Decoys & Sporting Art at Auction | November 9 & 10, 2024

Decoys and Sporting Art at Auction November 9 & 10, 2024

The Country School | Easton, Maryland

November 9 & 10, 2024

As our company’s 40 th year in business comes to a close with our last major auction of 2024, Jon and Zac would like to thank consignors and collectors alike for their continued support. Whether it be a consignment, a purchase, a referral, or constructive feedback on how we can better serve the collecting community, we appreciate all of it.

Founded by Gary Guyette and James D. Julia, grown by the Guyette’s with Frank and Vicki Schmidt, and now being updated by Jon Deeter and Zac Cote, our auction house is one built and grown upon a solid foundation of trust. The principals and values which set us apart decades ago, continue in a brand known for authenticity, hard work, and honesty.

Any house built on a solid foundation eventually needs some remodeling and updating and we thank you for your support over the last couple of years as we have moved into a new gallery and warehouse space, updated our operating software, launched the Guyette and Deeter App, welcomed new employees, and added two additional live auctions per year with our Fine Sporting Arms Division. A newly designed website will launch in 2025 and our work in improving the customer experience both on our online bidding platform and our live auction events is ongoing.

This 40 th anniversary also brings with it some new beginnings and partnerships. 2024 is the first year Guyette and Deeter has stepped up to the Legacy Conservation Partnership level of support with the Easton Waterfowl Festival and for the first time we have contributed in a major way to the support of Ducks Unlimited in their conservation and water improvement efforts being done in the Chesapeake Bay watershed.

Our work is never finished, however, and we will continue to improve and position Guyette and Deeter for 40 more years of service to the collecting community and we look forward to sharing and growing this wonderful pastime with all.

We look forward to seeing you in Easton!

This year’s Waterfowl Festival auction takes place at The Country School, 716 Goldsborough St, Easton, Maryland. Join us for the preview party on Friday, November 8th from 4PM - 7PM. The auction will start at 10AM Eastern Time on both Saturday, November 9th and Sunday, November 10th.

Can’t make it to the sale? Be sure to setup to telephone bid by calling the office at 410-745-0485. If you prefer to watch the sale and bid online, simply go to bid.guyetteanddeeter.com where all our auctions take place. To schedule a viewing at our St. Michaels, Maryland gallery please call us at 410-745-0485.

Decoys and Sporting Art at Auction

The live auction will be held at the

The Country School

716 Goldsborough St

Easton, Maryland 21601

Held in Conjunction with the Easton Waterfowl Festival

Friday, November 8, 2024

Cocktail Reception and Preview 4:00 PM - 7:00 PM

Saturday, November 9, 2024

Preview 8:00 AM - 9:30AM

Auction 10:00 AM

Sunday, November 10, 2024

Preview 8:00 AM - 9:30AM

Auction 10:00 AM

For questions during the auction call 410-745-0485

If you are interested in viewing a particular piece at the office, please call to be sure it will be available there at the time you plan to visit. We may also be in your area, and so a private viewing may be available. Please contact us for our schedule.

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

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. To participate, please contact our office ahead of time to discuss details.

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

■ Pick up hours are 1pm – 5pm beginning November 13, or by appointment. Please call ahead so we can have your items ready.

Future Auctions

February 27, 2025

Fine Sporting Arms

Chesapeake Bay Maritime Museum St. Michaels, Maryland

April 24 & 25, 2025

Decoys, Sporting Art & Americana

The Westin Chicago-Lombard Lombard, Illinois

July 2025

Decoys, Sporting Art & Americana

The Country School Easton, Maryland

Josh Loewenstein er

F ine Sporting Arms Division Head

J. Wesley Dillon

Fir earms consultant

Jon & Leigh Ann Deeter

1210 S Talbot St, Unit A

St. Michaels, Md 21663

Tel: 440-610-1768

jdeeter@guyetteanddeeter.com

Lacey & Zac Cote PO Box 347

Freeport, ME 04032

Tel: 207-321-8091

zcote@guyetteanddeeter.com

Mike Stevenson

Graphic Designer

St. Michaels, Maryland

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

Stormi Lind

Auction Manager

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

Mike Roberts

Shipping

St. Michaels, Maryland

Tel: 410-745-0485

Noah Christopher

Photography

St. Michaels, Maryland

Tel: 410-745-0485

Ed Kenney

Merchandise Manager & Shipping

St. Michaels, Maryland

Tel: 410-745-0485

shipping@guyetteanddeeter.com

Cooper Rossner

Weekly Auction Manager

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

cooper@guyetteanddeeter.com

Michael Galeta

Finance Manager

St. Michaels, Maryland

Tel: 410-745-0485

billing@guyetteanddeeter.com

Bill Lapointe

Decoy Consultant and Essayist

Swansea, Massachusetts

Tel: 774-644-9426

Weekly Online Auctions at Bid.guyetteanddeeter.com

Weekly Online Auctions Ending Every Thursday Night at 7:00 pm

Guaranteed condition reports, multiple photos, quick shipping and quality items. Bid with confidence.

Guyette & Deeter’s growing and trusted online weekly auction platform continues to be the most active decoy and sporting art market place in the world.

Go to bid.guyetteanddeeter.com for all upcoming sales. Including weekly online auctions, premier decoy and sporting art, and fine sporting arms sales.

Pair of bluebills, Jim Schmiedlin. SOLD! $8,520

Ruffed grouse, George Strunk. SOLD! $4680World record for the maker

Redhead, Cameron McIntyre. Sold! $17,400 - World record decoy for the maker

Black duck, Jett Brunet, Galiano, Louisiana SOLD! $6,480

Group of yelper calls by Billy Buice. SOLD! $15,600

Online Bidding Available for All

Guyette & Deeter, Inc. Auctions

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Simply go to bid.guyetteanddeeter.com or use the QR code

Online bidding features real time competitive bidding and live streaming video straight from the auction.

Session One

Saturday, November 9, 2024

10:00 am

Lots 1 - 266

Session Two

Sunday, November 10, 2024

10:00 am

Lots 267 - 575 Please read

The James and Lyda Madden Collection

Recollections The Early Decoy Auctions

In the 1970’s I saw an advertisement in a Ducks Unlimited magazine for the sale of decoys to be held on Cape Cod by the auction house of Richard Borne. I pitched the idea to James. We had taken family vacations in the past with our three sons. This looked like an ideal destination. The boys, father and sons were avid hunters.

This was the beginning of our family decoy collection. Off we amateur Southerners went to Cape Cod, James, the three sons and me. When we trailed down the aisle of the breezy tent where the auction was held I am sure the seasoned collectors cringed – Who are they? Who would bring boys 10, 8, and 7 to a decoy auction?

That was the beginning. Through the years we returned again and again. Doug, David, and John perfect attendees – they had been trained by taking them to church requiring no squirming and no talking. We were known as those people from the South who brought Children to the auctions.

The boys gained quite a lot of knowledge and a “good eye” for the decoys. One year James could not come; Doug, a teen at the time, and I did, coming home with a good clutch. We conferred and decided on our picks. And enjoyed fair success.

Through the years Sarah, a late child, joined us and was a proficient collector. I will never forget the McCleery Sale where she and James picked the

Crowell Goose. I overrode them insisting on an unknown goose. And to my horror Sarah and James conspired to bid and bid and bid until we were the owners of a six-figure goose decoy, a beauty, however, I was the keeper of the checkbook, horrified.

We all loved that goose who held the place of honor in our home until one day we offered it to our church. The magnificent goose turned into the beautiful façade, courtyard, and colonnade for the First Methodist Church that faces the boulevard in Minden, Louisiana.

James and I begin giving decoys to our children. We lost James on August 7 of this year. I pondered closing our home and did. Our children and grandchildren gained more lovely birds for their collections.

An argument, friendly, but stubborn ensued over the Crowell Woodcock. David would not hear of it going to auction. I kept a few lovely carvings that I could not part with. The rest went to Guyette and Deeter. The Samuel Barnes Swan, a favorite, reigned over our lives from high atop a very tall cabinet in our den. My wish is whoever is the new owner of one of our decoys love it as much we have.

- Lyda Madden

The Gene and Linda Kangas Collection

Gene and Linda Kangas began researching and writing about decoys in 1969, authoring over 200 essays and 5 reference books on the subject. With a career in academia and as an artist himself, Gene brought a unique perspective and valuable insights to the world of decoys and folk art. Guyette and Deeter will be offering select items from the Kangas collection in many upcoming auctions.

The Mike and Ginger Raffia Collection

Highschool sweethearts and married for 51 years, Mike and Ginger Raffia have been familiar faces at most Guyette and Deeter auctions over the last few decades. As a CPA, CFO, and then senior consultant, Mike’s work would take him to different parts of the East coast. A multi-year assignment in the late 1970’s in Queen Anne, Maryland introduced Mike to the Eastern Shore. Mike would often have extended stays in Easton and would enjoy walking around the charming town, where he would visit the Goose Pit owned by Michael Keating. Collecting decoys by, and forming long relationships with, contemporary carvers Grayson Chesser and Mark McNair started the Raffia’s passion for collecting and they would eventually begin attending Guyette and Deeter auctions every summer and fall. Over the years their appreciation for and knowledge of early working decoys grew, and their collection followed suit. With a primary focus on early Long Island decoys, the Raffia’s displayed a beautiful collection in their Hartsdale, New York home. With Mike’s passing in September of 2023, Ginger has decided to share their collection with the decoy community in hopes that the carvings are enjoyed for decades to come. Guyette and Deeter will be selling decoys from the Raffia collection in this and upcoming auctions.

The Debernia Clinton “D.C.” North, Jr. Collection

Legendary Southern decoy collector Debernia Clinton “D.C.” North Jr, whose fondness for early Southern decoys of Maryland, Virginia, North Carolina and South Carolina passed away on Christmas Day of 2020 at his Goose Haven Farm in Currie, North Carolina.

During his lifetime, D.C. had many pursuits and interests but excelled at collecting decoys and was usually researching and learning about his latest finds. D.C. is credited as being a co-founder of what is today’s Carolina Decoy Collectors Association back in 1978.

Although, Guyette and Deeter offered the majority of the North collection in July and November of 2021, many of D.C’s favorite were retained by the family. One of the ‘jewels’ of the North collection is the extremely rare and important goldeneye hen by the Ward Brothers, being offered in lot 23.

Session One • Saturday, November 9, 2024 • 10:00am

Mark McNair

b. 1950 | Craddockville, Virginia

1 Mark McNair (b.1950), Craddockville, Virginia. Excellent loon with doweled head that swivels. ‘MS McNair 2003’ carved on the underside. Measures 21” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (2,500 - 3,500)

2 Mark McNair (b.1950), Craddockville, Virginia. Early wood duck drake. Hollow carved with slightly turned head and extended crest. ‘McNair’ carved in underside. Measures 12” long. Excellent original paint protected by a coat of varnish; near mint.

Provenance: James and Lyda Madden collection. (2,000 - 3,000)

3 Mark McNair (b.1950), Craddockville, Virginia. Blue wing teal hen and drake. Hollow with relief wing carving and raised wing tips. Slightly turned heads and ‘McNair’ carved in the undersides. Measure 12.5” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (2,000 - 3,000)

4 Mark McNair (b.1950), Craddockville, Virginia. Hollow carved pintail with raised wing tips, extended tail, and fine comb feather paint detail. ‘McNair’ carved in the underside. Measures 21.5” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (2,000 - 3,000)

5 Mark McNair (b.1950), Craddockville, Virginia. Nova Scotia style eider with inlet neck seat and carved eyes. ‘McNair’ carved in the underside. Measures 18” long. Drying crack through neck and one side of head; two seams where bill was tightly reset; drying cracks along the body from when the decoy was made

Provenance: James and Lyda Madden collection. (1,500 - 2,500)

6

Mark McNair (b.1950), Craddockville, Virginia. Red breasted merganser drake with applied leather crest. ‘McNair’ carved in underside. Carved eyes and delicate long bill. Measures 21” long. Excellent and original.

Provenance: James and Lyda Madden collection. (1,500 - 2,500)

7 Mark McNair (b.1950), Craddockville, Virginia. American merganser drake. Two piece hollow body with ‘McNair’ carved in underside. Slightly turned head. Visible draw shave marks and carving marks have been left to create a textured surface. Measures 18” long. Very good and original.

Provenance: James and Lyda Madden collection. (1,500 - 2,500)

8 Mark McNair (b.1950), Craddockville, Virginia. Hollow carved black duck with slightly turned head and relief wingtip carving. Scratch feather paint detail on head. ‘McNair’ carved in the underside. Also signed ‘Mark and Ian McNair Midwest Decoy Collector Exhibit 2017’ on the underside. Measures 18” long. Very good and original.

Provenance: James and Lyda Madden collection. (1,200 - 1,800)

9 Mark McNair (b.1950), Craddockville, Virginia. Pair of miniature swans with slight relief wing carver. One in preening pose and one with slightly turned head. Rigged and weighted and with ‘McNair’ carved into the underside. Measure 6” and 6.75” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (2,500 - 3,500)

10 Mark McNair (b.1950), Craddockville, Virginia. Miniature heron with relief wing carving and slightly turned head with extended crest. Head is removable with rectangle dowel that has ‘McNair’ carved into one side. Miniature stand included. Measures 5.25” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,000 - 1,400)

11 Mark McNair (b.1950), Craddockville, Virginia. Miniature great white heron with relief wing carving. Removable head with rectangle dowel that has ‘McNair’ carved into one side. Miniature stand included. Measures 7” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,000 - 1,400)

12 Mark McNair (b.1950), Craddockville, Virginia. Miniature preening loon with relief wing carving and ‘McNair’ carved in the underside. Measures 4.25” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,000 - 1,400)

13 Mark McNair (b.1950), Craddockville, Virginia. Miniature sleeping black duck with relief wing carving and slightly raised wing tips. ‘McNair’ carved in the underside. Measures 3.5” long. Tiny rub on one lower side, otherwise excellent and original.

Provenance: Mike and Ginger Raffia collection. (600 - 900)

14 Mark McNair (b.1950), Craddockville, Virginia. Miniature preening curlew with relief wing carving and curved bone bill. ‘McNair’ carved into the underside. Miniature stand included. Measures 3.25” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,200 - 1,800)

15 Mark McNair (b.1950), Craddockville, Virginia. Miniature curlew with relief wing feather carving and curved bone bill. ‘McNair’ carved in the underside. Small stand included. Measures 4.75” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,000 - 1,400)

16 William Gibian (b.1946), Onancock, Virginia. Decorative pair of birds of paradise. One with outstretched wings and open beak and the other with deep relief wing and feather carving. Each with “Gibian” carved on the underside. Custom stand included. Birds measure 11” and 17” long. Very good and original. (3,500 - 5,500)

17

William

Pair of red-breasted mergansers with extended crests and relief wing carving. Both are hollow carved with “Gibian” carved on the underside. Measure 16.75” long. Shallow dent near nostril on drake’s bill, otherwise very good and original. (2,000 - 3,000)

18 William Gibian (b.1946), Onancock, Virginia. Sickle bill curlew with raised and split wingtips. ‘Gibian’ carved in underside. Small spots of sap bleed between stick hole and tail on underside, otherwise very good and original. (1,000 - 1,500)

Gibian (b.1946), Onancock, Virginia.

19 William Gibian (b.1946), Onancock, Virginia. Sickle bill curlew with slightly turned head. ‘Gibian’ carved in underside. Raised, separated wingtip carving. Measures 22” long. Very good and original.

(1,000 - 1,500)

20 William Gibian (b.1946), Onancock, Virginia. Pair of mourning dove with slightly turned heads. Relief wing carving and raised wingtips. ‘Gibian’ carved on the undersides. Measure 11.5” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,200 - 1,800)

21 William Gibian (b.1946), Onancock, Virginia. Pigeon with slightly turned head and wings carved away from body slightly. ‘Gibian’ carved on the underside. Measures 13” long. Minor discoloration, otherwise excellent and original.

Provenance: Mike and Ginger Raffia collection. (700 - 1,000)

Ward Brothers

Crisfield, Maryland

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

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

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

22 Ward Brothers, Crisfield, Maryland. pintail hen with slightly turned head and deep shoulder carving on back. Made for and gifted to Dr. Edgar Burke. McCleery collection ink stamp and Sotheby’s sticker on the underside. Extra fancy paint detail was changed in the making to be more detailed than the more simple pattern as it was made special for their friend, Dr. Burke. Measures 16.25” long. Outstanding condition with almost no wear; tight crack at back of neck seat; otherwise excellent structurally.

Provenance: Made for Edgar Burke. Dr. James McCleery collection. James and Lyda Madden collection.

Page 128 in “Duck Shooting along the Atlantic Tidewater,” Eugene Connett. Exact decoy pictured lower left.

23 Ward Brothers, Crisfield, Maryland. Extremely rare and important fat-jaw model goldeneye hen circa late 1920’s. Slightly turned and tucked head with wide cheek carving. Slight ice groove carving on back. Scratch feather paint detail. Signed and dated 1935 by the Ward Brothers at a later date. Measures 15.5” long. Original paint with moderate to significant flaking and wear under a thin coat of varnish; hairline crack in tail and minor separation on one side of neck seat; otherwise excellent structurally.

Provenance: Purchased from Bobby Richardson in 1981. D.C. North collection.

(60,000 - 90,000)

24 Ward Brothers, Crisfield, Maryland. Rare and outstanding rigmate pair of pintails. 1936 models with slightly turned heads. Drake’s head is slightly higher than most. Signed and dated 1937 at a later date by Lem Ward on the underside. Each with a small “p” branded on the underside for the collection of William Purnell. Measure 15.5” and 17” long. Essentially unused with outstanding original paint; tiny chip and minor separation to filler on the top of hen’s head; drying cracks along underside of hen that extend up the breast and tail area slightly; hairline crack on one side of drake’s bill tip appears to be from when the decoy was made.

Provenance: Private Southern collection. (80,000 - 120,000)

In 1933 the Ward Brothers received a decoy order from The Bishop’s Head Club in Dorchester County Maryland. This was not an unusual occurrence for them, but for some reason, whether at the request of the clubs owner or perhaps creative inspiration, they decided to make several of the species in this order distinctive from others carved in the period. The pronounced apron under the tail, the notch behind the head and the squared off tale are all identifying characteristics that separate this clubs special order from other Ward decoys made in the 1920’s and 1930’s.

The clubhouse of the Bishops Head Gunning Club in Dorchester County

25 Ward Brothers, Crisfield, Maryland. Bishops Head Gun Club model Canada goose with typical hump under tail. Slightly forward head pose with deep ice groove carving behind neck seat. Maryland Historical Society Exhibit, September 27, 1991 - February, 1992. Measures 26” long. Original paint with moderate gunning wear; tight drying cracks in neck and back; early in use strengthening to paint on head, breast, and under tail.

Provenance: Vance Strausburg collection. Jim and Pat Doherty collection. Doherty collection sticker on underside. Dave Fannon collection.

(20,000 - 30,000)

26 Ward Brothers, Crisfield, Maryland. Rare and important 1948 style redhead with slightly turned and reared back head and slightly humped back. Balsa body is signed and dated by Lem Ward on the underside. McCleery collection ink stamp and Sotheby’s sticker on underside. Also with multiple William Purnell collection brands. This exact decoy was used in Milt Weiler’s “The Classic Decoy” series, plate 22. Measures 13.5” long. Original paint with very minor wear; moderate crazing on one side and back of head; tight crack through lower part of neck.

Provenance: Milton C. Weiler collection. Dr James McCleery collection. Dr Lloyd Griffith collection. Private Southern collection.

(25,000 - 35,000)

26a Milton C. Weiler (1910-1974), watercolor. Watercolor of Ward redhead, lot 26, in this auction. Which was used as plate 22 in The Classic Decoy series portfolio. Dr. George Ross Starr collection ink stamp on back. Site size 7.5” x 10.5”, frame measures 14.75” x 16.75”. Very minor toning from age, otherwise excellent.

