all together.

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For questions, contact: Cooper Rossner

609-560-8028

cooper@guyetteanddeeter.com 1210 S Talbot St, Unit A St. Michaels, MD 21663 www.decoysforsale.com

Recent Sales

Miniature decorative red tail hawk by Chris Wilson Sold $7,283

Pair of blue wing teal, George Frederick, Phoenix-Davant, Louisiana. Sold! $4,080

“The Eastern Shoreman” goose call by Sean Mann Sold $4,082

Redhead, Mason Decoy factory, Detroit, Michigan. Sold! $6,840

Session One

Thursday, April 27, 2023

10:00 am

Lots 1 - 302

Session Two

Friday, April 28, 2023 10:00 am

Lots 303 - 591

Please read conditions of sale in the back of catalog

Ferd Homme 1901 - 1963 | Stoughton, Wisconsin

A small town just south of Madison is where three of Wisconsin’s best decoy carvers lived and hunted. The impressive decoys made by these three famous carvers, Ferd Homme, Mandt Homme and Enoch Reindahl, are sought after by serious collectors across the country. Their style, now known as the “Stoughton Style”, can be characterized by realistic full body sculptures, often in a resting or sleeping pose. Ferd carved decoys as a hobby and probably completed only 100 decoys in his lifetime. Raised crossed wing tips are a common characteristic of most of Ferd’s carved decoys, along with hand carved primary feathers. Ferd preferred to hand carve during the winter months and paint in the spring, using live ducks on the lake as models. The painting techniques vary with combinations of wet on wet blending with areas of heavy combing. Ferd painted in a highly realistic style and took great care to capture the finer details. The combination of these attributes works to create life like characteristics that can be enjoyed either on the water or on a shelf.

Ferd Homme had an outgoing, engaging personality. In school, he was socially active in the class play, glee club, debate team, and drama club. Ferd was also the art editor of the yearbook. Stoughton was filled with smart ambitious people. Frank Lloyd Wright’s father William Carey Wright, for example, taught music there. Ferd memorialized a number of such citizens in his book, “Oak Opening: The Story of Stoughton.”

Ferd was an ardent lover and observer of nature and an accomplished photographer. His wife, Elsie, was the town’s librarian, and he served on the library board. His obituary stated, “He knew the birds by their calls and the animals by their tracks. He knew which country

roads had the prettiest views of every season.” Following publication of “OAK OPENING,” Ferd chuckled and said, “You know, it feels kind of good to see your name on the cover of a book.” His decoys were often signed with bold, hand painted letters.

Ferd Homme was not a recluse. He studied, read, observed, and interacted with a wide cross section of people. His decoys reflect an extraordinary individual awareness and sensitivity. The Homme woodduck hen embodies much more than the average decoy. It was elevated to a new level. While it can certainly be admired from a distance, holding it is a personally rewarding experience. You can close your eyes and still appreciate the bird’s wonderful subtle body undulations, its textural variations, the perfectly executed extended crest at the back of the head , and its exceptional anatomical reality.

Homme’s woodduck hen ranks with the very best of all waterfowl portraits. It is both a working decoy and a work of art far exceeding its basic purpose.

1

Extremely rare wood duck hen, Ferd Homme, Stoughton, Wisconsin, 2nd quarter 20th century. Hollow carved with relief wing and tail feather carving. Raised, crossed wingtips. Slightly turned head with extended crest. Measures 13.25” long. Original paint with very minor wear; early and minor repair to a chip in one side of the tail; fine seam in bill where it was cracked down and reset.

Provenance: Ex Charlie Hunter, III collection. George and Miriam Van Walleghem collection.

Literature: “Great Lakes Decoy Interpretations”, Gene and Linda Kangas, pg. 205 exact decoy pictured. (30,000 - 50,000)

2 Pair of bluewing teal, Frank Resop, Berlin, Wisconsin, 2nd quarter 20th century. Humped backs with slight relief wingtip carving. Double blue wing patch detail. “P” branded in underside for the Puckaway Club, a noted Central Wisconsin duck club. Measure 13” long. Original paint with minor wear; hit by shot; tight cracks and shot strike chip in hen’s neck.

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

Pair of canvasbacks, Frank Resop, Berlin, Wisconsin, 2nd quarter 20th century. Slight relief wingtip carving and raised neck seats. “P” branded in underside for the Puckaway Club, a noted Central Wisconsin duck club. Measure 14.75” and 15.25” long. Original paint with very minor gunning wear; protected under a thin coat of varnish; lightly hit by shot; tiny chip in one side of hen’s bill that has been darkened.

Provenance: Herb Desch collection. (2,000 - 4,000)

Frank Strey

1890 - 1966 | Oshkosh, Wisconsin

Frank Strey was born into a blue-collar family accustomed to hard work. His father, August, immigrated to the United States from Germany in 1886 and he and his wife, Augusta, raised their six children on his well digger and trench digger salaries. Frank left school after the 11th grade and found employment as a laborer in a gravel pit, a position he held for at least 5 years. His brother, Walter, was working for the railroad at the time and we can only assume that it was he that introduced Frank to this line of work, one that would become his livelihood for the remainder of his life. He appears in the records from at least 1910 onward as working for the Chicago and Northwestern Railroad, employed variously as a switchman, leverman, towerman and, by 1940, as bridge tender on the railroad bridge over the Fox River, basically on the shore of Lake Winnebago. He retired from the railroad in 1956.

He served in the U.S. Army during WWI and, upon his safe return in 1921, when Frank was 31, he married Nellie Miles, age 46. Regrettably, she died a short three years later

and, in 1927, Frank remarried, this time to Sophie Tees in Milwaukee. She was 6 years older than Frank and brought her daughter from a previous marriage to the union. Frank and his wives always lived within five or six blocks from the lakefront and a short distance from his place of work.

Frank first started hunting with family members off a point just north of Oshkosh. He began to carve his own decoys as early as 1910 and continued to carve for the next 50 years. His style and paint application underwent a subtle yet almost continuous evolution as he sought to constantly improve his decoys. He used old cedar utility poles for his bodies and white pine for the heads. His birds were solid, big, and bold, obviously meant to be sturdy and visible over the vast expanse of the Lake. He quickly established a reputation for producing a high-quality product and orders began to flow in. From a small shed at the rear of his home or in the basement in winter, he produced approximately 4000 decoys during his career, predominantly divers that frequented the local lakes, such as canvasbacks, bluebills and some excellent coot. He rounded out his repertoire with a few puddle duck species and geese. His teal are considered great rarities. Some of his decoys bear the brand “Strey”, indicating that they were from his personal rig. He hunted primarily on Lake Winnebago and later in life, at nearby Lake Butte des Morts. In addition to decoys, Strey made shooting boxes, portable blinds, and a number of fine boats.

Frank Strey’s efforts are considered some of the finest ever carved in the state and are hallmarks of the Winnebago region. They are considered vital components of any quality Wisconsin collection. As noted by Ron Koch:

“Truly, Frank Strey is ranked with the great carvers of all time, in an era that, sadly, will never be seen again” (Ron Koch)

4 Very rare bluewing teal, Frank Strey, Oshkosh, Wisconsin, 2nd quarter 20th century. Oversized with slightly turned head and upswept tail. Measures 14.5” long. Original paint with minor flaking and wear; minor roughness on one lower side; area of filler and touchup on one side of neck seat that has a short crack in it; eyes appear to be replaced.

Provenance: Herb Desch collection. (2,000 - 3,000)

Strey at Lake Butte des Morts c.1955

5 Pair of bluebills, Frank Strey, Oshkosh, Wisconsin, circa 1920s. Early, slightly oversized examples with reared back heads and more detailed bill carving. Measure 15.5” long. Original paint with minor to moderate flaking and wear; hairline cracks along back and in breast.

Provenance: Herb Desch collection.

Literature: “Top of the Line Hunting Collectibles”, Donna Tonelli, pg. 134, exact decoy pictured.

(2,500 - 3,500)

6 Pair of redheads, Frank Strey, Oshkosh, Wisconsin, 2nd quarter 20th century. Slightly oversized with slight relief wing carving and reared back heads. Hen’s head is turned 45 degrees.

“Strey” branded in undersides. Measure 16” long. Original paint with very minor wear; minor discoloration along lower sides of drake; a few very minor dents, otherwise very good structurally.

Provenance: Herb Desch collection.

Literature: “Decoys of the Winnebago Lakes, Ronald Koch, p. 102, exact decoy pictured.

(2,500 - 3,500)

Gus Moak 1852 - 1942 | Tustin, Wisconsin

“When considering the glory days of canvasback hunting in Wisconsin, Lake Poygan automatically comes to mind. Synonymous with Lake Poygan is August Moak of Tustin, undoubtedly Wisconsin’s most popular maker of canvasback decoys.” (Ron Koch)

Many of the early articles about Gus contain unintentional errors, probably due to the fact that they were obtained through word of mouth and clouded with the passage of time.

Gus Moak was born to Charles Much and his wife Henrietta Goltz in Germany. The family immigrated to the United States in 1858 where the father found work as a farmer and Gus received a limited third grade education. Basically, nothing can be found in the printed record concerning his early life or occupation(s). At some point, he changed his name from the Germanic “Much” to the more anglicized “Moak”. In 1883, at age 27, he married 15-year-old Amelia Hermine Kopilzke (Minnie) and in 1885, while living in Wolf River, they had their first child, Laura. They had their second child, Elmer in 1894 and Minnie died one year later at the young age of 27. It appears that, by 1910, Gus was residing in Tustin, where he found employment as a carpenter in a “box shop”. He was still living in Tustin in 1930, working as a boat carpenter. He seemingly never achieved any great wealth, for in both the 1930 and 1940 census his home value was claimed as $200, when most of his neighbors had average values of between $1500 and $2500. By the 1940 Federal Census, he had no listed occupation, so it would be a fair assumption that he had retired. His death record states that, by 1943, he was living with his daughter in Iron Mountain, Michigan and that his usual occupation was that of a self-employed cabinet maker (retired). He is buried in the Quinnesec cemetery in Michigan.

Beyond this scant documentation, we are forced to rely on the earlier printed stories about his life. He is recalled as being a slight man, “never more than 125 lbs soaking wet” . He is recorded as being an outdoorsman, hunter, trapper and lumberman who hunted for the market with his father at a time when canvasback were selling for a mere 10 cents each. He made a number of boats and is remembered for his “punkin seeds” which were favored by the local hunters. He also carved his own paddles and made his own bog skis.

It is written that he made thousands of decoys over a sixty-year period. For the bodies, he would search the woods for downed cedar trees, cut them to length and pack the sections out in a sack over his shoulder. He developed a distinctive hollow carved style with eyes placed high on the head giving his birds an appearance of gazing upwards. His pronounced tails are said to be a design feature deliberately incorporated into the carving to aid the hunter in handling the birds – presumably to assist in securing the anchor lines. He altered the appearance of the rig with birds looking to the left or the right as well as the standard straight forward presentation and some were presented in a swimming pose. He carved a small number of species with canvasbacks predominating and bluebills running a distant second. His paint was applied purposefully with Mason type scalloping of the breast feathers. Reportedly he sold all the decoys he could make for $50 to $55 per dozen.

As one of the earliest carvers from the Tustin area, Gus Moak has earned his well-deserved reputation as one of Wisconsin’s premier carvers. In the words of the State’s noted decoy authority, Ron Koch:

“From the quaint little village of Tustin on the north shore of Lake Poygan, a German immigrant has left a legacy of hunting decoys that will last forever on the shelves of decoy collectors”

Excellent pair of canvasbacks, Gus Moak, Tustin, Wisconsin, 1st quarter 20th century. Hollow carved with slightly turned heads and high rounded backs. Very similar to those from the Valentine rig. Measure 18” long. Original paint with minor discoloration and wear; tight crazing on white areas; lightly hit by shot; hairline crack in drake’s tail.

Provenance: Herb Desch collection. (8,000 - 12,000)

8

Rare Canada goose, Gus Moak, Tustin, Wisconsin, circa 1925. Hollow carved with .75” bottom board and a thin laminate piece of wood added to the back from when the decoy was made. “NK” painted on the underside. Measures 22” long. Original paint with minor to moderate discoloration and wear; drying crack along the back; filled vertical crack on underside of tail and in breast; .25” piece of wood added at the base of neck when the decoy was made.

Provenance: Herb Desch collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 211. “Decoys of the Winnebago Lakes, Ronald Koch, p. 89, exact decoy pictured. “Top of the Line Hunting Collectibles”, Donna Tonelli, pg. 131, exact decoy pictured. (3,000 - 5,000)

9 Pair of pintails, Frederick Bohl, Beaver Dam, Wisconsin, 1st quarter 20th century. High heads that are reared back. With incised bill carving. “LK” stamped in the undersides. Measure 13.5” long. Original paint with minor to moderate flaking and wear; crack through each neck; area of touchup on top of hen’s head.

Provenance: Herb Desch collection. (2,000 - 3,000)

10 Pair of bluewing teal, Frederick Bohl, Beaver Dam, Wisconsin, 1st quarter 20th century. Feather texturing stamped on to bodies. Inlayed neck seats and incised bill carving. Measure 11” long. Original paint with moderate flaking and wear; cracks in each neck; dowel on top of hen’s head has risen slightly.

Provenance: Herb Desch collection. (1,500 - 2,500)

Walter Lowry 1878 - 1966 | La Crosse,

Wisconsin

Extremely little can be gleaned about the life of one of the top Wisconsin carvers located in the Mississippi River basin. Walter Lowry was born in Creston, Iowa where his father worked as a painter, a skill which must have rubbed off on Walter as he was to demonstrate later in life on his decoys. The records indicate that he aspired to be a lawyer but left college after two years and never actually practiced that profession. In 1908, he married Mabel Josephine Johnson and the couple raised two children, Margaret, and Walter Jr in their neat, modest home at 1823 Kane St, in La Crosse.

As it develops, Mr. Lowry would spend his entire working career (at least through 1950) as a teller, assistant cashier, and finally, cashier at the Exchange State Bank at 800 Rose St in La Crosse (one reference states that he became bank president but that may have been his son who was also a banker and died young at the age of 39). Mabel passed away in 1949 and, even though no record can be located, it appears that Walter remarried, for his death certificate and gravestone indicate that his spouse at the time of his death was Helen I Lowry. They are buried in the Oak Grove Cemetery in La Crosse.

It is written that “he was a quiet, unassuming gentleman who was also an accomplished taxidermist, gunstock maker and decoy maker ” and that “he loved the outdoors and enjoyed duck hunting”. His carving career is said to have spanned 25 years with a total production of about 200 decoys, mostly mallards. The few pintails, widgeon and black ducks he created are great treasures. He was both an accomplished craftsman as well as a superb painter. Most

of his decoys are hollow carved with the heads presented in a variety of poses. He is justly applauded for his outstanding paint application. He utilized artist oils mixed with varnish, first sealing the carvings with a generous application of linseed oil. Plumage detail was created using a scratch process and the net results provided a wonderful finish that has allowed many of them to remain in excellent condition. He is reported to have been color blind, but his painting would indicate that he did not let that minor setback hurt his work. He proudly signed and dated many (if not all) of his decoys on the inside prior to securing the two body halves. His family has indicated that he greatly admired the work of Shang Wheeler and was influenced by the efforts of the Connecticut master.

In addition to his duck decoys, Lowry also produced some of the state’s finest fish decoys. All of his decoys deserve their rightful place as some of the best to emerge from the Badger State.

Exchange State Bank La Crosse on the Mississippi River c1925

Very rare pair of pintails, Walter Lowry, La Crosse, Wisconsin, 2nd quarter 20th century. Hollow carved with slightly turned heads. Measure 15” and 15.75” long. Original paint with moderate discoloration and minor wear under the original coat of varnish; scattered spots of touchup on both bodies with larger areas of touchup on heads and drake’s neck seat area; small dents and shot marks in drake; very minor roughness on edge of hen’s bill.

Provenance: Herb Desch collection. (8,000 - 12,000)

Extremely rare low head black duck, Walter Lowry, La Crosse, Wisconsin, 2nd quarter 20th century. Solid two piece body with 1” bottom board. Scratch feather paint detail. Initials on underside were gouged out. Measures 14.75” long. Original paint with minor flaking and wear under the original coat of varnish; dent in one wing patch; otherwise very good structurally.

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

Very rare pintail hen, Walter Lowry, La Crosse, Wisconsin, 2nd quarter 20th century. Hollow carved with slightly turned and reared back head. Measures 15.5” long. Original paint with minor flaking and wear under the original coat of varnish; hairline crack in one eye; old chip in tail was tightly reset.

Provenance: Herb Desch collection. (5,000 - 8,000)

Exceptionally rare pair of widgeon, Walter Lowry, La Crosse, Wisconsin, 2nd quarter 20th century. Hollow carved. Hen with slightly turned head. Measure 14.5” long. Original paint with minor gunning wear under an early coat of varnish; paint restoration to the wing patches; very small chip in tip of hen’s bill was repaired.

Provenance: Herb Desch collection. (8,000 - 12,000)

Marty Hanson

B. 1965 | Hayward, Wisconsin

The gadwalls are 1 and 2 of 6 pair and 2 drakes I have made to date. On a trip to hunt ducks in the Butte Sink, Ken Cole and I went to Napa on a day off, within that trip I came up with the idea to use old wine crates for bottoms on some of the gunning decoys. We went to Caymus Vineyards and secured several boxes for use in the making of decoys. Upon return I frequented local markets and picked up all of their discarded wooden wine crates and have since used them for bottom boards. Very few of the wine crates make the cut due to flaws and cracks in the boards. The pintails and gadwalls were made for Herb Desch who was the president of the Midwest Decoy Collectors organization. He was a very loyal and dedicated collector/customer/friend. These were purchased over several years in 2010-12.

Lot 16’s wine crate bottom board

Hollow carved with .25” bottom boards. Turned and tucked heads, with inset hardwood bills. Raised wingtip carving and scratch feather paint detail. Maker’s Prior Lake ink stamp on underside. Measures 15.25” and 16.5” long. Excellent and original.

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

16

wine crate bottom boards that have wineries advertising branded in the wood. Tucked heads and upswept tails. Excellent comb feather paint detail on drake and scratch feather paint detail on hen’s head. “MH” carved in the underside. Measure 16” long. Excellent and original.

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

15 Pair of gadwall, Marty Hanson, Hayward, Wisconsin.

Pair of pintails, Marty Hanson, Hayward, Wisconsin. Hollow carved with

17 Pair of Canada geese, Marty Hanson, Hayward, Wisconsin. Hollow carved. One with slightly forward, turned, and up-looking head pose, signed and dated 1998 with the maker’s ink stamp on the underside. Measures 28” long. Other in swimming pose with “MH” carved on the lead weight, also with the maker’s ink stamp on underside. Measures 32” long. Slight separation at a seam in neck with a tight crack on one side of neck, otherwise both are excellent and original. (3,000 - 5,000)

18 Pair of gadwall, Marty Hanson, Hayward, Wisconsin. Hollow carved with slightly turned heads and excellent scratch feather paint detail. Maker’s Prior Lake, Minnesota ink stamp on underside. Measure 16.25” long. Excellent and original.

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

19 Greenwing teal, William Schultz, Milwaukee, Wisconsin. Tucked and slightly turned head with relief wing carving and raised wingtips. Identified, signed, and dated 1968 on the underside. Measures 11” long. Excellent and original.

Provenance: Herb Desch collection.

Literature: “Decoys of the Winnebago Lakes, Ronald Koch, p. 129, exact decoy pictured. (2,000 - 4,000)

20 Pintail, William Schultz, Milwaukee, Wisconsin. Slightly turned head and raised wingtips. Relief feather carving. Signed and dated 1964 on the underside. Carved for Robinson Bosworth. Measures 19” long. Original paint with minor discoloration on 1” bottom board; some minor paint rubs and flaking on side.

Provenance: Herb Desch collection. (2,000 - 4,000)

21 Pair of mallards, William Schultz, Milwaukee, Wisconsin. Hollow carved in tucked head pose. With relief wing caving and comb feather paint detail on drake. Weighted keels on the undersides. Measure 16.75” long. Original paint with almost no wear; small rubs on tips of tails; small amount of flaking to filler around eyes.

Provenance: Herb Desch collection. (2,000 - 4,000)

22 Extremely rare pair of band tailed pigeons, Harold Haertel, Dundee, Illinois. Both with relief wing carving and raised wingtips. One in side preening pose, and the other with slightly turned head. Both perched on a natural wood base. Identified, signed, and dated 1983 on underside of base. “Merry Christmas to Laverne from William” also on the underside. Measure 13.5” and 12.75” long. Excellent and original.

Provenance: Chua collection. Ex Bill Brauer collection. (12,000 - 18,000)

Harold Haertel working in his shop, circa 1960.

Extremely rare pair of passenger pigeon, Harold Haertel, Dundee, Illinois. Both made for and gifted to Illinois carver Hector Whittington. The male being dated 1966, and the female 1969. Both perched on natural wood bases. Male in back preening pose. Both with raised, joined wingtips. Very fine scratch feather paint detail on female. Measure 14.5” and 15” long. A few tiny paint rubs, otherwise excellent and original.

Provenance: Chua collection. (15,000 - 25,000)

24 Pair of gadwall, Harold Haertel, Dundee, Illinois. Hen in swimming pose and both with slightly turned heads. Relief carved wingtips on each. Signed and dated 1965 on the underside. Measure 15.5” long. Excellent and original.

Provenance: Ex Barbara Sorenson collection. Herb Desch collection.

Literature: “Top of the Line Hunting Collectibles”, Donna Tonelli, pg. 150, exact decoys pictured. (2,500 - 3,500)

25 Bufflehead hen, Harold Haertel, Dundee, Illinois. Signed and dated 1975 on underside. Cork body with head that is slightly turned. Measures 11.5”. Excellent and original.

Provenance: Chua collection. (600 - 800)

26 Wood duck hen, Harold Haertel, Dundee, Illinois. Signed and dated 1982 on underside. Cork body. Measures 13” long. Excellent and original.

Provenance: Chua collection. (600 - 800)

26a Two plovers, Harold Haertel, Dundee, Illinois. Includes a snowy plover with tucked head and a Mongolian plover. Both with raised wingtips and relief wing feather carving. Mongolian plover signed and dated 1987 on the underside of base. Measure 5.25” and 6.75” long. Excellent and original.

(1,000 - 1,500)

26b Killdeer, Harold Haertel, Dundee, Illinois. Relief wing carving. Signed and dated 1976 on paper label on underside of base. Measures 7.75” long. Excellent and original.

Provenance: Chua collection. (400 - 600)

26c Wilsons plover, Harold Haertel, Dundee, Illinois. Relief wing carving and raised wingtips. Signed and dated 1982 on the underside. Measures 6.5” long. A few very minor paint rubs; minor paint separation near stick hole otherwise excellent.

Provenance: Chua collection. (400 - 600)

26d Spotted sandpiper, Harold Haertel, Dundee, Illinois. Relief wing carving and raised wingtips. Head is slightly turned. Signed on the underside of base and the maker’s initials carved on underside of bird. 7.25” long. Excellent and original.

Provenance: Chua collection. (400 - 600)

26e Red phalarope, Harold Haertel, Dundee, Illinois. In winter plumage with relief wing carving and raised wingtips. Signed and dated 1984 on underside. Measures 7” long. A few very minor paint rubs, otherwise excellent and original.

Provenance: Chua collection. (400 - 600)

26a

26c

26b

26d

Bert Graves 1880 - 1956 | Peoria, Illinois

The son of Henry O and Elizabeth J Graves, the young Bert grew up on the family farm in Marshall County Illinois. It is somewhat unclear when Graves began making decoys but upon the death of carver Robert Elliston in 1915, Bert purchased the business and remaining stock from Elliston’s wife, Catherine. The operation achieved some degree of success for, by the 1930’s, Grave’s was relying on the talents of his wife Nellie (Millie), sister-in-law Effie, and Catherine Elliston to paint his wonderful creations. Only about six Grave’s sleeping hens in this condition have survived.

Graves made a number of notable rigs for wealthy sportsmen in the Peoria area. “CJC” is branded on the underside of this decoy. 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.

Excellent preening mallard hen, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Hollow carved and in rare preening pose. Retains the original Graves weight. “CJC” branded twice in the underside for the rig of Charles J Caswell. Measures 14.25” long. Excellent original paint with very minor wear under the original coat of varnish; a few small flakes to filler at nail holes around body seam; small dents in back; otherwise very good structurally; only six Graves sleepers in this condition.

Provenance: George and Miriam Van Walleghem collection. Purchased directly from the Caswell family by Hal Sorenson, who sold it to Ed DeNavare, and then to George and Miriam Van Walleghem.

Literature: Decoy Collectors Guide, 1938, p. 17 exact decoy pictured. (25,000 - 35,000)

28 Pair of mallards, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved with comb feather paint detail on drake. Both retain the original Perdew weights. Measure 15.75” long. Original paint protected under the original coat of varnish that has yellowed slightly; near mint.

Provenance: Herb Desch collection. (5,000 - 8,000)

29 Rigmate pair of canvasbacks, John Barnhart, Canton, Illinois, 2nd quarter 20th century. Both hollow carved with “J.G.C.” branded in the underside. Both retain the Joe French Collection ink stamp, drake with 539 and hen with 540. Hen has excellent comb painting on back. Drake with small amount of combing on back. Measure 15” long. Both are in a very early working second coat of paint; some rubs and discoloration to paint; moderate gunning wear.

Provenance: Purchased by Joe French at the Cameron estate in 1958. (3,000 - 4,000)

30 Mallard, Charles Walker, Princeton, Illinois, 2nd quarter 20th century. Hollow carved, round body style with comb feather paint detail. Number 34 painted on the underside for Princeton Fish and Game Club member Watson Lawton. Measures 16.75” long. Original paint with minor gunning wear under the original coat of varnish; minor roughness on top of head; tight cracks in neck.

Provenance: George and Miriam Van Walleghem collection.

(8,000 - 12,000)

31 Mallard hen, Charles Walker, Princeton, Illinois, 2nd quarter 20th century. Hollow carved. “FD” painted on underside for Fred Dumbar, early Princeton member from 1910-1940. Measures 16.5” long. Original paint with minor wear; paint rubs on sides and back appear to be from when the decoy was freshly painted and pressed against other decoys in the rig; very good structurally.

(5,000 - 8,000)

Glen James Cameron

1882 - 1958 | Peoria, Illinois

Glen Cameron spent his entire life in the bustling Illinois River waterfront city of Peoria. The only child of attorney James A Cameron and his wife Amelia, Glen attended the local schools and graduated from the University of Illinois in 1905. After attending the Valparaiso Law School, he was admitted to the Bar in the State of Illinois in 1906 and promptly became a partner in his father’s law firm, now renamed Cameron and Cameron. In 1918, he was elected to the Office of Probate Judge and served in that position through 1922. At the end of his term, he was appointed County Judge, where he sat through 1926. His father died in 1926 and his mother passed away in 1935 leaving Glen with not only control of the law firm, but the family home at 814 Knoxville St in Peoria, as well. He remained a bachelor until sometime in the mid 1930’s when he wed Lulu M Traeger, a bookkeeper at a local hardware company, but the couple did not have any children of their own. Following his terms as judge, he resumed his active law practice, eventually easing himself into retirement by reducing his workload to 30 hours per week. He continually listed himself as a practicing attorney until his death.

An avid sportsman and active in Peoria society, he was a member of the Robert B Ford Shooting Club, the Illinois Valley Yacht Club, the Elks, and the Creve Coeur Club, the city’s oldest business and social club. Both he and Lulu passed away within a few months of each other,

she in May and he in August of 1958. Upon his death, his estate transferred his private 700-acre wetland hunting area north of Lacon, IL to the US Fish and Wildlife Service where it is administered today as the Cameron National Wildlife Refuge under the jurisdiction of the Chautaugua National Refuge.

Early authors, (Mackey - 1965, Parmalee and Loomis – 1969, and Haid – 1981) all assumed that the judge had made all of the decoys in his rig. More recent investigation, however, suggests that the assemblage was, indeed, the combined effort of a number of individuals. Illinois River authority, Joe Tonelli, states that Cameron did carve the mallards in the rig, but this was done in conjunction with his hunting partner, Andy Anderson. These, in turn, were painted by a John Franks. Likewise, he relates that all of the divers in the rig were made by John Barhnardt and, eventually, repainted by Bert Graves. The judge was very particular about his decoys and had a set of detailed blueprints drawn to document their specific construction details. All of the rig were proudly stamped “G.J.C.”.

32

Exceptional pair of mallards, Glen Cameron, Peoria, Illinois, 2nd quarter 20th century. Hollow carved with “G.J.C.” branded on the undersides. Cameron had a local architect friend design blueprints for his decoys, the blueprints for these mallards are included. Measure 16” long. Original paint with minor flaking and wear; a few shot strikes; hen has some small spots of touchup to flaking on one side of head and neck; drake has had some varnish taken off of head and neck area.

Provenance: Ex Joe French collection. Purchased from the estate of Glen Cameron around 1958.

Literature: “Decoy Collector’s Guide,” Sorenson, article by Joe French, 1968 Annual, p. 55, exact drake pictured. “Decoys of the Mississippi Flyway,” Haid, p. 169, exact pair pictured. “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 103, exact drake pictured. (10,000 - 14,000)

Original blueprints included

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

Otto Meyer was a Chicago policeman who had ordered a dozen of Charlie’s mallards for $36 to add to (and hopefully improve) his rig of Pascagoula decoys. Charlie was getting older and his health was becoming an issue. Orders were backed up and Otto would occasionally drop by to check on the progress of his decoys. These meetings resulted in a good friendship developing between the two men. In the Fall of 1956, Meyer became aware of the Perdew’s plight and took it upon himself to solve the problem. Without being asked, he purchased a new coal and wood burning furnace from the Montgomery Ward store in Chicago and, with the help of fellow Chicago policeman and duck hunter Cline McAlpin, trailered it to Henry and installed it in Charlie’s basement. The show of care and support struck Charlie and he emotionally asked Meyer what he owed him. Meyer’s response was simply, “if you get a chance, make me something”. Charlie went on to, indeed, make him something!

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

Perdew greatly appreciated Meyers generous gesture and Otto felt likewise. In a 1957 letter Meyer told Charlie:

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

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

33 Large and important working owl decoy, Charles Perdew, Henry, Illinois, 2nd half 20th century. The only owl decoy made by Perdew. Part of the Otto Meyer friendship exchange. Excellent design with hollow carved body and applied articulated wings that are made to flap. The mechanics are initiated when a string is pulled. The carved wooden head spins to the right as the wings move, creating the most realistic impression of a live great horned owl. Deep relief carved legs and talons. Pheasant feathers have been applied around glass eyes, bill, and neck. Stands 30” on base. Excellent and original.

Provenance: Formerly in collection of Otto Meyer.

Literature: “Perdew: An Illinois River Tradition,” Ann Tandy Lacy, p. 56, exact owl pictured. (50,000 - 70,000)

The Otto Meyer rig.

(3,000

(4,000 - 6,000)

34 Fine mallard drake, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Retains the original Graves weight. With two brands in underside, “E.I. Rogers” and Cleary”. Two piece hollow body. Measures 17” long. Strong original paint; small amount of in use wear and some visible darkening of varnish.

- 5,000)

35 Sleeping mallard hen, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Retains the original Graves weight. With two brands in underside, “E.I. Rogers” and “Cleray”. Measures 14” long. A few shot marks in body and head; a second coat of paint appears to be by Graves.

36 Gadwall drake, Hector Whittington, Oglesby, Illinois. Hollow carved with the species, maker’s name, town, and dated 1974 on the underside. Measures 15.5” long. Excellent and original.

Provenance: Herb Desch collection. (1,500 - 2,500)

37 Crow, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Slightly turned head and glass eyes. Measures 14.5” long. Original paint under a thin coat of varnish with minor gunning wear; a few small dents; tight crack in bill; small amount of touchup on underside of bill.

Provenance: George and Miriam Van Walleghem collection. (1,000 - 1,500)

38 Pair of oversize mallards, Cline McAlpin, Chicago, Illinois, circa 1950. Hollow carved with some comb feather paint detail on drake. Drake’s weight is removed. Measure 17.25” long. Original paint under the original coat of varnish; with minor discoloration and rubs; small chip on edge of drake’s tail. (1,200 - 1,800)

Nate Quillen

- 1908 | Rockwood, Michigan

Quillen was Michigan’s earliest and finest commercial decoy craftsman. According to Jim Marsh, a Quillen authority, his most productive years were between 1880 and 1900. The majority of his decoys and boats were sold to members of the Pointe Mouillee Shooting Club where he worked as a guide. When pioneer collector Joel Barber set sight on Quillen’s boat body style decoys, he was so impressed that he created an architectural drawing of the cross section in 1951. He went on to write in his book about Quillen, “He took great pride in his work. He was very neat and everything had to be in perfect order. Not only would he make decoys, but he also painted them, and every bit of color was applied with great exactness and care. His appearance and temperament were this of an artist.”

This rigmate pair of bluewing teal were made for Quillen’s niece, Viola Dentch as a wedding gift. They remained in the family until early noted collector Hy Dalhka purchased them from Quillen’s nephew in 1967. They are recognized by collectors as being the most important decoys Nate Quillen ever made.

39 Extremely rare and important rigmate pair of bluewing teal, Nate Quillen, Rockwood, Michigan, last quarter 19th century. Hollow carved with .25” bottom boards and inlayed neck seats. Decoys were rigged, but never weighted. Measure 10.25” long. Original paint with areas of flaking or heat bubbling mostly on lower half; tight crack in each neck; shallow chip in the underside of hen’s bill; both with a thin coat of early varnish, with the undersides left unvarnished.

Provenance: George and Miriam Van Walleghem collection. Purchased from Ed DeNavarre, who purchased from Hy Dalhka.

Literature: “Waterfowl Decoys of Michigan and the Lake St. Clair Region,” Clune Walsh and Lowell Jackson, exact decoys pictured plate 10. Decoy Magazine, March/April 2003, cover photo and article. “Decoys,” Linda and Gene Kangas, p. 272, exact decoys pictured. “Great Lakes Decoy Interpretations”, Gene and Linda Kangas, pg. 159 exact decoys pictured. (60,000 - 90,000)

Hy Dalhka holding this pair of Quillen blue-winged teal bought from Quillen’s nephew, Ed Burgess, in 1967.

Redhead drake, Nate Quillen, Rockwood, Michigan, last quarter 19th century. Hollow carved with .25” bottom board and tucked head. Comb feather paint detail. Branded “EL”, “SJM” for Sam J. Mixter, and “H.H. Fay”. Measure 13.25” long. Original paint with minor to moderate gunning wear; protected under an early coat of varnish; small dents and shot marks; minor roughness on one edge of bill.

Provenance: George and Miriam Van Walleghem collection.

41 Redhead hen, Nate Quillen, Rockwood, Michigan, last quarter 19th century. Hollow carved with .25” bottom board and tucked head. Comb feather paint detail. Branded “EL” and “WTB” for William T. Barber a member of the Pointe Moullie Shooting Club. Original paint with minor to moderate gunning wear; protected under an early coat of varnish; a few small dents and shot marks; old blunting and minor roughness on tip of bill were it was cracked down and reset.

Provenance: George and Miriam Van Walleghem collection.

(6,000 - 9,000)

Literature: “Waterfowl Decoys of Michigan and Lake St. Clair,” Walsh and Jackson, p. 16, exact decoy pictured.

Literature: “Waterfowl Decoys of Michigan and Lake St. Clair,” Walsh and Jackson, p. 16, exact decoy pictured.

(6,000 - 9,000)

Ferdinand Bach 1888 - 1967 | Detroit, Michigan

When hunting the unpredictable waters that prevail in the days of November on Lake St. Clair, carver Ferdinand Bach found that his particular design of large, full body, solid decoys met his expectations for imitating the look of the migrating canvasbacks. Bach was a student of design, employed as a draftsman at both Dodge and Chrysler, he was a perfectionist. His meticulous care and practice of placing each decoy in its own individual bag helped to maintain the pristine condition of his decoys from season to season.

Provenance:

and

Literature: “Waterfowl Decoys of

and

Lake

Region,”

(25,000 - 35,000)

43 Canvasback drake, Ferdinand Bach, Detroit, Michigan, 2nd quarter 20th century. Wide body with deep relief wing and tail feather carving. “F Bach” carved in the underside. Measures 15.25” long. Original paint with very minor wear; a few small shot marks and a hairline crack in one eye; otherwise excellent structurally.