Provenance: Private Southern collection.

(3,000 - 5,000)

26a

27 Ward Brothers, Crisfield, Maryland. Excellent 1936 style black duck with slightly turned head. Measures 17.5” long. Original paint with very minor rubs; some flaking around dowel on top of head; minor roughness on tip of bill; tight crack through lower part of neck.

Provenance: Private Southern collection. (20,000 - 30,000)

28 Ward Brothers, Crisfield, Maryland. 1936 model bluebill with two piece body and slightly turned head. Measures 15” long. Original paint with minor discoloration and wear; a few small dents and shot marks; minor chipping and roughness on edge of bill; fine hairline crack in neck.

Provenance: Private Southern collection.

(12,000 - 18,000)

29 Ward Brothers, Crisfield, Maryland. 1936 model pintail with slightly turned head and thick stipple paint. Measures 16.5” long. Original paint with moderate to significant flaking and wear; tight crack through neck; small chip and area of roughness on top of bill; filler above nail hole on top of head is missing; small chips and roughness at tip of tail.

Provenance: James and Lyda Madden collection. (5,000 - 8,000)

30 Ward Brothers, Crisfield, Maryland. 1936 style bluebill hen with slightly turned head. Measures 15” long. Original paint has worn down to much bare wood; moderately hit by shot; tight drying crack along the back; slight separation at neck seat with a chip in one side.

Provenance: James and Lyda Madden collection. (1,200 - 1,800)

32 Ward Brothers, Crisfield, Maryland. Early fat-jaw model canvasback hen with wide body and small tail. Measures 14.5” long. Early repaint with minor flaking and wear; tight drying cracks in body; repair to a crack in the bill.

Literature: “The Ward Brothers Decoys,” Ron Gard and Brian McGrath, p. 13 exact decoy. (1,500 - 2,500)

31 Ward Brothers, Crisfield, Maryland. Early fat-jaw model canvasback with wide body and small tail. Measures 15” long. Early repaint with moderate flaking and wear; tight drying cracks in body with metal staples securing; cracks in neck that have separated and with a small chip missing at back of neck. (1,500 - 2,500)

Delaware River

William Quinn

1915

- 1969 | Yardley, Pennsylvania

William Quinn was not born into a sporting family, so early on he relied on his friends to teach him the ways of the outdoors. Living in Tullytown, Pennsylvania, he soon met and befriended decoy carver Joe King who taught him to make decoys. Quinn’s early decoys are marked “Tullytown” on the undersides.

It was not long before Quinn developed a reputation as a talented duck hunter and competitive shooter. Much of Quinn’s hunting was done on Money Island, near Florence, where he belonged to the Penn Warner Gunning & Fishing Club. This is where he introduced the club members to his style of duck hunting, called “sculling.” It was so effective that the members asked him to resign, they did not like the impact the sculling had on their shore blind shooting. The decoys made in this period and used at this club are marked “W. Quinn, Yardley, PA”.

William Quinn in his scull boat

33 William Quinn (1915-1969), Yardley, Pennsylvania. Rare and important rigmate pair of pintails. Hollow carved with raised wing tip and incised feather carving. ‘W. Quinn Yardley, PA’ painted on undersides. Hillman collection ink stamp on the undersides. ‘DSC’ stamped into underside for the collection of David Campbell. Measure 17.75” long. Hen is near mint; drake has some very minor paint rubs and two reglued cracks in neck; an outstanding pair.

Provenance: John and Isabelle Hillman collection. David Cambell collection. Private Pennsylvania collection. (20,000 - 30,000)

James Biddle (1929-2005), scion of the prominent Biddle family of Philadelphia and Andalusia, the family’s 19th century estate which sits along the Delaware River, was in need of what was anticipated to be difficult zoning approval concerning the 225 acre estate. As such, he hired controversial attorney Barry Denker to represent him. Barry, who would later turn government informant in several corruption cases and was allegedly killed by members of organized crime, was a collector of decoys carved by Bob White. Bob, aware there some old gunning birds in the barn of the Biddle estate, suggested Barry request partial payment in old birds, and went with him to chose the 5 decoys Biddle agreed to; including this mallard drake. Barry then traded the old decoys to Bob for some of his. As told to me by Bob White 7/1/2017

34

John English (1848-1915), Florence, New Jersey. Hollow carved mallard with relief wingtip carving and tack eyes. ‘DSC’ stamped in the underside for the collection fo David Campbell. Measures 15.75” long. Original paint with minor discoloration and wear; small spots of touchup to flaking under tail; some restoration around one eye.

Provenance: From the Biddle estate, found by Bob White.

Literature: Decoy Magazine, Sept/Oct 1990 p. 12, exact decoy. (10,000 - 14,000)

35 William Quinn (1915-1969), Yardley, Pennsylvania. Extremely rare mallard hen with tucked head and raised wingtips. Hollow carved with incised feather carving. ‘W Quinn Yardley PA’ painted on underside. Measures 16.25” long. Original paint with minor discoloration and wear; minor roughness on tip of bill; otherwise excellent structurally. (6,000 - 9,000)

36 John English (1848-1915), Florence, New

Jersey. Hollow carved bluebill with tack eyes and incised tail feather carving. Hillman collection ink stamp on the underside. Measures 13.25” long. Original paint with minor discoloration and wear; under an old coat of varnish; very good structurally.

Provenance: Ron Kobli collection. (3,000 - 5,000)

37 Dan English (1883-1962), Florence, New Jersey.

Hollow carved black duck with tucked head and relief wingtip carving. ‘SGH’ stamped twice in the underside for the collection of Somers Headley. Measures 14.5” long. Original paint with almost no wear; fine hairline crack in one side of neck, otherwise excellent structurally.

Provenance: Ron Kobli collection. (2,500 - 3,500)

38 William Quinn (1915-1969), Yardley, Pennsylvania. Sleeping canvasback with bill inlayed into back. Hollow carved with incised tail feather carving. Maker’s name and town stamped in to lead weight. Measures 13.5” long. Original paint with minor wear; protected under a coat of varnish; some scratches and paint rubs down to the black base coat; a few small dents, otherwise very good structurally.

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

39 Joe King (1905-1992), Edgly, Pennsylvania. Hollow carved black duck with relief wingtip carving. ‘J. King’ painted on the underside. Also with a ‘K’ painted under bill. Measures 16.75”. A few spots of touchup to dents on back and to an area on the raised wings; head is very slightly loose with some minor flaking at neck seat.

Provenance: Ron Kobli collection. (1,500 - 2,500)

40 Charles Allen, Bordentown, New Jersey. Diminutive pair of buffleheads with extended crests and tack eyes. Two piece bodies with incised wing feather carving. Bobby Richardson collection ink stamp on underside. Measure 9.5” long. Both in original paint under an early coat of varnish that has darkened with age; scattered paint shrinkage and crazing on drake’s back; small dent on hen’s head; minor wear along lower part of hen.

Provenance: Mike and Ginger Raffia collection. (3,000 - 5,000)

Unknown maker, early 20th century, Philadelphia, Pennsylvania. Hollow carved black duck with raised neck seat and subtle feather paint detail. Very similar to the work of John Blair, Sr. ‘TW’ in marker on underside. Measures 17” long. Original paint with very slight wear; the surface, which was treated with linseed oil by the Blair family in the 1940s, was professionally cleaned; several small areas of flaking on the head and neck where touched up at that time; tiny chip missing from one side of tail.

Provenance: Originally sold in November 1998 by Guyette & Schmidt, Inc. for the Blair Family. (5,000 - 8,000)

42 Unknown maker (late 19th century), Philadelphia, Pennsylvania. Hollow carved Blair school pintail drake with tack eyes. Hillman collection ink stamp on the underside. Measures 17.25” long. Original paint with moderate to significant flaking and wear; old chip in tail; tight drying cracks in breast and underside; head is slightly loose; professional neck crack repair; tight crack in bill; old coat of varnish has darkened with age.

Provenance: John and Isabelle Hillman collection. James and Lyda Madden collection. (2,500 - 3,500)

43 John Blair, Jr. (1881-1953), Philadelphia, Pennsylvania. Hollow carved bluebill with slightly forward head pose. Measures 13.5” long. Original paint with moderate to significant flaking and wear; reglued crack through neck; head is slightly loose. (1,500 - 2,500)

43a Arthur B. Vance (1818-1889), Philadelphia, Pennsylvania. Tack eyes and subtle feather paint detail. Small square peg in underside. Measures 17” long. Original paint with wear on bottom edges; minor wear on the rest of the decoy; plug in knot in one side of breast with minor cracking and chipping there; slight separation at neck seat; wedge added to base of neck in the making. (2,000 - 3,000)

Sam Barnes

1857 - 1926 | Havre de Grace, Maryland Maryland

In 1924, the “Second Annual Exhibition of Wildfowl Decoys by American Sportsmen” was held at the Winchester Sportsman’s Headquarters in New York. The “Best of Show”, based on the practical use and maintenance of decoys, was awarded to Sam Barnes of Havre de Grace, MD for his pair of canvasback decoys. With this distinction, Barnes’ place in decoy fame was forever secured.

By the late 1800’s Havre de Grace had firmly established itself as a mecca for duck hunters. The Barnes’ family were commercial duck hunters and fishermen. Sam’s father, William F, and older brother (also named William) were listed in the 1880 Havre de Grace City Directory as “Duck shooters”. In the formal Federal census of that same year, however, they, as well as Samual, are recorded as carpenters. In 1885, Sam bought his family home on Washington St from his father and, in 1886, married Sarah K (“Sadie”) Gilbert (some records list the marriage as 1885). By the time of the 1900 census, Sam was listing his occupation as “fisherman” and, by 1910, “boat builder”. By 1920, he had returned to earning a living as a “house carpenter”. Over the years, he and Sadie had 7 children.

Research by Michael Daley indicates that between the years of 1891 and 1920, Sam was active in the pursuit of the plentiful local waterfowl, purchasing a long array of Harford County gunning licenses as well as numerous sinkbox and sneakboat licenses. He purchased his last gunning license the year before his death.

Coming from a family steeped in the traditions of the Susquehanna Flats, and with a strong carpentry and boat building background, it should come as no surprise that Sam would turn to decoy production, both for his own use, and as a means to help support his large family. He realized that to be effective, his decoys needed to be both attractive to the ducks as well as practical, sturdy, and functional for the many hunters of the day. His lifelong production can only be estimated, but the consensus is that it probably comfortably numbered in the thousands of decoys. Most of these were for the species usually found on the Flats, canvasback, redheads, bluebills and a few geese. In 1890, however, he produced a small group of swans that are universally considered his crowning achievements.

44

Sam Barnes (1857-1926), Havre de Grace, Maryland. Very rare swan decoy with tack eyes, gracefully carved neck. Body measures 34” long, 22” full height. Numerous dowel caps are visible, and are likely part of the construction. Four pegs were inserted at some point in the underside to lift the decoy slightly. Retains Richard Oliver sticker from a 1985 sale. Numerous coats of old white paint on the body; some paint on the face could be original; black areas have also been touched up; . drying crack along one side of body, other side has an area where red paint was blended in when a coat of white was being added below the waterline.

Provenance: James and Lyda Madden collection. (30,000 - 50,000)

44a Captain Ed Phillips (1901-1964), Cambridge, Maryland. Rare “tiger stripe” style Canada goose with relief carved eyes. Original paint with minor wear; old chip in one side of tail; minor roughness on one side of top of head; tight drying cracks in body; split in underside runs up the breast slightly; a few old spikes were added to secure this crack; tight cracks in neck. (7,000 - 10,000)

44b James T. Holly (1855-1935), Havre de Grace, Maryland. Very rare two piece Canada goose with raised neck seat and tack eyes. Measures 19.75” long. Early repaint with moderate flaking and wear; professional neck repairs with touchup to head and neck; much of the bill is a professional replacement with tight drying cracks in head and bill. (2,000 - 3,000)

44c R. Madison Mitchell (1901-1993), Havre de Grace, Maryland. Swan with weighted swing keel and rusted tack eyes. Custom metal stand included. Measures 32” long. Original paint with moderate flaking and wear; an appealing crazed surface on most of the swan; old chip and minor roughness at tail; two long scratches on one side of bill; tight crack near seam in neck.

Provenance: David Fannon collection. (1,500 - 2,500)

44b

44c

45 Unknown maker, 19th century, Cecil County, Maryland. Rare hollow carved bluebill. Branded “R Biddle” on the underside. Delaware River style flat lead weight attached with four tiny brass screws. Measures 13” long. Original paint with moderate flaking and wear; early thin second coat to black on head, breast, and tail area; very minor roughness on edge of bill, otherwise excellent structurally.

Provenance: Ron Kobli collection. (1,200 - 1,800)

46 William Heverin (1860-1951), Charlestown, Maryland. Redhead. Branded ‘P.K. Barnes’ twice in underside. Measures 15” long. Early in use repaint by the maker with minor discoloration and wear; chip in one side of neck; filled chip in tail. (800 - 1,200)

47 Ben Dye (1827-1896), Perryville, Maryland. Redhead with humped back and raised neck seat. ‘J.Coudon’ branded in underside. Paint was professionally restored to appear older; moderate wear; many dents and shot marks; hairline drying cracks in breast and tail area. (800 - 1,200)

48 Sam Barnes (1851-1926), Havre de Grace, Maryland. Canvasback hen. Measures 15.5” long. Original paint with minor to moderate wear; small dents and shot marks; tight drying crack along the back; tight crack in lower neck. (800 - 1,200)

49 Sam Barnes (1851-1926), Havre de Grace, Maryland. Bluebill hen. Measures 15.75” long. Original paint with moderate wear; cracks and separation in lower neck; filler at a loss in wood on one side of body has mostly flaked away. (800 - 1,200)

50 Sam Barnes (1851-1926), Havre de Grace, Maryland. Redhead. Branded “Caph”. Measures 14.25” long. Original paint with moderate flaking and wear; large knot through body with discoloration and minor separation on one side and flaking on other side; tight drying crack along the underside; small dents and shot marks. (800 - 1,200)

51 Robert McGaw (1879-1958), Havre de Grace, Maryland. Pintail that retains the original McGaw weight.

Measures 17.5” long. Original paint with moderate gunning wear; sliver missing from one side of bill; paint rub to bare wood at one side of head and one side of tail; flaking to primer coat at one side of body. (1,000 - 1,500)

52

53

Robert McGaw (1879-1958), Havre de Grace, Maryland. Decorative mallard drake mounted on McGaw’s original elevated stand. Measures 16” long. Two hairline cracks in underside of body; otherwise very good and original.

(800 - 1,200)

54

Charlie Joiner (1921-2015), Chestertown, Maryland. Rigmate pair of canvasbacks. Both signed and dated 1952 on underside. Measure 16” long. Original paint with moderate gunning wear; a couple of shot scars in hen; tight hairline cracks in underside of drake.

(600 - 800)

Charlie Joiner (1921-2015), Chestertown, Maryland. Rigmate pair of bluebills. Both are signed and dated 1952 on underside. Measure 15” long. Original paint protected by original light coat of varnish and has a few varnish voids on back that show under black light; both have light gunning wear with bare wood exposed to tip of bill on drake; a few small scratches and dents.

(500 - 800)

55 M. Boyd (late 20th century), Maryland. Full size swan with pinch breast carving and upswept tail. Signed by the maker on the underside. Measures 33” long. Original paint with some tiny dents and rubs; scattered spots of paint flaking; very good structurally.

(500 - 800)

56 Unknown maker, 20th century, Talbot County, Maryland. Swimming roothead swan with iron handle keel. Keel was bent to one side at some point so decoy would sit flat. Measures 29” long. Originally made as a Canada goose with very old working repaint as a swan; moderate to significant flaking down to the goose paint; drying cracks along one side of back with old staples added to secure; vertical drying cracks on back of neck and head. (800 - 1,200)

57 Unknown maker, 20th century, Talbot County, Maryland. Swimming Canada goose with iron handle keel used for carrying. Measures 28.5” long. Thick original paint with minor flaking and wear; second coat of paint on the cheek patches and some scattered touchup to flaking; drying split along one lower side.

Literature: ‘Chesapeake Bay Decoy’, Robert H. Richardson, editor, page 95, rigmate pictured. (400 - 600)

58 Edward Phillips (1901-1964), Cambridge, Maryland. Redhead drake with tight comb feather paint detail on back and painted eyes. Measures 13” long. Original paint with paint flaking over body and parts of head due to lack of primer by Phillips; darkened knot at top of back.

(1,000 - 1,500)

59 Edward Phillips (1901-1964), Cambridge, Maryland. Bluebill with tight comb feather paint detail on back and painted eyes. Measures 14” long. Original paint that has flaked because of lack of primer used by Phillips; tight crack at top of tail; stained area at knot in back. (1,000 - 1,500)

Ed Parsons

1856 - 1937 | Oxford, Maryland

60 Ed Parsons (1856-1937), Oxford, Maryland. Early and desirable bufflehead drake. Measures 10” long. Original paint that has crazed evenly showing great age; sliver missing from underside of bill; neck crack near base; shot scar on one side of bill; a few small rubs to bare wood. (2,000 - 3,000)

61

Unknown maker, circa 1900. Redhead sinkbox decoy. Measures 12.5” long. Original paint with moderate discoloration and wear. (1,000 - 1,400)

62 Unknown maker, circa 1900. Bluebill sink box decoy. Measures 14” long. Early paint with minor discoloration and wear. (400 - 600)

63

Unknown maker, circa 1900. Canvasback sink box decoy modeled after Henry Lockard. Measures 15” long. Early in use repaint with moderate discoloration and wear. (400 - 600)

64

Unknown maker, circa 1900. Canvasback sinkbox decoy modeled after a Cecil county decoy. With hole in tail area. Measures 14” long. In use repaint with moderate discoloration and wear. (300 - 500)

65 Unknown maker, early 20th century. Canvasback sinkbox decoy modeled after a Scott Jackson decoy. Measures 16.25” long. Original paint with significant discoloration and wear; very good structurally. (400 - 600)

66 Charlie Joiner (1921-2015), Chestertown, Maryland. Pair of hollow steel canvasback sinkbox decoys. Signed on the undersides. Measure 15.5” long. Original paint with very minor discoloration and wear. (400 - 600)

Virginia

Arthur Cobb

1870 - 1951 | Cobb Island, Virginia

Son of Warren Cobb, grandson of Nathan, and great grandson of Elkanah, Arthur Higgens Cobb certainly had salt water and Cobb Island in his blood. His family was long associated with the barrier island life and the employment opportunities it provided. As a young man he was surrounded by the daily activities of his father’s occupations as an oysterman, hotel operator, wrecker and hunting guide. He would have almost certainly joined in these activities until about 1899, when, at age 29, he joined the U.S. Life Saving Service. Records indicate that he was stationed at Smith Island (just south of Cobb’s Island) until 1903 and in 1905 he is recorded as stationed at Cobb Island as a “surfman”. He remained in the Life Saving Service through the 1920s as it transitioned into the US Coast Guard. By the 1930 census he was listed as being employed in “seafood/oysters” and by 1940 he had retired and was living in Oyster, overlooking the harbor, adjacent to the home of his brother, George.

As is well known, the family was famous for their Cobb’s Island Hotel and Resort. Arthur was probably heavily involved with this enterprise until the facilities were destroyed by a fierce hurri in 1896. This may have been his impetus to join the Life Saving Service. His uncle, Nathan, Jr., and his cousins, Elkanah and T. Lucius, tried mightily to continue the sporting tradition established at the hotel and built a small “clubhouse” on the Island in 1898. By that date the Island, which once contained almost 400 acres of high ground, had eroded to less than 80. In “Wings of Wonder”, Dr. Lloyd Newberry presents an in-depth study of the family, their activities and their decoys. He describes Arthur as helping at both the original hotel and at the “clubhouse”. This sadly came to an end when the new, smaller facility burned to the ground in 1930. That event may have been why Arthur listed his occupation as “sea food/oysters” in that year’s census. He never married and for many years supported his moth er who lived with him until her death in 1932.

He is known to have hunted and he shot a 10 gauge made by Peiper Gunmakers in Belgium. Likewise, he is known to have carved both duck and shorebird decoys. Dr. Newberry describes how two of his birds are pictured in Eugene Connett’s book “Duck Shoot ing Along The Atlantic Tidewater” and recalls that these examples were obtained directly from Arthur in 1946. In describing Arthur’s carvings, he notes:

“Arthur’s work deviated from that of other family members in two significant ways. He seldom carved split tails to indicate wingt and he seldom inletted the necks of his duck decoys. They were applied to a shelf on the body”… “He did, however, carve wing tips on his black ducks, which are hollow and with glass eyes”.

67 Arthur H. Cobb (1870-1951, Cobb Island, Virginia. Hollow carved bluebill with slightly raised neck seat and carved eyes. McCleery collection and Griffith collection ink stamps on the underside. Also with a Sotheby’s sticker. Measurses 13.5” long. Original paint with minor flaking and wear; small chip in one side of tail; tight drying cracks in breast and under tail area; hairline cracks in neck.

Provenance: Dr. Edgar Burke collection, William J. Mackey, Jr. collection, Tony Waring collection. Dr. James McCleery collection. Dr. Lloyd T. Griffith collection. Private Southern collection.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr, p. 202. “Duck Shooting Along the Atlantic Tidewater,” Eugene Connett, p. 148, exact decoy pictured. (15,000 - 25,000)

Elkanah Cobb

1852 - 1943 | Cobb Island, Virginia

Elkanah, (named after his great grandfather), was the son of Nathan F Cobb Jr. and his wife Sally M (Sarah). Author Henry Fleckenstein had done a lengthy review of the Cobb family history in his “Southern Decoys of Virginia and the Carolinas”, and in that book states Elkanah helped run the large and very successful Cobb Island Hotel, plus additional family businesses with his father and other family members. The main hotel, like most of the Island, was completely devastated by the great storm of 1893. After that tragic event, Nathan Jr. and Elkanah built a smaller ‘watch house’ type structure on pilings, which they named the Cobb Island Club House.

Over time, father and son established a business catering to previous patrons of the Cobb Island Hotel who wished to enjoy the shooting sports the Island had to offer.

After Nathan Jr’s death in 1905, operation of the Club House fell to his son. According to Fleckenstein, “in the late 1920’s, the clubhouse burned to the marsh and Elkanah dejectedly left his beloved Island and settled ‘across the creek’ in Oyster on the Cobb family farm where he had built a distinctive home on the edge of the creek”.

Additional inquiry reveals a little more about Elkanah. In 1860, when Elkanah was only eight, he was living with his parents and his father listed his occupation as “wrecker” (a legitimate and fairly common occupation along the stormy Atlantic coast at the time). By 1870, Nathan was still listing his occupation as “wrecker” while Elkanah was “at school”. In 1880, Nathan Jr. was listed as an “oysterman” and El kanah was a “boarder” working as a “Hotel Keeper” in the hotel (presumably Cobb’s Island) which was then managed by a Thomas Spady. By 1900, Elkanah was employed as a “sailor” and from the period of 1910 through 1930, we find Elkanah living in Capeville and working as an “oysterman”, “oyster planter” or “working in the seafood industry”. This is somewhat consistent with Mr. Fleckenstein’s account be cause when the large Cobb Island Hotel was washed out to sea in 1893, perhaps Elkanah and his father ran the smaller Cobb Island Clubhouse on a more seasonal basis or, per haps, Elkanah managed the Club basically in absentia or as an adjunct to his fishing interest.

Elkanah was apparently a life long bachelor. He is buried in the Cape Charles Cemetery in Cape Charles, Virginia.

A gunning party on a sailing vessel off of Cobb Island in 1892. Elkanah is seated second from left.

68 Elkanah Cobb (1852-1943), Cobb Island, Virginia. Hollow carved redhead with inlet neck seat, glass eyes, and relief wing tip carving. ‘E.B. Cobb’ branded on the underside. Measures 13.5” long. Original paint with minor flaking and wear; moderate wear on one side of body and breast; several short hairline cracks in body.

Provenance: Dr. Lloyd T. Griffith collection. Private Southern collection.

Literature: “Wings of Wonder” by Dr. S. Lloyd Newberry, page 255, exact decoy pictured. “Southern Decoys,” Henry Fleckenstein, Jr. (35,000 - 45,000)

Captain Robert Andrews

1863 - 1925 | Smith Island, Virginia

Born in Cheriton, Virginia, Robert began working as early as age 13, listed along with his two brothers as a “laborer” (presumably on the family farm) while his father, William, worked as a Mariner. When he was 22, he married Amanda Mckunn and together they raised their son, Garland. He worked briefly as a “sailor” and this experience would serve him well when, around the late 1880s, he became a surfman at the Smith Island Life Saving Station. It was here, in about 1897, that he served with and collaborated on a rig of shorebirds with John Henry Downes and Alma Fitchett. By 1900, he was back in Capeville working as a sailor and “watchman/oysterer” until finally taking up house painting in the 1920s.

While known for his shorebirds, he also carved a number of black ducks and brant. There is no record that he ever made decoys to sell so we have to assume that he carved solely for his own use and thus, his production must have been quite small.

The quality of his work undoubtedly places Andrews in the ranks of one of the most desirable of the Smith Island, Cobb Island and Hog Island carvers.

Note: His gravestone lists his DOB as 1863 however all other census, marriage, birth, and death records list his DOB as variously 1855, 56 or 57.

Captain Robert Andrews (1863-1925), Smith Island, Virginia. Extremely rare brant. In swimming pose with split tail carving, carved eyes, and inserted hardwood bill. ‘A’ carved under the tail. ‘ELW’ branded twice on the underside. Retains Charlie Hunter III collection tag. Measures 18.5” long. Old working repaint with significant flaking and wear; many drying cracks in body, head, and neck; loss to wood near one nail attaching neck to body; two screw holes in top of back.

Provenance: Guyette & Schmidt April 1996 sale, lot 551. Charlie Hunter III collection. Al Marzorini collection.

Literature: “Chesapeake Bay Decoys,” Robert Richardson, p. 208, exact decoy pictured. (10,000 - 15,000)

70 Eli Doughty (1844-1923), Hog Island, Virginia. Sculptural solid body brant with relief wingtip carving and slightly turned head. Applied hardwood bill is splined through the back of the head. Harold Haertel collection ink stamp and Charlie Hunter III collection brass tag on underside. Measures 16” long. Very early in use repaint with moderate gunning wear; fine hairline crack in back and at one nail in neck seat; minor blunt at tip of tail.

Provenance: Harold Haertel collection. Charlie Hunter collection. Mike and Ginger Raffia collection. (20,000 - 30,000)

71 Willie or Johnny Wessel, Modest Town, Virginia. Extremely rare black duck with raised neck seat and deep relief heart shaped wing carving on back. According to info provided by grandson David Bundick, there were four Wessel brothers born in the 1880s. Harold, Wilson, Johnny, and Willie. Johnny and Willie Wessel were twins. They were carpenters, farmers, and watermen, and lived between Modesttown and Gargatha, Virginia. They hunted on Hog Island bay. Measures 16.75” long. Original paint with a thick coat of wax or varnish that has darkened with age; lightly hit by shot, otherwise very good structurally.

Provenance: D.C. North collection. Private Southern collection.

Literature: “Chesapeake Bay Decoys,” Bobby Richardson, p. 211, exact decoy pictured. (10,000 - 14,000)

1928 - 1981 | Chincoteague, Virginia

Delbert Hudson

72

Delbert Hudson (1928-1980), Chincoteague, Virginia. Rare and outstanding American merganser drake with slightly turned head, extended crest, and fluted tail. Delbert’s signature is scratched in to the wet paint on one side of breast that follows the curve of the wing. Measures 14.5” long. Original paint with very minor wear; minor separation at neck seat; flaked filler above nails attaching head.

Provenance: Provenance: Peggy and David Rockefeller collection. Private Maryland collection.

(15,000 - 25,000)

The only known signed Delbert Hudson decoy.

73 Ira Hudson (1873-1949), Chincoteague, Virginia. Pintail drake with partially inlet neck seat, tack eyes, and scratch feather paint detail. A rigmate to this pintail is in the Shelbourne Museum collection. Measures 18” long. Original paint with minor discoloration and wear; small dents and shot marks; a coat of varnish was professionally removed in 2021; professional neck crack repair. (12,000 - 18,000)

74 Delbert Hudson (1928-1980), Chincoteague, Virginia. Decorative standing black duck with applied outstretched wings and elongated, turned neck. Scratch feather paint detail. Measures 14” long with a 12.5” wingspan. Original paint with areas of fine crazing; old repairs to cracks near where wings are attached to body; two fine cracks along one side of neck seat.

Provenance: Gene and Linda Kangas collection. (5,000 - 8,000)

Unused black duck with with painted tack eyes, scratch feather paint detail, and fluted tail carving. Partial ice groove behind neck seat. Never rigged or weighted. Measures 17.5” long. Original paint with very minor paint rubs and crazing; tight drying cracks in breast and body from before the decoy was painted. (500 - 800)

74b Norman Hudson (1898-1980), Chincoteague, Virginia.

74c Unknown maker (19th century), Cobb Island, Virginia. Rare running curlew with carved eyes and split tail carving. Mackey stamp on underside. Measures 13.5” long. Original paint with moderate wear; significant wear to the bill; a thin coat of wax was cleaned off at some point; very lightly hit by shot; the bill appears original.

Provenance: William J. Mackey Jr collection. Exhibited in the Cranbrook Museum exhibit by Ron Swanson and Michael Hall, p. 45 exact decoy. Private North Carolina collection. Private Long Island collection. (20,000 - 30,000)

75 Cobb family (19th century), Cobb Island, Virginia. Running robin snipe or plover with relief wing carving and carved eyes. “D” carved on the underside of tail. Measures 11.5” long. Paint has worn to bare wood with an appealing surface; moderately hit by shot; fine drying cracks throughout; old chip and roughness at stick hole.

Provenance: James and Lyda Madden collection.

(4,000 - 6,000)

76 Unknown maker, 19th century, eastern shore of Virginia. Red knot with painted eyes and short ridge down tail area. Measures 12.25” long. Mix of original paint with moderate wear and modern touchup; all under a thin coat of varnish; small chip at stick hole; bill is a professional replacement.

Literature: “Wings of Wonder” by Dr. S. Lloyd Newberry, page 269, rigmate pictured.

Provenance: James and Lyda Madden collection.

(6,000 - 9,000)

77

78 Dave “Umbrella” Watson (18511939), Chincoteague, Virginia. Small peep with relief wing carving. Measures 6” long. Old in use repaint with significant flaking and wear; small dents and shot marks; minor roughness at stick hole. (1,200 - 1,800)

Unknown maker, 19th century, Eastern Shore of Virginia. Running black bellied plover with relief wing carving and raised wingtips. Dr. Lloyd Griffith collection ink stamp on the underside. Measures 10.5” long. Original paint with moderate wear under a thick coat of varnish; lightly hit by shot; bill is a professional replacement.

Provenance: Dr. Lloyd Griffith collection. Private Southern collection. (7,000 - 10,000)

Cameron McIntyre

b. 1968 | New Church, Virginia

Which would you choose?

“These two Blackducks in the Toronto style were crafted to demonstrate the differences in patina of two identical decoys that both began with the same paint style and application. One being carefully and gently used over a few seasons and retired to the gunner’s mantle , while the other was used much more heavy handed over many seasons and perhaps forgotten in the lonely corner of an old boathouse loft. Both lightly hollowed to a thin shell with quarter inch bottom boards. Square nail construction.”

- Cameron McIntyre

79 Cameron McIntyre (b.1968), New Church, Virginia. Excellent hollow carved black duck in the Ontario style. Thinly hollowed with .25” bottom board. Raised neck seat and reared back head. “CTM” carved on the underside. Measures 16.75” long. Excellent original paint with line tie marks purposefully added by the maker. (2,000 - 3,000)

In this comparison Cameron is displaying the aesthetic difference between two sculptures. One has apparently retained its original surface and structure while the other was put to work, displaying many years afield. Both retain their elegance, but they display their history in different ways. Which would you choose is an interesting comparison with no wrong answer.

80 Cameron McIntyre (b.1968), New Church, Virginia. Excellent hollow carved black duck in the Ontario style. Thinly hollowed with .25” bottom board. Raised neck seat and reared back head. “CTM” carved on the underside.

Measures 16.75” long. Outstanding original condition that was made to appear old and used with small shot marks; surface around nail holes in bottom board and where a weight would have been has also been aged. (2,000 - 3,000)

81 Cameron McIntyre (b.1968), New Church, Virginia. Excellent dowitcher in the style of Eli Doughty. With raised wingtip carving and carved eyes. “CTM” carved on the underside. Measures 9.5” long. Excellent and original. (1,500 - 2,500)

82 Cameron McIntyre (b.1968), New Church, Virginia. Root head brant in the style of Nathan Cobb, Jr. Two piece hollow body with ‘CTM’ carved in underside. Also, signed and dated 1995 on underside. Measures 21” long. Excellent original paint that has been worn and stressed to create the appearance of age; very good and original. (1,500 - 2,500)

83 Cameron McIntyre (b.1968), New Church, Virginia. Curlew carved in the style of John Henry Verity. Two piece with ‘CTM’ carved in underside. Measures 16” long. Shot marks and wear to create the appearance of age; excellent original paint. (1,500 - 2,000)

Eddie Wozny b. 1959 | Cambridge,

Maryland

84 Eddie Wozny (b.1959), Cambridge, Maryland. Three chipmunks eating peanuts from a discarded paper bag at the circus. Titled “Come one, come all” on the underside of base, also signed and with a carved “W” on underside. One chipmunk with cheeks stuffed full of nuts. Piece measures 11.75” x 11.75”. Excellent and original. (5,000 - 8,000)

85 Eddie Wozny (b.1959), Cambridge, Maryland. Wood duck family wall hanging. Hen and three chicks mounted in a natural recess in wood. Drake is standing on a carved perch. Relief wing and tail feather carving. Ducks are slightly undersized. Signed and dated 2010. Drake measures 10” long, piece measures 16” across. Excellent and original.

(2,000 - 3,000)

86 Eddie Wozny (b.1959), Cambridge, Maryland. Full size eastern screech owl with turned head and relief wing and head feather carving. Identified, signed, and dated 2016. Owl stands 7.5” tall. Base is made to hang from the wall. Near mint

(800 - 1,200)

Eddie

(b.1959), Cambridge, Maryland. Full sized flying eagle attacking flying bufflehead. Both birds are hollow carved with applied wings and relief feather carving throughout. Both with open bills and applied feet. Eagle measures 24” long with a 30” wingspan. Bufflehead with a 15” wingspan. Excellent and original. (5,000 - 8,000)

86a

Wozny

87 Eddie Wozny (b.1959), Cambridge, Maryland. Hollow carved pintail drake with slightly turned head and relief wing feather carving. Signed and dated 2010 on the underside. Measures 16.5” long. Excellent and original. (400 - 600)

88 Eddie Wozny (b.1959), Cambridge, Maryland. Miniature flying trumpeter swan with carved wing and tail detail. ‘W’ carved in underside. Wingspan is 7”. Excellent and original. (800 - 1,000)

89 Eddie Wozny (b.1959), Cambridge, Maryland. Miniature preening yellowlegs with one raised wing and relief feather carving. ‘W’ carved in underside. Measures 4.5” long. Excellent and original. (600 - 900)

90 Eddie Wozny (b.1959), Cambridge, Maryland. Miniature eastern gobbler. In strutting pose. Signed and dated 1995 with ‘W’ carved in base. Stands 4” tall. Excellent and original. (800 - 1,200)

91 Grayson Chesser (b.1947), Jenkins Bridge, Virginia. Excellent hollow carved Canada goose with tucked and slightly turned head. Deep relief wing tip carving. ‘C’ carved on the underside. Measures 22” long. Original paint with very minor sap bleep under tail area and on breast, otherwise excellent.

Provenance: Mike and Ginger Raffia collection. (1,000 - 1,400)

92 Grayson Chesser (b.1947), Jenkins Bridge, Virginia. Hollow carved brant with slighty turned and forward head pose. Relief wing tip carving and ‘C’ carved in the underside. Also dated 1994. Measures 18.75” long. Very minor separation at body seem on breast, otherwise excellent and original.

Provenance: Mike and Ginger Raffia collection. (600 - 900)

93 Grayson Chesser (b.1947), Jenkins Bridge, Virginia. Swimming hollow carved pintail with slightly turned head and comb feather paint detail. Signed on the underside and with inscription by maker saying that this decoy was part of his exhibit at the Smithsonian in 1987. Measures 22” long. Original paint with moderate discoloration and sap bleed; very good structurally.

Provenance: Mike and Ginger Raffia collection. (600 - 900)

94 Grayson Chesser (b.1947), Jenkins Bridge, Virginia. Pair of hollow carved pintails with slightly turned heads and relief wingtip carving. ‘C’ carved on the undersides. Also with an inscription by the maker saying this pair was from his 1984/85 hunting rig. Measure 17” and 19.5” long. Original paint with minor gunning wear; tight crack in drake’s neck; hairline separation at body seam on drake’s breast.

Provenance: Mike and Ginger Raffia collection. (1,000 - 1,400)

Anthony Elmer Crowell

1862 - 1951 | East Harwich, Massachusetts

95 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Very rare fullsize standing wood duck with extended crest and slightly turned head. Relief wingtip and tail feather carving. Maker’s oval brand on the underside. Measures 12.5” long, stands 8” tall. Original paint with moderate crazing and paint shrinkage on breast; minor flaking on edge of tail; some restoration to jesso feet.

Provenance: James and Lyda Madden collection. (30,000 - 40,000)

96 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Extremely rare, full-size standing black duck with turned head and relief wingtip and tail feather carving. Maker’s oval brand on the underside. Measures 13.5” long, stands 10” tall. Excellent original paint with virtually no wear; professional neck crack repair and early restoration to legs and feet. (50,000 - 80,000)

97 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Rare decorative curlew with turned head and split tail carving. Maker’s rectangle stamp on the underside. Also with ‘CCR’ carved on the underside for the collection of Caroyln Rowland. Measures 9.5” long, stands 11” tall. Original paint with fine crazing; hairline crack at one jesso thigh.

Literature: Richard Bourne Decoy Auction catalog, July 1982, front cover, exact carving pictured.

(35,000 - 45,000)

Richard Bourne July 1982 auction, exact decoy pictured.

98 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Outstanding dowitcher with relief carved primary and tail feathers. Measures 12” long. Outstanding unused condition with a tiny chip at stick hole and minor discoloration from sticker residue on underside near stick hole.

Provenance: Recently consigned by the Larkin Family of Buffalo, New York, who purchased this and other Crowells directly from him while vacationing on the Cape. (30,000 - 40,000)

99 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Exceedingly rare rig of flattie shorebirds including four, possibly unique examples. The running curlew, ruddy turnstone, dowitcher, and golden plover are nearly impossible to find, and these are the only examples we are aware of. All with split tail carving, tack eyes, and excellent paint detail. Also, with carved carrying holes in bodies. Measure from 9.5” to 16.5” long. Original paint with almost no wear; very minor paint flakes to a few bill tips; two spots of white paint on golden plover and curlew; some roughness on tip of curlew’s wing tips were darkened.