George

Miriam Van Walleghem collection.

Michigan

the

St. Clair

Clune Walsh and Lowell Jackson, exact decoys pictured plate 57.

44 Bluebill drake, Ferdinand Bach, Detroit, Michigan, 2nd quarter 20th century. Fat body is nearly as wide as long. Wide, bulbous head carving is partially inlayed into back. Deep relief wingtip and tail feather carving. Measures 13.25” long, 8.5” wide. Hairline drying cracks in breast, otherwise excellent and original.

Provenance: George and Miriam Van Walleghem collection.

- 18,000)

(12,000

45 Extremely rare decorative tern, Ben Schmidt, Detroit, Michigan, 2nd quarter 20th century. Outstretched wings with relief feather carving. Open bill and split tail carving. Mounted to plywood backboard, which is signed. Tern measures 14” long, plaque is 24” x 16”. Original paint with very minor wear; thin wash of white on one wing tip; separation at a small knot in bill; small chips in the tips of bill.

Provenance: George and Miriam Van Walleghem collection. (4,000 - 6,000)

46 Rare blue goose, Frank Schmidt, Detroit, Michigan, 2nd quarter 20th century. Slightly turned head and slight relief wing carving. Incised feather carving on back. “L” stamped and painted on underside. Measures 22” long. Original paint with very minor wear; small dent in one side of bill; hairline crack along underside. (2,500 - 3,500)

47 Canada goose, Ben Schmidt, Detroit, Michigan, 2nd quarter 20th century. Hollowed from the underside with relief wingtip and incised feather carving. Measures 24” long. Original paint with moderate wear; hairline cracks in breast; old chip in one side of bill.

Provenance: George and Miriam Van Walleghem collection. (4,000 - 6,000)

48 Juvenile snow goose, Ben Schmidt, Detroit, Michigan, 2nd quarter 20th century. Hollow carved with 1” bottom board. Relief carved wingtips and incised feather carving. Measures 23” long. Original paint with minor discoloration and wear; flaking along edge of bottom board; slight separation at a crack through neck.

Provenance: George and Miriam Van Walleghem collection. (5,000 - 8,000)

49 Rare long tail duck, Ben Schmidt, Detroit, Michigan, 3rd quarter 20th century. A late decorative carving with slightly turned head and relief wingtip carving. Inserted metal tail sprig. Measures 18.5” long. Thick original paint with minor wear; protected under a thin coat of original varnish; very minor separation at neck seat, otherwise very good structurally.

Provenance: George and Miriam Van Walleghem collection.

(2,000 - 3,000)

50 Pair of mallards, Ben Schmidt, Detroit, Michigan, 2nd quarter 20th century. Relief wingtip carving and extensive feather stamping on hen. Keels were removed. Measure 17.25” long. Original paint with moderate flaking and wear; hairline drying cracks; tight crack in one side of drake’s neck and head.

(1,200 - 1,800)

51 Black duck, Ben Schmidt, Detroit, Michigan, 2nd quarter 20th century. Relief wing and incised feather carving. Slightly turned head. Detailed feather stamping along most of the body. “HLR” branded in the underside. Measures 17” long. Original paint with very minor wear; small dent in one side of bill; small amount of filler has flaked off of the back.

Provenance: George and Miriam Van Walleghem collection.

(600 - 900)

Tom Schroeder

1885 - 1976 | Detroit, Michigan

“When it came to turning out a Judas duck, Tom Schroeder of Detroit made the eastern amateur carvers look like a group of rainy-day whittlers”

(Raymond Camp, New York Times)

Tom was born in East Detroit and spent much of his youth outdoors, quickly becoming an accomplished hunter and fisherman. It is unknown if he had any formal training in art but by 1905, and continuing through 1920, he worked as staff sport cartoonist for the Detroit Free Press. Through the early 1930’s he became active in the local boxing clubs and between 1925 and 1931, he was the manager of local boxer, Mickey Goldberg. He became a wellknown figure in Detroit’s journalistic, artistic and shooting fraternities and was one of the original members of the local cultural center, the Scarab Club (established in 1928). After his stint at the Newspaper, he opened his own Advertising studio which was so successful it boosted the fame and fortune of a number of companies.

He first attempts at carving were executed in bars of soap “borrowed” from his mother. He began to duck hunt by the age of twelve and it is believed that he carved his first decoy shortly thereafter, but the earliest decoys that can be positively identified as being carved by him date to between 1910 and 1920. This was the beginning of a hobby/pastime that would stretch over a 50 year period. During that time Schroeder, ever the perfectionist, experimented with a variety of styles, all intended to improve the effectiveness of the decoys. Changes and adaptations were incorporated into the carvings that were intended to facilitate attractiveness, stability, steadiness and improved line storage. He termed most of these later changes, “hydrodynamic” improvements. The turning point in his carving career occurred in 194849 when he became aware of the International Decoy Makers Contest held in New York City. He became infuriated when Joel Barber informed him that, in his opinion, the best decoys ever created came from the knife of “Shang” Wheeler. He promptly sent off multiple entries for the 1949 New York competition and took a number of first, “Best Amateur” and in later shows, “Best of Show”. He continued to compete through 1956. He never sold a decoy but is recorded as gifting a few to friends or hunting partners. He was friendly with a number of well-known Michigan carvers such as Ben Schmidt, Ferdinand Bach, Jim Kelson and Ralph Reghi and his influence can be seen in their work. In his later years, he entered the realm of decorative and miniature carving as well as producing fish decoys. His decorative career lasted until just two years prior to his death. At one point, he painted the murals for the Detroit Zoological Park.

Once he entered the competitive carving community, he lost all interest in the newspaper or the advertising business and moved to the Vernier Hotel in Fair Haven on Anchor Bay, Lake St Clair. Here he could concentrate

on hunting, fishing, and carving. His private life is hard to decipher. He was known to be gregarious with a somewhat sarcastic view of the world and one who could not pass up a practical joke. He refused to sign up for a social security card because he did not want to be known as a number! Likewise, he seems to have scrupulously avoided the State and Federal Census because he cannot be located in any of them. In 1916, he married Ethel Williamson, but filed for divorce from her in 1921 claiming “extreme cruelty”. He can probably best be described by the wording of one of his own poems which began “I do not choose to be a common man. It is my right to be uncommon – if I can” . He lived out his final years in the home of his niece before being placed in the Moroun Nursing Home in Detroit where he died. His niece inscribed his gravestone with the words:

“Nature was his interest; Creativeness his passion”.

52

Michigan. Dated 1960. Hollow carved from the underside with bottom board added leaving access to store the rigging on the inside of the decoy. Head is turned and bill buried under feathers. Relief wing and tail feather carving. maker’s name and the date 1960 stamped into the underside. Measures 13.5” long. Minor yellowing from an early coat of varnish; otherwise excellent and original.

(6,000 - 9,000)

Sleeping canvasback, Tom Schroeder, Detroit,

53 Mallard, Tom Schroeder, Detroit, Michigan, 2nd quarter 20th century. Hollow carved with .75” bottom board that is hollowed on the underside. With a rubber coated piece of metal added to cover the hole. Slightly turned head and relief wing carving. Measures 14.25” long. Original paint with minor wear under a thick coat of varnish that has darkened slightly; separate piece added to back of the neck in the making; old filler added to a small chip in tail; a few small dents.

(6,000 - 9,000)

54 Redhead, Tom Schroeder, Detroit, Michigan. Hollow carved design made for storing line tie and rigging. Relief wing and tail feather carving and slightly turned head. Maker’s name and 1960 branded in underside. Head is made from one piece of wood, but the maker scratched a center line in to the wet paint making the head appear to be two pieces. Measures 13.5” long. Original paint with minor to moderate flaking and wear; minor discoloration from an old coat of varnish; slight separation at body seam.

Provenance: George and Miriam Van Walleghem collection. (4,000 - 6,000)

55 Working canvasback, Tom Schroeder, Detroit, Michigan, 2nd quarter 20th century. Hollow carved with thin bottom board and tin rigging holder. Retains the original lead line tie weight. Gouge feather carving.

Measures 14.25” long. Original paint under a thin coat of varnish; hairline crack along back; small dent in one side of bill.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 4,000)

56 Composite bluebill hen, Tom Schroeder, Detroit, Michigan. Composite body with wooden bottom board. Maker’s name and 1960 stamped in the underside. Slight relief wingtip carving. Measures 12.25” long. Original paint with minor wear protected under a thick coat of varnish; feather detail on sides likely done by the maker, but after the varnish was applied; separation at bottom board with some filler and touchup added.

Provenance: George and Miriam Van Walleghem collection. (800 - 1,200)

John Schweikart

1870 - 1954 | Strawberry Island, Michigan

In North American Decoy Magazine published in 1977, Julie Hall wrote the first article on the Schweikart family decoys. Other than some singles, the entire rig had recently been discovered, still in the family’s possession, at their hunting camp on Strawberry Island – a small spit of land several miles off the shore of Michigan’s Lake St. Clair.

“Schweikart decoys seem to have it all. There is grace in the line of their backs and wings. There is a uniqueness to their shape and construction, and no one confronting a Schweikart can ignore the enigmatic presence of the carving as it ‘watches’ from the shelf. All Schweikarts have an unexplainable difference that makes them stand out. They have that peculiar ‘X factor’ – something that invites debate, but which ultimately puts them in the ranks of the Cobbs, Wards, and Walkers that made decoy history.”

“The Schweikart influence is seen everywhere in the Flats, indicating that one man’s artistry had a ripple effect that spread across time to touch even such late carvers as Ferdinand Bach. Schweikart decoys predate almost all other Flats carvings by known Michigan makers. The impact of these birds on Flats decoy making suggests that Schweikart was, in some ways, to Michigan carving what Albert Laing was to Connecticut.”

John Schweikart is credited with being among the earliest of carvers in the St. Clair Flats. By the 1880s, Detroit was a busy city. Throughout this era, the Schweikart family business, which included an ice

company, a commercial fishing venture, and a tavern, all flourished. After a period of prosperity, Walter, Sr. began to search for a remote retreat where he and his sons could escape the city for some fine hunting and quiet. He claimed a tiny island in the Flats and named it Strawberry. Thirteen years after his father’s death in 1904, John took ownership of this hunters’ paradise for himself. As a young man, John Schweikart worked his way up in all of the family businesses. He is listed in the 1904 Detroit city directory as president of the Schweikart Boat Works. Working with his brother Carl, a master boat builder, John had learned how to work with his hands and continued the family tradition of respect for craftsmanship and pride of workmanship, a skill set he carried over to the decoys he produced.

Author and collector Bernard Crandell, had this to say about his work. “Schweikart cans, with their bull-size necks and authoritative stare, have the commanding presence of a top sergeant about to dress down a platoon of rookies at boot camp. They are oversize and not only highly visible from above but, with their strong wide bodies, appear charge of their domain.”

57 Canvasback hen, John Schweikart, Strawberry Island, Michigan, 1st quarter 20th century. Hollow carved with .75” bottom board. Tucked head and applied metal wingtips. Believed to be one of the best canvasback hens by Schweikart. Measures 15.25” long. Original paint with minor to moderate wear; lightly hit by shot; some flaking on edges of metal wingtips; drip of old glue on one side.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Waterfowl Decoys of Michigan and the Lake St. Clair Region,” Clune Walsh and Lowell Jackson, exact decoys pictured plate 192. “Great Lakes Decoy Interpretations”, Gene and Linda Kangas, pg. 161 exact decoy pictured.

(20,000 - 30,000)

58

Goldeneye hen, John Schwiekart, Strawberry Island, Michigan, 1st quarter 20th century. Hollow carved with .25” bottom board and bulbous head. Wide body and tail carving. Measures 16.75” long. Original paint with moderate gunning wear; small dents and shot marks; very early second coat of paint on the head.

Provenance: George and Miriam Van Walleghem collection. (4,000 - 6,000)

59 Pair of canvasbacks, John

Strawberry Island, Michigan, 1st quarter 20th century. Hollow carved with .25” bottom board. Large head and neck, and applied metal wingtips. Folding copper keel on underside. Hen has “JS” painted in blue. Measures 16.5” long and 17.75”. Drake has mix of original and very early in use repaint showing moderate wear; lightly hit by shot; paint flaking on metal wingtips. Hen has original paint with moderate wear; area of inpainting along one side; multiple filled shot strikes; flaking to filler on one side of neck seat.

Provenance: George and Miriam Van Walleghem collection. (8,000 - 12,000)

Schweikart,

Frank Finney

B. 1947 | Cape Charles, Virginia

60 One of the most amazing Frank Finney pieces we have seen, a carved wooden frog resting on a group of lily pads contemplating a dragon fly that has landed on the lily flower nearby. A crazed surface creates the appearance of age. Franks large “F” carved in the underside. 21” long. Excellent in all respects.

(8,000 - 12,000)

61

Outstanding carved walking stick, Frank Finney, Cape Charles Virginia. Stick features the carved heads of nine extinct bird species, to include Carolina parakeet, redbreasted goose, Labrador duck, greater broad-billed moa, passenger pigeon, Molokai creeper, South Island kokako, dalmatian pelican, and dodo bird. Makers initials carved on lower part of stick. Measures 38.5” long. Made to appear older with crazed varnish and a few minor rubs, otherwise a truly outstanding piece of American Folk art. (2,500 - 3,500)

62 Incredibly well carved grasshopper, Frank Finney, Cape Charles, Virginia. An amazing carving with patinated surface. Stamped “Finney” on underside with maker’s initials also carved in the underside. Measures 26” in length, and 9” tall. Excellent and original. (5,000 - 8,000)

63 “Day Dream” folk carving, Frank Finney, Cape Charles, Virginia. One side of base painted with a man sleeping at the base of a tree, with his scythe resting on the edge of a hay field. The other side of base painted

with the same man and his dog in a boat with a jumping cat fish in sight. Top of base with applied, carved tin can and two mallard whiskey bottles. Large catfish with relief mouth and eye carving and applied leather whiskers. Wet on wet blended swirl paint. Titled “Day Dream” on one end of base. Catfish measures 35.5” long. Base measures 7” wide. Original paint with a few very minor rubs; seam in dorsal fin where it was broken off and reattached; lid of can was cracked off and reglued; small dent in one lower side of base. (5,000 - 8,000)

66 Miniature calling rooster, Frank Finney, Cape Charles, Virginia. With head looking upwards, and open beak. Dropped, relief wing carving. Maker’s ink stamp and initials carved in underside. Measures 9” long, stands 6.5” tall. Excellent and original. (800 - 1,200)

67 Miniature bluebeard pheasant, Frank Finney, Cape Charles, Virginia. Slightly turned head with extended

64 Rainbow trout plaque, Frank Finney, Cape Charles, Virginia. Relief gill and mouth carving. Glass eyes and open mouth. Applied dry fly at corner of mouth. Maker’s initials carved in the backboard. Trout measures 29” long. A few tiny paint rubs on edge of fins, otherwise excellent and original. (2,000 - 3,000)

65 Full-size Baltimore oriole, Frank Finney, Cape Charles, Virginia. Open beak clutching a sprig of holly with berries. Deep relief wing and raised wingtip carving. Maker’s ink stamp on the underside. Bird is 8.5” long. Stands 8.25” tall including base. Made to appear older with crazed varnish; excellent and original. (1,500 - 2,500)

head feathers. Relief wing and extended tail feather carving. Identified on the underside of base. Also with the carver’s initials carved in the underside. Measures 7.25” long. Excellent and original. (500 - 800)

68 Miniature chicken, Frank Finney, Cape Charles, Virginia. In feeding pose with relief wing and tail feather carving. Maker’s ink stamp on the underside. Measures 8.5” long. Made to appear older with crazed varnish, excellent and original. (500 - 800)

69 Large owl, Frank Finney, Cape Charles, Virginia. Slightly turned head and relief wing carving with gouge feather detail. Maker’s initials carved in the underside of base. Stands 29” tall including base. Made to appear older with crazed varnish and scattered paint flaking; very minor separation at body seams; otherwise very good and original.

(3,000 - 5,000)

70 Sculptural swan, Frank Finney, Cape Charles, Virginia. Hollow carved with head pointed skyward in a drinking motion. Maker’s initials carved in the underside. Measures 28.5” from tail to breast, and 35.5” tall. A few minor dents and paint rubs, otherwise excellent and original.

(3,000 - 5,000)

70a Yellowlegs in the style of William Bowman, Frank Finney, Cape Charles, Virginia. Relief wing carving and raised wingtips. Unsigned. Measures 10.5” long. Made to appear older; tiny chip and hairline crack at one wingtip, otherwise excellent. (800 - 1,200)

70a

71 Labrador ducks diorama, Frank and Mary Finney, Cape Charles, Virginia. Depicts a pair of standing Labrador ducks with lifted wings. Drake with open bill and hen with turned head. Relief wing and tail feather carving. Base with carved mussels and barnacles. Plaque on one side of base with maker’s initials. Birds measure 13.25” and 18” long. Piece measures 24” around. Excellent and original.

(4,000 - 6,000)

72 Miniature rooster, Frank Finney, Cape Charles, Virginia. Relief wing and tail feather carving. Maker’s ink stamp on the underside. Measures 6” long. Made to appear older with crazed varnish; excellent and original.

(400 - 600)

73 Miniature long tailed manakin, Frank Finney, Cape Charles, Virginia. Head is turned 60 degrees with open beak. Relief wing and tail feather carving and inserted tin tail feathers. Stands on an elevated perch. Makers ink stamp on the underside. Bird measures 8.5” long, stands 11.25” tall including base. Made to appear older with crazed varnish, excellent and original. (800 - 1,200)

74 Snail, Frank Finney, Cape Charles, Virginia. Maker’s initials carved in the underside. Measures 5.5” long, and 4.25” tall. Made to appear older with crazed varnish; excellent and original. (400 - 600)

75 Miniature hardwood whale, Frank Finney, Cape Charles, Virginia. Open mouth and fins carved away from the body. Maker’s ink stamp on underside of base. Measures 7” long. Excellent and original. (500 - 800)

76 Miniature calling robin, Frank Finney, Cape Charles, Virginia. Raised wingtips and relief tail feather carving. Identified on the underside of base. Also with maker’s initials carved on the underside. Measures 5” long.

Excellent and original.

(500 - 800)

77 Miniature red wing black bird, Frank Finney, Cape Charles, Virginia. Raised wingtips and relief tail feather carving. Identified on underside of base, also with maker’s initials carved in the underside. Measures 5.75” long.

Excellent and original.

(400 - 600)

78 Miniature eastern bluebird, Frank Finney, Cape Charles, Virginia. Relief wing and tail feather carving. Identified on the underside of base. Also with maker’s initials carved in the underside. Measures 5” long.

Excellent and original.

(400 - 600)

79 Miniature yellow billed sapsucker, Frank Finney, Cape Charles, Virginia. Deep relief wing and tail feather carving. Identified on the underside of base. Also with the maker’s initials carved in the underside. Measures 6” long. Tiny flake at tip of bill was touched up, otherwise excellent and original.

(500 - 800)

80

An incredible carved falcon, William Gibian, Onancock, Virginia. The full-size falcon is tethered to a falconer’s post. The post is wrapped in leather with leg strapping extending from the post to falcon’s thighs. Wings are slightly spread with detailed feather and tail carving. Falcon stands 16” tall. 48” including base. Excellent and original.

(5,000 - 8,000)

81 Crow and mice carving, William Gibian, Onancock, Virginia. Standing crow with open beak and deep relief wing carving. Raised wingtips with detailed feather and tail carving. Base with carved pumpkin and two mice, one of which has burrowed into the pumpkin. Maker’s business card on the underside. Signed and dated 7-22. Crow measures 16” long, stands 15.5” tall including base. Excellent and original. (5,000 - 8,000)

82 Pair of standing woodducks, William Gibian, Onancock, Virginia. Slightly turned heads with extended crests. Relief wing and tail feather carving and raised wingtips. Maker’s business card on underside of base, is signed and dated 2003. Measure 15.25” and 16” long, stand 13” high including base. Excellent and original. (5,000 - 8,000)

83

Highly decorative base with full-size widgeon that has turned head, raised crossed wingtips, and tail carving. Excellent combing on back feathers. Gibian’s business card on underside with inscription stating that this is his first widgeon with legs. Measures 15” long.

Excellent and original. (2,000 - 3,000)

and angled down. Measure 11.5” long.

Excellent and original. (2,000 - 3,000)

(600 - 900)

excellent and original.

(600 - 900)

86 Dove, William Gibian, Onancock, Virginia. Deep relief wing carving with raised wingtips. “Gibian” carved on the underside. Measures 13” long. Excellent and original.

85 Gambles quail, William Gibian, Onancock, Virginia. Scratch feather paint detail and inserted leather head plume. “Gibian” carved on the underside. Measures 12” long. Original paint that has mellowed to a warm patina;

Standing widgeon, William Gibian, Onancock, Virginia.

84 Pair of greenwing teal, William Gibian, Onancock, Virginia. Hollow carved with relief wingtip and tail feather carving. Maker’s business cards under plexiglass on the undersides. Drake’s head is reared back and slightly turned. Hen’s is slightly turned

excellent and original. (3,000 - 5,000)

86a Pair of standing canvasbacks, William Gibian, Onancock, Virginia. Both with slightly raised and turned heads. Relief wing and tail feather carving. Comb feather paint detail. “Gibian” carved in the underside of each. Stands 17.75” tall. Moderate discoloration on underside of drake; otherwise both are

86c Pair of Labrador ducks, Eddie Wozny, Cambridge, Maryland. Hollow carved gunning style decoys. Drake in slightly turned, breast preening pose. Hen in minnow chasing pose with open bill and raised wingtips. Relief wing and tail feather carving. Both are signed and dated 2011. Measure 15.5” and 20” long. Excellent and original. (800 - 1,200)

86b Excellent pair of decorative quail, Eddie Wozny, Cambridge, Maryland. Male is standing and hen in nesting pose. Both with slightly turned head and relief wing and tail feather carving. Signed and dated 2022 on the underside. Birds measure 8” long. Excellent and original (1,500 - 2,500)

86d Full size great blue heron, Eddie Wozny, Cambridge, Maryland. Deep relief wing carving and applied head and breast feathers. Signed and dated 1989 on the underside. Stands 38” tall including base. Original paint with very minor wear; moderate sap bleed on back and tail area. (1,500 - 2,500)

87 Pair of flying woodducks, Mike Borrett, Madison, Wisconsin. Deep relief wing feather carving and applied wooden feet. Carved, extended crests. “Borrett ‘05” carved in back of wing. Measure 19.5” long, with 19” wingspan. Very minor paint rubs and small off white spots on backs, otherwise very good and original.

(800 - 1,200)

88 Flying ruffed grouse, Mike Borrett, Madison, Wisconsin.

Deep relief wing and tail feather carving. “Borrett ‘01” carved on back of one wing. Measures 19” long, with a 12.75” wingspan. Small chip at tip of one wing feather; small hole in back where hanging screw was moved.

(400 - 600)

89 Flying male bobwhite quail, Mike Borrett, Madison, Wisconsin. Glass eyes. Wings extended and feet tucked.

Wingspan is 11”. Excellent and original.

(400 - 600)

90 Flying woodcock, Mike Borrett, Madison, Wisconsin.

Deep relief wing feather carving. “Borrett ‘03” carved in back. Measures 10” long, with a 11.25” wingspan. Small hole in back where hanging screw was moved; otherwise excellent and original. (300 - 500)

A thousand years before the first American quilt was created as protection against the chill night; before the first American whirligig played against the New England wind or the first American weathervane showed its direction – before any of these things, fish decoys were being actively used for ice spearfishing by Native Americans. From Alaska throughout the Midwest, the Middle Atlantic region, New England, and Canada, men have spearfished for bass, sturgeon, muskellunge, carp, trout, pike and numerous other species.

It is just in recent years that fish decoys have come to be recognized and appreciated as fine examples of American folk sculpture.

- “Beneath the Ice: The Art of the Spearfishing Decoy,” Apfelbaum, Gottlieb, and Michaan.

Hans Janner

In a 1985 interview, Hans Janner, Jr. estimated that between 1905 and 1960 his father made hundreds of fish decoys of which perhaps 150 survive. The bulk of them were probably made during the 1930s. The decoys themselves often have a sculptural quality being large and robust in form and having large curved wooden tails with a rather prominent caudal peduncle. They are known in sizes from 6” to 17” but are most commonly found in the 11” to 13” range. The basic forms were roughed out with a hatchet and drawknife from blocks of mahogany, walnut, cherry, pine and red cedar of which mahogany is probably the most common. They were then whittled into final form and finished by scraping and sanding. Normally they are fitted with brass or copper pectoral, pelvic, anal and sometimes with one-piece combination dorsal and adipose fins that are exaggerated to allow adjustment of the swimming radius. A few examples have no dorsal or adipose fins at all. The fins were often cut out of brass machinery identification tags scavenged from friends and relatives.

The name, Hans Janner, Sr., has become synonymous with the best in Lake St. Clair fish decoys. They have enjoyed a rather extensive exhibition history: Michigan State University in 1976, The Art Center in 1978, Cranbrook Academy of Art Museum in 1987, Museum of American

Folk Art in 1992, and are now on permanent exhibit in many of the nation’s finest museums and private collections. They have been illustrated in numerous books and periodicals.

In recent years a plan was proposed by Mount Clemens city officials to preserve the house at 281 Cass Avenue where the Janners lived for over 50 years.

91 The most magnificent Janner fish decoy ever offered at auction, Hans Janner, Mt Clemens, Michigan, 2nd quarter 20th century. Copper and wood fins. Carved mouth and gill. Ghost fish decoration as a trout on one side, which displays multi colored linear lines with tri color dot painting extending from underneath the eye through the tail. Opposite side is more subdued, with blended green and white and silver painting, probably imitating a walleye. Three belly weights on underside, and one

counter balancing weight that extends through the underside to the top of the back. An impressive 17.5” in length, and 4.25” tall. Wonderful original paint that has mellowed with age.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 73, exact fish pictured. (50,000 - 75,000)

92

Large and impressive rock bass, Hans Janner, Mt Clemens, Michigan, 2nd quarter 20th century. Carved eyes and mouth with inset copper fins. Shades of green polka dot scales over silver on the body, terminating at tail which is then blended yellow and green with horizontal lines with opposite side being more of a blended yellow and green. Two

belly weights. Measures 12” long. Strong original paint with some wear on copper fins; small paint smudge which appears to have a finger print, probably Janner’s.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 74, exact fish pictured. “Decoys,” Linda and Gene Kangas, p. 99, exact fish pictured.

(20,000 - 40,000)

Incredible walleye fish decoy, Hans Janner, Mt Clemens, Michigan, 2nd quarter 20th century. Carved from walnut with the face and top of back left as natural. Carved mouth is highlighted in red. Yellow accent around gills with mostly a silver and light yellow body and tail paint. Two belly weights. With a well sculpted dorsal fin. Measures 15” long. Strong original paint with some in use wear.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 72, exact fish pictured. “Great Lakes Decoy Interpretations”, Gene and Linda Kangas, pg. 262 exact decoy pictured.

(30,000 - 50,000)

94 Well decorated trout fish decoy, Hans Janner, Mt Clemens, Michigan, 2nd quarter 20th century. Carved gill and mouth. Metal sculpted dorsal fin. Black and white dot paint decoration extending from behind the eye through the tail, and over green and yellow head, body, and tail paint. Measures 11.5” long. Showing light in use wear; piece of the tip of the tail has been broken off and reattached.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 73, exact fish pictured. (20,000 - 30,000)

Ted Vandenbossche

1884 - 1958 | Mt Clemens, Michigan

Born Christmas day 1884 on the family farm, Ted Vandenbossche was destined to be birthed, live his entire life and die in the same place, all on the shores of Lake St. Clair. The Vandenbossches were a pioneer family of Belgium extraction, who, in addition to farming, ran the Lakeside Boat House, a boat livery operation at Crocker Blvd. and the lakefront. In addition to renting boats and selling fishing tackle and bait they also rented ice fishing shanties and gear during the spearing season. Ice boating was also a popular winter activity before the war.

Ted was a very versatile individual. A man of many talents he was a skilled carpenter, boat builder, machinist, and gunsmith. As a market hunter, guide and sportsman, he put these talents to work building fish and duck decoys as well as duck boats, fishing spea rs, harpoon guns, etc., all the while engaged in the dredging business with his fleet of barges and tug boats.

- Gary Miller

Ted Vandenbossche w/ spear, muskie, & gaff. Photo courtesy of Gerald Adams.

Vandenbossche, Mt. Clements, Michigan, 1st half 20th century. A large fish decoy that is incredibly well carved. Features carved gills and scales, open mouth with inserted metal teeth, copper fins, and painted tack eyes. This is possibly one of the most famous fish decoys from an early maker from the state of Michigan. Measures 16” long. Strong original paint; some paint loss at fins and a few spearing scars along top of back and underside; top and bottom tips of tail have been restored.

Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 90. “Decoys,” Linda and Gene Kangas, p. 100, exact fish pictured. “Great Lakes Decoy Interpretations”, Gene and Linda Kangas, pg. 254 exact decoy pictured. (30,000 - 50,000)

96 Perch fish decoy, Perkins Family, New Baltimore, Michigan. Classic, detailed gill and mouth carving. Incised lines in carved wooden tail. Thick, well blended paint execution with approximately nine belly weights drilled in underside. Measuring an impressive 12” long. Strong original paint; two front fins appear to be later replacements; flaking along metal top fin and loss of paint on underside.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 78. (4,000 - 6,000)

97 Trout fish decoy, Perkins Family, New Baltimore, Michigan. Carved gills with mouth and lips. tack eyes. Linear lines in carved tail. Large single belly weight in underside. Linear paint decoration with red dots and green vertical lines. White belly and green back. Measures 10” long. Strong original paint with some restoration around the white area along underside and the two left fins and some loss on underside and around nail heads that secure the belly weight to underside.

Provenance: George and Miriam Van Walleghem collection. (5,000 - 10,000)

98 Perch fish decoy, Perkins Family, New Baltimore, Michigan, 1st quarter 20th century. Copper fins with wooden tail and painted tack eyes. Measures 8.5” long. Original paint protected by a light coat of varnish.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 78. (4,000 - 6,000)

99 Rare whitefish fish decoy, Perkins Family, New Baltimore, Michigan, circa 1900. Carved gill, mouth, and tail. A faint scale pattern is apparent below the thick body paint, which is blended grays and yellows along body, with red decoration on tail and fins. Measures 7.25” long. Original paint with white on underside being strengthened a very long time ago.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 79 (2,000 - 3,000)

Ken Bruning

1919 - 1974 | Rogers City, Michigan

One cannot discuss the extraordinary Bruning fish spearing decoys without first discussing both Kenneth and his son Mark. This father & son team turned out some of the most remarkable fish decoys to ever come out of Michigan. Kenneth, son of a German quarryman, was born, raised and lived his whole life in the Rogers City area. He worked as a sailor and electrician on the Great Lakes until a tragic diving accident at age 24 left him with a broken neck causing him to spend the rest of his life confined to a wheelchair. This misfortune, however, did not prevent him from working at, among other things, gunsmithing, reloading and making fish decoys. His son, Mark, who as an adult worked as a railroad engineer and later as a truck driver at the U. S. Steel limestone quarry in Rogers City, joined with Kenny at a young age in the 1950s to turn out these decoys. Decoy making was a traditional activity in this family. Their fathers, grandfathers and uncles had taught them the skills and beginning about 1950, Mark and Kenny began turning out a limited quantity of fish decoys for their own use. Economic necessity, however, soon caused them to start selling them to friends, neighbors and co-workers. Prices were from $1.00 to $1.25 each. At first these were direct sales from the house or the U.S. Steel quarry. Later some went into bait shops, bars, hardware stores and the like. Because of Ken’s disability his older brother Hardy cut the decoy blanks out for them on a bandsaw. Then, young Mark did the hand carving, finning and leading and Ken did the painting using, because of a lack of strength in his hands, a special two-handed technique. The subtle blending and meticulous detail he achieved using this technique rivals the photo transfer

process used by some of the big plug manufacturers. At first, they were carved out of cedar but later white pine salvaged from the U.S. Steel Corp. freighter Carl D. Bradley’s hatches was used. The Bradley sunk in November of 1958. (There are some surviving fish decoy blanks that have “Carl Bradley 1958” written on them in pencil. The Bradley’s home port was Rogers City and it’s sinking with the loss of 33 of her 35 crewmen had a tremendous impact on the local population. At the time of her sinking the 623 foot Bradley was the largest ship to ever sink on the Great Lakes. This inscription on the blank bodies was apparently intended as a sort of memorial to the men that were lost on that fateful day). Rainbow, brook and brown trout as well as perch, pike, suckers, whitefish, sturgeon and various minnows were produced in 3 standard sizes; 7 1/2”, 12” and 16”. Other sizes from 5 1/2” to 23” are also known. The line tie is the eye of a straightened fish hook embedded in the lead. The tails are wood or tin and the 4 side fins are aluminum. They have a single oval weight placed below the front set of fins. The paint they used was auto body lacquer but it didn’t work out well as it had a tendency to chip off. Mark estimates that between 1950 and 1960 they made about 2500 fish decoys with 1957-58 being the peak production years. For a couple of years, the decoys had numbers printed on the bottom of the fins which often washed off as the ink wasn’t very permanent. Each year the numbering started over with number one.

After a 25 year hiatus, Mark began making fish decoys for collectors in the 1980s and continued until his death in 2022.

- Gary Miller

100 Large and exceptional trout fish decoy, Ken Bruning, Rogers City, Michigan, 3rd quarter 20th century. Known as a floater, which means it was not weighted on the underside. Meticulous dot patterns decorate the linear tri color sides. Measuring 16” long. Very good and original.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 67 exact fish. (5,000 - 10,000)

101 Trout fish decoy, Ken Bruning, Rogers City, Michigan, 3rd quarter 20th century. Wet on wet linear stripes of white, red, and blue. With gold vermiculation painting. Measures 12” long. Some paint loss at one fin; small dent at top of back and rub at top of head; tail fin is missing small areas of paint where it was bent or tuned.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 68. (4,000 - 6,000)

102 Trout fish decoy, Ken Bruning, Rogers City, Michigan, 3rd quarter 20th century. Heavily detailed dot decoration. With metal fins and tail. Measures 7.5” long. Paint is cracked slightly with small loss around tail area and underside of one fin.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 68 (3,000 - 5,000)

Born in 1919 on the shores of Lake St. Clair to a family of outdoorsmen, Andrew Trombley was well positioned to join the ranks of the cadre of elite Mount Clemens area spearing decoy carvers. He was employed in his twenties as a truck driver and heavy equipment operator and later on as a machinist in the auto parts manufacturing industry. On September 13, 1941 he married Hans Janner Sr.’s daughter, Esther, and three days later on September 16th he enlisted in the U.S. Army. During the 1940s the

couple lived with the Janners at 281 Cass Ave., Mount Clemens, Michigan. Such a close living arrangement gave Trombley many opportunities to learn from an acknowledged master decoy carver.

Andrew Trombley’s fish decoys have enjoyed a rather extensive exhibition and publication history. See Michigan Folk Art; It’s Beginnings to 1941, a publication of Michigan State University Museum, 1976.

103 Large fish decoy, Andy Trombley, Mt Clemens, Michigan, 2nd quarter 20th century. Walleye with multi color green, yellow, and white paint. Glass eyes and carved, open mouth. Metal fins with wooden tail. Measures 14.5” long. Strong original paint; near excellent.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 85, exact fish pictured. (3,000 - 5,000)

104 Small mouth bass fish decoy, Andy Trombley, Mt Clemens, Michigan, 2nd half 20th century. Glass eyes, with metal fins and wooden tail. scaled pattern running from mouth to tip of tail. Excellent muddled green and white paint pattern. Strong original paint with just a

tiny bit of paint loss on underside of fins where inserted into body.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 86, exact fish pictured. (3,000 - 4,000)

105 Fish decoy, Andy Trombley, Mt Clemens, Michigan, 2nd -3rd quarter 20th century. Walleye with metal fins, wooden tail, glass eyes and carved open mouth. Scaled pattern from mouth to tip of tail. Measures 11” long. White area on underside was added after scaled application, but most likely by Trombley.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

106 Perch fish decoy, Andy Trombley, Mt Clemens, Michigan, 2nd half 20th century. Glass eyes with metal fins, wooden tail. Measures 9” long. Excellent and original.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 86, exact fish pictured. (3,000 - 4,000)

107 A jumping muskie fish decoy, Andy Trombley, Mt Clemens, Michigan. Glass eyes with metal fins and wooden tail. Mouth is carved open. Fish is carved in a form that will allow it to appear like it is swimming up and down in the water. Measures 10.5” long. Strong original paint protected by a light coat of varnish.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

108 Fish decoy, Andy Trombley, Mt Clemens, Michigan, 2nd-3rd quarter 20th century. Metal fins with wooden tail and glass eyes. Carved open mouth. A multitude of colors including yellow, orange, and shades of green decorate sides and top. With a scaled pattern from mouth to tail. Measures 14.5” long. Near excellent with small amount of flaking on fins.