Provenance: By descent in a Marblehead, Massachusetts family. (90,000 – 120,000)

Images not to scale. All decoys are full size

100 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Very rare working sanderling. Split tail carving and shoe button eyes. Hillman collection ink stamp on the underside. Measures 6.5” long. Original paint with minor to moderate flaking and wear.

Provenance: John and Isabelle Hillman collection. Private Southern collection. (30,000 - 40,000)

A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Plump black bellied plover in winter plumage. Tack eyes and split tail carving. Measures 9.5” long. Original paint with very minor flaking and wear, mostly on the hardwood bill; professional repair to a chip on the tip of raised wing, otherwise very good structurally. (8,000 - 12,000)

The Smith Family brand

The well known “compass brand” which appears on a number of early, interesting Crowell decoys, represents the rig mark of the Smith family of Boston, Cohasset and Orleans, The initials stand for two brothers, Stanley Webster Smith (1869 – 1941) and Albert P. (1860 – unknown). Their father, Albert Oliver (1832 – 1910) was a wealthy Boston leather merchant. Stanley began his working career as a salesman in a (stock) brokerage and he would ultimately become a successful banker and property investor. Albert initially worked as a bookkeeper in a legal firm, but his life path forward becomes very difficult to follow.

The family often hunted the Pleasant Bay area on the outer Cape with similarly wealthy Bostonians.

Stanley W Smith

102 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Oversize red-breasted merganser with head turned 45 degrees. Pre-brand with relief tail feather carving and feather rasping on breast and back of head. Smith rig brand on the underside. Measures 18.5” long. Original paint with minor flaking and wear; drying split along the underside; professional neck crack and bill chip repair; spot of touchup on one wing patch; filler and touchup to roughness around neck seat.

Provenance: Gene and Linda Kangas collection. (25,000 - 35,000)

103 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Excellent pintail drake with feather rasping on breast and back of head. Maker’s oval brand on the underside. Measures 17.75” long. Original paint with very little wear; approximately 20 scattered spots of touchup at paint rubs; tiny flake in one side of bill was darkened.

Provenance: Part of a collection found on the Northern Coast of Maine by Russ Goldberger. This grouping consisted of drakes of many different species by Crowell and all in dry original paint that was never varnished but with small paint rubs from when the decoys were still drying. Private Southern collection.

(15,000 - 20,000)

104 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Green wing teal with slightly turned head and appealing paint detail. Oval brand and round inlet lead weight on the underside. Measures 10.5” long. Original paint with fine crazing on head and virtually no wear; tight drying crack along the underside; otherwise very good structurally

Provenance: Recently consigned by the Larkin Family of Buffalo, New York, who purchased this and other Crowells directly from him while vacationing on the Cape. (8,000 - 12,000)

105 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Rare brant with applied hardwood bill and tack eyes. Maker’s oval brand on the underside. Rust on the underside indicates it was used in a triangle rig. Measures 19” long. Original paint with minor gunning wear; hairline vertical crack around head; area of touchup to flaking around each brass tack eye.

Provenance: Mike and Ginger Raffia collection. (7,000 - 10,000)

106 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Swimming merganser hen with relief tail feather carving and painted tack eyes. Maker’s oval brand on the underside. Measures 18.75” long. Original paint with moderate wear; tight crazing and flaking on lower half of decoy; old restoration to neck base; 1/3 of the bill is an old replacement; spot of touchup on back.

Provenance: James and Lyda Madden collection. (6,000 - 9,000)

107 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Black duck with slightly turned head. Maker’s oval brand on the underside. Measures 16.75” long. Original paint under a thick coat of varnish; tight crazing on head and bill; restoration on one side of neck seat; significant inpainting along one lower side, along underside of tail, and to professional tail chip repairs on tail; hairline crack in one side of neck.

Provenance: Private Southern collection. (2,000 - 3,000)

Charles

Charles Hart was a stonemason by trade but was also a very talented woodworker. Growing up, he hunted the Essex marshes and later built a hunting camp that he worked with his brother Nat Hart and friend Henry Oakes. He was self-taught, so his wonderful decoys have a unique style. He is known to have carved blackducks, mallards, goldeneye, scoters, brant, teal, oldsquaws, wood ducks, and geese.

Hart became intrigued with Admiral Richard R. Byrd after reading about his 1926 polar exploration, and he began to carve penguins. He became known for them and carved most all species in several sizes. Hart was also well regarded as a musical instrument maker, creating banjos, fiddles, and mandolins. To supplement his income, he briefly supplied decoys to the Iver Johnson Sporting Goods Store. His earliest work, from about 1900, is considered to be this best in terms of form, carving detail, and paint. Most collectors consider his best piece the standing, flapping wing blackduck duck.

108 Charles Hart (1862-1960), Gloucester, Massachusetts. Unique and important standing black duck with flapping wings. This is a gunning decoy. Relief wing feather and detailed bill carving. When a string is pulled the hinged wings flap. Head can be turned in different head positions. Old leather feet applied to base. Kangas brand on underside of base. Measures 17.75” long, stands 14.25” tall including base. Original paint with very minor wear; body seam has opened slightly; neck was made in two pieces and is all original; small chip at the tip of one wingtip.

Provenance: Gene and Linda Kangas collection.

Literature: “Decoys – A North American Survey” by Gene and Linda Kangas, page 91, exact decoy pictured.

- 80,000)

(50,000

109 Charles Hart (1862-1960), Gloucester, Massachusetts. Very rare 15” tall penguin. A tall and plump size by Hart that rarely comes to market. Carved wooden eyes with applied wings. Stands 15” tall. Strong original paint with some discoloration and staining throughout; a filled in the making split on the backside; as typical, paint on top of bill has been rubbed down. (4,000 - 6,000)

110 Charles Hart (1862-1960), Gloucester, Massachusetts.

10” tall penguin. Standing on wooden base with chamfered top edge and applied wooden feet. Small tack eyes. Original paint with minor flaking and rubs under a thin coat of varnish; area on back was never varnished and shows up differently under UV light.

Provenance: Alan and Elaine Haid collection. (3,000 - 5,000)

111 Charles Hart (1862-1960), Gloucester, Massachusetts.

7.75” tall penguin. Standing on wooden base with chamfered top edge and applied wooden feet. Signed by

the maker on the underside with his address. Original paint with minor flaking under a thin coat of varnish; small dent in breast; minor blunting at tip of beak.

Provenance: Alan and Elaine Haid collection. (3,000 - 4,000)

112 Charles Hart (1862-1960), Gloucester, Massachusetts. Two penguin paperweights, with lead bases. Stand 3” and 3.5” tall. Original paint with minor wear; a few small spots of inpainting to white on taller penguin.

Provenance: Alan and Elaine Haid collection. (2,000 - 3,000)

112

Massachusetts

Charles Osgood

1820 - 1886 | Salem, Massachusetts

Although Charles’ parents were both born in Salem, he was born in Baltimore, MD, suggesting his father, Henry, was associated with the shipping trade. Henry died the year Charles was born and his whereabouts for the next 27 years was somewhat a mystery until his name appeared on a London based “Certificate of Competency” where Charles records himself as Master of the ship, “Mason”, sailing out of Salem, MA between the years 1847 and 1849. The year he returned, he married Eunice Rebecca Rogers (1830 – 1885) in Providence, RI. and immediately set sail again for a two-year voyage to the East Indies as Master of the ship “Ilzaide” out of Boston. In the 1850 census, even though he was at sea, he and Eunice are listed as residing in Salem with her parents, Captain Benjamin Rogers and his wife. He remained listed as a “Mariner” through the time of the1869 Salem City Directory. That same year, he was granted admission to the prestigious Salem East India Marine Society with membership #376. An elite organization, the members must have sailed past either the Cape of Good Hope or Cape Horn as a Captain or Supercargo, and were required to share their navigational knowledge of West India ports with fellow members and to return with natural or cultural “oddities” to place on display in their galleries. By 1870, at age 50, he chose to leave the sea and became the Superintendent of the Nevins (Jute) Bagging Mill, a firm that produced a type of burlap material. His home was at 7 Skerry St and the company mill was located nearby at 16 Skerry. In his leisure time, the captain enjoyed hunting with friends and he became joint owner of a camp on the Rowley Marshes, just north of Salem, with Salem book and stationary merchant, Henry Perkins Ives (1830 – 1903). The camp was a favored haunt of fellow North Shore hunters and carvers, Captain Samuel Fabens, Fred Nichols, and artist John Prentiss Benson.

Charles’ wife passed away in 1885 and Charles followed the very next year. His death in the Ives’ camp log reads simply, “ April 9 – C. C. Osgood died at 4AM today – 66 years” . They are buried together in the Harmony Grove Cemetery in Salem.

The well-known story of the fabulous goose decoys attributed to Osgood first appeared in the decoy literature in 1961 when Webster and Kehoe published their small catalog, “Decoys at Shelburne Museum”. In it they related that “According to Legend, they are the craftsmanship of a Salem, Massachusetts sea captain who sailed west in 1849 and carved the set while waiting in (a) California port to return with his new cargo. When he came back to Massachusetts, he took the decoys up the Rowley River to a friend’s hunting lodge, and they remained there until they were found more than a hundred years later” . The “Captain” was identified as, simply, “Captain Osgood” . By 1965, when Adele Earnest penned her “The Art of the Decoy”, the maker was still, merely, “Captain Osgood”. When the full identity of the man was first mentioned is unclear, but the “Legend” is still based solely on the provenance provided by a Mrs. P.H.B Frelinghuysen of Morristown, New Jersey when she donated the geese to the Shelburne in 1953. This was in the very infancy of the Shelburne’s fabled decoy collection which was founded only one year prior. At that time, most provenance was

Osgood’s third command, “Ship Oriental”

113 Charles Osgood (1820-1886), Salem, Massachusetts. Very rare redbreasted merganser hen with extended crest carving. Solid body model. Measures 17.5” long. Original paint with minor to moderate wear under an early coat of varnish; some flaking on lower breast; a few small dents; tight crack through neck.

Provenance: Adele Earnest collection. James and Lyda Madden collection.

Literature: “The Art of the Decoy,” Adele Earnest, p. 76, exact decoy. (40,000 - 60,000)

Joseph Lincoln

1859 - 1938 | Accord, Massachusetts

Joe Lincoln never left the home in which he was born on Gardner St in the Accord section of Hingham, MA. As a young man, from about 1880 through 1895, he, like many others in the area, worked in a shoe factory or he worked on a piece rate basis out of a small 10’ X 12’ “tinkers shop” behind his home. After his father’s death, he lived with his mother and brother, Wilbur, who worked as a farmer and raised poultry on the family homestead. By 1910 through the early 1920’s, Joe was a “carpenter” and was remembered by his neighbors as being extremely talented when it came to building or repairing almost anything from furniture and boats to clocks.

He was a life-long, avid hunter and his home was conveniently situated directly on the shore of Accord Pond. It was here in 1904, that he became instrumental in running The North Shore Gun Club. The club used live decoys as well as numerous carved blocks. The complex consisted of a comfortable club house, an elaborate, long blind, storage sheds and live bird pens. John C Phillips in his “Shooting Stands of Eastern Massachusetts” states that “Relative to its size, I think that more fowl have been shot in this pond than any other in the State”. Joe had been making decoys for his own use since 1885. He expanded his production to include carving birds for friends and club members, which eventually would spread his reputation far beyond Accord Pond. A 1918 article in a Boston newspaper recognized him as one of only two (commercial) decoy carvers in the State (the other being Cape Cod’s A.E. Crowell). Demand for his decoys became great enough that by the early 1920’s, he is listed in the Town Directories as “Decoy Mfg” and this would be his trade for the remainder of his working life. His business cards advertised his work locally, while contemporary articles about him in numerous periodicals spread his fame beyond the State’s borders. As late as 1933, he staged an elaborate exhibit in the annual Boston Sportsman’s Show.

His work inspired a number of local carvers, such as Gordon Mann (1871 – 1958) of nearby Rockland and Charlie Thomas (1886 – 1946) of Norwell. The Lincoln influence can be clearly seen in the work of both men. Joe’s decoys are elegant in their simplicity. There were no wasted knife or brush strokes. As a minimalist, he captured the essence of the live bird as few others have on the Atlantic coast. The range of his work included solid, as well as hollow (1 known) decoys, as well as canvas over frame models, and his unique “self-bailers”. His relatively few miniature carvings are tiny replicas of his working decoys.

Always considered young for his age, in 1931, at 72, he married a local schoolteacher, Mary Shute, and the pair apparently enjoyed a happy marriage in the home in which Joe was born. When Joe died, he was cremated and his ashes are buried, along with Mary’s, in Accord.

Joe was not all decoys and hunting. Another of his true passions was the cultivation of prize dahlias and

114 Joseph Lincoln (1859-1938), Accord, Massachusetts. Rare bluebill with incised bill carving and slight wing shaping behind neck seat. Decoy was never rigged or weighted. This is believed to be the finest Lincoln bluebill known. Measures 13.75”. Excellent original paint with very minor wear; small dents on sides; minor roughness on edge of bill; fine hairline crack in one side of neck.

Provenance: Purchased at Copley Fine Art Auctions 2013. Russ and Karen Goldberger collection. (20,000 - 30,000)

Captain Clarence Bailey

1882 - 1952 | Kingston, Massachusetts

Clarence Bailey (1882-1952), Kingston, Massachusetts. Oversize swimming Canada goose. Canvas body with wooden bottom board and sculptural head pose. Measures 49.25” long. Gray on body is original with moderate crazing and wear; old in use repaint to head and white areas of body show moderate flaking and wear; cracks in neck secured by old nails; wooden patch on high point of neck and top of head.

Provenance: Gene and Linda Kangas collection. (6,000 - 9,000)

Clarence Bailey (1882-1952), Kingston, Massachusetts. Oversize Canada goose. Canvas over wood frame. Measures 38” long. Mix of original and early working repaint with moderate crazing and wear; many drying cracks in neck and head; head is loose on body.

Provenance: Gene and Linda Kangas collection. (2,000 - 4,000)

115

116

117 Clarence Bailey (1882-1952), Kingston, Massachusetts. Rare oversize black duck. Hollow carved with .25” bottom board attached with brass screws. Glass eyes. Measures 22.25” long. Very good and original.

Provenance: Gene and Linda Kangas collection. (3,000 - 4,000)

118 Clarence Bailey (1882-1952), Kingston, Massachusetts. Oversize solid body Canada goose with slight relief wingtip carving. Measures 28.5” long. Old in use repaint with significant flaking and wear; filled split along one side; tight drying cracks in body; small chip in tail; multiple crack repairs in upper part of neck.

Provenance: Gene and Linda Kangas collection. (1,200 - 1,800)

119 Joseph Lincoln (1859-1938), Accord, Massachusetts. Canvas over wood frame scoter with tack eyes. Measures 17.5” long. Original paint with very minor wear under a thin coat of varnish; minor roughness on edge of bill; otherwise very good structurally.

Provenance: Mike and Ginger Raffia collection. (1,500 - 2,500)

120 Unknown maker, 19th century, Massachusetts. Black bellied or golden plover in emerging plumage. With excellent folky paint pattern and split tail carving. Measures 9.75” long. Original paint with very minor wear; moderately hit by shot, mostly in one side; very minor roughness on one edge of tail.

Provenance: Mike and Ginger Raffia collection. (3,000 - 5,000)

121 Unknown maker, 19th century, Kingston, Massachusetts. Yellowlegs with relief wing and split tail carving. Similar to Lothrop Holmes. Measures 12.25” long. Original paint with minor wear; lightly hit by shot; minor roughness on tip of raised wing; very tightly reset crack in bill. (1,500 - 2,500)

122 Unknown maker, 19th century, Massachusetts. Eskimo curlew with split tail carving. Slightly flat sided. Dr. George Ross Starr collection ink stamp on underside. Measures 11.5” long. Original paint with almost no wear on body; small amount of flaking and hairline crack on underside of bill; bottom portion of tail has been restored, likely by Dr. Starr.

Provenance: Dr. George Ross Starr collection. James and Lyda Madden collection. (1,500 - 2,500)

123 Unknown maker, circa 1900. Rare working semi palmated plover. Measures 5.75” long. Original paint with minor gunning wear; surface has darkened with age; paint loss on back of head where hardwood bill comes through. (800 - 1,200)

124 Joseph Lincoln (1859-1938), Accord, Massachusetts. Yellowlegs with split tail carving and tack eyes. Hillman collection ink stamp on underside. Hole for stringing Measures 10.75” long. Original paint with minor wear; lightly hit by shot; hairline crack through neck; some unpainted filler added to roughness on lower tip of tail; old chip repair to top tip of tail; bill is a professional replacement. (1,200 - 1,800)

125 Unknown maker, 19th century, Kingston, Massachusetts. Sanderling with tack eyes and split tail carving. Measures 8.75” long. Original paint with moderate wear; lightly hit by shot; old chip in top of tail; bill is an early replacement. (600 - 900)

Obediah Verity

1813 - 1901 | Seaford, Long Island

126 Obediah Verity (1813-1901), Seaford, Long Island, New York. Plump black bellied plover with deep relief wing carving and wide head. Carved eyes are forward facing. Measures 10.25” long. Dry original paint with minor gunning wear; moderately hit by shot; the black on bill and breast is all original with some flaking on hardwood bill.

Provenance: Private Southern collection. (30,000 - 40,000)

127 Obediah Verity (1813-1901), Seaford, Long Island, New York. Excellent red backed sandpiper in running pose with deep relief wing carving and carved eyes. Measures 7” long. Original paint with very minor wear; lightly hit by shot; minor roughness at stick hole.

Provenance: Private Southern collection.

(25,000 - 35,000)

128 Obediah Verity (1813-1901), Seaford, Long Island, New York. Red knot with deep relief wing carving and carved eyes. Hillman collection ink stamp on the underside. Measures 10.75” long. Original paint with minor gunning wear; moderately hit by shot; old, shallow chip in top of head and a tiny chip at top of bill where it meets the face.

Provenance: John and Isabelle Hillman collection. Private Southern collection. (15,000 - 25,000)

129 Smith Clinton Verity (1845-1920), Seaford, Long Island. Running yellowlegs with relief wing carving and carved eyes. ‘W’ carved under tail for the hunting rig of Willard Verity. Measures 12” long. Excellent original paint with almost no wear; dent in back near neck; early coat of varnish that has darkened with age.

Provenance: Private Southern collection. (5,000 - 8,000)

Provenance: Mike and Ginger Raffia collection. (10,000 - 14,000)

130 Obediah Verity (1813-1901), Seaford, Long Island, New York. Rare working tern decoy. Measures 13” long. Very old second coat of paint by the maker with moderate discoloration and wear; heavily hit by shot; some roughness and old chipping at wing tips.

131 Daniel Demott (1847-1930), East Rockaway, New York. Black bellied plover. Sam Dyke collection ink stamp on the underside. Measures 11” long. Original paint with good patina and very minor wear; a few shot strikes; reglued crack runs the length of the bill.

Provenance: Sam Dyke collection. Mike and Ginger Raffia collection. (8,000 - 12,000)

131a Verity Family Seaford, Long Island, New York, last quarter 19th century. Important black bellied plover with turned and slightly cocked head. Body slightly turned to left. Relief wing carving and carved eyes. Carved shoulders. Measures 9.5” long. Original paint with good patina and minor wear; three areas of touchup to spots that likely had bare wood; one is above the left eye, on left side of body, and to an area around the beak; approximately 25 shot marks in one side; two small dents in same side; bill is an old working replacement.

Provenance: Ex Gerard collection. (15,000 - 25,000)

Thomas Gelston (1850-1924), Quogue, Long Island, New York. Early long bill dowitcher in spring breeding plumage. Small glass eyes with raised primary wing carving. Measures 12” long. Strong original paint with some crazing at the breast; couple of small rubs; approximately .5” of tip of bill is a professional replacement.

Provenance: Alan Haid collection. Private Long Island collection. (7,000 - 10,000)

131b

William Bowman

Lawrence,

with deep relief wing

and

wing tips. Measures 9.5” long. Original paint with moderate flaking on one side, mostly on head and bill; the other side with a larger area of flaking on wing and breast; a few minor shot marks, otherwise good structurally. (8,000 - 12,000)

131c

(19th century),

Long Island, New York. Dowitcher

carving

raised

132

Obediah Verity (1813-1901), Seaford, Long Island, New York. Curlew with deep relief wing carving and carved eyes. Measures 14” long. Original paint with moderate to significant wear; small dents and shot marks; bill is a professional replacement and is slightly loose.

Provenance: James and Lyda Madden collection. (4,000 - 6,000)

133 William Bowman (19th century), Lawrence, Long Island, New York. Yellowlegs with deep relief wing carving and raised wingtips. Believed by some to have been made by Charles Sumner Bunn. Measures 12” long. Original paint with minor wear; professional neck and wingtip repairs; small spots of touchup on head.

Provenance: Private Southern collection.

(8,000 - 12,000)

134

Unknown maker, circa 1900. Folky curlew with root head and iron bill. Writing on the underside attributes it to North Carolina. Measures 12” long. Old paint with moderate wear under a coat of varnish; many small dents and shot marks; old chip in tail; neck and head appear to have been reworked at some point with mouse chews and tight cracks to the neck.

Provenance: James and Lyda Madden collection. (1,200 - 1,800)

135 Unknown maker, 19th century, Seaford, Long Island, New York. Alert black bellied plover with slight relief wing carving. Measures 10.5” long. Original paint with moderate gunning wear; under a thick coat of varnish; appears to have had glass eyes added at some point; those eyes have since been removed and the area touched up; the original bill is slightly loose.

Provenance: James and Lyda Madden collection. (2,000 - 3,000)

136 Obediah Verity (1813-1901), Seaford, Long Island, New York. Black bellied plover with deep relief wing carving and carved eyes. Adele Earnest collection ink stamp on underside. Measures 9.25” long. Old paint with significant wear down to much bare wood; some of the paint on sides and underside was taken down; many tight drying cracks; moderately hit by shot; small amount of glue visible where bill meets the face.

Provenance: Adele Earnest collection. James and Lyda Madden collection. (2,000 - 3,000)

137 Attributed to Thomas Hewlett, Long Island, New York. Rare least sandpiper or peep. Cork body with small insert glass eyes. Retains McCleery stamp on underside. Measures 4.5” long. Original paint; professionally replaced bill; small piece missing at end of tail.

Provenance: Dr. James McCleery collection. James and Lyda Madden collection. (800 - 1,200)

138 Chief Eugene Cuffee (1861-1941), East Hampton, New York. Plover with applied dropped wings and carved eyes. “Fleming” written on the underside. Measures 10” long. Original paint with minor flaking and wear, mostly on lower part of wings; reglued crack through neck. (800 - 1,200)

Frank Kellum

1858 - 1940 | Babylon, New York

Information in the decoy literature concerning Mr. Kellum is, indeed, scant. What little that has been recorded is based, almost entirely, on what was written in 1934 by Joel Barber in his “Wild Fowl Decoys”. Barber (1876 – 1952) was somewhat contemporaneous with Kellum so his information deserves to be considered. He wrote:

“Kellum was a well known and picturesque figure of the ‘nineties, and apparently very talented. So much so that a group of New York sportsmen of the old Wy-Wy-an-da Club became interested and made it possible for him to go to New York to study art. Many stories are told of this episode, but it appears that the idea didn’t work out. Kellum had always followed the water and soon came back to it. What he knew of guns and boats, decoys and the Great South Bay, was enough for any man. The art of schools meant nothing at all to him”.

Both “Gunners Paradise” and “The Decoys of Long Island” add slightly to Barber’s narrative by stating that he guided at the Wa-Wa-Yanda club on Crabtree

“The

Island off Belport. Both references state that he was a “painter” and “The Decoys of Long Island” adds that he was a “carpenter”. No reference in the census can be found that lists a Frank Kellum (c1858 - c1930) as a “painter”. The 1880 Federal Census, however, does list a Frank Kellum, 22 years of age, living in Babylon and working as a house carpenter. Unfortunately, this Frank Kellum disappears from the record after that date. Much of Barber’s description of Kellum, based on his use of terms such as “apparently”, “stories are told”, “it appears”, etc, and the fact that he misspelled the name of the Wa-Wa-Yanda club, would suggest that his material was based on information supplied to him verbally and oral history can often be notoriously inaccurate.

Needless to say, much more needs to be researched to elaborate accurately on the Frank Kellum of decoy fame. For the present we must simply enjoy the vague word-of-mouth stories about his life and, certainly, appreciate his superbly crafted decoys.

139 Frank Kellum (1858-1940), Babylon, New York. Important full body stick up herring gull. One of three known. Used at the Wa Wa Yanda Club, Bay Shore, New York, where Kellum was a guide. ‘Fleming collection’ and signed by Malcom Fleming on the underside. Measures 18” long. Original paint that has worn off head and neck area and parts of body to expose natural wood grain, creating a very appealing folk sculpture; stick hole in underside as well as two other holes where perhaps wire legs once existed; several age cracks in body and head; minor damage at tip of tail and end of bill.

Provenance: Al Marzorini collection.

Literature: “Decoys – A North American Survey” by Gene and Linda Kangas, page 310, exact decoy pictured. (20,000 - 30,000)

Seagull by Frank Kellum. Used at Wa-Wa-Yanda Club, Bayshore, New York, where Kellum was a guide.

Art of the Decoy,” Adele Earnest, p. 85, exact decoy.

The Squires Rig

A group of three of these outstanding mergansers appeared at an auction in Huntington, New York in the early 1990s. All three were purchased by Bob Gerard. Since then, no information has been gathered that can shed any light on the shadowy “Samuel Squires.” It is not even known if he was the carver of the birds or simply the owner of the rig. One or two other decoys of another species have been discovered, so the rig apparently contained more than just mergansers. The auctioneer indicated that the birds were “discovered out east” (on Long Island).

There is an area of Flanders, New York which is located near Southampton that is known as “Squiretown.” Located here were a few sporting clubs and, perhaps, this may be the general area in which these birds were carved.

While nothing can be said for certain, preliminary research of the census records indicate that there is one individual with the name of Samuel Squires that lived in the correct area, at the right time, and was the correct age. No one else by that name appears anywhere else on eastern Long Island at that time. A Samuel W. (also known as Samuel A.), appears in the federal census records between 1900 and 1940. He was born circa 1868 and lived in Southampton on “Head of Pond Road.” He must have been somewhat affluent as he is listed as owning his own farm and having employees.

140

Unknown maker from Long Island, circa 1900. Well sculpted merganser drake from the Samuel Squires Rig with reared back head and carved extended crest. Round inlet lead weight on the underside. Measures 16” long. Original paint with minor crazing and wear; minor roughness on edge of tail; tight drying crack in underside.

Provenance: Albert Minucci collection. Private Southern collection. (15,000 - 25,000)

141 Smith Clinton Verity (1845-1920), Seaford, Long Island. Rare swimming roothead brant. Measures 17” long. Original paint with minor discoloration and wear; some flaking on neck; a few dents and small losses to knots in body.

Provenance: McCarthy collection. Mike and Ginger Raffia collection. (5,000 - 7,000)

142 George Robert (19th/20th century), Bellport, Long Island. Rare cork body Canada goose. Branded “R” twice on underside. Measures 20.5” long. Original paint with minor wear; minor roughness on tail area; slight separation to body seams.

Provenance: Mike and Ginger Raffia collection. (1,500 - 2,500)

143 Smith Clinton Verity (1845-1920), Seaford, Long Island. Rigmate pair of bluebills with carved eyes. Measure 15.5” long. Drake appears to be original paint with a thin second coat on some of the black; heavily hit by shot; chip on back; spot of roughness on top of bill; hen is an early second coat with moderate wear; lightly hit by shot.

Provenance: Mike and Ginger Raffia collection.

Literature: “Decoys” by Gene and Linda Kangas, page 122, exact pair pictured. (2,000 - 3,000)

144 Roger Williams (1770-1840), Long Island, New York. Very early root head merganser hen. Natural root head and neck with extended crest. Kangas branded in the underside. Measures 16.25” long. Very early in use repaint with significant wear; tight crack on the top of bill; old chipping and roughness on tip of tail.

Provenance: Gene and Linda Kangas collection. (1,200 - 1,800)

145 Attributed to George Eberhart, Stoney Brook, Long Island. Merganser hen with .75” bottom board. Measures 17.25” long. Original paint with minor wear; hairline crack in breast; tiny chip in one side of tail.

(800 - 1,200)

146 Harold Thengs (1893-1974), Babylon, New York. Pair of long tail ducks. One of just three known pairs of long tailed ducks. Balsa body and heads. Drake’s tail is an inset hardwood piece. Slight bill carving and wing outline on drake. Both are stamped with Harold Thengs’ collectors stamp created by Gene Kangas. Drake measures 18” long. Thick original paint with minor gunning wear; worn area at tips of bills.

Provenance: Private Southern collection.

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

(1,500 - 2,500)

147 Unknown maker circa 1900, Long Island, New York. Merganser with extended crest, relief wing carving, and applied bill. Measures 15” long. Bill and paint were professionally restored by Cameron McIntyre; tight drying cracks and old chip in tail.

(1,500 - 2,500)

148 Chief Eugene Cuffee (1861-1941), East Hampton, New York. Or Henry Bennett. Full size standing blue heron. Measures 39” tall. One piece carved body with separate neck and legs. Carved eyes with original paint. Mounted to base with detailed toes on feet. Tight cracks; rub marks to bare wood; slight separation at seams; missing paint in areas.

Provenance: Gene and Linda Kangas collection.

(5,000 - 8,000)

Frank Finney

b. 1947 | Cape Charles, Virginia

149 Frank Finney (b.1947), Cape Charles, Virginia. Mother fox and two kits following along. Mother and one kit with open mouths. All with turned heads and glass eyes. Base with faintly painted fallen leaves. Stylized ‘FRSF’ carved in underside of base for Frank Royland Smith Finney. Measures 36.5” long. Very good and original.

Provenance: Bob Moreland collection. (12,500 - 17,500)

150 Frank Finney (b.1947), Cape Charles, Virginia. Full size Hampshire pig. With a curly cue tail and ears extended forward. Glass eyes and a friendly snout, with a face that displays this pig has been well fed. Hollow carved with original paint; protected by a coat of varnish that has mellowed nicely. 15” tall x 24” long. Excellent and original.

(8,000 - 12,000)

Frank Finney (b.1947), Cape Charles, Virginia. A full size basset hound with wonderfully droopy ears. Frank’s seriffed F carved in underside. Measures 33” long, and 19” tall. Strong original paint; a very minor seam separation behind dog’s right shoulder, otherwise excellent.

(10,000 - 15,000)

151

152 Frank Finney (b.1947), Cape Charles, Virginia.

Large, hollow carved whale weathervane. Carved eyes and open mouth with carved teeth. Hardwood stand with inlayed bone bannerette name plaque. Whale measures 37” long. Stands 17.5” tall. Made to appear older; excellent and original. (15,000 - 25,000)

153 Frank Finney (b.1947), Cape Charles, Virginia. Standing woodcock. Frank’s serifed ‘F’ carved in underside of base. Also Cunningham collection stamp. Head is turned, tail is fanned and raised. Stands 10” tall. Mint in all respects. (2,000 - 3,000)

154 Frank Finney (b.1947), Cape Charles, Virginia. 1/2 sized barn owl with slightly turned head and raised wing carving. Deep relief wing and tail feathers. Scratch feather paint detail. Maker’s initials carved in underside of base. Stands 8.5” tall. Excellent and original. (3,000 - 4,000)

155 Frank Finney (b.1947), Cape Charles, Virginia. Northern shrike. “F” carved in underside. Mounted to wooden decorated base with open bill holding a berry. Wingtips are carved and raised, tail is dropped. Measures 9” long.

Excellent in all respects. (1,500 - 2,500)

155a Frank Finney (b.1947), Cape Charles, Virginia. American robin mounted to carved wooden base. “F” carved in underside. Glass eyes. Measures 7” long. Excellent in all respects. (500 - 800)

155b Frank Finney (b.1947), Cape Charles, Virginia. Northern mockingbird mounted to wooden base. “F” carved in underside of base. Slightly turned head and glass eyes. Measures 6.5” long. Excellent in all respects. (500 - 800)

155c Frank Finney (b.1947), Cape Charles, Virginia. Miniature red winged black bird mounted to carved base with “F” stamped in underside. Measures 6” long. Excellent in all respects. (500 - 800)

155d Frank Finney (b.1947), Cape Charles, Virginia. Red headed woodpecker mounted to wooden base with “F” carved in underside. Glass eyes. Measures 5.5”. Excellent in all respects. (500 - 800)

156 Frank Finney (b.1947), Cape Charles, Virginia. Black throated blue warbler mounted to wooden base with “F” carved in underside. Glass eyes. 6” long. Excellent in all respects. (500 - 800)

Steve Weaver

b. 1950 | Cape Cod, Massachusetts

157 Steve Weaver (b.1950), Cape Cod, Massachusetts. Excellent miniature quail family with three adults and five chicks. Titled ‘Quail Hollow’ and signed on the underside of base. One adult with open bill carving and tiny tongue and another with head turned 90 degrees. One chick with head turned back over body. Four carved feathers on base. Maker’s initials on the side of base. Piece measures 8.5” across.

Adults are 3” to 3.5” long and the chicks are all under 1” long. Excellent and original. (6,000 - 9,000)

158

Steve Weaver (b.1950), Cape Cod, Massachusetts. Miniature eastern bluebird on natural perch. Relief wing feather carving. Identified and signed on the underside of base. Maker’s initials on side of base. Bluebird measures 3.5” long. Stands 5.75” tall including base. Excellent and original. (800 - 1,200)

159 Steve Weaver (b.1950), Cape Cod, Massachusetts. Miniature white ibis with relief wing feather carving. Identified, signed, and dated 2007 on the underside. Maker’s initials on side of base. Measures 4.75” long. Excellent and original. (1,000 - 1,400)

160 Steve Weaver (b.1950), Cape Cod, Massachusetts. Miniature hooded merganser with slightly turned head and relief wingtip and tail feather carving. Identified and signed on the underside. Maker’s initials carved on the base. Measures 3.75” long. Excellent and original. (800 - 1,200)

161 Steve Weaver (b.1950), Cape Cod, Massachusetts. ‘Suitcase’ style yellowlegs with deep relief wing carving and slightly turned head. Head and bill are removable and can be stored into carved recess on the inside of hinged body. Signed and dated 2002 on the inside of body. Measures 9” long. Excellent and original. (800 - 1,200)

162 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts.

Full size chickadee on pine branch with three pine cones. Made to screw into a wall. Chickadee measures 4” long. Near mint. (3,000 - 4,000)

163 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Yellowlegs in running pose with split tail carving and excellent paint detail. Made as a decorative the base and legs were removed at some point and the bird was used for hunting. “Helen and Joe French” written on underside in invisible ink. Measures 11.5” long. Original paint with very minor flaking and wear; lightly hit by shot; filled holes in the underside with touch up; bill is a professional replacement; hairline cracks in each eye.

Provenance: Joe French collection. Private New England collection. (5,000 - 8,000)

164 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Miniature running black duck with excellent paint detail. Maker’s rectangle stamp and signature on underside. Measures 6” long. Near mint under an early coat of varnish; tiny spot of extra varnish where bill meets face. (1,000 - 1,400)

165 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Miniature redhead. Maker’s rectangle stamp and signature on underside of base. Measures 4.5” long. Near mint under an early coat of varnish that has darkend slightly. (800 - 1,200)

166 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Miniature surf scoter. Maker’s rectangle stamp on the underside. Measures 3.75” long. Excellent and original. (2,000 - 3,000)

167 A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Miniature running brant. Maker’s rectangle stamp and ‘16’ in pencil on the underside. Measures 5.75” long. A few tiny paint rubs and flakes, otherwise excellent and original. (1,200 - 1,800)

168 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature wood duck with extended crest. Maker’s rectangle stamp on the underside. Measures 4.25” long. Excellent and original.

(1,200 - 1,800)

169 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature bluebill. Maker’s rectangle stamp on the underside. Measures 3.25” long. Excellent and original. (800 - 1,200)

170 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature ruddyduck. Maker’s rectangle stamp on the underside. Measures 2.75” long. Excellent and original. (1,000 - 1,400)

171 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature goldeneye. Maker’s rectangle stamp on the underside. Measures 4” long. Surface has darkened slightly with age; a few minor paint rubs; otherwise very good and original. (800 - 1,200)

Measures 16.25” long. Original paint with minor to moderate wear; hit by shot in one side; multiple drying cracks in body with a larger one running along the back. (800 - 1,200)

Knight,

County, North Carolina.

canvas over wire frame Canada goose. Three piece laminated head and neck. Measures 29.5” long. Second coat of paint with minor flaking and wear; slight separation at seems in head and neck; tight cracks in neck. (2,000 - 3,000)

172 Joe Hayman (1886-1975), Coinjock, North Carolina. Redhead.

173 Will

Currituck

Hissing

174 Bailey Barco (1870-1947), Kitty Hawk, North Carolina. Rare ruddy duck with reared back head and wide cheek carving. Harold Haertel ink stamp on underside. Measures 10.75” long. Old paint was mostly taken down to bare wood and covered in a coat of varnish; multiple dents and shot marks; old chip on top of head with filler added; most of the bill is a professional replacement.

Provenance: James and Lyda Madden collection. (6,000 - 9,000)

175 Lee Dudley (1860-1942), Knotts Island, North Carolina. Hollow carved teal with relief wing tip carving near tail. Measures 11.25” long. Old overpaint has been stripped down to much bare wood with a coat of varnish added; lightly hit by shot; roughness on tip of bill; x-ray shows the head is original to the body.

Provenance: Charlie Hunter III collection. (6,000 - 9,000)

176 Unknown maker, 20th century. Unpainted swan with body very similar to the work of John Williams. Mackey collection ink stamp on the underside. Measures 29” long. Many drying splits and cracks along the body, with old glue and spikes added to one side to secure; carpenter bee hole in one side of head; head appears to have been added at a later date.

Provenance: Al Marzorini collection. (800 - 1,200)

177 Unknown maker, 20th century, North Carolina. Ruddy duck cast iron wing duck with hole in tail, possibly for tying to the side of a sink box. Measures 9” long. Significant rusting and pitting, otherwise good. (600 - 900)

178 Unknown maker, early 20th century. Swimming mallard hen with relief carved, heart shaped wings and notched tail feather carving. Found in Charleston, South Carolina. Measures 17.25” long. Original paint with minor wear; surface has darkened with age; drying cracks in body; minor loss at a knot in back. (600 - 900)

179 Unknown maker, 20th century, Willis Wharf, Virginia. Three flat sided yellowlegs with split tail carving and metal bills. Measure 11.25” to 12.25” long. Original paint with moderate gunning wear; tight drying crack along one lower side.

Provenance: Two on right from the Kroghie Andresen collection. (1,000 - 1,400)

180

Unknown maker, 20th century, New Jersey.

Hollow carved working great blue heron with brass tack eyes and Shelburne Museum collection ink stamp on underside. Signed “Chris Sprague, Beach Haven, New Jersey” at a later date on the underside. Head is doweled in to body and removeable. Measures 36” long. Original paint under a thick coat of varnish that has darkened with age; slight separation at vertical body seam around center of body; tight crack and flaking to filler where head is attached to neck.