Provenance: George and Miriam Van Walleghem collection. (4,000 - 6,000)

109 Fish decoy, Andy Trombley, Mt Clemens, Michigan, 2nd quarter 20th century. Northern pike with glass eyes metal fins, and wooden tail. Carved, open mouth. Fish scale pattern from mouth to tip of tail. Measures 11.5” long. Unused.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

missing one fin.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 89. “Great Lakes Decoy Interpretations”, Gene and Linda Kangas, pg. 254 exact fish pictured. (5,000 - 10,000)

111 Fish decoy, Unknown maker, Monroe, Michigan. This rig of fish by an unknown maker, has been characterized by

(2,000 - 3,000)

112 Black shiner fish decoy, Abe Dehate, Mt Clemens Michigan, 2nd quarter 20th century. Detailed gill and mouth carving with metal fins and wooden tail. Measures 10” long. Excellent and original.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 68, exact fish pictured. (2,500 - 3,500)

113

Trout fish decoy, Isaac Goulette, New Baltimore, Michigan, 1st - 2nd quarter 20th century. Green and silver body with glass eyes, metal fins, and wooden tail. Measures 10” long. Original paint; tight crack in tail that has been reset.

Provenance: George and Miriam Van Walleghem collection. (1,000 - 2,000)

114 Trout fish decoy, Isaac Goulette, New Baltimore, Michigan, 2nd quarter 20th century. Detailed gill and mouth carving. With glass eyes, metal fins, and wooden tail. Tri-color body painting with dot decoration on side. Measures 10” long. Appealing surface with crazing and some paint loss around eyes and fins from light in use wear.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 69, exact fish pictured. (5,000 - 8,000)

115 Minnow fish decoy, Tom Schroeder, Detroit, Michigan, circa 1940. Shades of blue with a black lateral strip. Detailed gill, eye, and mouth carving. Measures 6” long. Original paint protected by a coat of varnish; small areas of loss at some fins; some discoloration at white areas.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 84, exact fish pictured. (4,000 - 6,000)

116 Rare trout fish decoy, Tom Schroeder, Detroit, Michigan, circa 1940. Carved gills, mouth, and eyes and wooden fins. Measures 6.5” long. Tight crack in tail has been reset; original paint with light in use wear.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 83, exact fish pictured. (4,000 - 6,000)

117 A group of seven perch fish decoys, Isaac Goulette, New Baltimore, Michigan, 2nd quarter 20th century. All have metal fins, wooden tails, and tack eyes. Largest measures 8.5” long. All are in original paint with minor to moderate in use wear.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 69, exact fish pictured. (4,000 - 6,000)

118 Four early fish decoys, Alex Meldrum, Fair Haven, Michigan, circa 1900. All four have metal fins wtih glass eyes, carved mouth and gills. One has scaled pattern on body. Longest measures 6”. All appear to have original paint with moderate to no in use wear. (1,000 - 1,500)

Four early fish decoys, Alex Meldrum, Fair Haven, Michigan, circa 1900. All display pin eyes with carved mouths and gills. One has stamped scaling pattern. All have metal fins. Longest measures 5”. All appear to be original paint; one has a light coat of varnish. (1,000 - 1,500)

Fish decoys from Lake Chautauqua

Harry Seymour was born in Bemus Point, NY on the shores of Lake Chautauqua in the mid 1800’s. He made his living as a general handyman and was a n avid fisherman. He spent much time on the ice of Chautauqua Lake spearing muskellunge during open season. Decoys attributed to Harry Seymour (sometimes referred to as “Seymours”) are considered examples of some of the finest and most well-known Ch autauqua decoys.

Decoys attributed to Seymour are identifiable by a combination o f telltale paint markings and other common characteristics. On the head, just below the eyes are three small yellow curved marks that look like the letter “C” (with the decoy facing right). Next is the black operculum, or gill flaps, with a row of small black do ts along the gills. Next, a red mouth and red gills. And typically, there are painted brass tack eyes. On the decoy body are hundreds of pinpoint background dots in random patterns. Along with the background dot patterns are horizontal rows of slightly larger red, yellow, or black dots.

These decoys typically have the shape of a trout or a chub and have leather tails with painted tips. They also typically have half-round or rounded (less common) painted tin side fins.

- Charles Magin

120 One of the finest trout fish decoys by Harry Seymour, Lake Chautauqua, New York, 2nd half 19th century. Metal fins with leather tail which includes classic paint scalloping at tips. Painted tack eyes with yellow decorated gill paint in front of a carved gill. Carved mouth and line tie that is drilled through the top of back. Intensely complicated single scale dot painting over blended yellow, green, and black sides. Measures 7.75” long. A few tiny spots of paint loss at bottom of fins, one eye and around line tie hole, otherwise excellent.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Great Lakes Decoy Interpretations”, Gene and Linda Kangas, pg. 261 exact decoy pictured. (12,000 - 18,000)

(8,000 - 12,000)

121 Incredible fish spearing decoy, Harry Seymour, Bemus Point, New York, Lake Chautauqua, 1st quarter 20th century. An exceptional piece of American folk art, the only piece known of its kind. The head and face of the fish are carved to represent Seymour’s son, Lucius. Carved nose and mouth detail with painted eyes and hair.. Inserted leather tail with metal fins. Line tie that runs through back of body. Measures 7.5” long. Small amount of paint loss at belly weight.

121a Early fish decoy, Lake Chautauqua, New York, last quarter 19th century. Maker unknown. Carved gill with tack eyes, metal fins, and classic leather tail. 7” long. Original paint that appears to have been strengthened by a coat of white along underside; leather tail has been strengthened with glue around edges and possibly reattached. Literature: “Beneath the Ice,” Steven Michaan, p. 58, exact fish pictured.

(6,000 - 8,000)

122 Fine fish decoy, lake Chautauqua, New York, last quarter 19th century. Delicately carved eyes with line tie running through center hole in body. Carved mouth and gills with metal fins and leather tail. Measures 6.5” long. Thin original blue and white paint protected by a light coat of varnish that has slightly yellowed, mostly on underside. Decoy remains in excellent condition.

(2,500 - 3,5 00)

123 Fish decoy, Lake Chautauqua, New York, last quarter 19th century. Trout with tack eyes, carved gills and mouth. Metal fins and leather tail. Line tie runs through hole in back. Measures 7” long. Fine original paint of a blended green with yellow, black, and red dots; blemish where paint has been disturbed at top of one side of back and area near tail.

(3,500 - 5,500)

124 Fish decoy, Lake Chautauqua, New York, last quarter 19th century. A trout with tack eyes with carved gills, mouth. Line tie through back. Metal fins and leather tail. Muted greenish gray color with heavy decorated sides with miniscule dots in red, black, and yellow colors. Measures 6.5” long. Leather tail is stressed where it attaches to body; some flaking on underside; strong original paint with light in use wear.

(4,000 - 6,000)

125 Long fish decoy, Lake Chautauqua, New York, last quarter 19th century. Trout with tack eyes, carved mouth, and gills. Quite long for Chautauqua fish. Measures 12” long. Excellent original paint; little flaking at tail and a few small rubs from light wear.

(3,000 - 5,000)

126 Perch fish decoy, Lake Chautauqua, New York, last quarter 19th century. Tack eyes with carved gills. Dot decoration from midline to lower belly. Measures 5.5” long. Original paint with light wear, the absence of a line tie would indicate line was tied directly to the fish which is seldom seen.

(1,000 - 2,000)

127 Fish decoy, Lake Chautauqua, last quarter 19th century. Tack eyes with leather tail. Red and white paint decoration with dots running along lower side. One of the smallest Chautauqua fish decoys we have seen. Measures 4” long. Moderate in use wear with thin original paint. (600 - 800)

128 Trout fish decoy, Lake Chautauqua, New York, last quarter 19th century. Metal fins with wooden tail. Multi colored green pattern on sides, with yellow painted gill marks. Tack eyes, carved gill and mouth. Measures 7.5” long. Original paint with moderate to heavy wear; which has exposed bare wood, mostly along top of back.

(600 - 800)

129 Fish decoy, Lake Chautauqua, New York, last quarter 19th century. Copper, metal fins with leather tail. Decoration of chip carving is often attributed to the work of Native American

carvers. Tack eyes with carved gills and line tie running through center of body. Measures 8” long. Worn original paint; front two fins have either been resecured or replaced; visible in use wear.

(300 - 500)

130 Fish decoy, Lake Chautauqua, New York, last quarter 19th century. Made with all copper fins, tack eyes, carved mouth and gill. Unusual hardwood, and not cedar, construction. Measures 9” long. Old paint, much of which appears to be original; one spear mark on the side; moderate in use wear.

(400 - 600)

131 Large and impressive two sided trade sign, Oscar Peterson, Cadillac, Michigan, 1st half 20th century. Carved eyes. Peterson’s trap tag attached at tail. Two holes drilled in underside for mounting.

Measures 36” long. Original paint protected by a coat of wax or varnish; some flakes, mostly along top of back; a few small chips and rubs where paint is missing; fairly even amount of tight crazing.

(25,000 - 35,000)

132 Large sucker fish decoy, Oscar Peterson, Cadillac, Michigan, 1st quarter 20th century. Measures 10” x 2” x 1.25”. Painted eyes with metal fins. A rare fish at 10” in length. Original paint that has had a wash of gray removed; chip to the lower side of tail has been professionally restored.

(3,500 - 5,500)

133 Perch fish decoy, Oscar Peterson, Cadillac, Michigan, 2nd quarter 20th century. Tack eyes with metal fins. Measures 7” x 1.25” x .75”. Original paint with moderate in use wear; rough edges at tail; some chips and flaking.

(800 - 1,000)

134 Perch fish decoy, Oscar Peterson, Cadillac, Michigan. Metal fins and tack eyes. Measures 7” x 1.25” x .75”. Original paint with moderate in use wear; paint loss at fins; additional hole drilled into back has been filled and touched up; touchup along top of head near eyes; chip at tail.

(800 - 1,000)

135 Brook trout fish decoy, Oscar Peterson, Cadillac, Michigan. Domed tack eyes. Metal fins. Measures 6.75” x 1.25” tall x 7/8” wide. Strong original paint protected by a heavy coat of varnish; some very tight cracks on side of body; small gouge in one side of tail.

(800 - 1,200)

136 Fish decoy, Alton “Chubb” Buchman, Mt Clemens, Michigan. 3rd quarter 20th century. Sucker with glass eyes, metal fins, and wooden tail. Cross hatch painting. Measures 17” long. Excellent and original.

Provenance: George and Miriam Van Walleghem collection. (800 - 1,200)

137 Drum fish decoy, Alton “Chubb” Buchman, Mt Clemens, Michigan, 3rd quarter 20th century. Glass eyes with metal fins and wooden tail. measures 10” long. Mint.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 68.exact fish. (500 - 800)

138 Frog fish decoy, Justin “Jed” Blain, Lake Michigan, Michigan, circa 1960. Carved eyes with well sculpted body. Measures 6” long. Strong original paint protected by a coat of varnish; one small chip near mouth; chip of paint missing from front of mouth and right foot.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p.g 67 exact decoy pictured. (800 - 1,200)

139 Group of four frog spearing decoys. One is signed “Green frog FJB” for Floyd J. Bruce, Gaylord, Michigan, two others appear to be old but were probably made in the 1970s. the largest is a legitimate spearing decoy and measures 5”. Original paint with some flaking.

Provenance: George and Miriam Van Walleghem collection. (300 - 400)

An amazing mobile made from 11 Leroy Howell fish decoys. Stretches nearly 6’ in length. All fish are very good and original.

Provenance: George and Miriam Van Walleghem collection. Purchased directly from Ron Adamson shortly after he found all of the Howell fish decoys. George and Miriam would have hired someone to make this piece probably in the mid 1980s. (6,000 - 8,000)

141 Large and rare walleye fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. Red head, and red painted metal fins with scaled body. Measures an impressive 10.75” long. Strong original paint with loss around belly weight on underside. (1,500 - 2,000)

142 Large walleye fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. Red and white, with red painted fins. Measures 10” long. Strong original paint; with a coat of varnish that has darkened slightly. (600 - 800)

143 Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. Red and white body. Measures 8.5” long. Some rusting at top of back and tail area; moderate in use wear. (400 - 600)

144 Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. Orange and black eye with gold painted body and tail. Measures 8” long. Tarnished fins with light wear on body. (400 - 600)

145 Fish decoy, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. Flower fish decoration of red, white, and black over a natural finish. Measures 5” long. Fins and body both show mild wear. (400 - 600)

146 Two fish decoys, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. A yellow, white, and black and a red, white and black. Both measure 6.75” long. Both are very good and original; red fish is missing paint on one fin. (400 - 600)

147 Black and white fish decoy, Leroy Howell, Hinkley, Minnesota. Inlayed belly weight and carved eyes. Measures 7.25” long. Original paint with a thin coat of varnish; tail and tops of side fins with moderate tarnishing; black paint added to underside of fins. (500 - 800)

148 Two fish decoys, Leroy Howell, Hinkley, Minnesota, 2nd quarter 20th century. One is white, black, and gold and one is white, black, and green. Longest measures 5.5”. Both have light wear; gold fish has tarnished fins. (400 - 600)

149 Sturgeon sizer spearing decoy, possibly Wisconsin. As most were found there. Tack eyes with applied metal fins and wooden tail. Measures 36” long. Appears to have multiple coats of paint; repair to the lower portion of the tail; rubs and some crazing; probably weighs 15 lbs.

Provenance: Deaccessioned form the American Folk Art Museum. (1,000 - 1,500)

150 Fish decoy, unknown maker. Sturgeon from Wisconsin, 2nd half 20th century. Carved body and tail, with applied copper fins. Nine drilled body weights in belly. Glass eyes. Line tie is an eye hook that has been moved along the top of the body, probably to stabilize in different river currents. Measures 22” long. Original paint protected by a coat of varnish; rough area at bottom tip of tail; light wear and some small areas of staining on underside.

Provenance. Deaccessioned form the American Folk Art Museum. (500 - 1,000)

151 Sturgeon fish decoy from Wisconsin, 2nd half 20th century. Appears to have been used. Glass eyes. Metal applied fins. 28” long. Some slight seam separation where laminates were glued; small area of damage with wooden piece missing at tail; some discoloration, probably blood, from a successful spearing trip. (300 - 500)

152 Four ice fishing spears, various types. Two have seven tines, one has five, and other three. Longest measures 46”, and is painted green. The three largest were probably used on Lake St Clair for Muskey spearing. All are probably 1st quarter 20th century.

Provenance: George and Miriam Van Walleghem collection. (600 - 800)

Mason Decoy Factory

1896 - 1924 | Detroit, Michigan

Detroit, Michigan, 1st quarter 20th century. Hollow carved premier grade with wide spoon bills. Measure 13” long. Original paint with very minor gunning wear; hairline crack along hen’s back; minor separation and flaking at hen’s neck seat. (5,000 - 7,000)

153 Pair of bluebills, Mason Decoy Factory

Shaw was born into great wealth. A member of the city’s post-revolutionary elite, his grandfather, Robert G Shaw (1776 – 1853) became one of the richest men in Boston by way of his lucrative maritime trade and real estate investments. Shaw Jr’s father Quincy Adams Shaw (1825 – 1908) utilized his family’s inheritance to become the largest single shareholder in the Calumet and Hecia mine in Michigan, the richest copper mine in the world. His mother was the daughter of noted scientist Louis Agassiz and the family was noted for their philanthropy and an extensive art collection, much of which is now in the Museum of Fine Art, Boston. Shaw Jr followed in his father’s footsteps by becoming a mining engineer, Harvard class of 1883. In 1896, he married Philadelphia socialite Sarah Pemberton and he assumed control of the family business after his father’s death. He would ultimately expand the mining interest by becoming treasurer of North American Mines Inc. Shaw Jr had one son, Quincy Adams “Quinny” Shaw III (1897 – 1987)

who continued the family tradition by graduating Harvard, class of 1919, and becoming president of North American Mines . Both father and son lived comfortably with the assistance of large domestic staffs in Boston’s prestigious Back Bay. The family had an estate in Beverly, north of Boston as well as a 4.5 acre parcel of land on the marsh in Eastham, MA (Cape Cod). Here the Shaws were able to relax and enjoy some respite from the complex Boston business and social scenes. The camp was named Nauset House and hosted the families on many a pleasant duck hunt. The rig apparently consisted of high-grade Masons as well as a group of special-order black ducks by Joseph Lincoln. Following in the long history of philanthropy in the family, the land was donated to the Eastham Conservation Foundation by the descendants of “Quinny” Shaw and his wife, Marjory Bacon Cheney Shaw. Birds with the Q.A. Shaw brand have previously been wrongly attributed to a (seemingly) mythical Quentin A. Shaw of Eastham.

154 Merganser drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade with snakey head style and extended crest. “Q.A. Shaw” deeply branded on the underside for Quincy Adams Shaw. Measures 17” long. Thick original paint with very minor wear under an early coat of varnish; drying crack along the underside.

(10,000 - 14,000)

155 Merganser hen, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade with snakey head style and extended crest. Measures 17.25” long. Original paint with very minor gunning wear under an early coat of varnish; old dent on top of head; much of the paint on the underside has flaked to bare wood; two hairline cracks along underside; hairline “in the making” filled crack along back.

(8,000 - 12,000)

156 Bufflehead, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Standard grade, glass eye model. A rare species to find in this model and condition. Measures 12” long. Strong original paint with minor gunning wear under a coat of varnish; a few small dents and shot marks; most of the neck filler has flaked away with a small amount of glue visible at neck seat.

(3,500 - 4,500)

156A Rigmate pair of mallards, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade with incised bill carving and glass eyes. Measure 16.75” long. Original paint with very minor wear; hen was lightly hit by shot; hairline cracks in base of each neck; professional repair to a chip in end of drake’s bill otherwise both are untouched and original.

(1,500 - 2,500)

157 Excellent black duck, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Hollow carved, premier grade with relief bill carving and glass eyes. “Premier” ink stamp on the underside. Decoy was never weighted. Measures 17.75” long. Strong original swirl paint with very minor wear; minor separations and roughness at small knots; a few minor dents; very minor flaking to filler at neck seat; small chip in tail was reset with two tiny pieces missing.

(2,500 - 3,500)

158 Redhead drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Hollow carved, premier grade with relief bill carving. “S B. Gavitt” branded on the underside. Measures 14.75” long. Original paint with minor wear; shot strike in one side near neck seat; small area of flaking on lower edge under tail.

(2,500 - 3,500)

159 Pintail, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Hollow carved, premier grade with snakey head style. “RR” carved in the underside. “CWY” stamped into the lead weight. Measures 18.75” long. Original paint with moderate gunning wear; old crack through neck with some minor chipping at the base with old filler added; old coat of vanish was cleaned off the decoy with some white overpaint taken off lower sides and gray overpaint taken off the bill; a few small shot marks; minor roughness on tip of tail.

(2,000 - 3,000)

160 Bluewing teal drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Rare, hollow carved challenge grade with incised bill carving and glass eyes. Measures 12” long. Original paint with minor to moderate wear; under a thin coat of varnish; dent and hairline crack in back; very small wooden patch added to where small knot fell out of tip of tail; some touchup near each wing patch.

(2,500 - 3,500)

161

Provenance: Davis Pearson collection.

Literature: “Mason Factory Decoys,” Russ Goldberger and

(3,000 - 5,000)

a professional replacement.

Provenance: Davis Pearson collection. (6,000 - 9,000)

161 Excellent robin snipe, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Glass eye model with iron bill. Thick sponge paint feather detail. Measures 10.25” long. Original paint with very minor wear; tight crazing to an old coat of varnish; excellent structurally.

Alan Haid.

162 Early willet, Mason Decoy Factory, Detroit, Michigan, circa 1900. Rare wooden bill model with glass eyes. Measures 13” long. Original paint with very minor wear; a few tiny dents and shot marks; four filled shot holes with touchup on one side and back; bill is

162

163 Short bill dowitcher, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Tack eye model with iron bill. Measures 10” long. Original paint with very minor wear; a few small dents in heart wood on underside with small amount of touchup in that area; flaking to the original paint on bill.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 4,000)

164 Dowitcher in winter plumage, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Tack eye model with iron bill. Measures 10.75” long.

Original paint with very minor wear; off white paint rub along one side; some flaking to the original paint on bill.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 4,000)

165 Yellowlegs, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Tack eye model with iron bill. Measures 12.25” long. Original paint with very minor wear; old chip at back of stick hole; small amount of old filler added where bill meets face.

Provenance: George and Miriam Van Walleghem collection. (2,000 - 3,000)

166 Rare pair of bluewing teal, Evans Decoy Factory, Ladysmith, Wisconsin, 2nd quarter 20th century. Standard grade with glass eyes and detailed scratch feather paint. Factory ink stamps on the underside. Measure 14.25” long. Original paint with very minor gunning wear; a few minor dents; otherwise excellent structurally.

Provenance: Herb Desch collection.

Literature: “Decoys of the Winnebago Lakes,” Ronald Koch, p. 124, exact decoy pictured. (8,000 - 12,000)

167 Black duck, Evans Decoy Factory, Ladysmith, Wisconsin, circa 1920s. Mammoth grade with relief bill carving and glass eyes. Outstanding, fine scratch feather paint detail. Factory ink stamp on the underside. Measures 18” long. Original paint with minor gunning wear; two small spots down to bare wood on one side; hairline crack along underside, otherwise excellent structurally.

Provenance: Herb Desch collection. (1,200 - 1,800)

168 Pair of mallards, Evans Decoy Factory, Ladysmith, Wisconsin, 2nd quarter 20th century. Mammoth grade with relief bill carving and comb feather paint detail on hen. Drake with factory ink stamp on underside. Measure 18” long. Original paint with minor to moderate wear; small dents; small chip in tip and roughness along one edge of drake’s bill; reglued cracks in hen’s neck; some roughness on edge of hen’s bill. (800 - 1,200)

169 Coot, Evans Decoy Factory, Ladysmith, Wisconsin, 2nd quarter 20th century. Standard grade with glass eyes. Factory ink stamp on the underside. Measures 13.5” long. Original paint with minor gunning wear; small dents and shot marks.

Provenance: Herb Desch collection. (800 - 1,200)

170 Rare pair of bluewing teal, Evans Decoy Factory, Ladysmith, Wisconsin, 2nd quarter 20th century. Standard grade with scratch feather paint detail and glass eyes. Measure 14” long. Original paint with minor wear; a few minor shot marks; hairline crack along the underside of hen; seam around drake’s neck where crack was tightened; the underside of each with a later coat of orange paint.

Provenance: Herb Desch collection. (6,000 - 9,000)

The decoys recognized as representative of the “Toronto Flats” school are among the finest of the many wonderful decoys to come out of Canada. The leading carvers credited with creating this style were George Warin (1830 – 1904), John R. Wells (1861 – 1953), and Tom Chambers (1864 – 1950). Another early craftsman, although less widely known, was David Ward (1839 – 1905). He was a contemporary of Warin and was certainly extremely influential in the development of the style. The exceptional decoys produced by these men, while each being unique in their own right, are characterized by a few common traits. The majority are hollow with thin bottom boards. They possess fine form with realistically carved heads, and they are finished with wonderfully painted surfaces exhibiting fine combing and well blended feather painting.

These men were friendly with or at least familiar with each other and their work. The earliest were Warin and Ward. Warin, along with his brother, was a boat builder on the Toronto waterfront. George Warin was a member of the St. Anne Club on the St. Clair Flats and also a founding member of the St. Clair Flats Shooting Company in 1874. The brothers sold decoys and boats to members of the elite clubs and sportsmen of the day. David Ward was a pawn broker in Toronto who was an avid waterfowler who, along with Warin, was a member of the St. Anne Club. Apparently, he carved primarily for his own use and, therefore, his work

Toronto School | Flats Geese

Flats geese are exceedingly rare. Phineas Reeves, John Reeves, Tom Chambers, George and/or James Warin geese all date from the 1860s through to the early 1900s and were primarily used at prestigious waterfowl hunting clubs in Ontario Canada. These geese exemplify the qualities that make these “Flats Decoys” so sought after, their features so compelling.

is quite rare. John Wells was, like the Warins, a boat builder on the Toronto shoreline. He, too, sold decoys to members of prestigious clubs ranging from those on Long Point to those on the St. Clair Flats, and he was often a guest at these clubs. Tom Chambers, like Wells and Warin, was from Toronto, and he hunted the local waters as a young man. In the latter 1800s, he moved to Wallaceburg and Walpole Island to manage the St. Anne Club for his friend George Warin. Eventually, he was to become manager at the St. Clair Flats Shooting Company, and he is known to have carved decoys for members of the clubs.

The realistic, stylish, functional, and aesthetically pleasing decoys produced by these men were very well represented in the huge rigs of wooden lures assembled at the various clubs along the shore. Members of these clubs were wealthy and influential, and they could afford and, thus, purchase decoys from the very best carvers of their day. Many of these birds in collections today are branded with club member’s brands. All were eagerly sought after in their working life, and the best are coveted today and are represented in the finest collections in both the United States and Canada.

John Reeves

1860 - 1896 | Toronto, Ontario

171 Canada goose, John Reeves, Toronto, Ontario, last quarter 19th century. Hollow carved with .25” bottom board and reared back head with tack eyes.

“F.B.G.”, “H.N.T.”, and “Meredith” branded on the underside. Measures 21.5” long. Original paint with moderate flaking and wear; surface has darkened with age; tight crack through neck; old nails and filler added to a defect in wood on one side of the breast with very old inpainting.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Waterfowl Decoys of Michigan and the Lake St. Clair Region,” Clune Walsh and Lowell Jackson, exact decoys pictured plate 12. (20,000 - 30,000)

John Cooper Reeves was the eldest son of Phineas Reeves (1833-1896) who was the patriarch of three generations of decoy carvers, boat builders, duck guides, and club managers.

John Reeves was the first bookkeeper of the Long Point Company, which was established in 1866 as a prestigious hunting club on the North Shore of Lake Erie in Ontario, Canada. Working at Long Point with his father Phineas, the father/son team guided and made decoys for club members. They used the same patterns, and their decoys were very similar. John made teal, black, mallard, pintail and goose decoys.

In the late 1880s, John moved to the St. Clair Flats Shooting Company (established as a hunting club in 1874) as the club manager. The club is often referred to as The Canada Club and/or The Toronto Club.

In the early 1890s, John Reeves made a small rig of “Flats Geese” for St. Clair Flats Shooting Club member Howard G. Meredith. John Reeves death in 1896 at the age of 36 obviously contributed to the rarity of his Flats decoys. Many “Flats” decoy collectors believe these “Meredith Geese” to be John Reeves’ finest work. Some believe these strikingly handsome goose decoys with their swept back necks, full stylish head position, long elegant thin tails, and wonderfully rich, blended paint detail are the finest Toronto School Flats Geese.

This John Reeves “Meredith Goose” is branded “MEREDITH” and was acquired in the early 1970s directly from the St. Clair Flats Shooting Company by Judge Harry Seitz and Bernard Crandall of Michigan.

172

Canvasback, John R. Wells, Toronto, Ontario, 1st quarter 20th century. Hollow carved, short body model. Branded “H.N.T.” and “Meredith” on the underside. Measures 15.5” long. Original paint with minor flaking and wear; tight drying cracks in breast, with an old nail added to one side to secure; minor roughness on edge of bill; small amount of touchup to flaking on back.

Provenance: George and Miriam Van Walleghem collection. (6,000 - 9,000)

173 Very rare pair of mallards, John R. Wells, Toronto, Ontario, 1st quarter 20th century. Hollow carved, long body models. Branded “JRW Maker” on the underside. Measure 16.75” long. Original paint with moderate wear under a thin coat of varnish; significantly hit by shot; old chip and minor roughness on edge of drake’s tail; cracks in one of hen’s eyes.

Provenance: George and Miriam Van Walleghem collection.

(12,000 - 18,000)

Thomas Chambers

1864 - 1950| Toronto, Ontario

174 Excellent Canada goose, Thomas Chambers, Toronto, Ontario. Hollow carved with .25” bottom board. “Thos. Chambers Maker” branded in underside. Also “P.H.D.” for St. Clair Flats Shooting Company member Paul Harvey Deming. Measures 22” long. Original paint with moderate flaking and wear; layer of olive green paint added to underside and around lower edge to seal the bottom board seam; loss at a small knot in one side of back; professional repair to a chip in tip and one side of bill.

Provenance: George and Miriam Van Walleghem collection. (20,000 - 30,000)

Thomas Chambers, seated second from right.

Thomas Chambers was a highly skilled waterfowl hunter from Toronto, Ontario who as a young man hunted the Toronto waterfront and surrounding area centered on Ashbridges Bay.He moved to Wallaceburg and the Walpole Island “Flats Marshes” in the mid 1880’s to manage the St. Anne’s Club for George Warin and David Ward after they left the St. Clair Flat’s Shooting Co. “SCFSC” Canada Club. He moved to the “SCFSC” to become manager there on the recommendation of George Warin in 1900. (John Reeves worked there until his untimely death in 1896)Chambers was a rugged individual over 6 feet tall, nicknamed “King Tom” apparently for his dictatorial style when dealing with native Canadian guides, and would for the next 43 years manage the Club, one of Canada’s finest and most prestigious hunting clubs. Most importantly to collectors, Chambers carved many decoys including his Flats/Toronto School geese for the wealthy sportsmen of the “SCFSC” who hunted the vast St. Clair marshes.

175

Toronto, Ontario, 1st quarter 20th century. long body style. Branded “AH Buhl” on the underside. Measures 17.5” long. Original paint protected under a thin coat of varnish, shows minor discoloration and wear; minor flaking to filler at a small knot near tail; hairline crack in neck; chip at base of neck.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

176

Toronto, Ontario, 1st quarter 20th century. Hollow carved, long body style. Branded “B.S. Warren” on the underside. Measures 17” long. Original paint under a thin coat of varnish; with minor to moderate gunning wear; lightly hit by shot; minor flaking and separation at an in the making wood patch on back; hairline crack in one side of neck.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

Canvasback, Thomas Chambers,

Canvasback hen, Thomas Chambers,

Original paint with minor wear; filled drying crack in hen’s back and tail with touchup; overpaint on drake’s back and sides taken down to the original; thin coat of varnish on each bird.

Literature: “Top of the Line Hunting Collectibles”, Donna Tonelli, pg. 126, exact decoys pictured. (5,000 - 8,000)

177 Pair of redheads, Thomas Chambers, Toronto, Ontario, last quarter 19th century. Hollow carved with .25” bottom board and reared back heads. “Thos. Chambers Maker” branded on the undersides. Drake with “P.H.D.” branded and “P.H.Deming” stenciled on the underside. Hen also branded “J.T. Mcmillan”. Measure 15.25” long.

178 Greenwing teal drake, Charles Reeves, Toronto, Ontario, 1st quarter 20th century. Hollow carved with .25” bottom board and tack eyes. “G.M.R.” brand on underside. Also branded “R. Winthrop”. Measures 11.25” long. Original paint with moderate discoloration and minor wear; early second coat on the underside; minor separation on one side of neck seat otherwise very good structurally.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

179 Redhead, George Warin, Toronto, Ontario, last quarter 19th century. Solid body model with round inlayed lead weight. Branded “AH Buhl”, “Mills”, and “F H Walker”. Measures 14.25” long. Original paint with moderate discoloration from an early coat of varnish and minor wear; small dents and shot marks; hairline crack in bill.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 4,000)

180 Canada goose, George Warin, Toronto, Ontario, last quarter 19th century. Very thinly hollowed with .25” bottom board. “CHC”, “T”, and “F.H.Walhs” branded on the underside. Measures 21.5” long. Original paint with moderate gunning wear; cracks in neck and neck seat; very old second coat of white on head.

Provenance: George and Miriam Van Walleghem collection. (15,000 - 25,000)

182 Black bellied plover, Toronto Harbor, Ontario, last quarter 19th century. Large shoe botton eyes and wire legs. Measures 10.25” long. Original paint with minor gunning wear; small tail chip missing; lightly hit by shot; bill is slightly blunted; wooden base is a professional replacement by Russ Allen.

(5,000 - 8,000)

181 Excellent little hooded merganser from eastern Ontario, circa 1930. Slightly turned head with extended carved crest and tack eyes. Comb feather paint detail on back. Two inlayed round lead weights on the underside. Delicate thin bill carving that has never sustained any damage. Measures 11.5” long. Original paint with minor to moderate gunning wear; shot strike in top of crest; small flake in front of neck seat; short hairline crack in tail.

(5,000 - 8,000)

182a

182a Very rare ruddy turnstone from Toronto Harbor, last quarter 19th century. Mounted on the original wire legs. Measures 9” long. Original paint that has darkened with age and showing minor wear; white overpaint was taken off of lower part of decoy; professional repair to 1/3 of bill by Cameron McIntyre; very lightly hit by shot

Provenance: Davis Pearson collection.

(1,500 - 2,500)

182

183 Extremely rare stickup wood duck hen, from Ontario, 1st quarter 20th century. Excellent form with raised neck seat and reared back head. Inlayed lead weight on the underside for use as a floater. Also has .5” hole in the underside for use as a stickup. “G.R.V.” painted on the underside. Measures 12.5” long. Decoy is in a mix of original and early touch up including the bill and areas on the back and tail; lightly hit by shot with some shot strikes filled with unpainted filler; other shot strikes only visible under X-ray were filled and painted over; other than a few shot strikes the structurally condition is outstanding.

Provenance: Ex Charlie Hunter III collection. George and Miriam Van Walleghem collection. (8,000 - 12,000)

John Tax

1894 - 1967 | Osakis, Minnesota

Minnesota’s best known decoy maker worked in a variety of occupations, one of which was as a harness maker. Access to, and proficiency with this trade’s tools, enabled him to easily make a number of canvas-covered decoys. He also carved a smaller number of wooden floating decoys of various species, including a number of teal and a handful of wood ducks. His lasting fame, however, rests squarely on his magnificent standin g, full bodied, field decoys. These were constructed in a small workroom off the kitchen in his home on the shore of the Lake. Due to his frugality and the availability of materials, these were constructed of vertically (or seldom horizontally) laminated body outlines which were then laboriously “hollowed out” by removing the inner sections with a coping saw. He apparently made no two of these decoys exactly alike and varied the head and neck positions to accurately mimic the appearance of a feeding flock of live birds. These were made in a lesser number of species, with Canada and snow geese predominating. He also made a small number of mallards, one black duck and one speckled bellied goose. In 1970, an attempt was made to document his body of work. At that time, 84 decoys by his hand were known, 80 of which are pictured in the small booklet “The Last of the Prairie Carvers”. This only known black duck is pictured twice in this publication, plates 31 and 32.

Decoys of this type were not produced by very many carvers regardless of the hunting region and they are, vastly outnumbered by their floating counterparts. Of the few sportsman/artists that did produce these full-bodied attractors, Tax’s geese, and especially his ducks, have been universally applauded as being among the finest of their kind to emerge from anywhere in North America.

184

Exceedingly rare and possibly unique standing black duck, John Tax, Osakis, Minnesota. Stick up style, made for use in the field. With typical laminate construction body and snuggle head. Measures 17.75” long. Original paint with fine crazing throughout; moderate flaking and wear; minor separation at laminate seams.

Provenance: George and Miriam Van Walleghem collection.

Literature: “The Last of the Prairie Carvers”, plates 31 and 32, exact decoy pictured. “Great Lakes Decoy Interpretations”, Gene and Linda Kangas, pg. 230 exact decoy pictured twice, showing both sides of the decoy but with one photo flipped so both views have the decoy facing left.