Provenance: Sold at a Richard Oliver Sale, July 1987. Al Marzorini collection. (8,000 - 12,000)

181 Harry M. Shourds (1890-1943), Ocean City, New Jersey. Hollow carved merganser hen with extended crest and inlet lead weight. Measures 16.25” long. Original paint with minor wear; slight separation at body seam; early coat of varnish has darkened slightly with age; hairline crack in tail.

Provenance: James and Lyda Madden collection. (6,000 - 9,000)

182 Ellis Parker (1870-1952), Beach Haven, New Jersey. Exceedingly rare flying brant with canvas over wire frame wings. Feet are painted on underside. Measures 20.5” long, with a 32.5” wingspan. Original paint with good patina and minor wear; slight wear to canvas at wing tips; tail chip repair; small chip missing from top of tail; filled crack in underside with touch up in that area.

Provenance: Al Marzorini collection. (2,500 - 3,500)

183 Harry V. Shourds (1861-1920), Tuckerton, New Jersey. Rare flying brant with applied canvas over wire wings. Measures 23” long with a 27” wingspan. Mix of original and very early in use repaint with moderate wear; hairline crack in back; tears and losses to canvas; 1/3 of the bill is missing. Provenance: Al Marzorini collection. (1,000 - 1,400)

184 Nathan Rowley Horner (18821942), West Creek, New Jersey. Hollow carved Canada goose with a flat lead weight attached by four brass screws. Measures 24.5” long. Old overpaint was taken down to some of the original surface with areas of paint strengthening; tight seam on one side of neck at a professional neck repair. (2,500 - 3,500)

185 Harry M. Shourds (1890-1943), Ocean City, New Jersey. Extremely rare, hollow carved Canada goose with excellent paint detail. Mackey collection ink stamp on the underside. This decoy was part of the Mackey family collection, which were not sold at the Mackey sales in the 1970s, but retained by the family until 2007. Measures 23.75” long. Original paint with minor gunning wear; moderate flaking under tail area and underside; tight crack in bill; cracks in neck were tightened long ago with small amount of touch up; among the best known examples.

Provenance: William J. Mackey Jr collection. Mackey family collection. Private southwest collection.

Literature: “Classic New Jersey Decoys”, by James Doherty Jr, page 77, exact decoy pictured. (25,000 - 50,000)

186 Harry V. Shourds (1861-1920), Tuckerton, New Jersey. Robin snipe with tack eyes. Hillman collection ink stamp on the underside. Measures 8.5” long. Original paint with minor gunning wear; thin coat of varnish has darkened with age; rusted tack eyes were added long ago; very good structurally.

Provenance: James and Lyda Madden collection. (6,000 - 9,000)

187 Nathan Rowley Horner (1882-1942), West Creek, New Jersey. Extremely rare ruddy turnstone. Measures 9.5” long. Original paint with minor flaking and wear; lightly hit by shot; minor roughness on tip of bill; some touchup to flaking on bill.

Provenance Bruce Williams collection. (6,000 - 9,000)

188 Unknown maker, late 19th century, New Jersey. Large two piece curlew. Relief wing carving and glass eyes. Two piece vertical lamination. Measures 18.75” long. Original paint under an old coat of varnish with moderate flaking and crazing; chips at the tip of raised wingtips; reglued cracks in neck; bill is a professional replacement.

Provenance: Al Marzorini collection. (2,000 - 3,000)

Jeffrey Moore, New Jersey. Pair of flying wood ducks attached to timber base. Stands 40” tall. A carved wooden duck decoy at base, as if it has been washed up to the shoreline. Cattail like weeds are embedded in sandy textured surface at bottom. “Flying Woodie carved for my good friend Charlie, Jeffrey A. Moore, 2012” signed on the underside of base. Excellent and original.

(1,500 - 2,500)

191 Jeffrey Moore, New Jersey. flying full body greenwing teal mounted to timber structure with a washed up greenwing teal decoy at base. Marsh grass is mounted in to a sandy base on top of carved wooden base. “Going Home

Flying Greenwing Teal, Jeffrey A. Moore, 2010” is signed on the underside of base.. Stands 36” tall. Excellent and original.

(1,500 - 2,500)

190

191

192 Jeffrey Moore, New Jersey. Full size standing bluewing teal drake. Signed and dated 2012. Elaborately carved and painted with wing outstretched. Mounted to a piece of driftwood over a base with epoxy used to emulate water and sand. Stands 14” tall. Excellent and original. (1,500 - 2,500)

193 Jeffrey Moore, New Jersey. Excellent pair of wood ducks with detailed feather carving and raised, crossed wingtips. Hen’s head is tucked and turned 90 degrees. Signed and dated 2009. Measure 9.5” and 10.5” long. Near mint. (800 - 1,200)

194 Jeffrey Moore, New Jersey. 2/3 size pair of mallards. Detailed feather carving and raised, crossed wingtips. Drake with slightly turned head, hen’s head is tucked and turned 90 degrees. Both are signed on the underside. Drake dated 2006, hen 2009. Measure 9” and 10” long. Excellent and original. (600 - 900)

195 Jim Sprankle (b.1934), Sanibel Island, Florida. Pair of hooded merganasers. Hollow carved with excellent detailed raised feather carving. Superbly carved crest on both. Turned heads. Drake measures 13”.

(2,500 - 3,500)

196 Jim Sprankle (b.1934), Conklin, New York. Ringneck drake. Hollow carved. Signed and dated 1985 on underside. An exceptional decorative with extended, raised wingtips and fanned tail. Turned preening head style, and raised foot. 12” long. Excellent in all respects.

(2,500 - 3,500)

197 Jim Sprankle (b.1934), Sanibel Island, Florida. Wood duck drake. Signed and dated 1983 on underside. Slightly turned head, raised extended wingtips, and fanned tail. Textured feather carving throughout. Measures 14.5” long. Very good and original.

(2,000 - 2,500)

198 Jim Sprankle (b.1934), Sanibel Island, Florida. Gadwall drake. Signed and dated 1980 on underside. Raised, detailed feather carving. Texturing throughout. Hollow carved. Measures 14.5” long. (2,000 - 2,500)

199 Jim Sprankle (b.1934), Conklin, New York. Shoveler drake. Branded and dated 1979 on underside. Hollow carved with slightly turned head and raised tail feathers. Detailed feather carving throughout. Measures 13” long. One tiny paint rub, otherwise excellent and original.

(1,500 - 2,500)

200 Jim Sprankle (b.1934), Sanibel Island, Florida. Black duck. Signed and dated 1980 on underside. Raised extended wingtips. Hollow carved, turned head. Feather texturing throughout. Measures 16” long. A very tiny rub at one side of body; and the tip of one wingtip is slightly cracked. (1,500 - 2,500)

201 Jim Sprankle (b.1934), Sanibel Island, Florida. Pintail drake. Signed and dated 1984. Turned head with excellent wing tip carving that is raised and crossed. Tail is slightly canted. Measures 15” long. Sprig tip is broken and missing; otherwise very good and original.

(800 - 1,200)

Robert Ptashnik

1934 – 1993 | Ontario, Canada

As a fulltime carver, Ptashnik won over 30 Best in Show awards, including two for Life Size Decorative at the World Championships. He has been exhibited at the Leigh Yawkey Woodson Art Museum for the “Birds in Art” exhibit, and eight times at the “American Bird Sculpture” exhibit at the Smithsonian. He taught bird carving at a fine arts college and held seminars both in Canada and the United States.

202 Robert Ptashnik (1934 -1993), Ontario, Canada. Decorative peregrin falcon with turned head and raised, crossed wingtips. Detailed feather carving throughout. Signed and dated 1980 on natural wood perch. Falcon measures 15” long, piece stands 20” tall including base. Reglued chip on one raised wingtip, with some minor flaking and roughness on edge; otherwise very good and original. (1,200 - 1,800)

203 Robert Ptashnik (1934 -1993), Ontario, Canada. Decorative miniature gyrfalcon with killed auk clutched in talon. Falcon with outstretched wings protecting its kill. Highly detailed feather carving on both birds. Signed and dated 1985 on carved rock. Falcon measures 7” long, with a 9.5” wingspan. Auk measures 2.75” long. Tiny chip at the tip of one wing feather on falcon; otherwise excellent and original. (1,200 - 1,800)

205 Robert Ptashnik (1934 -1993), Ontario, Canada. Decorative killdeer with open bill and carved tongue. Wingtips are separated slightly from the body. Detailed feather carving throughout. Signed and dated 1983 on piece of driftwood. Measures 8.75” long. Very

204 Robert Ptashnik (1934 -1993), Ontario, Canada. Pair of decorative cardinals with detailed feather carving. Male with a sunflower seed clutched in beak. Signed and dated 1982 on natural wood perch. Cardinals measure 7.75” long, piece measures 11” tall. Very minor paint rubs at the tips of female’s tail feathers otherwise excellent. (800 - 1,200)

Robert Ptashnik (1934 -1993), Ontario, Canada. Decorative Baltimore oriole with open beak and carved tongue. Relief carved wingtips and detailed feather carving throughout. Signed and dated 1981 on natural wood perch. Measures 7” long, stands 11” tall. Tight cracks and minor separation to one jesso thigh, otherwise excellent. (400 - 600)

207 Mark Holland (1929-2021), Brewster, Massachusetts. Decorative, full-size grouse with turned head, fanned out tail, and outstretched wings. Cunningham collection ink stamp on the underside. Stands 12.5” tall including base. Excellent original paint; hairline cracks in filler where tail joins body; tight seem through tail where a large piece was reset.

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

207a Unknown maker (early 20th century), upstate New York or Maine. Pair of miniature painted tourist paddles initialed ‘M.W.K’ and dated 1901 on the grips. Blades with painted native American heads and shafts with painted arrows. Measure 27.25” long. Original paint with minor flaking and wear on one; the other with an old coat of varnish with an appealing crazed surface that is slightly uneven; hairline crack in the grip of one; long narrow chip along one blade. (800 - 1,200)

207a

208 Emile Robichaud (1902-1993), Medway, Maine. Wooden trout creel with leather fish form hinges. Two relief carved jumping trout on the front. “Ed” painted on lid. Measures 15” wide x 7.5” tall. Original surface with small spots of discoloration on lid; very minor separations at wood joints, otherwise very good.

(1,000 - 1,400)

209 Emile Robichaud (1902-1993), Medway, Maine. Wooden trout creel. With leather fish form hinges. Two relief carved jumping trout on front. Measures 15” across x 7.5” tall. Original surface with some fading on lid; a few spots of unpainted wood filler added at losses in wood; slight separations at wood joints; minor losses and short tears on hinges.

(1,000 - 1,400)

210 Jack Pelkey (1940-2005), Medway, Maine. Wooden “Penobscot” fish creel. Two relief carved jumping trout on front and a single jumping trout on lid. Leather fish form hinges. Signed and numbered 297 on the underside. Brass name plate on upper part of front. Measures 14” wide x 8.5” tall. Some shallow scratches and rubs, otherwise excellent. (500 - 800)

211 Jack Pelkey (1940-2005), Medway, Maine. Wooden “Penobscot” fish creel. Two relief carved jumping trout on front and a single jumping trout on lid. Leather fish form hinges. Signed and numbered 253 on the underside. Measures 15” wide x 8” tall. Shallow chip in one side of lid, otherwise excellent. (500 - 800)

Kennebec Canoe Company

The Kennebec Boat and Canoe Company built its first canoes in December of 1909. The company was founded by George F. Terry, who was formerly a railroad station agent, ice cutter, publisher, and merchandiser. Terry’s son, George F. Terry, Jr. later joined the company and ran it until 1939. In 1939, the company was sold to Frank Terry and James Dean. A small number of canoes were built in the final years until the factory was closed for good in 1941.

When it began, Kennebec became a major competitor of the nearby Old Town Canoe Co. They vied with one another to win major shares of the canoe market. For 30 years, there was intense sales competition between the two companies, and their marketing and promotional activities followed similar, almost parallel, paths. An example of this was in the production and use of “display sample” canoes. Many folks refer to these miniature items as “salesman’s samples,” but they were

never made for that purpose, and never given to sales staff as selling tools. They were awarded as premiums to the largest and best retail outlets in return for placing large orders and achieving high sales volumes. Once in the hands of the outfitter stores, they were often hung up as attractive promotional items or used in window displays. They were never sold to individual canoe buyers.

Preserved corporate records of Kennebec Canoe Co., as kept in the Maine State Museum, disclose that Kennebec produced 10 “display sample” canoes in 1916. This neatly coincides with similar activity at Old Town. Then, there was a production gap before Kennebec once again began producing samples in 1922 when it recorded 10 being made. For the following four years, 1923 through 1926, Kennebec Canoe Co. built another 10 recorded samples each year. Thus, it made a total of 60 samples between 1916 and 1926, after

which no more are recorded. By comparison, Old Town produced a total of approximately 105 models between the years of 1903 and the 1920s. Of these 60 Kennebec samples, two sizes are found, 63” and 69”. Prominent model canoe authority, Roger Young, believes that the shorter, 63” samples, were likely made during the 1916 production year, and that the longer 69” version emanates from the 1922-26 production run.

212 Kennebec Canoe Company, Waterville, Maine, circa 1920s. Early canoe model in red and gold paint. Cedar frame with oak thwarts and seats. Measures 70” long. Original paint with moderate to significant flaking and wear; structurally very good. (15,000 - 25,000)

Fish Plaques

Lawrence Irvine (1918-1998), Winthrop, Maine. Lake trout fish plaque with open mouth and relief bill carving. Signed on back. Fish measures 27.5”, board measures 39”. Very good and original. (1,200 - 1,800)

Lawrence Irvine (1918-1998), Winthrop, Maine. Lake trout fish plaque with open mouth and relief gill carving. Fish measures 26”, board measures 13” x 29”. Excellent and original. (1,000 - 1,500)

Lawrence Irvine (1918-1998), Winthrop, Maine. Land locked salmon fish plaque with open mouth and relief gill carving. Signed on back. Fish measures 18.5” board measures 23”. Excellent and original. (800 - 1,200)

216 Paul Mailman, Lowell, Maine. Carved wooden brown trout with wooden fins, open mouth, on a painted backboard that simulates birch. Signed on back along with information fish was caught in Cold Stream Pond. Fish is 26” in length, board measures 17.5” x 36.5”. Excellent in all respects. (800 - 1,200)

217 Paul Mailman, Lowell, Maine. Togue or lake trout plaque. Carved and painted wood mounted on painted backboard. Fish measures 26”, backboard is 17” x 39”.

Excellent and original; a small spot of glue is visible near front side fin. (800 - 1,200)

218 Paul Mailman, Lowell, Maine. Large carved and painted Atlantic salmon on paint decorated backboard. Fish measures 32” long, board is 18.5” x 45”. Very good and original. (1,250 - 1,750)

219 Paul Mailman, Lowell, Maine. Brook trout plaque. Carved and painted. Trout measures 20” long, board is 11” x 27”. Excellent and original. (500 - 800)

220 C. Farlow & Co, London, England. Atlantic salmon plaque. Plaque credits the fish to “Joseph Pulitzer, 36 lb. in the Restigouche River Quebec, June 25 1928”. Trophy fish from North America are very rare, we have only handled a few over the years. Fish measures 45”, plaque is 16” x 52”. Plaque has been cleaned of stain, except for two areas where information about the fish and the company have remained original; the fish has been exposed to outdoor weather and remains in mostly original paint that has crazed evenly; fins have been strengthened with a later coat of dark blue; tight crack in pectoral fin and tight crack in side fin. (1,500 - 2,500)

221 Unknown maker, early 20th century. Well executed carved rainbow trout fish plaque. Made from one piece of wood. Highly detailed paint stye. Carved execution at eyes, mouth, gills, and fins is all well done. Board measures 9” x 23”. Fish has original paint and is structurally good; dorsal fin has had tip reset with inpainting in that area.

Provenance: George Quay collection. (400 - 600)

222 Russell Allen (b.1955), Parksley, Virginia. A striped bass or rockfish. Signed on the back dated ‘05. Glass eye. Carved and painted wood. Measures 33” long. Very good and original.

Provenance: Ron Kobli collection. (400 - 600)

223 Early Nantucket lightship basket. With swing handle. Signed “A.E. Cummings E.H.P 1889” on underside. Measures 6” across, stands 7.75” tall with handle up. Outstanding original condition with two tiny rubs on lower part of basket. (2,000 - 3,000)

224 Nantucket swing handle friendship basket, Jose Formoso Reyes. Carved whale on lid. Signed and dated 1961 on underside. Measures 9.5” across, stands 11” tall with handle up. Small section of wrap on one side of lid has come loose; a few small rubs and scratches on wood plaque on lid. (1,500 - 2,500)

225 Nantucket swing handle friendship basket, S.P. Boyer. Carved whale on lid. “Boyer” brand on the underside. Measures 9” across, stands 11.25” tall with handle up. Weave is tight and in excellent condition; varnish on swing handle with areas of wear; some unevenness to varnish on wood plaque on lid. (800 - 1,200)

226 Nantucket swing handle friendship basket. Signed “B & K Marks” on underside. Measures 9” across, stands 11” tall with handle up. Tiny rub to wood on lid, otherwise excellent and original. (800 - 1,200)

227 Two Nantucket swing handle friendship baskets. Also includes a scrimshawed bone plaque of a Shang Wheeler black duck. One basket by Timothy Parsons, dated 1993, with carved gull on lid. The other with carved whale on lid. Measure 10.5” across, 11” tall with handle up. Scrimshaw piece measures 4.75” across and is initialed “DL”. Parsons purse is excellent and original; the other with two small breaks to wrap on rim otherwise excellent. (1,000 - 1,400)

228 A rare and early double barrel four gauge fowling gun. A percussion double with one hammer missing. Measures 54” long. Double trigger. Gun weighs approx 15 lbs. Gun has been painted a marsh yellow, which is partially worn away; metal supports have loosened with age; stock is cracked.

Provenance: Al Marzorini collection. (1,500 - 2,500)

228a Three parade items. A parade gun made form wood with lantern mounted to tip, circa 1900, measures 65”. A parade lantern, measures 52”. And a parade gun, measures 37”, with made in USA hardware. (300 - 500)

229 Large punt gun. Measuring 94” in length. Replica with one piece of wood. Long barrel that has rusted to show age. Copper metal straps and single trigger. (500 - 1,000)

230 Glass target ball thrower and target ball. A well made replica of a Bourgardis thrower from the 19th century. Copper or brass emblem says “KTW decoys”. 33” long x 24” tall. (300 - 500)

228a

229

231 James Erskine (1812-1891), Newton Stewart, Scotland. Patented pinfire shell loading system. Erskine was a gunmaker and prolific designer and inventor of gun improvements and loading systems. The patent for this loading system was applied for in 1866. Brass name plaque on front side. Measures 15” by 11”. Rubbing and wear on edges; losses to varnish layer on one side; tight cracks at corners.

(400 - 600)

232 Unique carved leather and iron fireplace bellows Has carved face in one side and what appears to be early iron work in the shape of a snake where the air exits from. Measuring 43” long.

(500 - 1,000)

233 I. H. Wands/Olean, NY. Stoneware jug with cobalt floral decoration stamped ‘I.H. WANDS / OLEAN. NY’, and numbered ‘2’ for its 2 gallon size. Handles on each side. Spotted floral blossom with cobalt highlights at stamped name. Measures 10.25” tall. A few very small chips on inside rim of upper edge, otherwise normal amount of were; structurally sound.

(300 - 500)

234

Assembled collection of 40 carved wooden dogs. Various makers and conditions. Some painted, some are natural. Some are vintage, some are more contemporary.