(40,000 - 60,000)

185 Rare coot, Ollie Gunderson, Ashby, Minnesota, 2nd quarter 20th century. Slope breast carving and slightly upswept tail. Measures 12.25” long. Early second coat of paint with minor gunning wear; lightly hit by shot; slight separation at neck seat. (1,200 - 1,800)

186 Rare bluewing teal, John Tax, Osakis, Minnesota, 2nd quarter 20th century. Tucked head with carved eyes and raised wingtips. Measures 13” long. Original paint with minor gunning wear; lightly hit by shot; minor roughness and a small chip in tip of tail; Tax used quite a bit of filler to smooth imperfections in wood.

Literature: “Last of the Prairie Carvers,” published 1970, plate 15, exact decoy pictured. (1,200 - 1,800)

187 Rare bluebill, John Tax, Osakis, Minnesota, 2nd quarter 20th century. Relief wingtip carving and carved eyes. Scratch feather paint detail. Measures 13” long. Original paint with minor discoloration and wear; hairline separation at neck seat, otherwise very good structurally.

Literature: “Last of the Prairie Carvers,” published 1970, plate 28, exact decoy pictured. (1,200 - 1,800)

188 Canvas

and

2nd quarter 20th century. Canvas decoys with tack eyes and lead weights. Measure 13” long. Original paint with moderate flaking and wear; lightly hit by shot; a few spots of touchup on mallard. (800 - 1,200)

(800 - 1,200)

190

2nd

construction. Mallard and

over

with the original metal tags. Pintail’s metal tag is a later replacement. Measure 23.5” to 25”. Original paint with moderate discoloration and wear; some losses to filler on canvasback and pintail; hairline drying cracks; old repair to a chip in mallard’s bill tip.

(1,200 - 1,800)

mallard

bluebill, John Tax, Osakis, Minnesota,

Three flying decoys, Tuveson Manufacturing Co, St. James, Minnesota,

quarter 20th century. Includes a pintail, mallard, and canvasback. All with canvas

wire wing

canvasback

189 Bluebill, John Tax, Osakis, Minnesota, 1st quarter 20th century. Hollow carved with slightly turned head and scratch feather paint detail. Measures 12.5” long. Original paint with moderate flaking and wear; under an early coat of varnish that has also flaked and worn; very lightly hit by shot.

As a child, Les lived the life of a typical Minnesota farm boy. His father instilled in him an admiration of nature by teaching him the skills needed to become a successful hunter, trapper and fisherman. Les soon realized, however, that farming was not how he wanted to spend his life. By age 8 he began to realize that he could draw, and by age 11, he sold his first painting to a neighbor for $8. A sum that may seem menial, but it was roughly equivalent to a third of a month’s profit from the family dairy operation. This convinced his parents that there may be a future in this sort of thing for the lad, and by age 14, they enrolled him in a correspondence course from the Art Institution Inc in Minneapolis. Les dropped out of High School after his second year to begin his career in art. Initially, this meant securing any work he could, including lettering signs and painting anything from murals to trucks. In 1939, he met and married Orial Anna Thiem and they had two daughters, Pamela and Bonnie (a third daughter, Kay died in infancy). In 1944, the family purchased their own home in Minneapolis and in 1946 he opened his own small office in the Syndicate building, ‘Les Kouba Advertising Art’. His first big break came when he secured a position with Coca Cola after successfully redesigning the lettering on their signature logo. He would go on to designing the Dog Logo for Greyhound Bus, the Old Dutch windmill, and the labels for Schmidt beer.

As he labored in his own commercial studio, he longed to follow his dream of producing wildlife art, and he would spend his evenings painting memories from his rural youth. Some of these were shown at a local picture store in the downtown area, where they caught the attention of Clare Fry, the art director of a large calendar dealer. It was he who introduced Les to Ted Kesting, editor of Sports Afield magazine who commissioned Kouba to do the cover of the Oct 1950 issue, as well as illustrate the accompanying article by Jimmy Robinson. As the old saying goes – “the rest is history”.

and 1950 Sports Afield Cover

He would design additional covers for Sports Afield as well as The Saturday Evening Post, Argosy and others. In 1952, he opened The American Wildlife Art Gallery in Minneapolis and, as he became known for producing some of the most authentic portraits of wildlife in existence, the demand for his originals and prints exploded.

His work with conservation groups is legendary. He produced over 20 conservation stamps, including both the 1958/59 and 1967/68 US Federal Duck Stamps. He produced artwork for National groups such as Ducks Unlimited, Pheasants Forever, The Freshwater Society and others, as well as State Departments of Natural Resources. He was the 1982 Artist of the Year for the Wildlife Heritage foundation and his 1976 DU Artist of The Year print , “Bluebills in a lifting fog” established a new record for fundraising for that well known organization.

Orial died in 1996 and, confined to a nursing home, Les continued to paint until his death, his legacy in the world of Wildlife Art firmly established.

Kouba

American Wildlife Art Gallery

“Because I actually hunted and fished, I developed an early understanding of all the background skills necessary for my future career as a wildlife artist”.

190a Les C. Kouba (1918-1998), oil on canvas. Titled “Blues, Snows, Rain, and Barley”. Image measures 23.5” x 35.5”. Signed lower right. Title is also written on back of stretcher. Professionally framed and matted. As viewed under blacklight excellent in all respects. (1,500 - 2,500)

190b Les C. Kouba (1918-1998), oil on canvas. Image measures 24” x 35.5”. Signed lower right. Snow geese and blue geese in flight and in the field. Canadian National Railroad cars in the background. Professionally framed and matted. As viewed under blacklight painting is excellent and original; lower left edge of matting has separated slightly. (1,500 - 2,500)

190c Les C. Kouba (1918-1998), watercolor. 20” x 28”. Signed lower right. White tailed deer in winter forest. Professionally framed and matted. Excellent. (1,200 - 1,800)

Walter Pelzer 1911 - 1998 | Milwaukee, Wisconsin

If anyone was more qualified or better positioned to carve a decoy of exceptional quality, it was Walter Pelzer. He was born in Jefferson City, WI, but, by age 9, he and his parents (George, a carpenter, and Lillian) were living in Oklahoma City, Oklahoma. In his youth, Walter was fascinated with native American cultures, especially those of the great plains. He also developed a deep-seated interest in taxidermy, with his first efforts emerging as early as age 8. Through reading various pamphlets and other literature, he was soon able to progress to the point where he could charge his neighbors $15 to mount their deer heads. The family had moved back to Wisconsin by 1930 where Walt received his high school education, enrolled in the agricultural program at Fort Atkinson High School. During his high school years, he continued to demonstrate his artistic talents. His yearbook records him as being the assistant scenery manager for the class plays and describes him as: “A very good modeler here we see. Someday a sculptor famed he’ll be”. This statement proved to be rather prophetic. For a short time after graduation, he worked on his uncle’s farm and continued his postsecondary education at the State White Water Normal School, as well as attending night classes at the Layton School of Art in Milwaukee, considered one of the top five art schools in the country in its day. His desire for taxidermy, however, only grew stronger with the passage of time and, about 1932, he leaped at the opportunity for an unpaid apprenticeship at the Milwaukee Public Museum in its taxidermy department. To subsist, he had to take menial side jobs such as washing dishes. Eventually this proved untenable, and he traveled to Tennessee to seek out a paid taxidermy position. Fortune struck in 1936 when the director of the Milwaukee Public Museum offered him a paid position if he would return, which he did, ultimately becoming a full-time staff member at a salary of $125/ Mo. At the Museum, he worked under the tutelage of Owen Gromme, then the Chief Curator of the Department of Vertebrate Zoology. It was Gromme who initially got Walter interested in making decoys and it was Gromme who introduced Pelzer to his second cousin, Florence Bush.

In his new position, Walter had the opportunity to hunt in many exotic locations around the globe when the Museum would pay him to obtain exotic species and return them to the Museum for mounting and display. They also paid him to go duck hunting as well!

Eventually, Pelzer succeeded Gromme as the Museum’s chief taxidermist. After his retirement in 1972, he continued to execute mounts for private clients, including the Manitoba Museum of Man and Nature in Canada. Many consider his Milwaukee museum masterpiece to be his ‘Plains Indian Bison Hunt’ diorama which opened in 1966. This features several full-size Bison and a calf, as well as two men on horses pursuing them. All of the animals have no more than one foot on the ground – an amazing accomplishment for its time.

Pelzer befriended and hunted with Earl Voelker who had a hunting shack on Lake Puckaway. The two would often hunt the marshes there, concentrating primarily on puddle ducks, with mallards being the preferred species due to their being Walter’s preferred table fare. Walter carved the decoys, and his teal are considered rarities. A number of men at the Museum carved decoys under the WPA (Works Projects Administration), a Federally funded project to provide jobs and education in the Arts. The initial decoys in the program were designed by Warren Dettman c1939 –1943 and a unique style, now referred to as the Milwaukee School, emerged. These were typified by excellent carving and accurate anatomical detail, as well as their elaborately painted plumage. Only a small number of decoys were produced and those that remain today are considered pillars of Wisconsin’s decoy heritage.

Pelzer in the Rockies

191 Extremely rare pintail drake, Walter Pelzer, Milwaukee, Wisconsin, 2nd quarter 20th century. Relief wing feather carving and raised, crossed wingtips. Slightly turned head. “Kangas” branded in underside, also branded “JHD”. Measures 18” long. Original paint with moderate wear; moderate to significant flaking on lower half of decoy; small chip and roughness on one edge of bill; tail chip repair; flaking on head down to a brown base coat.

Provenance: Ex Gene and Linda Kangas collection. Ex James Dunham collection. Herb Desch collection.

Literature: “Decoys,” Linda and Gene Kangas, p. 162 and p. 224. “Great Lakes Decoy Interpretations”, Gene and Linda Kangas, pg. 212 exact decoy pictured. (15,000 - 25,000)

192 Bluebill hen, Warren Dettman, Milwaukee, Wisconsin, 2nd quarter 20th century. Hollow carved with 1” bottom board. Relief wingtip carving and slightly turned head. Chip carved style. “Dettman” written on underside. Measures 12.5” long. Original paint with moderate flaking and wear; hit by shot, including one that took a chip out of one side of the bill.

Provenance: Herb Desch collection.

Literature: “Top of the Line Hunting Collectibles”, Donna Tonelli, pg. 125, exact decoy pictured. (2,000 - 3,000)

193 Bluebill hen, Walter Pelzer, Milwaukee, Wisconsin, 2nd quarter 20th century. Deep relief wing carving and great form. Measures 12.75” long. Paint is a mix of original and in use repaint with moderate flaking and wear; a few small shot strikes; filled split along one side; minor roughness on edge of bill.

Provenance: Herb Desch collection.

Literature: “Top of the Line Hunting Collectibles”, Donna Tonelli, pg. 125, exact decoy pictured. (2,000 - 3,000)

structurally.

Provenance: Herb Desch collection. (8,000 - 12,000)

194 Pair of bluewing teal, Walter Pelzer, Milwaukee, Wisconsin. Hollow carved with relief wing carving and raised wingtips. Slightly turned and reared back heads. Inlayed lead weights in underside. Measure12” long. Original paint with minor wear; very small repair to blunting on tip of drake’s bill otherwise very good

195 Ring neck hen, Warren Dettman, Milwaukee, Wisconsin, 2nd quarter 20th century. Hollow carved with 1” bottom board. Relief wing tip carving and slightly turned head. Chip carved style. “Dettman” written on underside. Paper collection stamp of Clarence and Bud Menzel on underside. Measures 11.5” long. Original paint with moderate wear; white on underside and ring of bill is an early second coat; very good structurally.

Provenance: Herb Desch collection.

Literature: “Decoys of the Winnebago Lakes, Ronald Koch, p. 128, exact decoy pictured. (3,000 - 4,000)

196 Widgeon hen, Warren Dettman, Milwaukee, Wisconsin, circa 1950. Hollow carved body of laminate construction. Relief wing carving and raised wingtips. Slightly turned head. Inlayed lead weight on the underside. Measures 13.5” long. Original paint with a few very minor paint rubs; hairline separation at neck seat.

Provenance: Herb Desch collection.

Literature: “Decoys of the Winnebago Lakes, Ronald Koch, p. 128, exact decoy pictured. (5,000 - 8,000)

Museum School, 2nd quarter 20th century. Believed to have been made by Warren Dettman, Milwaukee, Wisconsin. Laminate construction bodies and heads with deep relief wing carving and crossed wingtips. Applied upswept tails. Measure 16.25” long. Original paint with moderate flaking and wear; lightly hit by shot; some roughness on tails with a crack running along the drake’s; laminate piece on each side at the base of hen’s neck are professionally replaced; professional repair to chip in tip of drake’s bill; second coat of paint on drake’s wing patches.

Provenance: Herb Desch collection.

Literature: “Decoys of the Winnebago Lakes, Ronald Koch, p. 130, exact decoy pictured. (10,000 - 15,000)

Cameron McIntyre

B.1968 | New Church, Virginia

black ducks, Cameron McIntyre, New Church, Virginia. Deep relief carving with wings slightly raised from body. Scratch feather paint detail and raised wingtips. “CTM” carved in the underside of base. Measure 18” long. A few tiny paint rubs, otherwise excellent and original. (4,000 - 6,000)

197a Pair of standing

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

199 Oversize, high-head canvasback, Cameron McIntyre, New Church, Virginia. Hollow carved, .5” bottom board and raised neck seat. Lifted and slightly turned head. Carved eyes. “CTM” carved in the underside. Measures 20” long. Made to appear older, excellent and original. (2,500 - 3,500)

198 Gadwall, Cameron McIntyre, New Church, Virginia. Influenced by premier grade decoys by the Mason Decoy Factory. Hollow carved with .5” bottom board. Slightly turned and reared back head with relief bill carving. “CTM” carved in the underside. Also “Premier” stenciled on underside. Measures 16.25” long. Excellent and original.

201 Feeding curlew, Cameron McIntyre, New Church, Virginia. Carved in the Seaford, New York style with relief wing carving and carved eyes. “CTM” carved in the underside. Measures 13.25” long. Made to look older, excellent and original. (1,500 - 2,500)

200 Excellent merganser hen, Cameron McIntyre, New Church, Virginia. Carved in the style of Albert Terry. With “AT” carved in the underside. Deep relief wingtip carving with raised neck seat and extended crest. Measures 17” long. Made to appear older, with outstanding aged paint; excellent and original. (1,500 - 2,500)

Oversize merganser, Mark McNair, Craddockville, Virginia. Hollow carved with 1” bottom board. Relief wing carving and inlayed neck seat, carved eyes, and inserted leather crest. “McNair” carved in the underside. The weight is stamped 2000. Measures 21.5” long. Made to appear older, excellent and original. (2,000 - 3,000)

202a Gull, Mark McNair, Craddockville, Virginia. Hollow carved with relief wing and raised wingtip carving. Carved eyes and rounded wooden keel. “McNair” carved in one side of keel. Measures 18.25” long. Made to appear older; excellent and original. (2,000 - 3,000)

202b Early brant, Mark McNair, Craddockville, Virginia. Hollow carved with relief wingtip carving and forward slanting neck seat. Slightly turned head. “McNair” carved in the underside. Personalized inscription carved on the underside, and dated 1977. Measures 18.75” long. Made to appear older, excellent and original. (2,000 - 3,000)

202

202a

202b

203 Pair of golden plover, Mark McNiar, Craddockville, Virginia. Thinly hollowed, with relief wing carving and raised wingtips. One with slightly turned head. Both with bone escutcheon at stick hole, and “McNair” carved in underside. Measure 12” long. Very minor paint rub on tip of one bill; very fine white spots on each.

(2,000 - 3,000)

204 Curlew, Mark McNair, Craddockville, Virginia. Relief wing carving, bone bill, and tack eyes. “McNair” carved in the underside. Measures 13” long. Excellent and original. (1,000 - 1,400)

205 Slot neck black bellied plover, Mark McNair, Craddockville, Virginia. With removable head that has a mortised neck seat. Hollow carved with relief wing carving and raised wingtips. Inlayed bone escutcheon at stick hole. “McNair” carved in underside. Measures 11.25” long. Excellent and original. (1,200 - 1,800)

206 Willet on iron legs, Mark McNair, Craddockville, Virginia. In feeding pose with relief wing carving and raised wingtips. Mounted on iron legs. “McNair” carved in the underside. Signed and dated 1998 on the underside of base. Measures 13.25” long, and stands 16.5” tall including base. Excellent and original.

(1,200 - 1,800)

207 Small dowitcher, Mark McNair, Craddockville, Virginia. Carved in the Seaford, Long Island style with relief wing carving and carved eyes. “McNair” carved in underside. Measures 8” long. Made to look older, excellent and original.

(800 - 1,200)

208 Sanderling, Mark McNair, Craddockville, Virginia. Carved in the Seaford, Long Island style with relief wing carving and carved eyes. A plump little bird, with “McNair” carved in underside. Measures 6.75” long. Made to appear older, excellent and original.

(600 - 900)

209 Feeding ruddy turnstone, Mark McNair, Craddockville, Virginia. Relief wing carving and carved eyes. In the Seaford, Long Island tradition. ‘McNair’ carved in the underside. Measures 8 1/4” long. Excellent and original. (600 - 900)

Lothrop Holmes

1824 - 1899 | Kingston, Massachusetts

Lothrop Holmes holds two very important distinctions. He is the earliest, well documented carver from Massachusetts and, he produced some of the most coveted decoys ever carved on the south shore. His mergansers are universally acclaimed as representing the finest examples of their kind from any region and, likewise, his canvas covered oldsquaws (long-tailed ducks) are recognized icons of design, utilizing this unique type of construction.

He was a simple, untrained, hardworking, individual from the rural seaside community of Kingston. The Holmes name is an early one in Town records. Originally known as the north section of Plymouth (of Mayflower fame), a petition was signed to have it cut off as a separate Town, which occurred in 1726. Two of the signers were Isaac and Joseph Holmes. In Lothrop’s time, the area was still steeped in the sights and memories of its early Pilgrim fathers.

Lothrop Holmes was born in Plympton, MA, about eight miles from coastal Kingston. As a young man, he worked in the local iron foundries. He married Elizabeth Howland Hunter in 1848 and, in 1854, the couple bought a small “half Cape” house on Main St. in Kingston. Their time here was brief and, in 1855, the couple moved to Providence, Rhode Island where Holmes spent the next decade living in the city and working in the nearby Phenix Iron Foundry. In 1870, Holmes’s mother died, and he inherited the 115-acre homestead farm in Plymouth. Over the years, the couple had four children, but all died young. With no children to inherit the family farm, the property was sold, and Holmes and his wife returned to the small Cape in Kingston. The property was located on Main St, adjacent to the Evergreen Cemetery and, at age sixty-two, Holmes was appointed to the position of trustee there. He served in that capacity for the next nine years

and for one year (1893) he served as Evergreen’s superintendent. The house was within comfortable walking distance to the Jones River, which bisects the Town. This gave Holmes ready access to the nearby marshes and tidal flats as well as an easy route to nearby Kingston Bay and its abundant waterfowl.

Holmes appears to have favored hunting sea ducks (mergansers, scoters, and old squaws) in the fall and winter and shooting a wide variety of shorebirds in the spring and late summer months. Yellowlegs, plovers, ruddy turnstones, and a plethora of other species would have been drawn to the prime habitats around late colonial Kingston. These would have been inviting targets, needing only the most rudimentary of decoys. Holmes, however, had a deep-seated artistic urge that compelled him to go far beyond what would have been necessary to merely attract the gullible birds. Surely, shorebirds were carved by others prior to Holmes, but it was he who elevated the form to its pinnacle. His paint was exceptional, and his smooth, flowing, designs resulted in a decoy far above the norm of the day. Most of his birds were carved in the traditional upright, standing pose. A very small fraction, however, were presented in a feeding or running posture which would have lent a remarkable sense of realism to the rig. These feeders must be considered among his best, as well as rarest, shorebird carvings. His exceptional shorebird decoys set the standard by which future Bay State carvers would be judged.

Lot 210 pictured as part of the Dr. James McCleery collection.

210 Rare feeding yellowlegs, Lothrop Holmes, Kingston, Massachusetts, last quarter 19th century. Carved in feeding pose with split tail carving and tack eyes. Measures 13.25” long. Original paint with very minor wear; minor flaking to paint on bill; excellent structurally.

Provenance: George and Miriam Van Walleghem collection. Ex collection Dr. James McCleery. Richard Oliver, July 1986 auction, lot 561.

(40,000 - 60,000)

Lothrop Holmes

Preening plover in winter plumage, Melvin Gardner Lawrence, Revere, Massachusetts, 1st quarter 20th century. In preening or sleeping pose with head, neck, and body carved from a single piece of wood. Slight relief wing carving with raised wingtips. Measures 9” long. Original paint with minor wear; spots on underside near stick hole have flaked down to the primer coat; a single shot strike on top of head, otherwise excellent structurally. (15,000 - 25,000)

210a

The presence of a small number of exceptional shorebirds now credited to Melvin Gardner Lawrence, has been known by the decoy community for a number of years. At some point in the 1940’s, pioneering collector Dr George R Starr became aware of a rig of 7 that had been discovered in Truro on Cape Cod. Two of these are pictured in fig 33 of his “Decoys of the Atlantic Flyway”. The maker was unknown, but their exceptional form and paint was erroneously attributed, by many, to the work of Elmer Crowell – high praise indeed. Eventually, a fortuitous tip and meeting by Ted Harmon c1997 established the maker and his story began to emerge.

Lawrence’s construction technique and painting was phenomenal for its day. He had a degree of artistic ability as evidenced by a small number of pastels that he executed in 1904, and this talent was not wasted on his shorebirds. Hardwood is not as easily worked as is the more common choice of pine or cedar found in a gunning rig but, due to its resistance to breakage, this was the material he chose for his birds. The construction and alignment of the bills, both on his uprights and sleepers, as well as the stout but accurate carving of the tails, also lent a degree of indestructability to his creations. It has been estimated that about 2/3rds of his carvings were sleepers, and the remainder were posed as uprights or runners. He is known to have made very few decoys, perhaps just a single rig, and these were for his personal

use. When these were deployed on the beach or moor, they would have presented a superb and convincingly lifelike and content attraction to incoming live birds.

Advanced collectors have always sought out the few of his carvings that have rarely become available. Dr. Starr has declared them “. . . a fine example of imaginative design . . . “. Respected Cape Cod authority Ted Harmon has written that Lawrence “Unwittingly, due to pride of craft and tremendous artistic ability, . . . left a legacy of beautifully sculptured bird decoys”. Gigi Hopkins, when writing for the Museum of American Bird Art at Massachusetts Audubon, describes his work as “ beautifully crafted” and presenting “brilliant design” . Fortunate today are those who can enjoy examples in their personal collections.

211

East

Massachusetts, 1st quarter 20th century. Split tail carving and glass eyes. This style of plover by Crowell rarely has glass eyes. Measures 9.5” long. Original paint with a few very minor paint rubs and two small shot marks, including one on edge of tail that caused a tiny chip; an excellent example.

(12,000 - 18,000)

Black bellied plover, Elmer Crowell,

Harwich,

212 Yellowlegs, Lothrop Holmes, Kingston, Massachusetts, last quarter 19th century. Deep relief wing and split tail carving. Tack eyes. Measures 11.75” long. Original paint with minor wear; a few small dents in one side; top of head was cracked off and reset with a tiny nail on top of head; professional neck crack repair; bill is a very early replacement.

Provenance: George and Miriam Van Walleghem collection. (6,000 - 9,000)

213 Turned head golden plover from Massachusetts, last quarter 19th century. Split tail carving with carrying hole drilled through tail. Head is turned back 130 degrees. Stamped “JF” near stick hole, and ink stamped “JB French” on underside of tail. Measures 10” long. Original paint that has darkened with age; minor gunning wear; small dents and shot marks; minor separation at neck seat.

Provenance: Ex Joe French collection. Davis Pearson collection. (3,000 - 5,000)

A few of these outstanding shorebirds have surfaced over the years and although we are not certain about the identity of the artist, what we are sure of, is that they were an extremely talented individual. Hollow carved and refined to a nearly eggshell thickness, this plover weights but four ounces and would have likely moved in the slightest breeze when in use. The feather detailing was applied with hundreds and hundreds of brushstrokes with some areas being blended together while the paint was still wet. Given the time, effort, and skill it would have taken to create even one of these decoys, it is no surprise that few were made and even fewer exist today.

“A man who works with his hands is a laborer; a man who works with his hands and his brain is a craftsman; but a man who works with his hands and his brain and his heart is an artist .”

Louis Nizer

214 Outstanding golden plover, Cape Cod, Massachusetts, last quarter 19th century. Very thinly hollowed with split tail carving. Outstanding feather paint detail. Measures 11.25” long. Original paint with minor wear; areas with very fine crazing; roughness on tip of wingtip; old chipping at tip of bill with a hairline crack that extends along the bill; tight crack in underside; spot near stick hole was planed down to sit flat on a shelf; some discoloration along one side of body seam.

Provenance: George and Miriam Van Walleghem collection. (30,000 - 50,000)

Provenance: Davis Pearson collection. (3,000 - 5,000)

216

touchup around piece at one side of face that was broken off and reset; retains the original bill.

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

215 Black bellied plover, George Boyd, Seabrook, New Hampshire, 1st quarter 20th century. Split tail carving and tack eyes. Measures 10.75” long. Original paint with moderate discoloration from an early coat of varnish; minor gunning wear; area of discolored substance on underside near stick hole; minor loss to one tack eye, otherwise excellent structurally.

Feeding yellowlegs from Massachusetts, 1st quarter 20th century. Big bellied shorebird with split tail carving and painted eyes. Measures 14” long. Original paint with minor discoloration and wear; ring of filler and

217 Golden plover, Nantucket, Massachusetts, last quarter 19th century. Thinly hollowed with outstanding craftsmanship. Made of four tightly joined pieces of wood, two for the body and two for the applied wings. Incised tail feather carving and extended wingtips. Measures 10.25” long. Original paint with moderate wear; protected under a thick coat of varnish that has yellowed somewhat; small area under tail with no varnish; old crack in bill secured by black string.

Provenance: George and Miriam Van Walleghem collection.

(5,000 - 8,000)

218 Golden plover from Massachusetts, last quarter 19th century. Applied wings with raised wingtips. Measures 10.5” long. Mostly original paint with old strengthening

to white; heavily hit by shot, some causing small chips; roughness on tip of tail, with an old nail added to secure chip; bill is a very early working replacement.

(2,000 - 3,000)

219 Golden plover from the Morton rig, Nantucket, Massachusetts, last quarter 19th century. Relief wingtip carving. Branded “W.S. Morton” on the underside. Also with the small stamp “JF” for the collection of Joe French. Measures 10.5” long. Original paint under a thin and early coat of varnish, shows very minor wear; hairline crack in top of head; some smoothed out chipping on edge of tail with touchup on the tail and wingtip area; bill is an early replacement.

Provenance: Davis Pearson collection. (3,000 - 5,000)

220 Extremely rare black bellied plover, Charles, E. “Shang” Wheeler, Stratford, Connecticut. Balsa body with head turned 90 degrees. Measures 7.75” long. Original paint with fine crazing and minor wear; dents and minor chipping around stick hole; old chipping on tip of tail; thin ring of touchup around neck seam.

Provenance: Davis Pearson collection.

Literature: “Shang,” Dixon Merkt. (8,000 - 12,000)

221 Curlew from Massachusetts, last quarter 19th century. Split tail carving and painted eyes. Curved hardwood bill. Measures 14” long. Original paint with moderate gunning wear; small dents and shot marks; small wooden dowel in top of head has risen slightly.

Provenance: Davis Pearson collection. (3,000 - 4,000)

223 Feeding yellowlegs, from Massachusetts, last quarter 19th century. So called “minnow in throat”, mimicking a bird in the action of feeding. Split tail carving and tack eyes. Rig mark carved in to the underside of tail. Measures 12.75” long. Original paint with significant flaking and wear down to much bare wood; heavily hit by shot; minor blunting at tip of tail.

Provenance: George and Miriam Van Walleghem collection. (2,500 - 3,500)

225 Pair of low head bluebills, Paul Lipke, Whiting, Indiana. Hollow carved with tucked heads and wide bill carving. “PL” stamped in the lead weights. Measure 13.25” long. Original paint; with minor flaking and wear; very minor separation at body seam.

(1,500 - 2,500)

226 Mallard, Bernard Ohnmacht, Lafayette, Indiana, 2nd quarter 20th century. Relief wing carving and upswept tail. Head that swivels. Measures 15.25” long. Original paint with very minor wear; under a thick coat of varnish; areas of touchup along lower edge and breast; white on wing patches and ring around neck have been touched up; professional tail repair with touchup in that area.

(1,000 - 2,000)

227 Early black duck, Mason Decoy Factory, Detroit, Michigan, last quarter 19th century. Early challenge grade model with incised bill carving and upswept tail. Decoy was never rigged or weighted. Measures 15.5” long. Original paint with minor flaking and wear; very minor roughness on edge of bill; professional tail chip repair; restoration to neck filler.

Provenance: Dan Graf collection.

(2,000 - 3,000)

229 Pair of

Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Standard grade, glass eye models. With scalloped breast paint. Measure 15.75” long. Original paint with minor discoloration and wear; most of hen’s neck filler has flaked away; most of drake’s original neck filler is intact; loss to tiny knot in tip of drake’s tail; hairline crack in hen’s bill; eyes appear to be replaced. (800 - 1,200)

230

Pintail, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Tack eye model. Measures 15.25” long. Original paint with minor wear under an early coat of varnish with moderate discoloration; chipping to the original neck filler. (800 - 1,200)

Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Standard grade, tack eye models. Hen with small, round inlayed lead weight. Hen stamped “SGH” for Somers G. Headly. Both with Loy Harrell collection ink stamps. Measure 12.5” long. Original paint with minor wear; surface has darkened slightly from age; drying cracks along drake’s underside; much of hen’s original neck filler is missing; drake with flaking and tight crack in original neck filler. (800 - 1,200)

228

Pair of bluewing teal,

canvasbacks,

231 Black duck, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Challenge grade with incised bill carving and glass eyes. Measures 16.75” long. Original paint with very minor wear; minor flaking to a tight crack in back; professional neck filler restoration; typical tail chip repair with some flaking.

(1,000 - 1,500)

232 Mallard drake, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Hollow carved, premier grade with relief bill carving and glass eyes. Tight swirl paint pattern on breast and back. “GA West” branded on the underside. Measures 17.75” long. Original paint with moderate wear; hit by shot in one side; minor roughness on edge of bill and tail; tight crack through neck. (1,200 - 1,800)

233 Pair of redheads, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Standard grade, glass eye models. “PJ” painted on underside of hen. Measure 13.75” long. Original paint with minor gunning wear; hairline cracks in body with three small nails added to back of hen; each with restored neck filler; small dents and shot marks in drake. (800 - 1,200)

234 Mallard hen, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Hollow carved, premier grade with relief bill carving and glass eyes. Measures 17.5” long. Original paint with moderate wear; under a thick coat of varnish; an earlier coat of varnish around the bottom 1.5” of the decoy with some discoloration ; underside was repainted; minor roughness on edge of tail; lightly hit by shot. (800 - 1,200)

Duck calls

235 Early rare and important duck call, James T. Beckhart, Big Lake, Arkansas. Four raised, checkered panels with silver dollar end at barrel top, often referred to as Beckhart’s “Silver Dollar model”. Reelfoot stopper which has a replaced reed and wedge block. Call measures 6.75”. Call shows light wear, evenly spaced; tone board has been sanded down and not original; with some fading around mouth piece.

Provenance: From the personal property of Howard Conrey, famous Stuttgart duck hunting guide and 1943 world champion duck calling contest winner. A rice farmer from Stuttgart who guided and was known for his exceptional calling and hunting skills.

(8,000 - 12,000)

236 Duck call, James T. Beckhart, Big Lake, Arkansas. A wonderful example. Rare smooth barrel model. With Arkansas stopper, with replaced reed and wedge block. Stamped “J. Beckhart” at top of barrel. Measures 5.5” Moderate wear with crack near Beckhart’s stamp.

Provenance: From the personal property of Howard Conrey, famous Stuttgart duck hunting guide and 1943 world champion duck calling contest winner. A rice farmer from Stuttgart who guided and was known for his exceptional calling and hunting skills.

(5,000 - 7,000)

237 Fine, unusual duck call, James D. Costner, Harrisburg, Arkansas. Costner was a close friend of John Morrow, hence the resemblence to Morrow’s work. Four raised, checkered panels with a checkered stopper and mouth piece. Reelfoot style stopper. with an old wedge block made form a different piece of wood. Call measures 6”. Light wear.

Provenance: Jim Thompson purchased this call at an estate sale of O.F. Whitner in Fredericktown, Missouri for $2.50.

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

238 Duck call, Tom Turpin, Reelfoot, Tennessee. Three ducks on barrel with an “E” on the stopper. Wedge is possibly a replacement. Measures 6.5”. Light wear.

Provenance: Jimmy Thompson collection. (800 - 1,000)

239 Duck call, Ben L. Wyatt, Littlerock, Arkansas. In 1960 Wyatt was commissioned by a Louisiana man to make 250 calls at a certain price. When they were completed the man only offered 1/3 of the agreed, price. Wyatt

responded “Ill burn them before i sell them for that.” They were both smooth and checkered his wife did the checkering. Supposedly only four calls by him are known. Arkansas stopper with plastic reed. Three checkered panels. Measures 6.25”. Very good and original.

Provenance: Jimmy Thompson collection. (500 - 800)

240 Two standard duck calls, Johnny Marsh, Nashville, Tennessee. Both appear to have all original parts. Longest measures 6.5”. Both have light wear.

Provenance: Jimmy Thompson collection. (800 - 1,000)

241 Two duck calls, Johnny Marsh, Nashville, Tennessee. Both are near mint. Reelfoot stopper, and all parts appear to be original. Longest measures 6.25”. (500 - 800)

242 Three duck calls, Clarence W. Walker, Memphis, Tennessee. The two darker calls retain original water labels, Burled call shows some wear. Larger burl calls also has some label damage. Longest measures 5.5”.

Provenance: Jimmy Thompson collection. (600 - 800)

243 Three calls, Heidelbauer. A duck and goose set made for Chuck Lathrop. “The Mallard Toller” signed and dated 1981. And a Hail call for Canada geese, signed and dated 1981. The third call reads “The Dakota Sentinel duck call”. 9 of 20 with dates 1989. Goose call measures 5.5”. All are excellent and original.

Provenance: Jimmy Thompson collection.

(800 - 1,000)

244 Four duck calls, Tennessee. Jerry Neal White, Morris Chapel, Tennessee with “JNW” carved in barrel. One signed Lloyd Hays on barrel. Call with lanyard is unsigned. And one with small water label that says David L Knox, Bartlett, Tennessee which is Arkansas style, others are Reelfoot style. Light wear.

Provenance: Jimmy Thompson collection.

(500 - 800)

245 Four duck calls and one crow call, Cub Creek. Made by Rip Fanning, Lexington, Tennessee. One duck call has water label, as does the crow call. Two are Reelfoot style, and two are Arkansas style. Call with water label has chip missing from stopper. Longest measures 6.25”.

Provenance: Jimmy Thompson collection.

(800 - 1,200)

246 Two duck calls, Mike Paul. Arkansas stopper. tight checkering on both barrel and stopper. Curtis Johnson with Arkansas style stopper. Longest measures 6”. Johnson call has wear around mouth piece.

Provenance: Jimmy Thompson collection. (400 - 600)

247 Three duck calls, Howard Hambone. All three have Arkansas style stoppers. One has a worn brass band. Longest measures 5”. All three show in use wear.

Provenance: Jimmy Thompson collection. (600 - 900)

248 Five duck calls. One Chick Majors, Dixie Mallard, new in the box. One Dixie mallard with an earlier label that shows wear and a cracked brass ring. And two calls by Jake Gartner. One has patent pending information. One Perry Wade, Memphis, Tennessee, with Reelfoot style stopper that measures 6”.

Provenance: Jimmy Thompson collection. (800 - 1,000)

249 Five duck calls, by various makers. One made by Reid Threadgill, Lexington for Dessini Graves of Henderson Tennessee. One largest call by Nat Porter, Bogota, Tennessee. One unknown. One by Joe Swinger, Memphis Tennessee. Arkansas style and one by Wild Bill Fann Lavergne, Tennessee. Mint and unused.

Provenance: Jimmy Thompson collection. (800 - 1,000)

250 Duck call, John Yasger, Horicon, Wisconsin. With reelfoot style stopper. Measures 6.75”. Appears to be all original; shows light wear. (800 - 1,200)

251 Duck call, John Yasger, Horicon, Wisconsin. Reelfoot style stopper. Measures 5.75” long. All parts appear to be original; light wear; structurally good. (800 - 1,200)

252 Five duck calls, Trutone, Oak Park, Illinois. All are stamped on barrel. One has red painted around barrel. All others are plain. Calls are accompanied by an instruction manual from L.C. Larson. And three marked call bags. Longest measures 6.5”. All appear to be original; light in use wear. (400 - 600)

253 Checkered duck call, Glynn Scobey. Reelfoot style call with four checkered panels. Some varnish wear from light use. Measures 6.5”. (300 - 500)

254 Two checkered calls, Earl Dennison. Both have E. D. stamped in barrel, have three checkered panels. Longest measures 6.5”. Very good and original. (400 - 600)

254a Two calls. Crow call by Charlie Perdew made from cedar. Measures 5”. Shows moderate wear. Ebony duck call by Terry Norris, with inset bone diamonds. “T.N.” carved in wedge block. Also signed on stopper. Measures 6”. Near mint. (200 - 400)

254b Checkered duck call, Glynn Scobey. All parts appear to be original. Measures 6.5”. (300 - 500)

255 Carved wooden trout creel, Emile Robichaud, Medway, Maine. Fitted wood slat construction with two leaping trout carved into front. Fish form leather hinges attaching the lid that is painted with a dry fly and pinecone. Signed and dated MCMLXXX for 1980 on the underside. Measures 14.75” wide, and 7.75” tall. Very minor rubs, otherwise excellent and original.

(1,000 - 1,500)

256 Carved wooden trout creel, Emile Robichaud, Medway, Maine. Fitted wood slat construction with two leaping trout carved into front. Leather fish form hinges attaching the lid that is painted with a dry fly and pinecones. Signed on the underside. MCMLXXXI for 1981. Measures 14.75” across, 7.75” tall. Minor dents and scratches from use; small chip in front of lid; creasing, short tear, and repaired tear in leather latch.

(1,000 - 1,500)

257 Carved wooden trout creel, J.D. Pelkey, Medway, Maine. Fitted wood slat construction with relief carved fish on front and on lid. Lid is attached with fish form leather hinges. Signed and dated 1991 on the underside, also numbered 21. Measures 15.5” wide, and 7.75” tall. Very minor scratches and rubs, otherwise very good and original. (500 - 800)

258 Carved wooden trout creel, J.D. Pelkey, Medway, Maine. Fitted wood slat construction with carved trout in front and on lid. Also with the state of Maine carved on front. Metal plaque reads Penobscot Fish Creel. Lid is attached with fish form leather hinges. Signed and dated 1994 and numbered 100 on the underside. Measures 15.25” wide, and 8.5” tall. Minor scratches and rubs; otherwise very good and original. (500 - 800)

258a Carved salmon plaque, 1st quarter 20th century. Deep relief carved gills and open mouth. Incised scale and fin carving. Mounted to wooden backboard with “Harold Place, N.J.” painted lower left and “CT River Dee, July - Dinnett Pool - 19lbs 6 oz.” across the bottom. Salmon measures 37.25” long. Backboard measures 18.5” by 50.5”. Original paint protected under a thick coat of varnish; minor flaking and paint rubs on salmon and backboard; some chipping to top corner of tail.

Provenance: Mark Goldman collection. (2,000 - 3,000)

259 Trade sign of a northern pike. Found in Minnesota. Carved wooden fish with detail around gills, mouth, and eyes. Some fins are wooden and applied. Appears to be carved from red cedar. Measures 31” long. Original paint with crazing that shows nice age, probably from the 40’s.

(1,500 - 2,000)

260 Early ice fishing box. In an original coat of red paint with a northern pike painted on the top board. Three tip ups from the E-Z-C Company of Portland, Maine remain inside the box. Measures 9.25” x 29.25” x 6”. (500 - 1,000)

260a Carved wooden bluegills, mounted on plaque, John Tax, Osakis, Minnesota. Stamped “John Tax Osakis, MN” on back. Fish have carved gills with open mouths. Plaque measures 5” x 9”. Original paint protected by a coat of varnish; small tight cracks in tail; one pectoral fin is half missing on lower fish and crack in other fish’s pectoral fin.

Provenance: George and Miriam Van Walleghem collection. (800 - 1,200)

260a

260b Very rare, small sized, state of Maine plaque, Lawrence Irvine Winthrop, Maine. Carved brook trout with relief gill and eye carving, and open mouth. Mounted on plywood backboard carved in the shape of Maine, and painted like white birch bark. Signed on the back of plaque. Trout measures 8.25” line. Plaque measures 16.5” tall. Two fins are missing, otherwise very good and original.

(1,000 - 1,400)

260c State of Maine Trout plaque, Lawrence Irvine, Winthrop, Maine. Trout with relief gill and eye carving and open mouth. Applied wooden fins. Mounted to a state of Maine backboard, painted to look like white birch. Trout measures 12.25” long, plaque is 24.5” tall. Tiny chip repair on top edge of tail and a small amount of touchup to bottom edge of tail, otherwise excellent and original.

(800 - 1,200)

260d An honest and early metal pressed sign. For authorized agent for Wisconsin fishing license. Measures 7” x 29”. Shows pitting with some rust and small area of paint loss at high points.

(800 - 1,200)

260e Whitefish plaque, Philippe Sirois, Arrowsic, Maine. Open mouth with carved gills and scale stamping. Applied metal fin. Fish measures 16” long, plaque measures 20” long. Original paint protected under the original coat of varnish; tiny chip in one spine of dorsal fin; old chip in lower part of mouth with small amount of old filler added.

(500 - 600)

260f Brook trout plaque, Philippe Sirois, Arrowsic, Maine. Relief gill carving and open mouth. Applied wooden fins. Trout measures 10.25” long. Plaque measures 14”. Original paint under the original coat of varnish; hairline separation at pectoral fin otherwise very good and original.

(400 - 600)

261 Pickerel fish plaque, Lawrence Irvine, Winthrop, Maine. Relief gill and eye carving and open mouth. Signed on the back of plaque. Pickerel measures 24.5” long. Excellent and original. (800 - 1,200)

262 Small mouth bass fish plaque, Lawrence Irvine, Winthrop, Maine. Relief gill and eye carving with open mouth. Unsigned. Bass measures 15” long. Small chip on edge of anal fin was reset with small amount of touchup, otherwise excellent. (800 - 1,200)

263 Pike fish plaque, Phillippe Sirois, Arrowsic, Maine. Incised gill carving with metal tack eyes and open mouth. Thin plywood backboard, painted to mimic white birch bark. Pike measures 23” long. Hairline crack in one pectoral fin; some filler and touchup near gill at a separation in knot, otherwise very good. (600 - 900)

264 Colorado greenback cutthroat trout plaque, Mike Borrett, Madison, Wisconsin. A fat trout with relief gill and mouth carving. Excellent paint detail. Identified and signed on the back of plaque. also dated 2003. Trout measures 18” long. Excellent and original.

(400 - 600)

264a Pair of canvasbacks, Ed “One Arm” Kelly, Monroe, Michigan, 2nd quarter 20th century. Rigmate pair with weighted wooden keels. Measure 15” long. Original paint with moderate discoloration and minor wear; a few small dents and fine hairline cracks; minor roughness on tip of each bill; some flaking around drake’s neck seat; separation at a knot on one side of drake’s neck seat.

Provenance: George and Miriam Van Walleghem collection.

(2,500 - 3,500)

264b Bluewing teal, William Finch, Port Huron, Michigan, 2nd quarter 20th century. Hollow carved with head turned 45 degrees. Scratch feather paint detail. “WF” carved in the underside. Measures 12.5” long. Original paint with minor gunning wear; tight crazing on front half of decoy; lightly hit by shot.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

264a

264b

265 Preening canvasback, Theodore Vandenbossche, Mt. Clemens, Michigan, 1st quarter 20th century. Head turned in preening pose with bill buried into feathers. Large “S” branded in to underside. Measures 13.5” long. Early in use repaint with minor discoloration and wear; small dents and hairline cracks.

Provenance: George and Miriam Van Walleghem collection. (1,200 - 1,800)

266 Redhead drake, Nate Quillen, Rockwood, Michigan, last quarter 19th century. Hollow carved with .25” bottom board. Tucked head and comb feather paint detail. “WTB” branded twice in the underside for William T. Barber. Measures 13.5” long. Old overpaint was taken down to much of the original surface; small dents, otherwise very good structurally. (1,200 - 1,800)

267 Redhead hen, Nate Quillen, Rockwood, Michigan, last quarter 19th century. Hollow carved with .25” bottom board. Tucked head. “GAS” and “LSR” branded on the underside. Measures 13” long. Original paint with moderate to significant wear; small dents and shot marks; drying crack along back and tail; hairline cracks along underside.

(1,500 - 2,500)

268 Bluebill hen, Nate Quillen, Rockwood, Michigan, last quarter 19th century. Solid body with inlayed neck seat. “WG Paul” branded in the underside. Measures 13.5” long. In use repaint with moderate wear; under a thick coat of varnish; small dents and shot marks; tight cracks in neck; repair to a chip in the underside of bill; chunk of wood missing along one lower side.

Provenance: George and Miriam Van Walleghem collection. (500 - 800)

269 Rare pintail hen, Nate Quillen, Rockwood, Michigan, last quarter 19th century. Hollow carved with inlayed neck seat. Branded “HNT” for Dr. H.N. Torrey, Pointe Mouillee Club member. Also branded “HHB” for Harvey Huntington Brown. Pointe Mouillee Club member. Measures 16.25” long. Original paint with moderate wear; small dents and shot marks; minor roughness on edge of bill; minor chipping and roughness on edge of neck seat; early professional neck crack repair.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

270 Rare canvasback drake, Bill Enright, Toledo, Ohio. One of only six known cedar decoys made in a sleeping position by Enright for the St. Anne’s Club, St. Clair Flats. Underside is stamped “St. Anne’s”. Measures 13.25” long. Much original paint with minor gunning wear; lightly hit by shot; hairline drying cracks; a thin wash to black on head and body, but not bill; keel was removed at some point. (1,200 - 1,800)

271 Canvasback drake, John Zachman, Detroit, Michigan. Hollow carved with tucked head and relief wingtip carving. Comb feather paint detail. Measures 15.5” long. Original paint with almost no wear; protected under the original coat of varnish.

(1,200 - 1,800)

272 Pair of buffleheads, Tom Schumate, Gibraltar, Michigan. Hollow carved with tucked and slightly turned heads. Relief wing and tail feather carving. Raised, crossed wingtips and detailed feather carving. The drake won first place and the hen second at the 1976 Ward Foundation Carving Competition. Signed and dated 1976 on underside. Measure 9.75” long. Very minor paint rubs on tip of tail feathers; hen with a chip in one raised wingtip.

Provenance: Lynwood Herrington collection.

(1,000 - 1,500)

273 Wood duck, John Garton, Smiths Falls, Ontario. Relief wingtip and feather carving. Extended crest. Signed and dated 1968 on the underside. Measures 16.5” long. Tiny paint rub on tip of bill, otherwise excellent and original.

(800 - 1,200)

274 Pair of long tail ducks, Bob Kerr, Smiths Falls, Ontario. Slightly turned heads and relief wing carving. Long, inserted wooden tail on drake. Maker’s brand on the underside. Measure 11” and 18” long. Original paint with very minor rubs; small flake to filler on underside of tail; also with reglued crack in underside of drake’s tail. (1,000 - 1,400)

275 Pair of mallards, Ken Anger, Dunnville, Ontario, 2nd quarter 20th century. Hollow carved with relief wing and incised feather carving. Feather rasping detail typical of the carver. Measure 16.25” long. Two small spots of touchup to white on drake’s tail, otherwise excellent and original.

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

276 Pair of bluebills, Ken Anger, Dunnville, Ontario, 1st quarter 20th century. Relief wing and incised feather carving. Feather rasping detail typical of the carver. Measure 14.5” long. Original paint with minor wear under an early coat of varnish; structurally very good.

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

277 Pair of buffleheads, Davey Nichols, Smiths Falls, Ontario. Relief wing and incised feather carving. Identified on underside. Measure 10.25” and 11” long. Original paint protected under the original coat of varnish; with minor discoloration; dent in one side of hen’s bill; otherwise very good and original.

(1,000 - 1,400)

278 Rare pintail, Phineas Reeves, Toronto, Ontario, 3rd quarter 19th century. Hollow carved with .25” bottom board. Scratch feather paint detail on sides. Reared back head with tack eyes. Branded “A Hemenway” for Long Point member Augustus Hemenway of Boston, Massachusetts. Measures 15.75” long. Original paint with moderate discoloration and wear; heavily hit by shot, mostly in one side; minor blunting at tip of tail; bill is an early professional replacement.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 4,000)

279 Rigmate pair of canvasbacks, Scott Peters, Walpole Island, Ontario, 1st quarter 20th century. Hollow carved, high head models with humped backs and .25” bottom boards. Measure 15.5” and 16” long. Mix of original and very early in use repaint on bodies; moderate flaking and wear; multiple small dents and shot marks; crack through hen’s neck with an old chip missing out of one side; tight crack in each tail. (2,000 - 3,000)

280 Bluebill drake, George Warin, Toronto, Ontario, last quarter 19th century. Solid body model with forward slanting, raised neck seat. “JL Rhoades” written on underside. Measures 14.25” long. Original paint with moderate gunning wear under an early coat of varnish; small dents and shot marks; minor separation at neck seat.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

278

280

279

281 Redhead, George Warin, Toronto, Ontario, last quarter 19th century. Hollow carved with .25” bottom board. Signed “JS Hendrie” with an H carved on the underside. Measures 14.5” long. Original paint with minor discoloration and wear; hairline crack in one side; minor blunting at tip of tail; bill chip repair with touchup on much of the bill.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 4,000)

282 Pintail drake, Charles Reeves, Toronto, Ontario, last quarter 19th century. Hollow carved with canvas over cedar body. Branded “CAC” in underside. Measures 16.25” long. Original paint with moderate gunning wear; lightly hit by shot; filler around eyes was replaced with touchup; green on the underside is a second coat.

Provenance: George and Miriam Van Walleghem collection. (1,200 - 1,800)

283 Black duck, George Warin, Toronto, Ontario, last quarter 19th century. Hollow carved with .25” bottom board. Low head model with glass eyes. “JSH” monogram carved on the underside for the honorable Sir John Strathearn Hendrie. St. Clair Flats Shooting company member 1886-1919. Measures 15.25” long. Original paint with moderate discoloration and wear; a few small dents and shot marks; minor roughness on tip of tail. (3,000 - 4,000)

284 Black duck, John R. Wells, Toronto, Ontario, 1st quarter 20th century. Thinly hollowed. Measures 16” long. Mostly worn original paint with flaking and wear; area of restoration at neck seat and front of breast; small dents and shot marks; wood patch to some damage on top of head; minor separation at neck seat.

(600 - 900)

285 Small teal hen, John R. Wells, Toronto, Ontario, 1st quarter 20th century. Hollow carved with .25” bottom board and nicely carved head. “HD” carved in the underside. Measures 12” long. Original paint with moderate flaking and wear; old chip and roughness on edge of tail; minor roughness on edge of bill; hairline crack in one side of neck seat.

Provenance: George and Miriam Van Walleghem collection. (1,200 - 1,800)

286 Small bufflehead by an unknown maker from Ontario, 1st quarter 20th century. Solid body with slightly turned head and brass tack eyes. Inlayed lead weight on the underside. Measures 9.75” long. Original paint with minor to moderate wear; under an early coat of varnish; shallow dents in back; small dent with minor roughness at bill tip; half inch hole drilled in lead weight.

Literature: “Waterfowl Decoys of Michigan and Lake St. Clair,” Walsh and Jackson, p. 138, exact decoy pictured. (600 - 900)

287 Small bufflehead hen, Reginald Marksby, Blenheim, Ontario, 1st quarter 20th century. Solid body with tack eyes and slightly upswept bill. Measures 10” long. Original paint with minor to moderate gunning wear; under a thin coat of varnish; hairline crack in tail; slight separation at neck seat. (400 - 600)

288 Federal duck stamp etching. With uncirculated stamp. Signed and dated J.N. Darling, Image measures 6.75” x 9.75”. Small amount of staining around edge; professionally matted and framed. (2,000 - 3,000)

289 Important, desirable Federal duck stamp etching. 1959. signed and dated Maynard Reece. With uncirculated stamp. King Buck. image measures 8” x 10”. Very slight darkening around edge. (1,500 - 2,000)

290 Federal duck stamp etching. With uncirculated stamp. Signed and dated 1936, Richard Bishop. Image measures 6” x 9.75”. Very slight discoloration from age; professionally framed and matted. (1,000 - 2,000)

291 Federal duck stamp etching. Signed etching and uncirculated stamp. Professionally matted and framed. 1937, J.D. Knap signed lower right. Additional limited to 260 proof, Bluebills. Image measures 7” x 10”. (800 - 1,200)

292 Federal duck stamp etching. 1939. With uncirculated stamp. Signed and dated Lynn Bogue Hunt. Image measures 8.75” x 10.5”. Very good and original; professionally framed and matted. (1,000 - 1,500)

293 Federal duck stamp etching. With uncirculated stamp. signed and dated 1938, Roland Clark. Image measures 8” x 12”. Slight darkening around edge; professionally framed and matted. (1,200 - 1,500)

294 Federal duck stamp etching. 1935, with uncirculated stamp. Etching image is 4.25” x 6”. Signed lower left, Frank W. Benson. Very good and original. (1,000 - 1,500)

295 Federal duck stamp etching. With uncirculated stamp signed. Signed and date d1945, Owen Gromme. Shovelers in Flight. Image measures 6.5” x 8”. Slight darkening; professionally framed and matted. (800 - 1,200)

296 Federal duck stamp etching. 1942. signed and dated. uncirculated stamp A. Lassell Ripley. Image Measures 6.75” x 9”. Very good and original. (800 - 1,200)

297 Federal duck stamp etching. With uncirculated stamp. Francis Lee Jaques. Signed and dated 1940. Image measures 9.25” x 11.5”. Professionally matted and framed. Excellent. (800 - 1,200)

298 Federal duck stamp etching. With uncirculated stamp. Signed and dated 1948, Maynard Reece. Image measures 8” x 10.5”. Slight discoloration around edge; professionally framed and matted. (800 - 1,200)

299 Federal duck stamp etching. With uncirculated stamp. Signed by the creator of the etching, Walter E. Bohl. Etching is signed and dated 1943. Image measures 5.5” x 7.25”. Small amount of discoloration; couple small spots of staining; professionally framed and matted. (800 - 1,200)

300 Two Federal duck stamp etchings. 1946 and 1949. Both with uncirculated stamps and signed and dated. 1946 by Bob Hines, 1949 by Roger Pruess. and has some discoloration around edges. Professionally framed and matted.

(500 - 1,000)

301 Two Federal duck stamp etching. 1944 by Walter A. Weber, signed and dated with uncirculated stamp. 1950 by Walter A. Weber, signed and dated. Both are professionally matted. Very good and original.

(500 - 1,000)

302 Two Federal duck stamp etchings. 1941 and 1947. Both contain uncirculated stamps and are signed and dated. 1947 by Jack Murray, and 1941 by Erkalback. Very small spots on Murray; slight discoloration.

(600 - 800)

End of session one

SESSION TWO

Friday, April 28, 2023 | 10:00am Central

Jim Schmiedlin

1945 - 2015 | Bradfordwoods, Pennsylvania

303 Impressive and important wood duck drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Dated 2008. Branded “JAS” with Reward for Return. Personalized and signed by Jim in pencil. Hollow with bottom board. Head that is turned and reaching over a slightly raised right wing. Iridescent colors with subtle and soft feather carving over the back wingtips and tail. Measures 15” long. Excellent and original in all respects.

(30,000 - 40,000)

(8,000 - 12,000)

304 Pair of canvasbacks, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with thin bottom boards. Relief wing and tail feather carving. Both with heads turned 40 to 50 degrees. Both are identified, signed, and dated 1984. Also with “JAS” brand. Measure 16.5” long. Excellent and original.

305 Excellent pair of oversize scoter, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with .25” bottom boards and very wide body style. Relief wing and tail feather carving. Slightly turned heads with highly detailed bill carving. Identified, signed, and dated 1986 on undersides. Both branded “JAS”. Measure 19.25” long. Near mint.

(8,000 - 12,000)

306

Pair of working red breasted mergansers, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with relief wing and tail feather carving. Hen with slightly turned head and extended crest feathers. Drake with upswept head and open bill. “JAS” branded on the undersides. Also with Jim’s reward for return label. Both are dated 1988. Measure 17.5” and 18.5” long. Original paint with minor gunning wear; two cracks rising from underside at bottom board screws on drake, lower portion of drake’s bill with a fine seam where it was cracked and reset.

(10,000 - 15,000)

307 Swimming scoter, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with .25” bottom board. Head is slightly forward in swimming pose, and turned 45 degrees. Relief wingtip and incised feather carving. “JAS” brand on the underside. Also with Jim’s “Reward for Return” label. Dated 1999. Measures 20.5” long. Scattered small spots of touchup by the maker; otherwise excellent and original. (3,000 - 5,000)

308 Rare decorative white wing scoter, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with relief wing and tail feather carving. Raised crossed wingtips and slightly turned head. Highly detailed bill and feather carving. Identified, signed, and dated 1984 on the underside. Also branded “JAS”. Measures 16.5” long. Excellent and original. (3,000 - 5,000)

308a Greenwing teal, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Hollow carved with relief wing and tail feather carving. Slightly turned and upright head. Branded “JAS” and dated 2009 on the underside. Also with Jim’s Reward for Return label. Measures 14.75” long. Excellent and original.

Provenance: Gordon Mulava collection. (5,000 - 8,000)

308b Redhead, Jim Schmiedlin, Bradfordwoods, Pennsylvania.

Hollow carved with relief wing and tail feather carving. Head is turned 45 degrees. “JAS” branded on the underside and dated 2000. Jim’s

Reward for Return label on underside. Measures 16.25” long. Original paint with very minor wear; fine separation at bottom board; hairline crack on one side of breast; small amount of touchup to rubs at tip of bill and back of head.

Provenance: Gordon Mulava collection. (4,000 - 6,000)

Preening

Schmiedlin Bradfordwoods, Pennsylvania. Hollow carved with head turned over back and bill resting 1/16” from the body. One wing is slightly raised, with its wingtip extending from the body. JAS” branded on the underside. Measures 12” long. Excellent and original. (4,000 - 6,000)

Bradfordwoods, Pennsylvania.

Hollow carved with thin bottom board. Relief wing and tail feather carving. Head is turned 45 degrees and beautifully blended iridescent colors on head. “JAS” brand on the underside. Measures 14.25” long.

(3,000 - 5,000)

309 310 201

309

bluewing teal, Jim

311 Bluebill, Jim Schmiedlin

310 Bluewing teal, Jim Schmiedlin

Caines Brothers

Georgetown, South Carolina

D.C. North, Jr. (1931 - 202 0)

D uring his lifetime, legendary Southern decoy collector

Debernia Clinton

“D.C.” North, Jr. had many pursuits and interests, but excelled at collecting decoys and was usually researching and learning about his latest finds. He also worked as a professional auctioneer and was known as an entertaining master of ceremonies. D.C. is credited as being the cofounder of what is today’s Carolina Decoy Collectors Association back in 1978.

D.C. had a lot of Virginia and Carolina decoys, both common and truly rare. He had a great deal of knowledge about the decoys that he owned. In the 1980s and 1990s when people were writing decoy books, he was the man to go to. Consequently, many of the decoys from his collection are pictured in decoy reference books, including “Southern Decoys” by Fleckenstein and the “Great Book of Decoys”Joseph Engers, editor.

Until the 1980s, most collectors generally accepted the idea that there were no examples of handmade, quality decoys from South Carolina. This ultimately proved to be a myth when, in fact, it became known that a small group of exquisitely sculptured birds was known, and all of these seemed to have originated from an area in the vicinity of Georgetown. The existence of these birds was known to very few and was a closely guarded local secret. Eventually it became known that these decoys were made by a group of brothers who were raised in the marshes north of Georgetown – “Ball” (1849 – 1914), “Sawney” (1859 – 1938), “Pluty” (1869 – 1911), “Hucks” (1876 – 1944) and “Bob” (1879 – 1923) – the Caines brothers.

They lived in an area that was originally settled by their grandparents, known as Caines Village, a locale fronting on Muddy Bay facing Pumpkinseed Island. They made their livelihood from the surrounding land and waters. They cultivated and harvested rice, worked as commercial fisherman, guided, and gunned for the market. These hunting ventures eventually led to their carving their own decoys.

In 1905, the coastal plantations, including Caines Village which had been a part of the Michaw plantation, were purchased by wealthy businessman and Statesman Bernard M. Baruch. The land on which the Caines lived became part of his famous 17,500 acre estate – Hobcaw Barony. As was the tradition, when Baruch purchased the plantations, the tenants and their settlements were

included in the purchase. Suddenly, the land they had hunted for years was now posted and the brothers were forced to poach in order to continue to earn a living. In his autobiography, Baruch recalls apprehending Hucks Caines one morning with 166 black ducks and mallards in his possession. Hucks was quickly hired by Baruch to do what he had always done – hunt ducks. From this point on however, he was required to take Baruch’s guests out hunting with him. Eventually, Hucks became Baruch’s favorite guide. All of the Caines brothers, with the exception of Ball, eventually worked for Baruch.

A number of slight carving variations were created by the Caines but the most elegant style is most often credited to Hucks. The brothers probably only made a few hundred decoys but only 50 or so remain in existence today, the majority having fallen victims to fire, neglect, and insects. The brothers knew Hobcaw well, and all five are laid to rest with family members in a cemetery located on the Barony, not far from the bay itself.

312

Rare and important black duck, Caines Brothers, Georgetown, South Carolina. Excellent sculptural form with deep relief wing carving and reared back head. Tack eyes and incised tail feather carving. “N” branded in the underside for the collection of D.C. North. Measures 17” long. Very early in use repaint under a thin coat of varnish; minor to moderate gunning wear; lightly hit by shot; head was reset with small amount of glue visible at neck seat; cracks and small amount of chipping where early nails were added to neck seat; two seams in bill where it had been cracked down and reset with a wooden dowel added for support, which was a technique used only on Caines decoys from Hobcaw Barony.

Provenance: D.C. North collection. Purchased from early Carolina collector, Vernon Berg, in the late 1970s. Exhibited at the Winyah Heritage Festival in Georgetown, South Carolina. Exhibited at the Southeastern Wildlife Expo in 2010 and 2018. Exhibited at the McKissick Museum Columbia, South Carolina August – October 1985 and pictured on pages 85 and 96 of the exhibition catalog, “Carolina Folk - The Cradle of Southern Tradition”.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr., p. 185, exact decoy pictured. “Great Book of Decoys,” Joe Engers, editor, p. 248, exact decoy pictured. (150,000 - 180,000)

Ward Brothers

Crisfield, Maryland

313 Pair of mallards, Ward Brothers, Crisfield, Maryland. Hen with slightly raised and turned head. Drake with slightly forward, turned head. Measure 17.5” and 18.25” long. Original paint with minor gunning wear; crack in each neck; minor chipping on tip and one edge of hen’s bill; very minor roughness on one edge of drake’s bill.

Provenance: George and Miriam Van Walleghem collection. Purchased from Ed DeNavarre, who found a rig of these mallards in a home in Flint, Michigan.

(30,000 - 50,000)

Goldeneye, whistlers, or whifflers as they were called on the Eastern Shore, were another favorite diving duck hunted in the Chesapeake Bay area. The ducks earned the name whistlers or whifflers because of the whistling sound their wings made as they flew. These birds were not as prized as canvasbacks when it came to eating, but because of their availability, they were hunted heavily. Goldeneye were considered the wariest of the diving ducks and the drakes had a reputation for flying just beyond shotgun range and frustrating the hunter. The reason for the popularity of these birds among hunters and decoy makers was that goldeneye flew in small flocks and decoyed to small flocks. This meant

that a hunter didn’t need the large number of decoys required in canvasback or redhead hunting but could successfully hunt the whistlers with a half dozen decoys or less. The problem with hunting goldeneye was that they would only decoy to their own species, therefore, the rig or stool had to be of goldeneye decoys.

The Wards, like other decoy makers of their time, made working goldeneyes for over 30 years and in different styles. This particular model is the known as the 1918 fat jaw model.

“Ward Brothers Decoys,” Ron Gard and Brian McGrath

Very rare fat jaw style goldeneye, Ward Brothers, Crisfield, Maryland, 1st quarter 20th century. Fat jaw style with wide, slightly turned head and humped back. Measures 16” long. Thick original paint with moderate crazing and minor gunning wear; slight separation at neck seat; the piece of wood used for the body had cracks and splits that were filled and secured with nails in the making, one along the side has opened slightly; small chips on edge of underside; small nail added to secure a hairline crack in tail.

Provenance: Ex Dr. Edmund Bowman collection. George and Miriam Van Walleghem collection. This rare and important humpback goldeneye is part of a small rig that was found in Michigan by Dr. Edmund Bowman in the mid 1960’s. He sold

or traded a few but kept the best one for his collection. It was included in an exhibition catalog and displayed in 1979 at the Midwest Decoy Collectors Association. Apparently he thought enough of it to share a photo with Adele Earnest so that she could include a photo of it in her book, The Art of the Decoy, plate 157.

Literature: “The Art of The Decoy”, Adele Earnest, page 181, exact decoy pictured. “Exhibition of Classic Antique Waterfowl Decoys,” April 1979, exact decoy featured. “The Ward Brothers’ Decoys – A Collector’s Guide”, Gard and McGrath, pg. 32, rigmate pictured. (40,000 - 60,000)

315 Excellent pintail, Ward Brothers, Crisfield, Maryland. 1948 style with balsa body and inserted cedar tail. Signed on the underside, along with two inscriptions that read “I want Roy to have this stool at my death, Pop” and second that reads “I want Rick to have this stool at my death, Roy” and dated 1975. Head is slightly turned. Measures 18.5” long. Original paint with almost no wear; protected under the original coat of varnish; a few very minor dents in balsa; decoy was never rigged or weighted.

Provenance: Jack Milne collection. (4,000 - 6,000)

316 Pintail, Ward Brothers, Crisfield, Maryland. 1948 style with balsa body and inserted cedar tail. Head is turned approximately 45 degrees. Measures 16.25” long. Original paint with minor discoloration and wear; a few small dents in body; filler at neck seat has risen very slightly; gray on underside of decoy added at a later date.

Provenance: George and Miriam Van Walleghem collection.

(4,000 - 6,000)

317 Canvasback drake, Ward Brothers, Crisfield, Maryland. 1936 style with slightly turned head. Maker’s ink stamp under tail area is faintly visible. Measures 16” long. Mostly original paint with minor discoloration and wear; many spots of touchup to one side and back; black on breast, head, and bill is a thin second coat; bill was cracked down and reset not very tightly.

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

318 Mallard hen, Ward Brothers, Crisfield, Maryland. 1936 style with slightly turned head and detailed bll carving. Ward Brothers ink stamp under tail. Measures 17.5” long. Dry original paint with moderate to significant flaking and wear; filled crack along the back and tail with touchup; restored filler on top of head; minor roughness on edge of bill; separation at front of neck seat was filled and touched up.

(3,000 - 5,000)

319 Pair of bluebills, Ward Brothers, Crisfield, Maryland. Shooting stool models with turned heads and thick stipple paint on backs. Each signed and dated 1972. Each with a short poem on the underside. Measure 13” and 14.5” long. Original paint with some very minor rubs; small dent in one side of hen’s neck seat; drake’s bill was cracked down and reset.

(3,000 - 4,000)

320 Redhead drake, Ward Brothers, Crisfield, Maryland. Hollow carved, shooting stool model with slightly turned head and thick stipple paint. Signed and dated 1967 on underside. Measures 15” long. Repair with touchup to the base of neck, otherwise excellent and original.

(1,500 - 2,500)

321 Pair of redheads, Ward Brothers, Crisfield, Maryland. Shooting stool models with turned heads and thick stipple paint on hen. Both signed and dated 1971 with writing indicating that these are part of the last group of shooting stool model decoys by the Wards. Measure 14” and 15” long. A few minor paint rubs, otherwise very good.

(3,500 - 4,500)

322 Pair of decorative bluewing teal, Ward Brothers, Crisfield, Maryland. Heads are turned and preening one raised wing. Both with raised, crossed wingtips and relief wing and tail feather carving. Identified, signed, and dated 1962 on the underside. More appealing than some pairs as the hen and drake are in the same pose, and mirror images of each other. Measure 9.5” long. Original paint with very minor paint rubs at tips of wing and tail feathers; small amount of tight crazing on drake’s raised wing; hairline crack in underside of drake.

Provenance: Lynwood Herrington collection. Richard Bourne, May 1977 auction, pictured on cover. (12,000 - 18,000)

Exact drake pictured on cover of Bourne May 1977 auction catalog.

323 Flying black duck, Ward Brothers, Crisfield, Maryland. Applied wings and outstretched slightly turned head. Measures 18” long, with a 19.25” wingspan. Original paint with only a few minor paint rubs; fine crazing on head and neck; small chip on top wingtip. (6,000 - 9,000)

324 Decorative preening mallard, Ward Brothers, Crisfield, Maryland. Head is turned and preening under one extended and dropped wing. The other wingtip is raised. Relief wing and tail feather carving. Identified, signed, and dated 1959 on the underside. “Deluxe Best Grade” on the underside. Made for the Norris Pratt collection. Measures 12” long. Original paint with minor crazing on wing patches; professional repair to a crack through neck.

(4,000 - 6,000)

327 Excellent pair of 2/3 size pintails, Ward Brothers, Crisfield, Maryland. Balsa body with slightly turned heads and upswept cedar tails. Signed and dated 1950 on the underside of tails. Measure 11.75” and 12.5” long. Drake with a dent in one lower side near breast, otherwise both are excellent and original. (5,000 - 8,000)

328 Pair of 1/3 size pintails, Ward Brothers, Crisfield, Maryland. Pine or cedar bodies with raised wingtips and relief carved side pockets on drake. Both are signed and dated 1964. Measure 9” and 10.5” long. Tiny reglued chip in one of hen’s wingtips; hairline crack and a tiny flake in drake’s tail, otherwise both are excellent and original.

Provenance: Jack Milne collection. (1,200 - 1,800)

329 Decorative brant, Ward Borthers, Crisfield, Maryland. Hollow carved with deep relief wing and tail feather carving. Sightly turned head and raised wingtips. Singed and dated 1971 on the underside. Made for the Norris Pratt collection. Measures 18.5” long. Original paint with minor rubs and slight discoloration from age; minor roughness on edge of tail feathers.

330 Pair of black ducks, Ward Brothers, Crisfield, Maryland. Balsa bodies with slightly turned heads and raised wingtips. Identified, signed, and dated 1957 on the underside. Also identified as “Best grade”. Measures 16.75” long. Original paint with very minor rubs; very small chip in tip of tail and one wingtip with small amount of touchup on hen; drake with professional restoration to the end of each raised wingtip with a dent on one of them.

Provenance: Gordon Mulava collection. (5,000 - 8,000)

Provenance. Ex Norris Pratt collection. Gordon Mulava collection. (3,000 - 4,000)

331 Excellent black duck, Nathan Cobb, Jr., Cobb Island, Virginia, last quarter 19th century. Hollow carved with split tail carving and inlet head. “N” carved in the underside. “Muller” collection ink stamp on the underside. Measures 15.25” long. Thin original paint with moderate wear down to some bare wood with warm patina; short drying crack in lower breast; crack at a nail in body seam near tail that has opened slightly.

Provenance: Ex Frank Surace collection. Surace was a friend and collecting companion of William J. Mackey Jr. and Milt Weiler. Ex Dr. Peter Muller collection. Private Texas collection.

Literature: “Wings of Wonder”, Dr. S Lloyd Newberry, pg. 156, exact decoy pictured. “Catalog of American Bird Decoys”, Russell A. Fink, lot 118, exact decoy pictured. (30,000 - 40,000)

332 Bluebill, Nathan Cobb, Jr., Cobb Island, Virginia, last quarter 19th century. Hollow carved with split tail carving and inlayed neck seat. “N” carved in the underside. Measures 13.5” long. Overpaint was taken down to much of the original surface showing moderate to significant wear; small dents and shot marks; a drying crack along one side; drying cracks in tail area; head is slightly loose; bill is a professional replacement.