Provenance: Gene and Linda Kangas collection. (800 - 1,200)

235 Three early windup toys. A duck pulling a basket of ducklings, titled “Quack Quack” with a USA patent 1903. A ‘Busy Lizzie’ sweeping woman and a ‘Joe Penner & his duck’ with a sign reading “Wanna buy a duck sincerely Joe Penner”. Man stands 8.5” tall. All three are in working condition and structurally good. (400 - 600)

236 Rare paper label oyster can. 5 oz can. Label remains in good shape and reads “Maryland Chief Cove Oysters from Baltimore”. Can is unopened and has original contents inside. Measures 4.5” tall. (300 - 500)

237 Rare paper label oyster can. Cove Oysters a Deep Sea Brand. Measures 4.5” tall. Small area of label missing along bottom edge; some discoloration; can was opened from the top. (300 - 500)

Walking Sticks

Antique walking stick. Circa 1900. Carved dog figure at top of handle with two snakes, one being a rattle snack indicating North American provenance. Ears of corn, a vine motife, and initials “SW”, along with a carved ear of corn. Nice warm patina. Measures 35”. (600 - 800)

Antique walking stick. 1st half 20th century. Elaborately carved wooden stick with a dog head at end of handle and eagle, horse, cow, deer, and vine motif covering most of the entire length. Measures 37”. Protected by coat of varnish that has crazed, shows good age.

240 Antique walking stick. Circa 1900. Carved dog head handle. With painted collar and floral motife. Measures 34” Original paint that has mellowed nicely. (600 - 800)

241 Antique walking stick. Circa 1900. Made from a root or twisted branch with carved dog head at handle end, which even retains a metal collar. An early stain has worn away from handling over the years. Measures 36”. (300 - 500)

242 Antique walking stick. Carved bone dog head atop a wooden stain decorated staff. Dog appears to have taxidermy quality eyes. Measures 34”. (600 - 800)

243 Antique walking stick. Probably 19th century. With brass compass and additional nautical measurements. Measures 34”. (800 - 1,200)

244 Antique walking stick. Handle doubles as a brass telescope, with the name Lbuhera as part of a decorative flora design logo at top. Measures 37”. Brass has nice patina; wood portion of telescope shows wear and some varnish and stain loss. (800 - 1,200)

245 Antique walking stick. Bamboo stick that holds artist paints. Top unscrews to hold a 12” water or flask. Brass top is embossed with a lion and architectural figure. Measures 39”. (800 - 1,200)

246 Antique walking stick. Extremely well carved bone handle with red, possibly gem stone, eyes, and possibly owner’s name engraved on silver banner around base of dragon’s neck. Measures 35”. Vertical crack above brass ring, otherwise appears to be structurally good. (800 - 1,200)

247 Antique walking stick. Doubles as a flute. Top of bone reads “New era academy of drama and music, London”. Flute detaches from lower portion of cane. Flute measures 14.5”, total length is 41.5”. (800 - 1,200)

248 Antique walking stick. Unique and wonderful bone silver topped with glass that displays three bone dice. Maker’s stamp in edge. Dice container is 1.75” in diameter, with small dent in one side. Measures 35.5”. (800 - 1,200)

246

247

248

249 Antique walking stick. Single action revolver at handle. Hammer and trigger are both in mechanical working condition. Measures 35”. (800 - 1,200)

250 Antique walking stick. Silver box with lion motife at top. Probably held matches at one point. Wooden box slides out and has two different compartments. Measures 38”. (800 - 1,200)

251 Antique walking stick. Holding a glass tubular flask measuring 15” long. Top of cane is bone with a silver lid stamped with a fox or wolf. Measures 36”. (800 - 1,000)

252 Antique walking stick. Bone cane with Asian genre scenes at each of the eight individual segments. Doubles as a pipe, brass tip at base of cane unscrews for access to the mouth piece and silver or brass bowl for smoking. Measures 34”. (800 - 1,200)

253 Antique walking stick. Long bone with round bone handle. Total length 38”.

254 Antique walking stick. A decorative bone and horn carved cane with 10 individual carved columns with Asian motifes. Measures 34”. (800 - 1,200)

(800 - 1,200)

255 Antique walking stick. Brass dog head with removeable cap at back that allows air to be blown through dog nostrils. Good patina on brass. Measures 36”. (500 - 800)

256 Antique walking stick. Handle doubles as a cigar cutter made from bone and metal. Owner’s initials “BG” displayed at top. Measures 37”.

(800 - 1,200)

257 Antique walking stick. Top of cane displays a two piece hinged sewing kit made from bone, with sewing tools that appear to be made from brass or some yellow metal. Measures 37”.

(800 - 1,200)

258 Antique walking stick. Nickle plated coin holder, stamped “Made in England”. One edge has bent to prevent the smallest coins from slipping out the side. Measures 36”. (800 - 1,200)

259 Antique walking stick. A bone and horn pipe with removable bone piece at bottom of cane. Measures 37.5”. Remains structurally good. (800 - 1,000)

260

Antique walking stick. Silver or silver plated folding coin purse, with leather interior. Measures 35”. (800 - 1,200)

261 Antique walking stick. Wooden that unscrews to expose handle which then holds metal tips in different types of screw drivers. Measures 36” long. (800 - 1,200)

262 Antique walking stick. Decorative bone handle carved with an Asian motife. A frog at top of handle which unscrews to present a bone letter opener or knife blade. Measures 39.5”. (800 - 1,200)

263 Antique walking stick. Bone handle with inlay at top with “GMD” carved into inserted metal piece. Handle unscrews to show an ink pen, measuring stick, and a third tool.

Measures 37.5”. (800 - 1,200)

264 Antique walking stick. Well carved bone handle with three dog heads, unscrews from base of cane to expose a dog whistle. Measures 37”. (800 - 1,200)

265 Antique walking stick. A possibly made from bone and horn pieces. Remains flexible. Measures 36” long. (400 - 600)

266 Antique walking stick. Handle is a noise maker or whistle. Additionally there is a compass on the very top. Measures 36.5”. (800 - 1,200)

End of session one

Session Two • Sunday, November 10, 2024 • 10:00am

267 Josh Brewer, Little Deer Isle, Maine. Titled “A Nod to Aiden Lassell Ripley”, 2024. Miniature grouse with fanned tail and relief wing carving standing on a carved rock. Cedar and copper, painted in oils. Grouse is reaching slightly to grab a single berry from a vine branch. Mounted to a base that is signed and dated 2024. Measures 11” tall. Excellent and original.

(2,000 - 3,000)

268 Josh Brewer, Little Deer Isle, Maine. 1/2 size eastern screech owl perched upon a wild apple with a partial branch attached, 2024. One piece owl and apple from basswood, painted in oils. Signed and dated base. Detailed feather and wing carving

Excellent

(2,000 - 3,000)

269 Josh Brewer, Little Deer Isle, Maine.

Preening harlequin duck with raised, extended wingtip, 2024. Hollow cedar and oils. In style reminiscent of Elmer Crowell with rasp texture, and mortised hardwood raised wingtip. Relief wing and tail feather carving and excellent feather blending on sides. “Brewer 2024” carved on underside. Measures 12.5” long. Excellent and original. (2,000 - 3,000)

270 Josh Brewer, Little Deer Isle, Maine.

Full size decorative woodcock with deep relief wing feather carving. “Brewer ‘23” carved in underside. Detailed wing and tail feather carving. Measures 11” long. Excellent and original. (3,500 - 4,500)

271 Jim Schmiedlin (1945-2015), Bradfordwoods, Pennsylvania. Rare working wood duck with slightly turned head and extended crest. Raised, crossed wingtips. “JAS” branded on the underside. Also signed and dated 1982. Measures 14.5” long. Excellent original paint with a few very minor paint rubs; very fine, almost unnoticeable crack in upper bill; small chips in wingtips were restored by the maker. (6,000 - 9,000)

272 Jim Schmiedlin (1945-2015), Bradfordwoods, Pennsylvania. Rigmate pair of canvasbacks with slightly turned heads and relief wing carving. Hollow carved with maker’s reward for return on underside. Also branded “JAS”, both dated 4/99. Measure 17.5” long. Mix of original and working repaint by the maker as indicated by his notes on the underside; vertical cracks extending from bottom board at screws were filled at that time; slight separation at body seam on drake. (5,000 - 8,000)

273 Marty Hanson (b. 1965), Hayward, Wisconsin. Outstanding pair of bluewing teal. Thinly hollowed with raised wingtips and relief wing carving. Both with pinch breast carving. Hen has head turned over back. Drake’s head is turned 50 degrees. Highly detailed scratch feather paint on drake. “MH” carved on the undersides. Both are also signed by the maker in wet paint on the underside. Measure 11” long. Excellent and original. (3,000 - 4,000)

274 Marty Hanson (b.1965), Hayward, Wisconsin. Cork body black duck with tucked head and excellent scratch feather paint detail. Maker’s stamp on the underside. Also with “MH” carved in the underside. Kenneth Cole collection stamp twice on the underside. Measures 17.5” long. A few very minor paint rubs, otherwise excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,000 - 1,400)

275 George Strunk (b.1958), Glendora, New Jersey. Full-size owl and crow. Both with relief wing and tail feather carving and turned heads. Owl with inserted leather ears and large glass eyes. Crow measures 16.5” long, owl measures 24” tall. Original paint with a few tiny rubs and small dents; piece of one leather ear professionally repaired by Russ Allen.

Provenance: Ron Kobli collection.

(1,500 - 2,000)

276 George Strunk (b.1958), Glendora, New Jersey. Leaping black duck with outstretched wings. Signed under tail. Measures 24” tall including base. Slight crack near top of one leg, otherwise excellent and original.

(1,800 - 2,200)

277 George Strunk (b.1958), Glendora, New Jersey. Fullsize ruffed grouse with slightly turned head. Carved fanned tail. Signed by the maker on the underside, as well as an early Strunk logo stamp. Measures 12” tall including base. Excellent and original. (1,500 - 2,000)

278 George Strunk (b.1958), Glendora, New Jersey. Hollow carved back preening Canada goose with fine wing tip and tail carving. Signed and dated 2008. Weight is also stamped “G. Strunk”. Excellent feather carving and shoulder outline. Measures 26” long. Excellent and original. (1,200 - 1,800)

279 George Strunk (b.1958), Glendora, New Jersey. Hollow carved preening black duck with raised wing tips and relief tail feather carving. Weight is stamped “G Strunk” on the underside. Also signed on the underside. Measures 18” long. Excellent and original. (1,000 - 1,500)

280 George Strunk (b.1958), Glendora, New Jersey. Rigmate pair of hooded mergansers. Hen is back preening and drake has slightly turned head. Each has raised crossed wing tips and relief tail feather carving. Both are signed by the maker on the underside with weight stamped “G Strunk”. Drake is 14” long. Excellent and original. (1,500 - 2,000)

281 George Strunk (b.1958), Glendora, New Jersey. Snipe. Signed on underside by maker with his stamp and a Cunningham collection ink stamp on underside. Fine detailed paint with slightly raised and split wingtips. Stands 8.5” tall. Mint in all respects.

(800 - 1,200)

282 Leo McIntosh (1953-2007), Adams, New York. Very rare owl mounted on base with dead crow that has a mechanical flapping wing. Owl’s ear feathers made from bent leather. Glass eyes. Measures 27” tall. Small flake of paint missing near owl’s eye, otherwise excellent and original. (2,000 - 2,500)

283 Ben Heinemann (b.1954), Rocky Mount, North Carolina. Decorative greater yellowlegs with deep relief wing carving and raised wing tips. Slightly turned head and highly detailed metal legs and feet. Bird is removable from base. Identified and signed on the underside of base. Measures 12.5” long. Excellent and original. (1,200 - 1,800)

284 Ben Heinemann (b.1954), Rocky Mount, North Carolina. Rigmate pair of red-breasted mergansers. Hollow carved with turned heads and very fine paint detail. ‘Ben’s rig’ and the number ‘10’ stamped in underside. Both retain Heinemann brand. Measure 16.5” long. Excellent and original. (1,250 - 1,750)

285 Keith Mueller (b.1956), Killingworth, Connecticut. Black guillemot with open bill and deep relief wing carving. Hollow carved with round inlet bottom board. Wooden keel and maker’s brand on the underside. Measures 11.5” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (600 - 900)

286 Keith Mueller (b.1956), Killingworth, Connecticut. Hollow carved seabird and collector’s edition book titled “The Art in Making Decoys,” Keith Mueller. Leather bound, slip cased book is numbered 256 with a remark drawing of this bird on cover page. Decoy is thinly hollowed with round inlayed bottom board. Tucked head pose with deep relief wing and leg carving. Raised, crossed wingtips. Maker’s name is branded on the underside. Measures 11.25” long. Both excellent and orginal. (800 - 1,200)

Oliver Lawson

b. 1938 | Crisfield, Maryland

Excellent hollow carved Canada goose. Deep relief wing carving with inserted crossed wingtips. Relief tail feather carving. Detailed feather carving throughout. Signed and dated 1979 on the underside. Measures 24” long. Excellent and original.

Provenance: Dr. J.L. Herrington collection. (4,000 - 6,000)

287 Oliver Lawson (b.1938), Crisfield, Maryland.

288 Oliver Lawson (b.1938), Crisfield, Maryland. Pair of hooded mergansers with slightly turned heads and extended crests. Relief wing carving with raised, crossed wingtips. Signed on the undersides. Measure 12” and 13” long. Near mint. (1,000 - 1,400)

289 Oliver Lawson (b.1938), Crisfield, Maryland. Pair of red-breasted mergansers with slightly turned heads and fine comb feather paint detail. Relief wing carving with raised, crossed wingtips. Signed on the underside. Measure 14” long. Near mint. (800 - 1,200)

290 Oliver Lawson (b.1938), Crisfield, Maryland. Pair of black ducks with slightly turned heads. Relief wing carving with raised, crossed wingtips. Signed on the underside. Measure 15” and 15.5” long. A few dark spots where something has dripped on backs, otherwise excellent. (800 - 1,200)

291 Unknown maker (20th century), Crisfield, Maryland. Very well done flying green wing teal in the style of the Ward Brothers. Applied, outstretched wings with relief feather carving. ‘Lem Ward Crisfield, MD 1952’ painted on the undersides. Charlie Hunter collection brass tag and Richard Oliver auction sticker on the undersides. Measure 14” long with 16” wingspans. Original paint with some very minor paint rubs on tips of bills and wing tips; very good structurally.

292 Don Briddell, Mt. Airy, Maryland. Excellent pair of black ducks with slightly turned heads and raised wingtips. Signed and dated 1985 on the underside. Measure 15” and 16” long. A few very minor paint rubs, otherwise excellent and original.

(1,000 - 1,400)

293 Ward Brothers, Crisfield, Maryland. Pair of decorative hollow carved canvasbacks with slightly turned heads and deep relief wing carving. Relief tail feather carving and raised wingtips. identified, signed, and dated 1966 by Lem Ward on the underside. Measure 15” and 16.75” long. Original paint with moderate discoloration and minor wear; small area of sap bleed on one side of drake’s breast; both very good structurally. (8,000 - 12,000)

294 Ward Brothers, Crisfield, Maryland. Excellent balsa body black duck with slightly turned head and upswept cedar tail. 1948 model. Signed by the Ward Brothers at a later date. William Purnell brand on the underside. Measures 17” long. Original paint with very minor wear; very slight separation at neck seat, otherwise excellent. (3,000 - 4,000)

295 Ward Brothers, Crisfield, Maryland. Rigmate pair of canvasbacks. Balsa body, 1948 style. Slightly turned heads. Keels were removed at some point. Measure 15.75” long. Original paint with minor flaking and wear; small dents; filled crack on one side of drake’s breast; roughness and minor loss on one lower edge of hen. (2,000 - 3,000)

296 Ward Brothers, Crisfield, Maryland. 1936 style canvasback with slightly turned head and dropped paddle tail. Thick stipple paint typical of the Ward Brothers on the white areas. Measures 16” long. Original paint with minor gunning wear; some strengthening to the black on breast; tight hairline cracks in neck; tail is a very well done professional replacement.

Provenance: David Fannon collection.

(5,000 - 8,000)

297 Ward Brothers, Crisfield, Maryland. Early Canada goose with high neck seat and slightly turned head. A Ward poem is taped to the underside. Measures 23.5” long. Original paint has worn down to much bare wood; white on breast and cheek patches was added at some point; multiple cracks, dents, and shot marks; eyes are missing.

Provenance: James and Lyda Madden collection. (2,500 - 3,500)

299 Ward Brothers, Crisfield, Maryland. Rare silhouette Canada goose. Made as a stickup decoy with attached wooden stake. Signed and dated 1964 near tail. Measures 30” long. Original paint with slightly different patterns on each side show minor gunning wear; tiny chip and roughness at bill tip and tip of tail; thin vertical loss to plywood on one side. (1,200 - 1,800)

298 Ward Brothers, Crisfield, Maryland. Low head Canada goose with slight ice groove carving behind neck seat. Signed and dated 1932 at a later date by Lem Ward. Measures 23.5” long. Old paint was stripped down showing moderate wear down to bare wood in areas; slight separation at neck seat; drying cracks in head and front of neck; hairline cracks in tail; old chip in underside of bill. (1,500 - 2,500)

300 Ward Brothers, Crisfield, Maryland.

Straight head model Canada goose. Slight ridge on back. Measures 25” long. Paint on body appears mostly original with moderate to significant gunning wear; early touchup on breast area; professional neck repair with repaint on neck and head. (3,000 - 5,000)

301 Ward Brothers, Crisfield, Maryland. Pair of shooting stool model canvasbacks. Both are hollow carved, signed and dated 1973, and have a poem by Lem Ward painted on the underside. Drake in sleeping pose, hen with head turned about 50 degrees. Measure 14.5” and 15.75” long. Original paint with minor flaking; some sap bleed at drake’s wingtips; moderate to significant paint shrinkage on hen’s breast and one side of tail; excellent structurally. (4,000 - 6,000)

302 Ward Brothers, Crisfield, Maryland. Shooting stool model bufflehead hen with relief wing carving and slightly turned head. Signed and dated 1970. Made for Howard Waddell. Measures 12.5” long. Minor flaking on one side of neck seat; otherwise very good and original. (2,500 - 3,500)

302a Lloyd Tyler (1898-1971), Crisfield, Maryland. Full size great blue heron. With carved wooden feet, mounted to wooden board. Measuring 47” tall. Strong original paint with small amount of filler missing near neck seam; age crack in one side of body.

Provenance: Al Marzorini collection. (5,000 - 8,000)

302b Lloyd Sterling (1880 - 1964), Crisfield, Maryland. Greenwing teal hen. Stamped “SGH” for the collection of Somers Headly twice on the underside. Measures 11” long. Original paint very similar to the Ward Brothers with very minor wear; shallow dent in back; filler on top of head has risen slightly with a small chip missing; some flaking and old glue visible at neck seat.

(4,000 - 6,000)

302c Llyod Tyler (1898-1971), Crisfield, Maryland. Canada goose. Measures 25” long. Excellent original paint with minor rubs; fine hairline drying cracks; decoy appears to have never been used.

(800 - 1,200)

302b

302c

303 Nathan Cobb, Jr. (1825-1905), Cobb Island, Virginia. Hollow carved black duck with inlet neck seat and serifed “N” carved in the underside. Measures 16” long. Paint is an early second coat with scratch painting; spit tail; crack at neck; hairline crack in bill; rubs at extended areas as well as top of back; two nail holes have lost their filler and exposed wood.

Provenance: D.C. North collection. (15,000 - 20,000)

304 Elkanah Cobb (1852-1943), Cobb Island, Virginia. Hollow carved black duck with relief wingtip carving and carved eyes. Inlet neck seat and large serifed “E” carved in the underside. Measures 16.5” long. Paint appears original with moderate wear under a very dark layer of wax or varnish; crack in one side of neck and along the back; losses to filler above nail holes; moderately hit by shot; two long dents in one side of body; some shallow losses to wood on back; half the bill is a very well done professional replacement.