Provenance: George and Miriam Van Walleghem collection. (8,000 - 12,000)

333 Black duck, Nathan Cobb, Jr., Cobb Island, Virginia, last quarter 19th century. Hollow carved with split tail carving and inlayed neck seat. “N” carved in the underside. Measures 16.5” long. Old overpaint was taken down and the surface restored; significantly hit by shot; drying cracks in back and tail.

Provenance: George and Miriam Van Walleghem collection. (6,000 - 9,000)

“Chesapeake Bay Decoys: The Men who Made and Used Them,” Robert Richardson, p. 203, exact decoy pictured.

334 Bufflehead drake, attributed to Eli Doughty, Hog Island, Virginia, last quarter 19th century. Relief wingtip carving and inlayed neck seat. Cobbs Island was scratched into the paint on the underside at some point. Measures 11” long. Very early in use repaint with significant flaking and wear; hairline drying cracks in breast; bill is an early professional replacement.

Provenance: Ex Bud Ward collection. Ex Grayson Chesser collection. Private collection North Carolina.

Literature: “Chesapeake Bay Decoys: The Men Who Made and Used Them”, Richardson, pg. 203, exact decoy pictured. (6,000 - 9,000)

appear older with moderate wear down to bare wood; multiple drying cracks; lightly hit by shot; large loss at a knot in underside. (3,000 - 5,000)

335 Bluebill, Arthur Cobb, Cobb Island, Virginia, last quarter 19th century. Hollow carved with raised forward slanting neck seat and carved eyes. Measures 13.25” long. Old in use repaint wth moderate to significant flaking and wear; minor separation at bottom board; multiple drying cracks in head and neck. (3,000 - 5,000)

336 Bluebill drake from Cobb Island, Virginia, 1st quarter 20th century. Relief wingtip carving and inlayed neck seat. Hard wood bill is splined through back of head. Measures 14.25” long. Paint was restored and made to

337 Rare standing redhead, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Standing on lead legs with slightly turned head and applied, curved wooden wings that are inlayed into body. Relief tail feather carving. Measures 15.5” long, with a wingspan of 19.5”. Original paint protected under a thick coat of varnish that has yellowed; small chip in the tip of one wing; hairline drying crack in underside; breaks and separation where feet and legs join; area of bubbling on each wing, with some touchup.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Ira D. Hudson,” Henry Stansbury. (20,000 - 30,000)

338

Very rare pintail hen, Dave “Umbrella” Watson, Chincoteague, Virginia, 1st quarter 20th century. Hollow carved with slight relief wingtip carving and raised, forward slanting neck seat. From the “bear paw” rig, and so branded on the underside. Measures 17.25” long. Dry original paint with significant wear; minor roughness on edges of bill, otherwise excellent structurally.

(6,000 - 9,000)

338a Pintail drake, Dave “Umbrella” Watson, Chincoteague, Virginia, 1st quarter 20th century. Hollow carved with slight relief wingtip carving and raised, forward slanting neck seat. Measures 17” long. Second coat of paint to the white areas; the rest in original paint with significant wear; tight crack in underside of tail; minor separation at a small knot in tail; repair to a chip in tip of bill with some touchup along one side of bill. (4,000 - 6,000)

339 Black duck, Dave “Umbrella” Watson, Chincoteague, Virginia, 1st quarter 20th century. Hollow carved with relief wingtip carving. From the “Bear paw” rig and so branded on the underside. Measures 17” long. Original paint with significant flaking and wear; minor roughness on edge of tail and bill; very minor separation at neck seat and body seam. (1,200 - 1,800)

340 Redhead, Dave “Umbrella” Watson, Chincoteague, Virginia, 1st quarter 20th century. Hollow carved with slight wingtip carving and raised neck seat. Davison Hawthorne collection ink stamp on underside. Philadelphia Wildfowl Exhibition ink stamp on underside. Measures 16.75” long. In use repaint taken down with much of the surface being strengthened; hairline crack in one eye; tight crack along underside.

Provenance: Jack Milne collection. (1,500 - 2,500)

341 Bluebill, Ira or Delbert Hudson, Chincoteague, Virginia, 1st quarter 20th century. Football body style with partially inlet neck seat and tack eyes. Scratch feather paint on back. Measures 13.5” long. Original paint with moderate wear; early second coat to the black areas; small dents and shot marks; old chip in one side of tail; small amount of old filler added to a small chip in one side of bill tip. (400 - 600)

342 Pintail hen from Chincoteague, Virginia, 2nd to 3rd quarter 20th century. Cotton wood body and head with scratch feather paint detail and tack eyes. Measures 15.25” long. Original paint with minor gunning wear; minor roughness at tip of bill and tip of tail; very minor flaking at neck seat. (2,000 - 3,000)

341

342

Since his early childhood, Grayson’s life has been steeped in a love of nature. Hunting and trapping were family traditions, and the young man quickly developed a deep appreciation for the natural world and his place in it.

The land on which Grayson and his family now live has been farmed since the 1600’s when it was first owned by a William Anderson. In 1912, Grayson’s great grandfather purchased 50 acres where his house now stands and, in 1918, Grayson’s great great grandfather bought the neighboring farm. His grandfather lived in the house on the farm until the 1960’s and his father continued to work the land until his death in 1970. Grayson graduated from Old Dominion College in 1968 with a business degree and the same year that his father died, he wed his wife, Janet Dawn McCready, and the couple bought the house and barn on the property. They eventually inherited a portion of the farm from his mother, and, in due course, Grayson purchased the remaining portion of the land from a cousin. His father

Grayson Chesser

B. 1947 | Jenkins Bridge, VIrginia

was also a game warden and, when he died, Grayson, in addition to running the farm, assumed his father’s position with the State Game Commission between 1970 to 1974. He also began to advertise his services as a guide. During this period, he started to carve in earnest while continuing to work the farm and, in 1982, with growing success with his decoys, they finally rented out their land and he began to carve full time.

Grayson’s interest in carving began as a young man and, when he was 12, a family trip to the Shelburne Museum in Vermont was the key moment that got him seriously interested in carving decoys as a career. His early education in the art consisted of reading and re-reading Eugene Connett’s Decoys and How to Carve Them”. He soon met and befriended Miles Hancock who, he admits, “took him under his wing”. Additional guidance came from noted regional carvers Lloyd Tyler, ‘Cigar’ Daisey and the Ward brothers.

Since these early beginnings, he has gone on to achieve national stature in the carving community. He has appeared in the PBS series “On the Waterways” which featured ‘Cigar’, Mark McNair and himself. He has had two major exhibits at the Smithsonian in Washington, DC and in 1995, he co-authored a book - “Making Decoys the Century Old Way”. His awards and distinctions are many including being named “Master Folk Artist” in 2003 by the Virginia Foundation for the Humanities. He has been past chairman of the Havre de Grace Decoy Show and has served as “Artist of the Year” for numerous Ducks Unlimited Chapters. Throughout his career he has mentored a number of young carvers and he is most proud of his association with Cameron McIntyre who started to visit his shop when he (like the young Grayson so many years ago) was only twelve.

Today, he can live his childhood dream, carving, as well as running the Holden Creek Gun Club for guided duck and goose hunts. An avid conservationist, he and his wife have placed their property in the hands of the local land trust where it will be protected and enjoyed for years to come.

“It meant something to me that the land had been in the family for generations. I’m glad to see when I’m dead and gone it’s better than it was when I got it. It’s taken care of us for hundreds of years and I want to take care of it.”

343 Pair of gadwall, Grayson Chesser, Jenkins Bridge, Virginia. Hollow carved with relief wingtip carving. Hen with tucked head, drake with slightly turned and raised head. Thick scratch and comb feather paint detail on drake. “C” carved in underside of each. Measure 15” and 16.25” long. A few very minor paint rubs, otherwise excellent and original.

Provenance: Jack Milne collection.

(800 - 1,200)

344 Pair of sleeping greenwing teal, Grayson Chesser, Jenkins Bridge, Virginia. Solid body with relief wingtip carving and bills buried in feathers. “C” carved in the undersides. Hen is signed and dated 1991. Measure 10” long. Hen is excellent and original; drake with a few minor paint rubs, slight separation at a small knot in back, thick sap bleed at a knot in one side.

Provenance: Jack Milne collection.

(800 - 1,200)

345 Early and appealing swimming greenwing teal, Grayson Chesser, Jenkins Bridge, Virginia. circa 1980. Hollow carved in swimming pose with relief wingtip carving and comb feather paint detail. “C” carved in the underside. Measures 15” long. Tiny dent in one side of tail; otherwise excellent and original.

(400 - 600)

346 Sleeping canvasback, Grayson Chesser, Jenkins Bridge, Virginia. Hollow carved with head buried deeply into feathers. Relief wingtip carving and comb feather paint detail. “C” carved in the underside. Measures 12.5” long. Original paint with minor gunning wear; under a thin coat of varnish; area on side of head worn to bare wood; hairline cracks in breast and under tail.

Provenance: Jack Milne collection.

(500 - 800)

347 Group of nine miniatures, Grayson Chesser, Jenkins Bridge, Virginia. Includes a pair of geese, widgeon, pintails, also a black duck and two single hens. Hens and widgeon drake in preening pose. All with raised wingtip carving and “C” carved in the undersides. Measure from 6” to 8.75” long. Excellent and original.

Provenance: Jack Milne collection. (1,500 - 2,500)

348 Stickup brant, Grayson Chesser, Jenkins Bridge, Virginia. In sleeping pose with raised wingtips. Carved from a single piece of cottonwood. “F” branded in the underside for the collection fo Henry Fleckenstein. Measures 15.75” long. Original paint with moderate gunning wear; very good structurally.

Provenance: Ex Henry Fleckenstein collection.

(600 - 900)

349 Early pair of ringnecks, Grayson Chesser, Jenkins Bridge, Virginia. Hollow carved with slightly turned, reared back heads and relief wingtip carving. “C” carved in the undersides. Signed and dated 1986 by the maker. An inscription indicates this is the first pair of ringnecks he made. Measure 10.75” and 11.25” long. Original paint with minor discoloration and wear; some sap bleed on breast; drake’s bill was cracked down and reset with some minor chipping and roughness on top of bill.

Provenance: Jack Milne collection. (1,000 - 1,400)

350 Swimming brant, Grayson Chesser, Jenkins Bridge, Virginia. Solid cotton wood body with relief wingtip carving and swimming head pose. “C” carved in the underside. Writing on underside indicates this was from Grayson’s personal gunning rig, 1984-1985 season. Measures 21.25” long. Original paint with minor gunning wear; very good structurally.

Provenance: Jack Milne collection. (400 - 600)

351 Pair of gadwall, Grayson Chesser, Jenkins Bridge, Virginia. Hollow carved with relief wingtips and scratch feather paint detail on drake. “C” carved in undersides. Measure 15.5” long. Excellent and original.

Provenance: Herb Desch collection. (600 - 900)

352 Rare and unusual full size flying bluebill, J. Corbin Reed, Chincoteague, Virginia, circa 1950. Detailed comb painting on back with excellent wet blended paint on wings. Mounted to base that suspends the bird in flight. Measures 18” long. Excellent original paint that has aged nicely; one wing has been broken and reattached, the other shows some separation; small chip and minor roughness at wingtips.

(2,000 - 3,000)

353 Extremely rare leaping black duck, J. Corbin Reed, Chincoteague, Virginia. Applied wings with relief feather carving. Head is turned with open bill. Applied, carved feet and detailed scratch feather paint. Signed on the underside of wing. Measures 14.25” long, with a 19” wingspan. Very minor paint flakes and rubs; otherwise excellent and original.

(2,000 - 3,000)

widgeon, J. Corbin Reed, Chincoteague, Virginia. Head is turned, preening one outstretched wing. The other wing with deep relief carving. Relief carved legs and feet on lower sides. Signed and stamped on the underside. Measures 14.5” long. Original paint with very minor rubs; fine seam in tail sprig where it was reset.

Provenance: Jack Milne collection. (2,000 - 3,000)

carved with slightly forward head pose. Relief wing feather carving and sleepy eyes. Maker’s name stamped in the underside. “KB 107” carved in the underside for collection of Knute Bartrung. Measures 18.5” long. Small chip in tip of tail was reset, otherwise excellent and original. (800 - 1,200)

Drake with tucked head, hen with head turned over back. Both with relief carved legs and feet. Tight comb feather paint detail on each. Unsigned. Measure 12.75” and 14.5” long. Original paint with very minor discoloration; slight separation at hen’s neck seat; filler on back of drake’s head has risen slightly with some flaking.

Provenance: Jack Milne collection. (1,000 - 1,400)

354 Preening

356 Pair of canvasbacks, J. Corbin Reed, Chincoteague, Virginia.

355 Brant, J. Corbin Reed, Chincoteague, Virginia. Hollow

354

356

355

Delbert “Cigar” Daisey 1928 - 2017 | Chincoteauge, Virginia

356a Excellent pair of greenwing teal, Delbert “Cigar” Daisey, Chincoteague, Virginia. Hollow carved with relief wing carving. Comb feather paint on drake. Both are signed and branded “Cigar” on the underside. Measure 10.5” long. Excellent and original.

(2,500 - 3,500)

357 Rare hollow carved mallard, Delbert “Cigar” Daisey, Chincoteague, Virginia. Hollow carved with half inch bottom board and relief wingtip carving. Signed and branded “Cigar” on the underside. Dated 1995. Doily Fulcher collection ink stamp on underside. Measures 16” long. Excellent and original.

Provenance: Doily Fulcher collection.

Literature: “Delbert “Cigar” Daisey Decoys,” Doily Fulcher, p. 192, exact decoy pictured. (2,000 - 3,000)

356a

358

Pair of red breasted mergansers, Delbert “Cigar” Daisey, Chincoteague, Virginia. Relief wingtip carving and extended crests. “Cigar” branded on the underside. Dated 1993. Doily Fulcher collection ink stamp on the undersides. Measure 17” long. A few minor paint rubs, mostly on drake; otherwise excellent and original.

Provenance: Doily Fulcher collection.

Literature: “Delbert “Cigar” Daisey Decoys,” Doily Fulcher. (1,200 - 1,800)

359 Pair of bufflehead, Delbert “Cigar” Daisey, Chincoteague, Virginia. Slightly turned heads and relief wingtip carving. Both branded “Cigar”, signed, and dated 1993 on the undersides. Doiley Fulcher collection ink stamp on undersides. Measure 11.75” long. Original paint with moderate discoloration and a few minor paint rubs; excellent structurally.

Provenance: Doily Fulcher collection.

Literature: “Delbert “Cigar” Daisey Decoys,” Doily Fulcher, p. 171, exact drake pictured. (1,200 - 1,800)

360 Feeding golden plover, Delbert “Cigar” Daisey, Chincoteague, Virginia. In feeding pose with relief wing and raised wingtip carving. Signed and stamped “Cigar” on the underside. Base is original to the bird, and branded “Cigar” twice on the underside. Measures 9.75” long. Excellent and original.

Provenance: Doily Fulcher collection.

Literature: “Delbert “Cigar” Daisey Decoys,” Doily Fulcher. (800 - 1,200)

361 Yellowlegs, Delbert “Cigar” Daisey, Chincoteague, Virginia. Relief wing and raised wingtip carving. Slight minnow in throat style. Stamped “Cigar” on the underside. Measures 12” long. Excellent and original.

Provenance: Doily Fulcher collection.

Literature: “Delbert “Cigar” Daisey Decoys,” Doily Fulcher. (800 - 1,200)

362 Black bellied plover, Delbert “Cigar” Daisey, Chincoteague, Virginia. Relief wing and raised wingtip carving. Stamped “Cigar” in the underside. Measures 10.75” long. Excellent and original.

Provenance: Doily Fulcher collection.

Literature: “Delbert “Cigar” Daisey Decoys,” Doily Fulcher. (800 - 1,200)

363 Dove, Delbert “Cigar” Daisey, Chincoteague, Virginia. Relief wingtip carving. Signed and dated 94. Stamped “Cigar” on underside. Measures 11.5” long. Excellent and original.

Provenance: Doily Fulcher collection.

Literature: “Delbert “Cigar” Daisey Decoys,” Doily Fulcher. (800 - 1,200)

362

364 Pair of dowitcher, Delbert “Cigar” Daisey, Chincoteague, Virginia. One in feeding pose, both with relief wing and raised wingtip carving. Both signed and dated 07. Both stamped “Cigar” on the underside. Measure 8.5” long. One has yellowed slightly from an early coat of varnish; otherwise both are excellent.

Provenance: Doily Fulcher collection.

Literature: “Delbert “Cigar” Daisey Decoys,” Doily Fulcher. (800 - 1,200)

365 Pair of red breasted mergansers, Delbert “Cigar” Daisey, Chincoteague, Virginia. Hollow carved with slightly turned and forward head pose. Comb feather paint on drake. Both with extended crests.

“Cigar” branded on underside. Dated 1977. Measure 17.25” and 18.75” long. Filler on top of hen’s head has risen very slightly, otherwise excellent and original.

(1,500 - 2,500)

366 Three small buffleheads, Delbert “Cigar” Daisey, Chincoteague, Virginia. Smooth body style. All signed and branded “Cigar” on the underside. All retain the original line ties and Cigars branded weights. Measure 9.25” to 9.5” long. Excellent and original. (800 - 1,200)

Joseph Sieger

1871 - 1959 | Tustin, Wisconsin

Joseph Sieger was born on the family farm near the northwest shore of Lake Poygan in Wisconsin. This area was one of a few throughout North America crowned with the title “canvasback capital of the world”. For a period of nearly fifty years starting around 1870, canvasbacks killed, cleaned and packed on ice supplied restaurant and grocery store demand in Chicago, Milwaukee and beyond.

It is thought that Sieger made between two and three dozen of these magnificent high neck canvasback drakes, but far less than that survived. Many of today’s collectors consider them to represent the finest canvasbacks that Wisconsin has to offer.

Canvasback, Joseph Sieger, Tustin, Wisconsin, 1st quarter 20th century. Hollow carved with 1” bottom board. High, reared back head on raised neck seat. High rounded back. A classic form. Measures 16” long. Original paint under the original coat of varnish with moderate discoloration and minor wear; fine and appealing paint crazing on much of the decoy; lightly hit by shot in tail area with one strike causing a small chip in underside of tail; head swivels very slightly.

Provenance: Herb Desch collection.

Literature: “Decoys of the Winnebago Lakes,” Ronald Koch, p. 162, exact decoy pictured. “Decoys of the Mississippi Flyway,” Alan Haid. “Top of the Line Sporting Collectibles,” Donna Tonelli. “Fish and Fowl of the Great Lakes,” Donna Tonelli. (15,000 - 25,000)

368 Pair of bluewing teal, Otto Weinert, Oshkosh, Wisconsin, 2nd quarter 20th century. Slightly turned heads and detailed feather painting. Hen with front and side line tie staples. Drake with rear line tie staple recessed under tail. Measure 10.25” and 10.75” long. Original paint with very minor wear on each; drake with drying cracks in one side and small dents in body; slight yellowing to varnish on drake; white bars at hen’s wing patches have a second coat over the varnish, but likely done in the making.

Provenance: Herb Desch collection. (6,000 - 9,000)

Hollow canvasback drake, Ferd or Mandt Homme, Stoughton, Wisconsin, 2nd quarter 20th century. Signed on the underside “MADE BY FERD HOMME, 1944”. The head is in a tucked and slightly turned position. Exhibits classic Homme comb paint with raised primaries. Original paint shows minor gunning wear; lightly hit by shot; tight cracks in each eye; gray paint on lower sides near tail added at a later date.

368a

Provenance: George and Miriam Van Walleghem collection. (12,000 - 18,000)

369 Hollow carved canvasback, Gus Moak, Tustin, Wisconsin, 1st quarter 20th century. Hollow carved with high head and humped back. Measures 19” long. Original paint with moderate discoloration and minor wear; professional neck crack repair, otherwise very good structurally.

Provenance: Herb Desch collection.

(4,000 - 6,000)

Berry, Stoughton, Wisconsin, 2nd quarter 20th century. Very similar to the work of Berry’s friend, Enoch Riendahl. Hollow carved with raised, crossed wingtips and tucked head that is turned 45 degrees. Carved eyes and separated tail feathers. Signed on the underside. Measures. 14.5” long. Original paint with minor wear; under a thick coat of varnish; professional bill crack repair with touchup in that area.

Provenance: Herb Desch collection.

(3,000 - 4,000)

370 Bluewing teal hen, Otto Weinhart, Oshkosh, Wisconsin. Head is turned 45 degrees. With inlayed line ties in breast and one lower side. Measures 10.25” long. Original paint with minor gunning wear; lightly hit by shot; white bars at wing patches have a second coat over the varnish, but likely done in the making.

(3,000 - 4,000)

372 Mallard hen, Russell

373 Canvasback, Gus Moak, Tustin, Wisconsin, 2nd quarter 20th century. Hollow carved with slightly turned head on raised neck seat. “Halvorson” stamped into the underside. Also with the Halvorson collection ink stamp. Measures 17” long. Original paint with minor wear protected under a thin coat of varnish; lightly hit by shot; hairline crack in neck and an early neck crack repair with repaint to the red on neck and head.

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

374 Coot, attributed to Gus Moak, Tustin, Wisconsin, 2nd quarter 20th century. Hollow carved with slightly turned head. Measures 13.5” long. Original paint with minor gunning wear; small dents; small amount of touchup to a small crack around neck seat.

Provenance: Herb Desch collection. (2,000 - 3,000)

375 Oversize widgeon, Roy Discher, Milwaukee, Wisconsin, 2nd quarter 20th century. Hollow carved with relief wing carving and raised, crossed wingtips. Extensive scratch feather paint detail on body. Measures 17.75” long. Original paint with very minor flaking on edge of tail and wingtip; otherwise excellent.

Provenance: Herb Desch collection.

Literature: “Decoys of Mississippi Flyway,” Alan Haid, p. 51. (1,500 - 2,500)

376 Canvasback, Sylvester Swedesky, Neenah, Wisconsin, 2nd quarter 20th century. High head carving and thick stipple paint on gray areas. “Duck Inn” painted on the underside. Measures 16.25” long. Original paint with minor wear; crack through lower part of neck; small spot of touchup to black on underside of tail; filled .25” hole on the underside of face.

Provenance: Herb Desch collection. (1,200 - 1,800)

378 Pair of bluebills, Ed Steinkellner, Randolph, Wisconsin, 2nd quarter 20th century. Two piece bodies were slightly hollowed. Both with slightly raised heads, hen’s head is also turned. Comb feather paint detail on drake’s back. Round inlayed weights on underside. Measure 13.5” long. Original paint with minor to moderate flaking and wear; thin coat of varnish that has yellowed slightly; tight crack in drake’s neck; a few shot strikes; two drips of black paint on drake’s back.

Provenance: Herb Desch collection.

Literature: “Decoys of the Winnebago Lakes,” Ronald Koch, p. 116, exact decoy pictured. (1,000 - 1,500)

377 Folky coot from Wisconsin, 2nd quarter 20th century. Detailed bill carving and brass tack eyes. Raised, forward slanting neck seat. Round inlayed lead weight in underside. Measures 10” long. Dry original paint with minor wear; a few small dents, otherwise very good structurally.

Provenance: Herb Desch collection. (600 - 900)

376

378

377

Charles Perdew

1874 - 1963 | Henry, Illinois

379 Pair of pintails, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved with original paint by Edna Perdew. Both retain the original Perdew weights. Measure 16” long. Original paint with very minor flaking and wear on hen; moderate flaking and wear on drake, especially along one lower side; hairline crack near neck seat and along one side of drake. (15,000 - 25,000)

Robert Elliston

1847 - 1911 | Bureau, Illinois

“Robert Elliston, is certainly regarded as one of the first Illinois River commercial decoy makers and because of the quality and quantity of his output as one of the best. He traveled the Midwest until he settled in Lacon, Illinois, where he started a career of full time decoy carving while in this thirties. Later he moved to Bureau where he lived the rest of his life.

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 th e first to make turned head sleepers. By all standards, Robert Elliston rates as a classic maker.”

- “Decoys of the Mississippi Flyway”, Alan Haid

380 Very rare bluewing teal hen and drake, Robert Elliston, Bureau, Illinois, last quarter 19th century. Hollow carved with scratch feather paint detail on hen. Both retain the original Elliston weights. Drake is branded “Congdon” and hen is branded “J.W. Brooks.”. Measure 12.5” long. Original paint with minor discoloration and wear; lightly hit by shot; fine crazing on drake’s head; small, old chip in one side of drake’s bill.

Provenance: George and Miriam Van Walleghem collection.

Literature: “Decoys: A North American Survey”, Gene and Linda Kangas, pg. 242, exact decoys pictured. (50,000 - 80,000)

Charles Schoenheider, Sr.

1854 - 1924 | Peoria, Illinois

381 Rigmate pair of pintails, Charles Schoenheider, Sr., Peoria Illinois, last quarter 19th century. Hollow carved with long bodies and comb feather paint detail on drake. Measure 15.5” and 16.5” long. Drake is in original paint with moderate discoloration and wear; reglued crack through neck; minor roughness on tip of bill and tail; hen has had

While best known for his standing “ice duck” carvings, Charles Schoenheider also created a number of traditional gunning decoys.

The floaters he made are all in the typical Illinois River style, two-piece bodies and hollow. They have been described as delicate and graceful and at the same time very functional. The best Schoenheider decoys, including all of the ice ducks, were painted by his friend and hunting partner, Jack Franks. This pair of pintails were carved by Schoenheider and painted by Franks around 1915.

some overpaint taken down to the original surface with moderate discoloration and wear; roughness on tip of bill and tail.

Provenance: George and Miriam Van Walleghem collection. (10,000 - 15,000)

This rigmate pair of Charles Schoenheider pintails is one of three pairs known to exist. They have been handed down through the family of Richard Guy Kneedler, Sr., of Collinsville, Illinois. Kneedler graduated from high school in 1889, passed the Illinois bar and was eventually elected to the position of Collisnville, IL Mayor in 1911. Hi son, Richard G. Kneedler Jr. was an avid duck hunter and was an amateur painter of duck hunting scenes, automobiles, and horse racing scenes. Richard Kneedler Jr., passed these decoys to his only daughter, Joan Kneedler Westerhausen, who in turn passed them down to one of her daughters, Sydney W. Campbell,

382 Pintail, Robert Elliston, Bureau, Illinois, last quarter 19th century. Hollow carved with very slightly turned head and comb feather paint detail. Retains the original Elliston weight. Measures 17.25” long. Original paint with moderate flaking and wear; small dents and shot marks, mostly in one side; minor roughness on edge of tail with a hairline crack in tail; professional repair to a chip in one side and underside of bill. (5,000 - 8,000)

(5,000 - 8,000)

383 Pair of mallards, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved with comb feather paint detail on drake. Hen with slightly turned head and original Perdew weight. Drake’s weight was removed. Measure 15.75” long. Original paint with minor flaking and wear; tight crack through hen’s neck; small dent in one side of drake’s breast.

384 Mallard hen, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved with deep relief wingtip carving and slightly tucked head. Retains the original unmarked Perdew weight. Measures 15.5” long. Original paint under a thin coat of varnish; very minor flaking and wear; small spots of touchup to flaking on back and bill; excellent structurally.

(5,000 - 8,000)

385 Pintail hen, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved with slightly reared back head. Retains the original unmarked Perdew weight. Measures 15.75” long. Old overpaint taken down to the original surface with moderate wear; lightly hit by shot; slight separation at body seam; old chip in tail.

Provenance: George and Miriam Van Walleghem collection. (2,500 - 3,500)

386 Preening pintail hen, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Hollow carved with head turned back and bill resting on body. Retains the original Perdew weight. Measures 14.5” long. Second coat of paint by Perdew with significant flaking and wear; small dents and shot marks; separation on one side of neck seat; lead weight was cracked down the center with four small nails added to secure.

Provenance: George and Miriam Van Walleghem collection. (2,500 - 3,500)

387 Preening mallard, Bert Graves, Peoria, Illinois, 2nd quarter 20th century. Hollow carved with comb feather paint detail. “BM” branded on the underside. Retains the original Graves weight. Measures 14” long. Original paint on the body with minor crazing and wear under a fairly thick coat of varnish; minor separation at body seam; decoy was originally a straight head model, and the neck was reworked to make it a preener with repaint on the head and neck.

(2,500 - 3,500)

385

387

386

388 Mallard hen, Charles Walker, Princeton, Illinois, 2nd quarter 20th century. Hollow carved with relief wing carving and slightly turned head. Number 25 painted on underside for the rig of Joseph Zearing. Measures 17” long. Original paint with moderate discoloration and wear; the original varnish with tight crazing; second coat of paint on wing patches; tight cracks and chip in one eye; crack and separation at neck seat; repair to a large chip in top of head.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

389 Pair of canvasbacks, Bert Graves, Peoria, Illinois, circa 1930. Hollow carved with comb feather paint detail. Hen retains the original Graves weight. Measure 17” long. Hen with slightly turned head. Original paint with minor to moderate gunning wear; hairline cracks in drake’s neck otherwise very good structurally. (4,500 - 6,500)

390 Pair of pintails, Skinny Evans, Peru, Illinois, 1st quarter 19th century. Hollow carved with slight shoulder carving and thin extended tails. Perkins collection ink stamp on the underside. Measures 16.5” long. Original paint with moderate crazing and wear; chip in one side of each tail tip; cracks in necks. (1,500 - 2,500)

391 Canvasback, Bert Graves, Peoria, Illinois, circa 1930s. Hollow carved. Retains the Graves weight on the underside. Measures 16.5” long. Original paint with minor wear; under an old coat of varnish that has yellowed somewhat; small spots of touchup to flaking and shot strikes, mostly to head and breast; very minor roughness on edge of bill. (1,000 - 1,500)

392 Mallard, Charles Walker, Princeton, Illinois, 2nd quarter 20th century. Hollow carved with relief wing carving and slightly turned head. Was rigged and weighted, but with no rig name or number on the underside. Measures 17” long. Original paint on the body is very similar to Walker, but may not be by him; second coat of green on the head; all with minor wear; small dents on head and neck. (1,500 - 2,500)

390

392

391

Charles “Shang” Wheeler

1872 - 1949 | Stratford, Connecticut

Decoy carver, sportsman, oysterman, artist, politician, naturalist, and conservationist are just a few of those life experiences that identify Charles “Shang” Wheeler. Born in Westport, Connecticut, Wheeler grew up and spent his life hunting and fishing along the Housatonic River and other Connecticut rivers flowing into Long Island Sound.

His achievements in all of the aforementioned fields are far too numerous to mention here, but suffice it to say that he lived life to the fullest and made significant contributions to each of his life’s endeavors. Wheeler’s decoys evolved from the works of Albert Laing and Benjamin Holmes, the earliest of the Stratford, Connecticut School carvers. He carved a wide variety of decoys, but his output of blackducks far exceeded his production of the other species which included bluebills and scoters and, even to a lesser extent, pintails, goldeneye, canvasback, teal, widgeon, geese, oldsquaw, redheads. “The rarest are wood duck, merganser, ruddy duck, and swans.”

Wheeler achieved national recognition after he started competing in carving contests, and decoy shows. The largest was the first American decoy show held in 1923 in Bellport, Long Island, where he won the “Grand Prize”. Wheeler also exhibited a display of over fifty of his decoys at the National Sportsman’s Show in New York City during the 1940s. Ultimately, after Shang’s death, this display was housed at the Audubon’s Birdcraft Museum in Fairfield, Connecticut where they remained until the collection was sold privately in the early 1980s.

393 Excellent black duck, Charles “Shang” Wheeler, Stratford, Connecticut. Hollow carved with slightly turned head and thick scratch feather paint detail on head. Green felt was removed form underside. Measures 16.75” long. A few tiny dents and very minor paint rubs, otherwise excellent and original.

Provenance: Gifted to Lynn Bogue Hunt by the maker. Gifted from Hunt to Milton C. Weiler. Richard Oliver’s November 1991 auction of the Milton C. Weiler collection, lot 1. John and Virginia Chua collection.

Literature: “Shang,” Dixon Merkt. (30,000 - 40,000)

Preening scoter, Albert Laing, Stratford, Connecticut, 3rd quarter 19th century. Hollow carved in preening pose with angled neck seat typical of the maker. “Laing” branded on the underside. Measures 14.5” long. Old overpaint was taken down to much of the original surface with strengthening; filler is flaked from the nail holes along lower edge; as with most Laing scoters, much of the bill and front part of the face was rebuilt as a scoter long ago; lightly hit by shot.

Provenance: George and Miriam Van Walleghem collection. (12,000 - 18,000)

395 Bluebill drake, Albert Laing, Stratford, Connecticut, 3rd quarter 19th century. Hollow carved with .5” bottom board and slightly turned head. Inlayed lead weight on underside. Mackey collection ink stamp twice on underside. Measures 13” long. Very old overpaint was cleaned down and strengthened with moderate wear on lighter areas; moderately hit by shot; hairline crack and minor roughness on tail; multiple hairline cracks at nails in bottom board; drying split in breast. (6,000 - 9,000)

on the underside. Measures 14.5” long. Original paint with very minor wear; very fine hairline crack through base of neck, otherwise excellent structurally. (2,000 - 3,000)

Measures 16” long. Original paint with very minor wear; a few small dents; otherwise very good structurally. (2,000 - 3,000)

396 Sleeping black duck, Charles Ralph Wells, Stratford, Connecticut, 2nd quarter 20th century. Head turned, with bill resting on back. Scratch feather paint detail on head. “CRW” branded

397 Canvasback drake, Joel Barber, Wilton, Connecticut, 2nd quarter 20th century. “Barber Decoys” stamped in underside. Includes a copy of Modern Decoys by Joel Barber, number 67 of 950.

398 Canada goose, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Classic Lincoln form with large glass bead eyes. Appears to have been used on a triangle rig. Measures 23.75” long. Original paint with minor flaking and wear; tight crazing on underside of tail; very thin early wash of white to crazing on the breast; small loss near knot in one side from when the decoy was made; tighter than typical drying crack along the underside.

Provenance: Dan Graf collection. (10,000 - 15,000)

399 Excellent brant, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. From the rig of Chester F. Spear, Scituate, Massachusetts. Classic Lincoln form with inlayed lead weight and incised bill carving. Measures 18” long. Original paint with minor gunning wear; typical age split in underside that extends up the breast and under tail; tight crack through upper neck with two old nails added on each side to secure; very minor roughness on edge of bill.

Provenance: Ex Dr. John Ribic collection.

(20,000 - 30,000)

400 Very rare pair of goldeneye, George Boyd, Seabrook, New Hampshire, 2nd quarter 20th century. Each with slightly turned head. These decoys were carved for the rig of John Henry of Salisbury, Massachusetts. Who, when convicted of murder, gave them to Randolph C. Dow, also of Salisbury, Massachusetts. Who consigned them to Richard Oliver auctions. Richard Oliver auction tags on underside. Measure 14.5” and 15” long. Dry original paint that has darkened with age; minor to moderate gunning wear; minor paint crazing on drake; stable yet significant paint crazing on hen; drying split in underside of drake that extends up the breast and under the tail area, otherwise both excellent structurally.

Provenance: Made by Boyd in 1932 for John Henry. Then to the rig of Randolph Dow. Dan Graf collection.

Literature: “Finely Carved and Nicely Painted”, Cullen, page 45, exact decoys pictured. (8,000 - 12,000)

401 Black duck, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. An earlier style with high, round body and protruding breast. Slightly turned and uplifted head. Measures 16.75” long. Original paint with minor to moderate flaking and wear; crazing to paint on breast and tail area; filled crack along the underside.

Provenance: Jack Milne collection.

(2,000 - 3,000)

402 Merganser hen, Luther Nickerson, Cotuit, Massachusetts, 1st quarter 20th century. Relief wing carving and wooden dowel eyes. “AJB” branded on the underside for Alphonse J. Beaumont. Measures 18.25” long. Original paint with minor gunning wear; minor separation at neck seat; a few small shot strikes were filled and touched up; chip in one side of tail; professional tail crack repair; early thin wash of white on the underside.

(800 - 1,200)

403 Widgeon, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. From the rig of C. N. Smith, and so branded on the underside. Measures 14.5” long. Mix of original paint with moderate wear and later strengthening to flaking on breast; modern strengthening to areas of flaking; hairline crack along back and one side; small dents and shot marks.

(1,200 - 1,800)

404 Rare widgeon, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Large round inlayed lead weight on underside. Branded “C.N. Smith”. Measures 15.5” long. Original paint that has darkened with age; moderate gunning wear; lightly hit by shot; slight separation at a knot in one side; professional repair to a chip in tip of bill.

(3,000 - 4,000)

405 Two outstanding mallard drakes, Philadelphia area, last quarter 19th century. Hollow carved with slightly upswept tails. One is in preening pose, the other with exaggerated cocked and slightly turned head. Measure 14.25” and 13.5” long. Original paint with moderate flaking and wear; tight crack through one neck and flaking to filler around the eyes of the same bird; slight separation at body seam of preener.

Literature: “Decoys,” Linda and Gene Kangas, p. 202, similar example.

(10,000 - 15,000)

405a Rare rigmate pair of pintails, Joseph Morgan, Tullytown, Pennsylvania, 2nd quarter 20th century. Hollow carved with raised wingtips. Drake with slightly turned head. Hen with tucked head. “R. Carman, Tullytown PA” stamped in to the lead weights. “DSC” stamped in underside for the collection of David Campbell. Measure 14.75” and 17” long. Original paint with minor to moderate gunning wear; tiny chip in tip of hen’s tail; minor flaking on drake’s head; tight neck crack repair on drake; thin and early wash of white on drake’s head and upper breast. (8,000 - 12,000)

406 Early black duck, from the Delaware River, last quarter 19th century. Hollow carved with raised V wing carving and incised tail and feather carving. Very similar to the work of John English. Measures 14” long. Original paint under a thin, very early coat of varnish that has flaked and worn; possibly a thin wash of black on lower part of decoy; a few small spots of early touchup around body seam; very good structurally. (2,500 - 3,500)

407 Rare hollow carved redhead drake, John Blair, Philadelphia, Pennsylvania, last quarter 19th century. Hollow construction with four small pegs joining the body halves. Tack eyes and raised neck seat. Measures 14.75” long. Old overpaint has been taken off to reveal original paint with minor to moderate wear; structurally good.

Provenance: George and Miriam Van Walleghem collection. (2,000 - 3,000)

408 Early Canada goose, Anthony Bianco, Bordentown, New Jersey, 2nd quarter 20th century. Excellent sculptural form with relief wingtip carving and very high neck seat. Balsa body with wooden keel. Measures 24.25” long. Original paint with minor to moderate wear under an early coat of varnish; small dents in balsa; very minor separation at neck seat.

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

Provenance:

(8,000

Provenance:

12,000)

419 Small red knot, Daniel Lake Leeds, Pleasantville, New Jersey, circa 1890. Relief wing carving and painted eyes. “GNG” on the underside for the collection of Gary Giberson. Measures 8.5” long. Original paint under a thin coat of crazed varnish; minor flaking and wear; some touchup to the black on bill.

Davis Pearson collection.

- 12,000)

420 Excellent lesser yellowlegs, Daniel Lake Leeds, Pleasantville, New Jersey, circa 1890. Relief wing carving and painted eyes. Hillman collection ink stamp on underside. Measures 9.5” long. A few very minor paint rubs, otherwise excellent and original.

Ex John Hillman collection. George and Miriam Van Walleghem collection. (8,000 -

419

420

Provenance:

on

drying

along the underside; small chip near stick hole and at tip of tail; fine hairline crack in bill.

421 Black bellied plover in winter plumage, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Plump bird with painted eyes. “A” written near stick hole on underside. Measures 9.75” long. Original paint with minor discoloration and wear; very good structurally.

Davis Pearson collection. (6,000 - 9,000)

422 Black bellied plover in summer plumage, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Plump bird with painted eyes. Measures 9.5” long. Original paint with minor gunning wear; moderate crazing and paint shrinkage on back; minor flaking

breast;

crack

Provenance: Davis Pearson collection. (8,000 - 12,000)

421

422

423 Excellent ruddy turnstone from New Jersey, last quarter 19th century. Hillman collection ink stamp on underside. Measures 9.5” long. Very minor gunning wear and a small spot of roughness on one edge of tail, otherwise excellent and original.

Provenance: Ex John Hillman collection. Davis Pearson collection. (2,000 - 3,000)

424 Hudsonian curlew, Captain Jess Hepron, Cape May County, New Jersey, circa 1900. Applied wings and painted eyes. Some researchers now believe the name may have been Herron, and not Hepron. Measures 15” long. Original paint with very minor wear; small amount of rust stains above small nails holding applied wing; tiny chip at stick hole, otherwise excellent structurally.

Provenance: Purchased directly from Isabelle Hillman, August 1, 2006 from her home in Seagirt, New Jersey. (4,000 - 6,000)

425 Lesser yellowlegs, McCarthy Family, Cape May, New Jersey, circa 1900. Small bead eyes and screw line tie under tail. Measures 10” long. Original paint under a thin coat of crazed varnish; very minor flaking and wear; minor chip at stick hole, otherwise very good structurally.

Provenance: Davis Pearson collection. (5,000 - 8,000)

426 Lesser yellowlegs, Taylor Johnson, Pleasantville, New Jersey, 1st quarter 20th century. Measures 9.75” long. Original paint with very minor wear; bill is a professional replacement.

Provenance: Davis Pearson collection. (2,500 - 3,500)

427 Dowitcher from New Jersey, circa 1900. Measures 10.75” long. Original paint that has darkened with age; very minor flaking and wear; bill is a professional replacement.

Provenance: Davis Pearson collection. (2,500 - 3,500)

428 Lesser yellowlegs, Taylor Johnson, Pleasantville, New Jersey, 1st quarter 20th century. Measures 9.75” long. Original paint on the light areas; brown appears to be an early second coat with minor wear; appealing twine neck crack repair around neck; bill was cracked off and reset off of center; minor roughness in one side.

Provenance: Davis Pearson collection. (2,500 - 3,500)

426

427

428

429 Rare robin snipe, John Horn, New Gretna, New Jersey, circa 1890. Hillman collection ink stamp on the underside. Measures 10” long. Original paint under a thin coat of varnish; with minor gunning wear; minor roughness on edge of tail and a dent in one side.

Provenance: Ex John Hillman collection. Davis Pearson collection.

Literature: “New Jersey Decoys”, Fleckenstein, page 178, exact decoy pictured. (2,000 - 3,000)

430 Ruddy turnstone from New Jersey, 1st quarter 20th century. Slightly flat sided with painted eyes. Measures 10.75” long. Original paint under a thin coat of varnish; very minor gunning wear; separation at a knot in one lower side; small dent or chip on back.

Provenance: Davis Pearson collection. (2,500 - 3,500)

431 Black bellied plover from New Jersey, circa 1900. In running pose. Measures 10.25” long. Original paint with minor discoloration and wear; moderately hit by shot.

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

429

430

431

1/3 of the bill is an early replacement; a few small dents. (3,000 - 4,000)

23” long. Very thin original paint displaying Shourds excellent ability to blend wet on wet; variations of brown to create feathering on the back and barred lines on the side of the decoy; repair to the neck was made at some point but has retained its original pieces; the black on the head and neck having been repainted when the repair was made; light gunning wear with some rubss, mostly on top of back.

July 1987 on underside.

Provenance: Charlie Hunter, III collection.

(6,000 - 9,000)

432 Canada goose, Cooper Predmore, Barnegat, New Jersey, last quarter 19th century. Hollow carved with raised neck seat and carved eyes. Measures 22.5” long. Original paint with minor discoloration and wear;

433 Canada goose, Harry V Shourds, Tuckerton, New Jersey. Two piece hollow body with tack eyes. Auction tag with RCE

432 433

434 Goldeneye, Harry M. Shourds, Ocean City, New Jersey, 1st quarter 20th century. Hollow carved with inlayed lead weight and painted eyes. Harry Mitchell Shourds decoys are nearly identical to those of his father, Harry V. Shourds, but with smaller, more delicate carved heads. Measures 13.75” long. Original paint with minor gunning wear; slight separation at body seam and neck seat; small knot on edge of tail had filler added in the making, some of which has flaked off.

(2,500 - 3,500)

435 Flying

Beach Haven, New Jersey, 1st quarter 20th century. Applied canvas over wire wings. Painted legs and feet and fluted tail feather carving. Measures 21” long. Original paint with minor wear; typical age split along the underside; old chip in one side of tail.

(3,000 - 5,000)

435a Yellowlegs from Mays Landing, New Jersey, circa 1900. Split tail carving and tack eyes. “W” carved in the underside. Measures 10.75” long. Original paint that has darkened with age; moderate wear; very lightly hit by shot; fine crazing to an early coat of varnish.

Provenance: Davis Pearson collection.

(2,000 - 3,000)

brant, Ellis Parker,

434

435

435a

436

Full-size great blue heron, Chief Eugene Cuffee, South Hampton Reservation, Long Island, New York, circa 1st half 20th century. One piece body with a separate neck and applied head and legs. Carved toes and legs are mounted to a large wooden, painted base. Measures 39” tall. Original paint with aged handling wear that has created an exceptional patina and look; tight cracks, mostly in body; some rubs with areas of paint loss.

Provenance: Richard Bourne, July 1985 auction, lot 766. (10,000 - 15,000)

Chief

East Hampton, Long Island, 1st quarter 20th century. Deep relief wing carving and extended crest. Carved eyes and folky paint pattern typical of Cuffee. Both branded “WD Halsey”. Measure 13.75” long and 14.5” long. Original paint with minor flaking and wear; under an early coat of varnish; flaking to filler above nail on top of head; minor flaking on one side of drake’s neck seat; minor roughness on edge of hen’s tail and one raised wing; minor blunting and two cracks along hen’s bill.

(5,000 - 7,000)

437 Early pair of wood ducks,

Eugene Cuffee,

Provenance: Ex Charlie Hunter, III collection.

438 Rare running black bellied plover, Obediah Verity, Seaford, Long Island, last quarter 19th century. Relief wing carving and carved eyes. Wide body and head. Measures 10 3/4” long. Dry original paint with minor crazing and wear; hit by shot; hairline crack in top of head.

(20,000 - 30,000)

440 Rare dowitcher, Theodore Rogers rig, Jamaica Bay, Long Island, New York, last quarter 19th century. “T Rogers” branded in the underside. Rogers, born in 1831, was a banker in New York City. He was a member of numerous gunning clubs on the South Shore of Long Island, including the Aldine Club, the Jamaica Club, the Lyndach Club, and the Bellport Gun Club. Measures 11.5” long. Original paint with very minor wear; very good structurally; an excellent example.

Literature: Art of Deception, Waterfowl Decoys from the Collection of Paul Tudor Jones II”, p 67. “Decoys of Long Island, Fleming, Haid & Sieger, p. 64.

(6,000 - 9,000)

Measures 13.5” long. Original paint with minor crazing and wear, under a thin coat of varnish; good patina; several small dents; bill is a professional replacement, otherwise very good structurally.

(6,000 - 9,000)

439 Important eskimo curlew, Alonzo Foster, Hampton Bays, New York, circa 1880s.

441 Black bellied plover branded “CF Curtis”, last quarter 19th century. Relief wingtip carving. Measures 11.75” long. Original paint under a thin coat of varnish shows minor to moderate wear; bill is an early replacement.

(2,500 - 3,500)

442 Pair of dove from Long Island, New York, 1st quarter 20th century. Deep relief wing carving with incised feather detail on backs. Carrying holes drilled through tails. Measure 9.5” long. Original paint that has darkened with age; minor gunning wear; one is heavily hit by shot and has a early bill replacement; the other with a tight crack through neck.

(1,200 - 1,800)

443 Goldeneye hen, Will Smith, Long Island. Very slight relief wingtip carving and painted eyes. Measures 13.25” long. Appealing original paint with minor gunning wear; lightly hit by shot; slight separation at neck seat; old chip in tip of bill.

(1,200 - 1,800)

Aiden Lassell Ripley

1896 - 1969

444 Aiden Lassell Ripley (1896-1969), watercolor. Image measures 19” x 15”. Signed A. Lassell Ripley lower left. Image of hunter with double barrel, dog, and flushing grouse. Titled “The Grouse Hunter”. A well executed and finely detailed example of Ripely’s best work. As viewed under blacklight exccellent and original; professionally framed and matted. (18,000 - 22,000)

In 1954, Ripley became a member of the prestigious National Academy of Design, a rare honor for a sporting artist. His work was widely exhibited and often earned important prizes. During the last decade of his life, Ripley created a series of history paintings depicting Revolutionary War hero Paul Revere. Today, Ripley’s work can be found in the permanent collections of the Smithsonian Museum of American Art, Art Institute of Chicago, High Museum, and Museum of Fine Arts, Boston.

An outdoors enthusiast and ardent 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.

445 Aiden Lassell Ripley (1896-1969), watercolor. Image measures 14.25” x 20.5”. Two hunters flushing wood cock from pointing setter. Signed on back of painting, “Original watercolor by A. Lassell Ripley”. Vibrant bold colors with extraordinary detail. Framed and matted. As viewed under black light excellent and original. (20,000 - 30,000)

Adamson is described by internationally famous wildlife artist David Maass as “unsurpassed when it comes to portrayals of wildfowl on the wing in their natural surroundings.” Wildlife artist Owen Gromme says Adamson is simply “one of the finest waterfowl artists in the wo rld.”

Harry

oil

canvas. Image measures 21.5” x 27.5”. Titled “After the Rain - Honkers”. Signed lower right. As viewed under blacklight painting is excellent and original; linn and matting on inside of frame has darkened some. (10,000 - 15,000)

446

Curieux Adamson (1916-2012),

on

447 James Sessions (1882-1962), watercolor. Image measures 21” x 31”. Signed lower left. Three flushing pheasants, hunter, and two dogs. Professionally framed and matted. Excellent and original.

(5,000 - 7,000)

Frost painted as many as eight calendars for Winchester between 1895 and 1901. This illustration was likely made for the series but not selected as a final calendar production. It is easy to see the similarity in Frosts models and poses for work done in this period.

448 Arthur Burdett Frost (1851-1928), gouache on paper. Image measures 10” x 13.25”. Two hunters stalking elk. This appears to be part of an illustration used for Winchester calendars in the early 1900s. This image may not have been selected as a calendar, but is the same shooters as Frost used in many of his western images. As viewed under blacklight painting is excellent and original; one small tear at top but underneath linen matting; pro framed and matted. (10,000 - 15,000)

450 Arthur Burdett Frost (18511928), watercolor. Titled “The Argument”. Signed. Professionally matted and framed image size approximately 14” x 19”. Excellent and original.

Provenance: Ex Paul Tudor Jones II collection.

Literature: “Colliers Magazine,” August 1919, illustrated. (9,000 - 10,000)

449 Arthur Burdett Frost (1851-1928), watercolor. Titled “A Common Cause”. Professionally matted and framed. Image size approximately 13” x 15”. Very good and original.

Provenance: Ex Paul Tudor Jones II collection. Sold in a January 29, 1964 Parke-Bernet auction as being from a Philadelphia private collector.

Literature: “Colliers Magazine,” August 1919, illustrated. (9,000 - 10,000)

(4,000 - 6,000)

Excellent. (5,000 - 7,000)

451 Chet Reneson (b.1934), watercolor. 17.5” x 27.5”. Hunter with short hair in brilliant fall plumage. Signed lower left. Dated 2010. Professionally framed behind museum quality plexiglass. Excellent.

452 Chet Reneson (b.1934), watercolor. Measures 17.5” x 27.5”. Signed lower right, 2011. Deer hunter in snowy forest trailing deer. This exact painting was used as a front cover illustration for Sept/ Oct 2011 issue 5 of Grays Sporting Journal, and is accompanied with a copy of the issue. Professional framed and matted.

(4,000 - 6,000)

(4,000 - 6,000)

453 Chet Reneson (b.1934), watercolor. Measures 17.5” x 27.5. Two men warming at campfire, with canoes. A colorful and wonderfully executed scene by Reneson. Signed and dated 2007 lower left. Professionally framed and matted. Excellent.

454 Chet Reneson (b.1934), watercolor. Measures 17.5” x 27.5”. Signed lower left. Two canoes at lakeside warming a tea pot over camp fire. A rare example by Reneson. Professional framed and matted. Excellent.

456 Arthur Fitzwilliam Tait (1819-1905), oil on canvas. Image measures 13.25” x 19.5”. Signed lower right. Minor crazing; painting has been professionally cleaned and revarnish by Ken Katz with only one visible puncture repaired. (8,000 - 12,000)

23.5”

surreal picture of nine drake bluebills swimming in water that appears to have almost whirlpool like qualities. As viewed under blacklight painting is excellent in all respects; minor area with some flaking lower right hand side; largest piece being .25” x .75”; professionally matted and framed.

(2,000 - 3,000)

Signed lower right. Signature also on back of canvas with copyright titled “Three Bills” 1999. Image of three brown pelicans standing on shore. Professionally framed and matted. Excellent and original.

(1,500 - 2,000)

458

457 William Schultz (1923-2009), oil on canvas. Image measures

x 35.5”. An almost

458 Guy Coheleach (b.1933), oil on canvas. 21.5” x 13.5”.

459 Churchull Ettinger (1903-1984), watercolor. Signed upper right. Image measures 14” x 21.5”. Professionally framed and matted. Excellent in all respects.

(1,500 - 2,000)

460 Churchull Ettinger (1903-1984), watercolor. Signed upper right. Image measures 14” x 21.5”. Professionally framed and matted. Excellent in all respects.

(1,500 - 2,000)

461 David Hagerbaumer (1921-2014), watercolor. Image measures 12” x 9”. Woodcock in flight. Signed lower right, dated 2000. Professionally framed and matted. Excellent and original.

(800 - 1,200)

462 David Hagerbaumer (1921-2014), watercolor. 13” x 18”. Signed lower right. Dated 1965. Canvasbacks in flight. Framed and matted in period frame. Very good.

(800 - 1,200)

461

460

462

463 A. Rowland Knight, (British 1879-1921), oil on canvas. Image measures 16” x 21.5”. Signed lower right. Two salmon, two trout, a creel, and a pole on the side of river bank. Varnish appears to be slightly dirty; painting could use a light cleaning, but does not appear to have any damage. (2,000 - 3,000)

464 M. Jackson, oil on canvas. Signed lower right. Catch of trout and pole with creel and pole. Dated 1892. No visible damage to back of canvas; under blacklight there appears to be inpainting along left hand side of frame lower sie of frame and lower left fish the size of a quarter; light crazing at top right.

(800 - 1,200)

465 Abraham Bruiningh Van Worrell (Dutch 17871860), oil on board. Image measures 10.5” x 13”. Signed and dated 1836 lower right. As viewed under black light painting has been heavily varnished; appears to have some inpainting in cracklature and small area of damage upper left. (2,000 - 2,500)

466 John Walter Scott (1907-1987), watercolor.. Signed lower left. Image measures 6.25” x 7”. Watercolor. Accompanied by a printed page where the illustration was used. Appears to be circa 1930 or 1940. Professionally framed and matted. (300 - 400)

464

466

29” x 12.5” Three repaired small areas to back of canvas with some restoration and inpainting to front left and area below the corn and several small spots around the

469

468

467 Richard Amundsen (1928-1997), oil on board. Image measures 25.5” x 19.5”. Deer hunting scene with startled hunter. Signed lower right. As viewed under black light painting is excellent and original; framed behind glass. (800 - 1,000)

468 Adriano F. Manocchia (b.1951), oil on board. 6.75” x 10.5”. Titled “Evolution of a Fishing Fly”. Signed lower left. Professionally framed. Excellent and original. (500 - 700)

469 Oil on canvas of hanging corn cobs. Signed lower right Anna Warfel and dated 1888. Stretcher and canvas show great age. Image measures

twisted husks. (400 - 600)

(400 - 600)

470

471

470 David Maass (b.1929), oil on board. Image measures 23.5” x 29.5”. Swans in flight and at rest. As viewed under blacklight painting appears excellent and original; a tape mark and some light staining along edge of frame. (2,000 - 3,000)

471 Earl A. Lopo, oil on canvas. Image measures 30” x 24”. Signed lower right, but difficult to read. An obvious illustration work. Appears to be 1st quarter 20th century. As viewed under black light two areas of inpainting upper right, a very small area the size of a tennis ball lower left.

(800 - 1,200)

and mated.

darkening, otherwise excellent.

(400 - 600)

lower right. Professionally framed and matted. Very good and original. (400 - 600)

471a Roland Clark (1874-1957), etching. Image measures 6” x 8.25”. Signed lower right. Quail in flight. Professionally framed

Slight

471c

471b

471b Roland Clark (1874-1957), etching. “Captain Billy’s Rig”. Image measures 11” x 14”. Signed lower right. Some discoloration visible near matting. Professionally framed.

471c Roland Clark (1874-1957), etching. Image measures 10” x 8”. Signed

471d

are signed lower right. Smallest image measures 2.5” x 5.5” and is titled “Setting Out” edition of 75 from 1921. Professionally framed and mated excellent and original. Larger etching image measures 5” x 7”, is titled “Chincoteague” from an edition of 75 dated 1927.

(400 - 600)

471e Roland

All professionally framed and matted. One titled “Scoters” 1927 edition of 75, image measures 8” x 14.75”, signed lower right. Largest titled “Gathering of the Clan” image measures 15.5” x 12”, Signed lower right, image has darkened, and retains original Abercrombie & Fitch company label on back.

“The Welcome” edition of 65 dated 1926, image measures 10.25” x 7.75” signed lower right. “Pintails #2”, image measures 8” x 9.75”, signed lower right, image has darkened.

(800 - 1,200)

Two etchings by Roland Clark (1874-1957). Both

Clark, four etchings (1874-1957).

471e

Charles Bergman

1856 - 1946 | Astoria, Oregon

Charles Bergman enjoyed duck hunting and it may be possible that, while it was legal, he sold some of his excess game in the Portland (OR) markets. There were few, if any, locally produced decoys at the time so Bergman’s earliest decoys were Mason factory birds. His first attempts at making his own decoys clearly reflect the Mason influence but he rapidly developed a unique style of his own.

Citing Miller and Mortensen, all of Bergman’s decoys are hollow and very light. All were carved from the locally available western red cedar. Until about the age of 70, the bulk of Bergman’s production was for his own use but, upon his retirement, he began to carve in earnest for the commercial trade. His grandson estimates that he produced about a dozen decoys per week that he sold for $1.25 each. He carved a variety of species, all noted for their table quality and, as such, only one rig of bluebills (locally considered trash ducks) is known. Bergman’s work is widely recognized for the quality of his carving and construction, but he is probably best known for his outstanding painting. His plumage is crisp and accurate but often varies decoy to decoy within the same rig. As pointed out by Hugh Chatham, “It is ironic that a man may labor all his life at ‘serious’ work but be best remembered for a few artifacts created while ‘at play’”.

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

472 Outstanding greenwing teal, Charles Bergman, Astoria, Oregon. Hollow carved with excellent color blending on sides and appealing polka dot paint detail. Measures 13” long. Original paint with virtually no wear protected under the original coat of varnish; very minor discoloration under tail; 1” dent in one side of breast; fine hairline crack in neck and a hairline seam where bill was cracked down and reset with a very small amount of touchup to the seam.

(35,000 - 45,000)

473 Mallard drake, Charles Pice, Astoria, Oregon. Two piece hollow body. From the Darling rig. High head with a paint pattern that emulates Mason premier decoys. Measures 17.5” long. Strong original paint with very light wear around edge of tail and head were some spots have been worn down to expose bare wood; a hunter’s neck crack repair is also present; a few small rubs on body.

(3,000 - 6,000)

474 Very rare rigmate pair of widgeon, Woodwards Tule Lake, Sacramento, California, circa 1920s. Hollow carved from the front with 2” wooden plug. Comb feather paint detail on back of drake. Scratch feather paint detail on back and breast of hen. Factory ink stamp on the undersides. Measure 13.5” long. Original paint with minor discoloration and wear; minor flaking to the neck filler; a few small dents and shot marks.

(800 - 1,200)

475 Greenwing teal, Wilber Brothers, Sacramento, California, circa 1920s. The Wilber brothers became owners of the Tule Lake Factory. Solid body with upswept tail and glass eyes. Measures 12” long. Original paint with minor gunning wear; flaking to the original neck filler; some glue visible at neck seam where head was resecured; tiny flake at tip of bill.

(800 - 1,200)

476 Very rare bluebill, Woodwards Tule Lake Company, Sacramento, California, circa 1920s. Hollowed from the front with 2” wooden plug in breast. Factory ink stamp on the underside. Comb feather paint detail on back. Measures 13.75” long. Original paint with moderate flaking and wear; one small chip in the original neck filler; some early in use repaint on wings; minor discoloration from an early coat of varnish.

(600 - 900)

477 Pair of mallards, from California, 1st quarter 20th century. So called “Western Dodge” model with tack eyes and incised bill carving. Measure 15.5” long. Original paint with moderate wear; some chipping at neck seat of hen; narrow chip in underside of hen’s bill; professional neck repair on drake; repair to a chip in one side of bill on drake.

(1,000 - 1,500)

478 Pair of high head pintails, Ed Castagnetto, Napa, California. Carved in the style of his mentor Richard “Fresh Air’ Dick Janson. With relief carved wing feathers and exaggeratedly high necks. Signed and dated 1989 on underside. Measure 16.25” and 17” long. Original paint with minor discoloration and wear; minor blunt on tip of hen’s tail; fine hairline crack in drake’s neck.

(2,000 - 3,000)

479 Pair of pintails from California, 2nd quarter 20th century. Rigged, but never weighted. “Decoy by Husom” stamped on the underside. Hen’s head is turned 45 degrees. Measure 13.75” and 15.5” long. Original paint with very minor wear; minor separation at drake’s neck seat; hen with some neck filler restoration and touchup, with a small flake on one side of neck seat.

(500 - 800)

480 Red breasted merganser, Jude Brunet, Galliano, Louisiana. Turned and reared back head with extended, detailed crest. Relief wing and tail feather carving with slightly raised wingtips. Inlayed weight on the underside is made from steel shot suspended in clear epoxy. Signed and dated 1992 on underside. Measures 15.5” long. Minor chipping at tips of crest feathers that have been darkened and very minor paint rubs on tip of tail, otherwise excellent and original.

Provenance: Gordon Mulava collection. (2,000 - 3,000)

481 Pair of ruddy ducks, Jett Brunet, Galliano, Louisiana. Grouped with 83198. Relief wingtip and tail feather carving with slightly turned heads. Both are signed and dated 1990. Excellent paint feather detail. Measure 10” and 11.25” long. Excellent and original.

Provenance: Gordon Mulava collection. (2,000 - 3,000)

482 Pair of mallards, Pat Godin, Paris, Ontario. Raised, crossed wingtips and slightly turned heads. Comb feather paint detail and curly tail sprig on drake. Hen is signed and dated 2001, drake 2002. Measure 14.75” and 15.75” long. Excellent and original.

Provenance: Gordon Mulava collection. (1,500 - 2,500)

483 Red breasted merganser, Pat Godin, Paris, Ontario. Raised, crossed wingtips and raised uplooking head. Extended crest feathers and detailed bill carving. Measures 18” long. A few very minor paint rubs, otherwise excellent and original.

Provenance: Gordon Mulava collection. (1,200 - 1,800)

484 Canvasback, Jude Brunet, Galiano, Louisiana. Tucked and turned head with deep relief wingtip carving. Signed and dated 1994 on the underside. Measures 10.25” long. Tiny paint flake on top of head, otherwise excellent and original.

Provenance: Gordon Mulava collection. (800 - 1,200)

485 Ring neck drake, Dennis Schroeder, Trinity Alps, California. An excellent carving with deep relief wing and tail feathers. Head is tucked and slightly turned. Maker’s brand on the underside. Also dated 2003. Measures 11.25” long. Excellent and original.

Provenance: Gordon Mulava collection. (800 - 1,200)

482 484

483 485

486

Marty

Wisconsin. Hollow carved with 1” bottom boards. Relief wing and tail feather carving. Hen with slightly turned head and scratch feather paint detail. Maker’s Prior Lake ink stamp on underside. Measure 17.5” and 18” long. Very minor discoloration around bottom boards, otherwise excellent and original.

Provenance: Herb Desch collection.

(1,200 - 1,800)

487

Wisconsin. Hollow carved, in the Toronto style with slightly turned heads and comb feather paint detail on drake. Maker’s ink stamp on the underside. Bottom boards are made from wine crates with the wineries advertising branded into the underside. Measure 16.5” and 17.25” long. Made with impressions on bodies from where rigging was wrapped around; excellent and original.

Provenance: Herb Desch collection.

(1,200 - 1,800)

488

Wisconsin. Hollow carved, and drake with slightly turned head and extended crest. Maker’s Prior Lake ink stamp on underside. “MH” on lead weights. Measure 11.25” long. Excellent and original.

Provenance: Herb Desch collection.

(1,200 - 1,800)

Pair of mallards,

Hanson, Hayward,

Pair of pintails, Marty Hanson, Hayward,

Pair of greenwing teal, Marty Hanson, Hayward,

489 Pair of woodducks, Ben Heinemann, Durham, North Carolina. Hollow carved with slightly turned heads. Relief wingtip carving and extended crests. Maker’s name on lead weights and burned in to the underside. Measure 14” and 14.75” long. Excellent and original.

(500 - 800)

490 Pair of gadwall, George Strunk, Glendora, New Jersey. Hollow carved with raised “V” wingtips and relief carved tail feathers. “G Strunk” stamped in the lead weights. Comb feather paint detail on drake. Measure 15.5” long. A few very minor paint rubs and minor blunting to tip of hen’s bill, otherwise excellent and original.

Provenance: Herb Desch collection.

(600 - 900)

491 Pair of ruddy ducks, Josh Brewer, Little Deer Isle, Maine. Carved in the back bay Virginia style with relief wingtip carving. One head in reared back breast preening pose. “JB” carved in the underside of each. Measure 10.75” long. Aged slightly to appear older; excellent and original.

(800 - 1,200)

489

490

491

492 Excellent pair of full size flying Labrador ducks, Sean Sutton, Paulsboro, New Jersey. Relief wing and tail feather carving. Signed on the back of wings, and front of cherry backboard. Has an 1875 Seated Liberty half dollar inlayed in backboard. Birds measures 17.5” long, with 26.5” wingspan. Backboard measures 39.25” long. Excellent and original. (1,200 - 1,800)

493 Pair of flying canvasbacks, Mike Borrett, Madison, Wisconsin. Both stamped “Borrett 00” in back. Wingspans are 17”. Both are excellent and original; hen is missing very tiny chip near the toe on one foot. (800 - 1,000)

494 Owl, Mike Borrett, Madison, Wisconsin. Relief wing and talon carving and applied wooden beak. “Borrett” carved on back. Underside of base branded “Borrett”. Measures 18.5” long. Excellent and original. (400 - 600)

495 Decorative red tail hawk, Floyd Scholz, Hancock, Vermont. Dated September 2002, and titled “Autumn Leaves Red-tail Hawk”. Incredibly well detailed hawk standing on branch near rock with colored leaf foliage. On base measures 12” tall. A very small amount of chipping to raised feathers at back of hawk’s head, otherwise good and original.

(10,000 - 15,000)

496 Very rare full size golden winged warbler, Elmer Crowell, East Harwich, Massachusetts. Raised wingtip carving and tack eyes. Stands on metal legs, attached to a natural branch perch. Perch mounted to a modern wall plaque. Warbler measures 5” long, plaque is 6” round. Chip in tail was professionally reset with small band of touchup around the seam, otherwise excellent and original.

(5,000 - 7,000)

497 Full size least tern, Elmer Crowell, East Harwich, Massachusetts. Relief wing carving, raised wingtips, and split tail feather carving. Mounted on a carved clam shell base with maker’s rectangle stamp on underside. Also signed by the maker. Measures 7.25” long, stands 4.75” tall including base. Small amount of touch up to flaking on bill, otherwise excellent and original.

(4,000 - 6,000)

498 Excellent standing bluewing teal, Ken Harris, Woodville, New York. A decorative carving with relief wing and tail feather carving, and raised crossed wingtips. Head is turned and reared back. Plump body with appealing paint detail. Maker’s brand on the underside of base. Teal measures 10” long, stands 10.25” tall including base. Original paint with a mellow patina; minor separation at a small knot in underside of breast; very minor paint rubs on edges of raised feathers; small chip with touchup on one tail feather; some jesso and paint restoration on each leg.

(1,200 - 1,800)

499 Extremely rare full size grouse, A.J. Dando, Philadelphia, Pennsylvania. Standing on natural wood base with fanned out tail. Signed and dated 1938 under tail. Known for his miniature flying carvings, Dando did very few full size pieces. Measures 16” long, and stands 13.75” tall. Original paint that has darkened slightly with age; small amount of restoration at jesso legs where actual grouse feet are inserted; chip in each side of tail was reset with small amount of touchup.

(3,000 - 4,000)

Jess Blackstone 1909 - 1988 | Concord, New Hampshire

All of the New England states have their miniaturist of note. New Hampshire’s claim to fame in this regard rests firmly on the work of Jess Blackstone and George Boyd. Jess was prolific in not only the number of carvings he created, but also the sheer variety of birds he produced.

From an early age, beginning perhaps as young as 19, he became an avid birder. His father, Arthur, began a small business in carved miniature birds in 1937 and he was soon joined by his son who decided to combine his creative talents of sign painting and his love of birds into a vocation. The team produced a number of carvings together, many of which were identified by a gold-colored label on the bottom noting “Hand Carved and Painted by Blackstone”. He was quite prolific with an estimated lifelong production of 8,500 to 8,750 pieces. Unlike other New England mini carvers, Blackstone’s subjects were primarily songbirds. Joe Ellis, in “Birds in Wood and Paint”, records 164 different species that are credited to him, some in both male and female plumages. He followed in the footsteps of Elmer Crowell, mounting the bulk of his tiny jewels on carved and painted “stone” or “rock” bases with a rare few

positioned on pieces of driftwood. His birds were carved from white pine and he would typically produce between 30 to 60 birds per month. He differed from most carvers by giving his birds a light rasp finish prior to painting which nicely imparts life to the feathering. He identified each carving with the name of the species on the bottom along with his now familiar stylized and conjoined “JB” signature. Being almost obsessive, he also recorded the number of the species in the order in which it was carved. A warbler with the number 5 indicated that this was the fifth bird of that species that he produced.

Ill health forced Jess to stop carving in the early 1980s, but his reputation will always remain strong. The League of New Hampshire Craftsmen has developed an annual award in his name and his work is included in a number of museums, including the permanent collections of the New Hampshire Historical Society. His birds were included in exhibits at the Worcester Art Museum and the Massachusetts Audubon’s Museum of American Bird Art. Jess Blackstone is buried in the Dartmouth College Cemetery in Handcock, New Hampshire.

500 Rare miniature standing bluewing teal, Jess Blackstone, Concord, New Hampshire, 2nd quarter 20th century. Relief wingtip carving and slightly turned head. Identified, numbered 2, and dated 1947 on the underside. Also with maker’s initials. Measures 4.25” long, stands 3.75” tall including base. Original paint that has darkened slightly with age; minor paint rub on tip of tail; pro neck crack repair.

(1,000 - 1,400)

501 Rare miniature standing wood duck, Jess Blackstone, Concord, New Hampshire, 2nd quarter 20th century. Relief wingtip carving and head turned

45 degrees, with extended crest. Fine feather rasping. Identified, numbered 3, dated 1947 on the underside. Also with the maker’s initials. Measures 4” long, stands 3” tall including base. Original paint that has darkened slightly with age; fine seam through neck with small amount of old glue visible. (1,000 - 1,400)

502 Miniature mallard, Jess Blackstone, Concord, New Hampshire, 2nd quarter 20th century. Rare decoy style with slightly turned head and fine feather rasping. Identified, numbered 436, and dated 1946 on the underside. Also with maker’s initials. Measures 4.5” long. Excellent and original.

(600 - 900)

500

501

502

503 Miniature killdeer, Jess Blackstone, Concord, New Hampshire, 2nd quarter 20th century. Relief wingtip carving and fine feather rasping. Identified, numbered 1, and dated 1947 on the underside. Also with maker’s initials. Measures 3.5” long, stands 2.25” tall including base. A few very tiny paint rubs and very minor roughness on one edge of tail, otherwise excellent. (1,000 - 1,500)

504 Miniature ruddy turnstone, Jess Blackstone, Concord, New Hampshire, 2nd quarter 20th century. Fine feather rasping. Identified and numbered 19 on underside. Also with maker’s initials. Measures 3.5” long, stands 2.5” tall including base. Excellent and original. (1,000 - 1,500)

506 Miniature spotted sandpiper, Jess Blackstone, Concord, New Hampshire, 2nd quarter 20th century. Fine feather rasping. Identified and numbered 14 on the underside. Also with maker’s initials. Measures 3.5” long, stands 2.5” tall including base. Minor yellowing from a thin coat of varnish, otherwise excellent and original. (1,000 - 1,400)

507 Miniature house wren, Jess Blackstone, Concord, New Hampshire, 2nd quarter 20th century. Exaggerated, upswept tail and dropped wing carving. Fine feather rasping. Identified, and numbered 54 on the underside. Also with maker’s initials. Measures 2.75” long, stands 3.25” tall including base. Fine hairline crack under tail, otherwise excellent. (1,000 - 1,400)

508 Miniature purple finch, Jess Blackstone, Concord, New Hampshire, 2nd quarter 20th century. Raised wingtips and fine feather rasping. Identified and numbered 63129, also with maker’s initials on underside. Measures 3.5” long, stands 3” tall including base. A few small dents or puppy chews near head, otherwise excellent. (500 - 800)

509 Excellent miniature preening mallard hen, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Carved in preening pose with felt underside. In Edna Perdew paint. Signed “E.P. 37”. Measures just over 5” long. Tiny spot of touchup to flake on top of head, otherwise excellent and original.

Provenance: Chua collection. (2,000 - 3,000)

510 Miniature pintail, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Slightly turned head and comb feather paint detail. Maker’s metal name plaque on the underside. Measures 5.75” long. Original paint protected under a thick coat of varnish; shows very minor discoloration and wear; minor flaking at neck seat and a fine hairline crack in one side of neck.

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

511 Excellent half size yellowlegs, Davison Hawthrone, Salisbury, Maryland. Head is turned 80 degrees. Relief carved wings are raised and crossed. With relief feather carving. Identified, signed, and dated 1969 on the underside. Excellent paint detail. Measures 6” long, and stands 6.25” tall including base. Tiny paint flake on one side of neck, otherwise excellent and original.

Provenance: Ordered from Hawthorne as a Christmas gift to Bill Huey from his wife Mary in 1969. (1,000 - 1,400)

512 Rare miniature turkey bust, A.J. King, North Scituate, Rhode Island. Deep relief wattle carving and applied curved wooden snood. Mounted to stained wood plaque made for hanging. Signed on one edge of plaque. Turkey measures 2.5” tall, wooden plaque is 3.5” x 2 7/8”. Tiny little chip on one side where turkey meets plaque, also on one edge of plaque, otherwise excellent. (1,200 - 1,800)

513 Miniature woodcock, Steve Weaver, Cape Cod, Massachusetts. Dropped wing and relief tail feather carving. Applied metal leaves and a single feather mounted on base. Maker’s initials on one side of base. Titled “Settled in Beneath the Beeches”. Signed and dated 2020. Bird measures 4.75” long. Excellent and original. (1,200 - 1,800)

514 Miniature Hudsonian godwit, Steve Weaver, Cape Cod, Massachusetts. In walking pose with head turned 45 degrees. Raised wingtip carving. Maker’s initials in one side of base with a single feather mounted on base. Signed on the underside. Measures 3.25” long, and stands 3.25” tall including base. Tiny paint rub on tip of bill, otherwise excellent and original. (1,000 - 1,400)

516 Miniature grouse and quail, signed Lacy. Grouse in running pose with applied wings and fanned out tail. Quail with slight relief wing feather carving. Both mounted on natural white birch bases. Both identified, signed, and dated ’46. Stand 5 and 5.5” tall including base. Both protected under the original coat of varnish that has darkened with age; quail with minor separation were jesso leg meets body otherwise excellent; grouse has chip in the bill and top of one wing; chip in tail was reset long ago with glue visible; one wing was cracked and reglued

with a small piece missing along the seam. (600 - 900)

517 Miniature standing woodduck, J.T. Cooledge. Resting wood duck with head that is tucked and turned, and one leg raised into body. Applied metal wingtips are raised and crossed. Scratch feather paint detail on sides. Measures 4.5” long. Small repair to a chip in the tip of bill; otherwise excellent. (1,000 - 1,500)

518 Miniature standing woodduck, J.T. Cooledge. In preening pose with extended crest and applied metal wingtips that are raised and crossed. Signed and dated 1942 on the underside of base. Measures 5” long. Original paint that has darkened with age; with very minor flaking and a few small dents; minor chipping at end of crest; hairline crack in one side; some chipping that was darkened at edge of tail. (1,000 - 1,500)

519 Miniature mallard, J.T. Cooledge. In preening pose with head turned and cocked to one side. Metal wingtips are raised and crossed. Inserted metal tail sprig. Signed and dated 1954 on the underside. Measures 5.25” long. Original paint with very minor crazing; tiny paint flake on back where metal wings are joined to body, otherwise excellent. (1,000 - 1,500)

520 Eider drake, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Earlier Monhegan Island style with large inlayed neck seat, carved eyes, and relief carved bill with a mussel clutched in bill. Neck, head, and mussel all carved from a single piece of wood. Measures 15” long. Very early in use repaint with moderate wear; drying split along back; crack on one side of neck seat; minor separation at neck seat.

Provenance: George and Miriam Van Walleghem collection. Purchased from Michael Hall.

Literature: Included and pictured in the exhibition catalog for “The Decoy as Folk Sculpture” Cranbrook Academy of Art Museum, January 1987. (10,000 - 15,000)

a knot in one side of head; crack in one side of neck seat and along one side of body with nails added to secure.

521

522

521 Eider drake, Gus Wilson, South Portland, Maine. Earlier Monhegan Island style with large inlayed neck seat, carved eyes, and relief bill carving. Measures 14.5” long. Very early in use repaint with minor wear; tight drying cracks in body; very minor separation at neck seat.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

522 Scoter, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Earlier Monehgan Island style with large inlayed neck seat and carved eyes. Measures 16” long. Thin overpaint has worn to much of the original surface with some bare wood showing; small dents and shot marks; small chip near knot in tail; minor separation at

Provenance: George and Miriam Van Walleghem collection. (2,000 - 3,000)

523 Rocking head black duck, Gus Wilson South Portland, Maine, 2nd quarter 20th century. Relief wing carving and carved eyes. Rocking head model, to move with the motion of the waves. Also with open bill carving. Three holes drilled on one side of the underside to off set the weight of missing wood from a defect in the log. Measures 18.75” long. Original paint with minor wear; tight crack through neck; knots and defects in wood; three spots of paint loss around old nails added to secure a wooden patch in back.

Provenance: George and Miriam Van Walleghem collection. (4,000 - 6,000)

524 Flying black duck Gus Wilson, South Portland, Maine, 2nd quarter 20th century. Inlayed neck seat with outstretched neck and carved eyes. Curved wings and carved wooden legs that are inlayed into the body. Measures 23.5” long, with a 24” wingspan. Original paint with very minor wear; hairline cracks in wings with a small repair and touchup near body of one wing; small chip in one foot; repair where one leg meets the body.

Provenance: George and Miriam Van Walleghem collection. (2,500 - 3,500)

526 Merganser hen, Oscar Bibber, South Harpswell, Maine, 1st quarter 20th century. Solid body model with slightly turned head and applied leather crest. Measures 18” long. Original paint with minor flaking and wear and a nice patina; small amount of touchup at a neck crack repair on front and one side of neck; professional tail chip repair. (3,500 - 4,500)

527 Cocked head black duck, Gus Wilson, South Portland, Maine, 2nd quarter 20th century. Relief wing carving and inlayed neck seat. Head is slightly turned, and cocked to one side. Measures 19.5” long. Original paint with moderate wear; drying split in underside; wooden patches to heartwood under tail and in breast; drying cracks in neck seat; chipping and roughness along one edge of bill; moderately hit by shot.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

528 Eider, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Inlet head with carved eyes. Slightly turned head and relief wing carving. From the Pike rig, South Lubec, Maine. Measures 17.25” long. White paint was strengthened a long time ago; with the rest being original showing minor gunning wear; hairline crack along one side; tiny chip in tail; loss to heart wood along the underside.

Provenance: Jack Milne collection. (1,200 - 1,800)

529 Eider hen, Gus Wilson, South Portland, Maine, 1st quarter 20th century. Inlet head with carved eyes and relief carved bill. From the Pike rig, South, Lubec, Maine. Measures 17” long. Excellent original paint; a few small spots of flaked filler around neck seat; Hairline crack in neck was reset with small spot of filler and touchup on one side.

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

526

528

527

529

530 Pair of mallards, Mike Frady, New Orleans, Louisiana, 2nd quarter 20th century. Relief wingtip carving and upswept tails. Measure 15.75” long. Original paint with very minor wear; small dents; narrow rings of touchup around hairline cracks in neck seats.

(1,500 - 2,500)

531 Mallard hen, Dennis Pierra, Toca, Louisiana. Relief wingtip carving and appealing folk paint pattern. Measures 14.25” long. Original paint with minor to moderate wear; very minor roughness on edge of tail; lightly hit by shot; head is very slightly loose. (800 - 1,200)

532 Ringneck drake, Reme Rousell, Raceland, Louisiana, 2nd quarter 20th century. Raised wingtip carving. Thin neck and showing subtle crest carved at top of head. Measures 12.25” long. Original paint with minor gunning wear; a few minor dents very good structurally. (400 - 600)

533 Pair of bluewing teal, Reme Roussell, Raceland, Louisiana, 2nd quarter 20th century. Raised wingtips and thin necks. Measure 11” long. Original paint with a few small dents and paint rubs; otherwise excellent. (1,200 - 1,800)

534 Pair of oversize mallards, Frank Strey, Oshkosh, Wisconsin, 2nd quarter 20th century. Large decoys that retain their original rigging. Highly detailed scratch feather paint on hen. Measure 20.5” long. Small spot of touchup on top of drake’s head; otherwise both are excellent and original.

Provenance: Herb Desch collection.

Literature: “Top of the Line Hunting Collectibles”, Donna Tonelli, pg. 135, exact decoys pictured. (2,000 - 3,000)

535 Pair of canvasbacks, Frank Strey, Oshkosh, Wisconsin, circa 1920s. Slightly oversized with reared back heads and better than typical paint detail. Measure 18” long. Original paint with minor wear under a thin coat of varnish; flaking at hen’s neck seat; filled crack along hen’s body from when the decoy was made; spots of filler and touchup on one side of drake’s breast at shot strikes and slight separation at a knot; hairline drying cracks on underside of drake’s tail with early touchup.

Provenance: Herb Desch collection.

Literature: “Decoys of the Winnebago Lakes,” Ronald Koch, p. 172, exact decoy pictured. (2,000 - 3,000)

536 Oversize black duck, Frank Strey, Oshkosh, Wisconsin, 2nd quarter 20th century. Scratch feather paint detail and large painted tack eyes. “FS” carved in the underside. Measures 17” long. Original paint with minor wear; small dents and shot marks; hairline drying crack along back.

Provenance: Herb Desch collection. (800 - 1,200)

534

535

536

537 Rare rigmate pair of bluebills, attributed to Joseph Sieger, 1st quarter 20th century. High heads and inlayed lead weights. Measure 12.75” long. Original paint with moderate flaking and wear under an early coat of varnish that has worn down in areas; bill on hen was cracked down and reset with a dozen small nails in underside; old chip on one side of hen’s tail; hen’s head is slightly loose; sides and underside of drake has flaked down to much of the white base coat and primer.

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

538 Canvasback, Gus Moak, Tustin, Wisconsin, 2nd quarter 20th century. Hollow carved with slightly turned head. “EPH” painted on the underside for the rig of Hamilton. Measures 18.5” long. Original paint with minor flaking and wear; under a thin coat of varnish; professional neck crack repair and slight separation at bottom board, otherwise very good structurally.

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

539 Coot, Frank Resop, Berlin, Wisconsin, 2nd quarter 20th century. High head and pointy tail carving. Measures 11.5” long. Original paint with minor wear; very thin coat of varnish; filled crack along one side appears ot have been done in the making; minor blunting on tip of tail.

Provenance: Herb Desch collection.

(1,000 - 1,400)

540 Coot, Frank Strey, Oshkosh, Wisconsin, 2nd quarter 20th century. Slight relief wingtip carving and head turned 45 degrees. Measures 13” long. Original paint with minor wear; filled crack in back from when the decoy was made; drying crack along underside.

Provenance: Herb Desch collection.

(800 - 1,200)

541 Coot, Gus Nelow, Oshkosh, Wisconsin, 2nd quarter 20th century. Measures 13.5” long. Original paint on the body with very minor wear; paint on head and bill are a thin second coat with minor flaking and wear; some minor loss to filler at neck seat.

Provenance: Herb Desch collection.

(500 - 800)

542 Swimming black duck, Burton Laing, 2nd quarter 20th century. Hollow carved with relief wingtip carving. Head is in swimming pose. Measures 17” long. Mix of original and remnants of old over paint that was taken down; moderate wear; tight drying cracks in breast.

Provenance: Herb Desch collection.

(500 - 800)

539

541

540

542

543 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; underside 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. (4,000 - 6,000)

544 Canvasback drake, Mandt Homme, Stoughton, Wisconsin, 2nd quarter 20th century. Wide, hollow carved decoy with relief wing and raised, crossed wingtips. Slightly turned head. Comb feather paint detail. Measures ??? Thick original paint with minor gunning wear; small chip in tip of one wingtip; small dent on top of tail; tip of bill was chipped off and reglued with a small dent on top of bill.

Provenance: From the hunting rig of Dr. Ansley Thomas Shearer. By decent in the Shearer family. (4,000 - 6,000)

546

545 Canvasback drake, Gus Moak, Tustin, Wisconsin, 2nd quarter 20th century. Hollow carved with slightly turned head and raised neck seat. “GR” painted on the underside. Measures 17” long. Mix of original and in use repaint that has flaked away showing moderate flaking and wear; hit by shot; cracks in neck; crazing around bottom inch of decoy.

Provenance: Herb Desch collection. (2,000 - 3,000)

546 Stick up Canada goose in the style of Owen Gromme, Milwaukee, Wisconsin. Balsa body with deep relief wing carving and raised wingtips. Removable head is cocked to one side. Measures 24” long. Early in use repaint with minor wear; small dents and tight cracks; chipping and roughness at edge of tail; professional neck crack repair.

(1,500 - 2,500)

547 Early bufflehead, Madison Mitchell, Havre de Grace, Maryland, circa 1940s. Retains the “North-South” line tie staple and single nail lead weights. Excellent brush work on wing feather detail. Extremely rare species for this vintage. Measures 13.25” long. Original paint with very minor gunning wear; hairline drying cracks in breast and front of neck; minor separation at neck seat.

(3,000 - 5,000)

548 Rare wooden wing duck, Henry Davis, Perryville, Maryland, last quarter 19th century. Very rare canvasback hen made for use on the edge of a sinkbox with flat thin body that shows draw shave marks and excellent subtle paint detail. Measures 14.75” long. Original paint with moderate discoloration from age; minor gunning wear; crack through neck; minor roughness on edge of bill that was darkened; minor separation at neck seat.

Provenance: Similar example pictured on the cover of Richard Oliver’s November 1991 auction catalog of the Milton C Weiler collection.

(2,500 - 3,500)

549 Very rare canvasback drake wooden wing duck, Henry Davis, Perryville, Maryland, last quarter 19th century. Very rare wingduck used on the wing of a sinkbox. Measures 15.75” long. Mix of original and very early in use touchup; moderate gunning wear; slight separation at neck seat; tight cracks in underside; small nails added to a chip in one side of body.

Provenance: From the gunning rig of Nelson Heisler McCall. Ex collection Tommy O’Connor. Ex Henry Fleckenstien collection.

(2,500 - 3,500)

547

548

549

550 Rare long tail duck, Ben Dye, Perryville, Maryland, last quarter 19th century. Long body with raised neck seat. Part of a rig found on Plum Island, Massachusetts under the hunting camp of Nathan Rodigrass in 1989. Measures 15” long. Original paint; with significant flaking and wear; heavily hit by shot, mostly in one side; tight crack in breast and through the neck; minor roughness on top of head and tip of tail; minor separation at a wood patch in one lower side fro when the decoy was made; spot of white paint added to wing patch on each side.

Provenance: Dan Graf collection.

(3,500 - 4,500)

551 Pair of canvasbacks, Henry Lockard, Perryville, Maryland, 1st quarter 20th century. Slightly reared back heads. Measure 15.25” long. Second coat of paint by Severn Hall with minor flaking and wear; very good structurally. (1,200 - 1,800)

552 Pair of redheads, Henry Lockard, circa 1900. Slightly reared back heads. Measure 13.75” long and 14.25” long. Second coat of paint by Severn Hall with very minor wear; protected under a coat of varnish; filler has risen slightly on the top of each head; hairline crack along the underside of hen; hairline seam around a separation in wood on one side of drake.

(1,200 - 1,800)

553 Canvasback tripod rig, Joe Coudon, Aiken, Maryland, 1st quarter 20th century. One drake, and two hen silhouette decoys. Attached with folding metal rods. One hen with raised wingtip carving. All three stamped with a Condon and Co stamp. Measure 15.5” long. Original paint with minor gunning wear; lightly hit by shot; reglued crack in each of hen’s neck. (800 - 1,200)

550

552

551

553

554

555

556

557

558

559

Photo credit: Pte. Mouille Shooting Club. Jim and Barbara Marsh.

554 Ruddy duck iron wingduck, circa 1900. Measures 9” long. Second coat of paint with minor discoloration and wear. (1,200 - 1,800)

555 Brant, cast iron sinkbox decoy 1st quarter 20th century. In swimming pose. Measures 16.25” long. In use repaint with significant flaking and wear; a void on one side from when the casting was poured, otherwise very good.

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

556 Brant, cast iron sinkbox decoy, 1st quarter 20th century. Measures 16” long. Paint has worn away; very good structurally.

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

557 Bluebill hen cast iron sinkbox decoy, 1st quarter 20th century. Modeled after a Mason decoy. Measures 14” long. Original paint with moderate to significant flaking and wear.

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

558 Bluebill cast iron sinkbox decoy, 1st quarter 20th century. Measures 14” long. In use repaint with minor wear; minor roughness on edge of tail.

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

559 Canvasback iron sinkbox decoy, 1st quarter 20th century. Measures 14.5” long. Paint is worn down; small amount of pitting and wear throughout.

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

560 An early and exceptionally well made punt boat, attributed to Nate Quillin, last quarter 19th century. Measures 14.5’ long. With original punt paddle, which measures 10’. Profile of boat is just 9” high. Shows excellent craftsmanship and great age. Makes a great decorative piece for a lodge or table. Paint has mostly worn away to show natural wood; structurally good.

Provenance: George and Miriam Van Walleghem collection. (4,000 - 6,000)

The Mark Goldman collection

A third-generation wholesale and retail tobacconist, Mark Goldman began collecting the figures of that trade in 1967. From carved Nativ e American chiefs and maidens, Scottish highland lasses, and Punch figures, to cas t zinc and iron counter top displays, Goldman’s collection of 100+ tobacco trad e 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.

Mark Goldman collection featured on Antiques Roadshow

560a Rare seated cigar store Indian tobacconist trade sign, 3rd quarter 19th century. A very early and well executed carving in a very hard to find pose. Carving measures 42” tall. 57” including the base. Very old surface with significant flaking and wear; multiple age lines and drying cracks throughout; chipping and losses to wood mostly around lower portion and a few extremities; some separation to seems at joined pieces; back side of carving was made flat; mounted on a custom made wooden base.

Provenance: Allan Katz Americana. The Mark Goldman collection. (15,000 - 25,000)

560b Cigar store Indian tobacconist trade sign, William Demuth & Co., New York City, New York, circa 1875. Cast zink with original base plaque that reads “W. DEMUTH &Co Manufrs 501 Broadway New York”. Measures 46.5” tall. Very nicely restored paint surface; center feather is missing from headdress.

Provenance: The Mark Goldman collection. (15,000 - 25,000)

560c Cigar store Indian tobacconist trade sign attributed to the shop of Thomas Brooks, New York City, New York, 3rd quarter 19th century. A large and impressive Indian with relief carved bear paw robe, bundle of cigars, and applied raised arm. Stands on a custom, wheeled base. Measures 86” tall including base. Old restored surface with moderate flaking and wear; age cracks and minor chipping; some separations at seems in wood; like most in this pose, the arm has been off and reset with missing fingers; pieces of headdress have been off and reset; feet and lower part of the legs have been restored.

Provenance: The Mark Goldman collection. (25,000 - 35,000)

561 Full body copper horse weathervane, circa 1900. With cast zinc head. A rare prancing model. Measures 23” from bar, and 25” wide. No seam separation; traces of green verdigris, gold gilding and pitting along cross bar of which the front portion is missing. (4,000 - 6,000)

562 Full body copper squirrel weathervane, circa 1900. Zinc ears. Measures 22” above cross bar, and is 21” wide. Verdigris and gold gilding; seam separation on the inside of tail and also where it curls on the backside; appealing and rare form. (6,000 - 8,000)

565 Decorative wood and metal rooster weathervane. Blended yellow, red, and green colors. Metal tail and crown. Vintage hardware and weathered surface. Measures 28” wide. (300 - 500)

563 Full body copper cow weathervane, circa 1900. With folded copper ears. Measures 14.5” to top of bar, and 28” long. A later coat of gold gilding remains as the outer surface. No apparent structural damage.

Provenance: Bud Weinert collection. (5,000 - 8,000)

564 Desirable windmill weight of a bull. Painted red and white, with Boss visible on both of the two piece sides. Measures 12.5” tall, 14” long. Weighs approximately 20 lbs. Very little paint loss; some wear around the high spots. (2,500 - 3,500)

566 Carved and painted decorative whale. With maker’s name attached with trapper’s plaque on underside, Vernon Bryant. Outlaw Gunner Club, Perryville, Maryland. Plastic eye with metal teeth and chain for hanging. Surface is stressed to create the appearance of age. Measures 36” long. Excellent and original. (300 - 400)

563

564

565

566

567 Early Alaskan kayak model. Made from seal skin wrapped around wooden frame. Measures 47.5” long. Shows excellent age; some separation in sewn seam at top front half.

Provenance: George and Miriam Van Walleghem collection. (1,200 - 1,800)

568 Very early eskimo kayak model. With seal fur figure that has a soap stone carved head, resting inside. Two bone pieces presumed to be harpoons accompany this early model. Measures 42” long. Shows excellent age; some breakage in the leather straps; expected amount of scratches and discoloration to seal skin.

Provenance: George and Miriam Van Walleghem collection. (1,200 - 1,800)

569 Detailed sealskin kayak model with eskimo figure, circa 1900. Kayak is adorned with bone decoration at bow and stern. Along with finely made tie downs in front of eskimo. Measures 20.5” long. Shows excellent age.

Provenance: George and Miriam Van Walleghem collection. (800 - 1,200)

570 Pike trade sign, Lou Schifferl, Neenah, Wisconsin. Glass eyes, carved gill and mouth, metal fins. Good comb painting on sides and back. Measures 35” long. Crack near back of tail and lower fin; a few small rubs. (400 - 600)

571 One piece patriotic eagle, circa 1950. Possibly by Artistic Design Company out of Boston. Found on a barn in Chautauqua Lake, New York. Measures 9” x 21”. Good weathered age. (250 - 350)

572 Owl, Leonard Dorren, Pekin, Illinois, 2nd quarter 20th century. Balsa body with deep relief face and bill carving. Large glass eyes. Measures 15” long. Appears unused, excellent and original.

Provenance: George and Miriam Van Walleghem collection. (3,000 - 5,000)

573 Owl, in the style of Herter’s Decoy Factory, Waseca, Minnesota. Large glass eyes and bear claw bill. Relief wing carving and applied cedar ear feathers. Stands 18.5” tall. Strong original paint with minor flaking on back of base; small chip in one ear feather; reglued chip in the other. (800 - 1,200)

574 Carved wooden cock fighting rooster, Peter Storm, circa 1990. Plaque on base reads “1937 104 Wins, named Charlemange”. Signed and dated Peter Storm 1993.

Storm was a folk art carver from the Chicago area who passed away around 2010. Rooster is adorned with carved wooden spurs, fanned tail. Stands 31” tall. Near mint.

(500 - 700)

575 Folk carved standing eagle From New England, mid 20th century. Wings are carved away from the body slightly with dropped wingtips. Bird is standing on a carved log. Stands 20.25” tall including base. Original paint with moderate crazing and minor wear down to the reddish primer coat; minor flaking around base of log; very minor separation where legs meet feet. (800 - 1,200)

572

574 573

575

576 Three wooden paddles. Two tiger maple, which measure 60”. And one pine, decorated camp paddle with the date 44-45 Camp Matawan Canada and initials JSB. One side is decorated with chief’s heads and bears. Shows nice age and moderate wear.

Provenance: George and Miriam Van Walleghem collection. (300 - 500)

577 American folk carved totem, appears to be 1st quarter 20th century. With owl and human figures. Owl has inserted wooden ears and beak. Measures 17”. Original paint is crazed to a nice patina. (600 - 800)

578 Finely carved early walking stick. Candy cane swirl decoration on much of the stick. Four visible diamonds, star, heart, cross, and anchor. With a hand clutching a domed box. Measures 34”. Shows nice age and patina; with small amount of wear. (600 - 800)

579 Ten wooden fishing bobbers. Five are more traditional early American floats, circa 1900. Two smaller ones that are adjustable and three that are likely European. Longest measures 16.5”. All are in original paint.

Provenance: George and Miriam Van Walleghem collection. (800 - 1,000)

580 Folky snake walking stick, circa 1900. Relief carved snake, curling up the stick. Small brass nail eyes. Small brass nail heads on handles. Measures 33.5”. Original black paint on snake and upper part of stick with moderate wear; other dings and scratches from use. (300 - 500)

581 Six iron aviary signs. Possibly from a zoo. Appear to be circa 1940-1950. Each sign depicts a different bird species with its area of origin listed. All are hand painted and stenciled signs. Each measures 7” x 14”. Each shows discoloration and rust around edges.

Provenance: George and Miriam Van Walleghem collection.

(400 - 600)

582 Incredibly rare two piece box with brass lock and hooks. Contains 16 pair of cock fighting spurs. Appears to be 1st quarter 20th century. Box measures 6” x 13” x 2”. Spurs show good age and are intact. (800 - 1,200)

583 Trade sign or folk painting on metal, round plate. Eggs and bacon over black painted tray do show some age, probably used at a restaurant. Measures 18.5” round. (300 - 400)

582

581

583

585 Trade sign of a prancing horse, 1st half 20th century. Made from a 2” thick board. Horse measures 36” long. Is two sided and has old hangers on top. Appears to be in a second coat of paint with a silver undercoat; discolored and aged; edge wear and rough spots around tail and ears. (2,000 - 3,000)

587 Large patriotic eagle, circa 1950. Probably by the Artistic Design Company, Boston, Massachusetts. This was a company that reproduced patriot items based on figures from the 19th century. Wingspan measures 36”. A few small rubs, otherwise very good and original.

(800 - 1,000)

584 An early and honest fish mongers trade sign, 1st quarter 20th century. Sheet metal with pressed eye and two applied hangers. Measures 33” long. An original gold or yellow paint has partially worn. (1,000 - 1,500)

586 Vintage trade sign, 1st quarter 20th century. Gold and black, with “Wme Garlinger Pleasantview Farm” painted along with decorative fruit basket. Measures 44”. Excellent crazed surface; areas of paint loss where bolt went through the R in Farm and a few other rubs. (1,500 - 2,500)

585

586

587

588 Large patriotic eagle, circa 1950. Probably Artistic Design Company, Boston, Massachusetts. This was a company that reproduced patriot items based on figures from the 19th century. Measures 44” wide. Very good and original. (800 - 1,200)

589 Set of nine vintage Indian clubs. Tallest measures 24”, smallest is 12.5”. All show good age. (300 - 500)

590 Set of three architectural corbels. In early dry gray and red paint. Each has an excellent surface. Showing original paint that is partially weathered and worn. All are 26” long x 5.5” wide x 8.5” deep. (300 - 500)

591 Early American pie safe from Pennsylvania, last quarter 19th century. Green with 12 mustard colored tins and one drawer. Appealing paint surface that appears to be original. Measures 61” x 40” 18”. Minor areas of damage and wear. (2,000 - 3,000)

End of session two

Index of Carvers

Lot

Lot

1.Koch, Ronald M. 2000. “Decoys of the Winnebago Lakes”. Rivermoor Publications. Omro, WI.

2._. 1966. “Frank Strey (obituary)”. The Oshkosh Northwestern, Sept 30. Oshkosh, WI.

3.https://oshkosh.pastperfectonline.com/photo/28BD9988-DFA6-4AB4E6A-525402574452 (Oshkosh Public Museum)

4.https://www.wardmuseum.org/artists/frank-g-strey/

5.https://www.wisducks.org/frank-strey-decoys/

1.Clark, D Dick M.D. 1978. “August Moak Revisited” North American Decoys, Summer. Hillcrest Publications. Spanish Fork, UT.

2.Crandall, Bernard w. 1975. “’Gus’ Moak of Tustin Wisconsin”. North American Decoys, Fall. Hillcrest Publications. Spanish Fork, UT.

3.Haid, Alan G. 1981. “Decoys of the Mississippi Flyway”. Schiffer Publishing Ltd. Exton, PA.

4.Koch, Ronald M. 1995. “August Moak – His Mysterious Goose Decoys”. Decoy Magazine, Jan/Feb. Burtonsville, MD.

5.Koch, Ronald, M. 2000. “Decoys of the Winnebago Lakes”. Rivermoor Publications. Omro, WI.

6.https://wisconsinsportingcollectibles.com/duck-decoys/gus-moak

1.Eyden, Pamela. 2008. “Decoy Hunter’s Art – Hand Carved Decoys”. Big River Magazine, Nov/Dec. Winona, MN.

2.Urben, Bruce. _____. “Walter Lowry, A La Crosse, Wisconsin Decoy Carver. https://www.wisducks.org/walter-j-lowry-a-la-crosse-wisconsin-carver/

1.Haid, Alan G. 1981. “Decoys of the Missisippi Flyway”. Schiffer Publishing Limited. Exton, PA.

2.Mackey, William J Jr. 1965. “American Bird Decoys”. Bonanza Books Inc.

3.Parmalee, Paul W and F.D. Loomis. 1969. “Decoys and Decoy Carvers of Illinois”. Northern Illinois University Press. DeKalb, IL.

4.Personal correspondence Mr. Joseph Tonelli

1.Crandall, Bernard W. 1977. “The Remarkable Tom Schroeder”. Decoy Collectors Guide Vol 6. Harold Sorenson Publisher. Burlington, IO.

2.Tonelli, Donna. 2002. “Tom Schroeder – Michigan’s Master Decoy Maker”. Decoy Magazine, May/June. Lewes, DE.

3.__. 1976. “Tom Schroeder, Cartoonist, Adman (obituary)”. Detroit Fre Press, May 31. Detroit, MI.

1.Museum of Fine Art Boston, MA.

2.https://househistree.com/people/quincy-adams-shaw-iii

3.https://www.jphs.org/people/2005/4/14/quincy-adams-shaw-jamaicaplain-art-collector.html

Lot 190a

4.https://www.wickedlocal.com/story/cape-codder/2007/03/07/family-sfond-memories-prompt/39846280007/

1.Alexander, Steve. 1998. “Les Kouba Dies at 81; Was Dean of State’s Wildlife Artist (obituary)”. Star Tribune, Sept 14. Minneapolis, MN.

2.Reuter, F. Turner, Jr. 2008. “Animal and Sporting Artist in America”. The National Sporting Library Pub. Middleburg, VA.

3.https://leskoubaoutdoors.com/about-les-kouba/

Lot 191

1.Bosworth, T. Thompson. 2001. “Museum - Style Master, Walter Pelzer – Sculpting Decoys With A Taxidermist’s Eye”. Decoy Magazine, Nov/Dec. Lewes, DE.

2.Jones. Meg. 2019. “When a Lion Called Milwaukee’s Main Library Home”. Milwaukee Journal Sentinel. April 8. Milwaukee, WI.

3.___. 1967. “Cover: Indians of Plains Hunt Again”. Post Crescent, Sept 3. Appleton, WI

4.____. 1961. “Unique Exhibit Prepared for Milwaukee Museum – Six Refuge Buffaloes to ‘Live’ Again”. The Lawton Constitution, Nov 15. Lawton, OK.

5.___. 1947. “Wisconsin Has Fine Wildlife Exhibit in Heart of Chicago”. Sheboygan Press, March 24. Sheboygan, WI.

Lot 210

1.Bailey, Sarah Y. 1920. “The Story of Jones River in Pilgrim Plymouth, 1620 – 1726 Which in the Latter Year Became Kingston, Massachusetts”. Pub by Kingston Branch of Alliance of Unitarian Woman. Kingston, MA.

2.Hopkins, Gwladys. 2016. “Massachusetts Masterpieces – The Decoy as Art”. Massachusetts Audubon Society.

3.Shaw, Robert. 1994. “Bird Decoys of North America – Nature, History, and Art”. Sterling Publishers.

4.Starr, Dr George Ross. 1974. “Decoys of the Atlantic Flyway”. Winchester Press. New York, NY.

5.https://accessgenealogy.com/massachusetts/history-of-kingston-massachusetts.htm

1.Berke, Joseph and Carol. 1992. “Grayson Chesser – Making Decoys the Old Fashion Way”. Decoy Magazine, July/Aug. Burtonsville, MD.

2.Koch, Ron. 2008. “A Chat With Grayson Chesser: Southern Gentleman and Decoy Maker”. Hunting and Fishing Collectibles Magazine, July/Aug. Lawsonville, NC.

3.https://www.virginiafolklife.org/sights-sounds/grayson-chesser-and-robiemarsh-jr/

4.https://www.wisducks.org/grayson-c-chesser-master-decoy-carver-fromvirginia/

Collection Planning Program

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 working closely with banks, attorneys, trustees, estate officers, probate court, private 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 know 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

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FIRST

• Reflects recent auction results.

• New chapter on Petersen and Dodge decoys. Easily tell one from the other.

• Hardbound with 172 pages and over 550 color photographs.

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www.itunes.com Nook • www.bn.com

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more information:

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2023 Clayton Decoy & Wildlife Art Show

Vintage Ontario decoy: pre-1975, any maker, style, or species.

Chauncey Wheeler hunting decoy: any style or species designed for hunting use.

Currently seeking quality consignments for our September 11 and 12 auction. Call

Patrick is the author of BERKS COUNTY LONG RIFLES, published for the Berks County Historic Society (Berks History Center) in Reading, Pennsylvania. The book accompanied the Exhibit of the same name held at the Society in 2009.

Patrick also co-authored with John Kolar and published the book, LANCASTER LONG RIFLES, Published for the Pennsylvania Historic Commission property at the Landis Valley Museum in Lancaster, Pennsylvania. The book and the accompanying exhibit held at Landis Valley in 2012 is considered the largest attended exhibit of American long rifles.

He is also the co-author with the late Joe Kindig III of the book, MASTERPIECES OF THE AMERICAN LONG RIFLE, The Joe Kindig Collection which accompanied the exhibit of long rifles held at the Reading Public Museum in 2014.

Patrick was a curator of all three of the above landmark exhibits.

He has written numerous articles in national magazines on antiques and is the past founder/editor of Antique Collecting the national awarded magazine.

He is a member of several antique arms collectors associations and clubs here and abroad.

We are excited to announce Patrick Hornberger as our consultant for Antique Firearms with a specific interest in Kentucky rifles.

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 8% SALES TAX IN ILLINOIS. 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”.

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: PO Box 1170

OFFICE: PO Box 1170

St. Michaels, MD 21663

St. Michaels, MD 21663

410-745-0485

410-745-0485

Fax 410-745-0487

Fax 410-745-0487

michael@guyetteanddeeter.com

decoys@guyetteanddeeter.com

I desire to bid on the following items in the sale. The bids are to be executed by Guyette & Deeter, up to but not exceeding the amount(s) specified on the below bids. All bids will be executed and accepted subject to the Terms of Sale and Absentee Bids Procedure outlined in the catalog. (Please be sure that you understand our procedures before using this Absentee and Phone Bid Form.) Office will not be open until Wednesday after the auction.

A PREMIUM OF 20% WILL BE APPLIED TO ALL ITEMS SOLD, TO BE PAID BY THE BUYER

Guyette & Deeter, Inc.

PO Box 1170, St. Michaels, MD 21663

www.guyetteanddeeter.com

410-745-0485