Provenance: D.C. North collection. (10,000 - 14,000)

305 Eli Doughty (1844-1923), Hog Island, Virginia. Black duck with tack eyes and inletted neck. “SD” branded in underside. Classic split tail carving. Measures 15” long. Original paint with moderate to significant flaking and wear; crack through neck; some drying cracks in body, which was likely made from a spar from a ship wreck; two of the three holes in the body have been plugged, possibly when it was part of the ship; x-ray shows that the head is likely from another decoy in the rig.

Provenance: D.C. North collection. (7,000 - 9,000)

306 Attributed to Phineaus Upshur, Northampton County, Virginia Cotton wood Canada goose with raised neck seat and crooked neck. Measures 23.5” long. Old in use repaint with significant flaking exposing some of the original surface; two cracks through neck; small dents and shot marks; minor roughness on edge of tail; drying crack in underside; x-ray shows that the head is original.

Provenance: Charlie Hunter, III collection. Al Marzorini collection. (6,000 - 9,000)

307

Doughty family (19th century), Hogg Island, Virginia. Brant with split tail carving and slightly raised neck seat. Head is slightly turned. Measures 18” long. Very early working repaint with moderate flaking and wear; scattered dents and shot marks; old drying crack with some wood loss along the underside; minor chipping and roughness along neck seat. (5,000 - 8,000)

308 Unknown maker (19th century), Cobb Island, Virginia. Hollow carved swimming brant with relief wing tip carving by a member of the Cobb Family. Measures 22.5” long. Some original paint on back and sides; a thin wash of white is noticeable in areas; the black areas have an early second coat; moderate gunning wear; head has been off and reattached as seen in x-ray; tight drying cracks in back; some wood loss where rigging was removed on underside; old chip in top of head.

Provenance: Charlie Hunter III collection. Gene and Linda Kangas collection. (5,000 - 8,000)

309 Charles Birch (1867-1956), Willis Wharf, Virginia. Hollow carved Canada goose. “101” is stamped in the underside. Measures 23” long. Original paint with moderate wear under an early coat of varnish; several shot scars on top of tail; small tail chip repair; small dents and cracks; a few small spots of touchup on neck and one side of body. (5,000 - 8,000)

310 Dave “Umbrella” Watson (18511938), Chincoteague, Virginia. Hollow carved Canada goose with relief wingtip carving. “ACP” branded twice on the underside. Measures 24” long. Original paint with moderate gunning wear; tight drying crack along the back; slight separation at body seam; scattered spots of filler and touchup; crack through neck.

Literature: “Southern Decoys of Virginia and the Carolina’s,” Fleckenstien, p. 77-78. (4,000 - 6,000)

311 Charles Birch (1867-1956), Willis Wharf, Virginia. Hollow carved brant with tack eyes. Bobby Richardson collection ink stamp on the underside. Measures 18.25” long. Original paint with moderate to significant wear; black areas have a second coat of paint; lightly hit by shot; crack through neck.

Provenance: James and Lyda Madden collection. (1,200 - 1,800)

312 Unknown maker (early 20th century, Chincoteague, Virginia.

Solid body black duck similar to the work of Charles Jester with raised neck seat and scratch feather paint detail. Measures 17.5”. Original paint with moderate flaking and wear, mostly on lower sides and underside; professional tail chip repair; two areas on underside were shaved flat at some point and darkened.

Provenance: D.C. North collection. (1,000 - 1,400)

313 Attributed to Ira Hudson (18731949), Chincoteague, Virginia. Red-breasted merganser with inlet neck seat, extended crest, and slight relief wing carving. Mackey collection ink stamp on the underside. From the Gargatha sale, where all of these style mergansers originated. Measures 12.75” long. Old paint has worn to much bare wood with a dark patina; lightly hit by shot; old chips in bill and crest; crack through upper neck; chips on both sides of neck with old filler.

Provenance: WIlliam J. Mackey Jr collection. Peggy and David Rockefeller collection. Private Maryland collection. (2,500 - 3,500)

314 Doug Jester (1876-1961), Chincoteague, Virginia. Excellent canvasback with maker’s signature on the underside. Measures 16.5” long. Original paint with minor flaking and wear, mostly on top of head; hairline drying cracks in breast.

(1,000 - 1,400)

315 Miles Hancock (1887-1974), Chincoteague, Virginia. Canada goose with tack eyes. Measures 24” long. Original paint with minor to moderate gunning wear; minor roughness and puppy chews on tip of bill were touched up; multiple defects and worm holes in wood that was used for the body. (800 - 1,200)

Virginia. Pair of yellowlegs on wire legs. One with head turned 90 degrees. Both with relief wing carving and excellent paint detail. Signed and dated 2010 on the underside of wooden bases. Also titled ‘The Griswold Point Yellowlegs’. Measure 10.5” and 12” long. Turned head bird stands 17” tall. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (3,000 - 4,000)

Hollow carved Canada goose in the style of Nathan Cobb, Jr. “McNair” carved in underside. Made to be both a floater and a stickup. Measures 23.5” long. Strong original paint with rubs, paint flaking, and worn spots have been applied to create the appearance of age; tight crack in underside has been stabilized with glue that is visible. (2,000 - 3,000)

317

316 Mark McNair (b.1950), Craddockville,

317 Mark McNair (b.1950) , Craddockville, Virginia.

318 Mark McNair (b.1950), Craddockville, Virginia. Sleeping hollow carved brant in the Cobb Island style. ‘McNair’ carved in the underside. Measures 17” long. Made to appear older, excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,500 - 2,500)

319 Mark McNair (b.1950), Craddockville, Virginia. Hollow carved gull with relief wing carving and wooden keel. ‘MS McNair 1994’ carved on one side of keel. Hardwood bill is splined through the back of head. Measures 17.5” long. Tight drying cracks in breast; otherwise excellent.

Provenance: Mike and Ginger Raffia collection. (2,000 - 3,000)

320 Mark McNair (b.1950), Craddockville, Virginia. Hollow carved Frigate gull with slightly turned head and relief wing carving. Wing tips are raised and extended. ‘McNair’ carved on the underside. Measures 15.5” long. Original paint with a few very minor rubs; tiny flake at tip of one raised wing tip.

Provenance: Mike and Ginger Raffia collection. (1,500 - 2,500)

322 Mark McNair (b.1950), Craddockville, Virginia. Running curlew with relief wing carving and curved hardwood bill. ‘McNair’ carved in the underside. Measures 21.5” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,500 - 2,500)

323 Mark McNair (b.1950), Craddockville, Virginia. Solid body golden plover with carved eyes and removable ‘slot neck’ head. Carved bone escutcheon at stick hole. ‘McNair’ carved in the underside. Measures 11.75” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,200 - 1,800)

324 Mark McNair (b.1950), Craddockville, Virginia. Early running yellowlegs with relief wing carving. ‘McNair’ carved in the underside. Measures 13.75” long. Excellent and original.

Provenance: Mike and Ginger Raffia collection. (1,000 - 1,400)

325 Mark McNair (b.1950), Craddockville, Virginia. Feeding ruddy turnstone in the Verity style. ‘McNair’ carved in the underside. Measures 8” long. Excellent and original.

Provenance: James and Lyda Madden collection. (600 - 900)

326

Cameron McIntyre (b.1968), New Church, Virginia. Full-size standing brant wtih slightly open bill. Signed and dated 1991 on the underside. Measures 22” long, stands 11” tall. Very good and original. (1,500 - 2,500)

327 Cameron McIntyre (b.1968), New Church, Virginia. Black bellied plover carved in the style of Obediah Verity. A near replica to the feeding Verity plover from the Alan Haid collection. ‘CTM’ carved in underside. Measures 11.5” long. Excellent and original. (1,200 - 1,800)

328 Cameron McIntyre (b.1968), New Church, Virginia. Tern in the Long Island style. ‘CTM’ carved in underside. Crazing and wear has been added to create the appearance of age. Measures 11” long. Excellent and original. (1,000 - 1,500)

329 Reggie Birch (b.1953), Chincoteague, Virginia. Hollow carved Canada goose in the style of Elmer Crowell with raised, crossed wingtips and relief tail feather carving. Signed and dated 2016 and numbered 1/1 on the underside. Measures 26.5” long. Very good and original. (800 - 1,200)

Charles Perdew

1874 - 1963 | Henry, Illinois

The G.K. Schmidt Rig

By Donna Tonelli

Arguably one of the most famous decoy rigs within the decoy collecting world is the ‘G.K. Schmidt’ rig for several reasons. First and foremost is the condition of the Charles Perdew and Premier Mason Mallard decoys bearing this brand. These decoys were found at an estate auction during the late 1960’s and were in unused pristine condition. The ‘G K Schmidt’ brand is burnt into the bottom of the decoys and it looks as if it was done yesterday. Sometimes the condition of these birds had caused some would-be buyers to pass on them thinking they were contemporary reproductions. To date 6 mallards (1 hen sleeper), 7 pintail, 2 redhead, (1 hen sleeper), 2 canvasback (1 hen sleeper), 4 greenwinged teal (1 hen sleeper), and 3 blue-winged teal (1 hen sleeper) carved by Charlie Perdew and painted by Edna Perdew and 9 Premier Mason Mallards in pristine condition with the ‘G.K. Schmidt’ brand have been found in Illinois, Wisconsin and Michigan and are now in various private collections. There are also examples of Robert Elliston mallards, pintail, canvasbacks, and Mason Pintails found with ‘G K Schmidt” brand repainted by Edna Perdew. It should be noted that there were two different ‘G.K. Schmidt’ brands one was smaller than the other.

Decoys with the now famous G.K. Schmidt brand have fascinated collectors for decades. Gene ‘Sandy’ Schmidt (no relation) and Bruce Miller from Rockford, Illinois were the among the first decoy collectors to learn of the G.K. Schmidt decoys. These men purchased most of the ‘G K Schmidt’ decoys from a local gun dealer during the late 1960’s. During a 1988 interview, the gun dealer explained that he had attended an estate auction in 1966 where approximately 40 decoys from the G.K. Schmidt rig was sold. The decoys were supposedly found stored in the basement of a bank and included pristine Perdew’s painted by Edna Perdew, a dozen Mason Mallards in original paint and various decoys by Mason and Robert Elliston repainted by Edna. All had the G.K. Schmidt brand, most of the decoys but not all were bought at the

sale by the gun dealer for choice at $3.75 and then $2.50. He, in turn, sold the decoys in his gun shop and had them on his table at local gun shows for $15 each or $25 a pair.

Since the late 1960’s, aside from the Rockford group, G.K. Schmidt decoys have been found at the Ann Arbor Flea Market, the Kane County Flea Market, an antique shop in Aurora and at an estate sale in Milwaukee, Wisconsin.

Few Illinois decoy collectors will remember early decoy collector, Bill Mann, Aurora, Illinois. He stumbled onto a couple of G.K. Schmidt decoys in a Aurora antique shop; a Perdew mallard hen and a Premier Mason Mallard drake. The redhead drake turned up at the Kane County Flea Market in St Charles, Illinois by a local antiquer. Harold Haertel was able to trade several of his contemporary decoys for the decoy which was sold with the rest of his old decoys at Guyette & Schmidt 1990 April Decoy Auction.

G.K. Schmidt, circa 1929

330 Charles Perdew (1874-1963), Henry, Illinois. Extremely rare redhead drake from the GK Schmidt rig. Hollow carved with comb feather paint detail. Branded ‘GK Schmidt’ on the underside. Retains the original Perdew weight. Measure 12.75” long. Excellent original paint with very minor flaking; a small dent on each side that has been touched up; thin strip along one side of weight on underside with some touch up.

Provenance: Private Southern collection.

(20,000 - 30,000)

330a Charles Perdew (1874-1963), Henry, Illinois. Extremely rare redhead hen from the GK Schmidt rig. Hollow carved with comb feather paint detail. Branded ‘GK Schmidt’ on the underside. Measure 12.75” long. Excellent original paint with very minor flaking; very minor separation at neck seat; weight is missing.

Provenance: Private Southern collection.

(20,000 - 30,000)

330

330

330a

330a

Bert Graves

1880 - 1956 | Peoria, Ilinois

The son of Henry O and Elizabeth J Graves, the young Bert grew up on the family farm in Marshall County. The family was a large one and included Bert as well as his two brothers and two sisters. In 1900, both father and son, Bert, listed their occupations as “teamster”. From that point onward, Bert listed his occupation as either “fisherman”, “carpenter”, or “house carpenter”. From 1940 through at least 1942, he stated that he was employed as a “building custodian” or on the “City Hall maintenance crew”. He also is reported to have served on the local police department. Ironically, he never mentioned his decoy or boat building business, which he operated out of a workshop at his home at 706 McReynolds St. He did not list this sideline in city directories, yet he advertised it fairly widely with his business cards.

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, in addition to his brother Orville, his wife Effie and their sister Nellie (Millie) , about three or four additional carvers produced decoys in the shop under Bert’s supervision. Graves apparently never painted any of his decoys himself but relied on the talents of Effie, Nellie (Millie) and Catherine Elliston to complete this phase of production. Today it is believed that the “white sided” models were painted by Catherine Elliston and the “gray sided” models were painted by Millie Graves.

331 Bert Graves (1880-1956), Peoria, Illinois. Outstanding preening mallard hen. Hollow carved with head turned over back. Retains the original Graves weight. Measures 14.5” long. Original paint with very minor wear; a few shot strikes on one side of neck and bill.

Provenance: Private Southern collection. (20,000 - 30,000)

Robert Elliston

1849 - 1915 | Bureau, Illinois

332 Robert Elliston (1849-1915), Bureau, Illinois. Preening mallard hen. Hollow carved with head turned over back. Retains the original Elliston weight. Measures 14.75” long. Original paint with very minor wear; two small dents in back; minor roughness on edge of tail; tight crack on underside near tail; paint on back has faded or worn to the primer coat; small amount of filler added around one eye. (25,000 - 35,000)

Recognized as the originator of the “Illinois River Style”, Robert Elliston was born in Ballard County, Kentucky. The family moved to the Midwest in 1852, settling near Indianapolis, Illinois where Robert gained a reputation as an expert rifle shot. His creative and woodworking talents began to emerge when, at age 18, he was residing in South Bend, Indiana, working as a buggy and carriage maker for Studebaker. He must have been very accomplished for he changed location several times, moving to positions in New York, Philadelphia and St Louis, Missouri where he became the hearse designer for the McLaren Hearse and Coach Manufacturing Co.

In 1875, while in St Louis, he married Margaret Cummiskey and one year later the couple had a son, James. Robert then moved the family to Lacon, IL to work for the Brereton Buggy Shop. Tragically, in 1876, Margaret died unexpectedly and her younger sister, Catherine, moved in with Robert to help raise the young boy. This living arrangement would have been deemed socially inappropriate at the time and, as a result, Robert married Catherine in 1879. Heartbreak struck again, however, when, in 1880, young James too passed away. The union of Robert and Catherine resulted in the couple initially having three children, all of whom died in infancy (they would later have three sons and a daughter that survived into adulthood). Robert and Catherine moved again, this time to Lacon to take up residence at the Undercliff Hotel located on Lake Senachwine in Bureau County, Il. The hotel was a major drawing card for well-heeled sportsmen of the Midwest. These individuals would, undoubtedly, have sought out Elliston for their decoys. Robert’s experience in the buggy and carriage trade enabled him to also produce a number of fine boats for the same sports and other visiting guests at the hotel. In late 1889, the family had outgrown the accommodations

at the Undercliff and Robert was successful in renting a plot of land on a bluff overlooking the Lake where he built a home and workshop, surrounded by a sizable plum orchard and a large apiary.

It is unclear exactly when Robert began to produce decoys, but an advertisement dated 1880/3(?) notes that by that date, he had a “factory” in Henry, IL and prior to that, in Putnam, IL. When the Hotel Underwood opened in 1882, it was noted that “R.A. Elliston, a decoy carver of some fame attended the opening ceremonies”. He was clearly in full time production when he appears in the 1900 Federal census listed as a “Decoy maker”.

The decoy production was a family affair, Robert crafted the decoys and Catherine was responsible for the exquisite wet on wet painted plumage. The quality of the Elliston decoys set the standard by which all other lures of the time and region were judged. Two of the most famous Illinois River carvers to succeed Elliston, Charles Perdew and George Bert Graves, were strongly influenced by the man considered their mentor.

Upon Elliston’s unexpected death by a heart attack while pumping water for the family cow, Catherine sold their remaining inventory to Graves, but she agreed to continue to paint for him for a period while teaching Grave’s sister “Nellie” to assume that responsibility on her own.

Now considered the founding father of the Illinois River style, his influence on the region’s decoys cannot be overstated. He is, today, rightfully considered to be among the premier carvers of the golden age of hunting and decoy carving in America.

Note: This history is basically a summary of the fine research done by Donna Tonelli that appeared in the Jan/Feb 2020 edition of Decoy Magazine.

333 Charles Perdew (1874-1963), Henry, Illinois. Early sleeping mallard hen. Hollow carved with head turned back over body. Excellent paint by Edna Perdew. Weight was removed at some point. Measures 15” long. Original paint with moderate flaking and wear; moderately hit by shot in one side with old filler added to shot holes; head was off at some point and reset with some old glue visible at neck seat.

(8,000 - 12,000)

Every region of the country has its iconic decoy carvers, men and women who represent the very pinnacle of perfection for that area’s accepted carving tradition. The Illinois River school is well represented by Charlie and Edna Perdew. The son of a farmer, Charlie was born in Magnolia Township and as a young man is reported to have hunted for the market and found work as a carpenter in the construction of the 1893 Columbian Exposition in Chicago. By 1900, he was residing in Henry as a boarder in the home of Miss Emma Masterson and listing his occupation as “machinist – general repair”. Henry would become his home for the remainder of his life, and he would capitalize on his many talents involving working with his hands. He built his own home on a high bluff overlooking the Illinois River, hauling tons of stone from the river by hand to construct its massive foundation and fireplace. In 1902 he brought his young bride, the former Edna Haddon, into the home where they would remain until Charlie’s death. In the wedding announcement in the Henry newspaper, it appears that the couple had been “in a courtship for quite a long time” and Charlie is described as “ - - of an inventive and mechanical turn, of industrious, steady habits -(and)- qualified for a successful career - - “. He would

utilize these “mechanical turnings” for the remainder of his life. He was widely recognized for his ability to build or repair almost anything from bicycles to gunsmithing, even to, in 1955, making his own set of false teeth after being told by the local dentist that a pair would cost $100.

Of his many skills, he settled on producing items for the sportsmen of his day. Other than a brief period during WWI where he opened a broom making facility, decoys, duck calls and a few other associated items required by hunters would become his livelihood. His decoys were inspired by the work of earlier successful style setters, Henry Ruggles (1830 – 1897) and Robert Elliston (1847 – 1915). He hand carved his hollow creations and they were then painted by Edna - it was truly a joint artistic venture (see note 1). Their superb craftsmanship soon gained them an enviable reputation for the quality of their decoys and calls, first among the local hunters and prestigious clubs such as the Hennepin, Princeton, Senachwine, and Swan Lake, but soon spreading to his achieving National acclaim. Charlie sent a pair of mallards to be judged in the 1924 “Exhibition of Wild-Fowl Decoys’ in New York. They were erroneously placed in the machine-made category where they won a second place which infuriated him. He placed advertisements in the widely read sporting journals of the day and printed a number of his own promotional items. His mail order business flourished, and his decoys were soon also being sold by large national outlets such as Eddie Bauer and VL&A.

His efforts set the standard by which all future carvers of the region would be judged, and he is now considered a leading member of the elite Illinois River carving triumvirate of Elliston, Perdew and Graves. In summarizing his work, noted author and collector Alan Haid wrote: “Charles and Edna Perdew’s early hunting decoys are benchmarks for comparison with the finest decoys of other classic makers from all parts of North America”.

334 Charles Perdew (1874-1963), Henry, Illinois. Hollow carved pintail drake with comb feather paint detail. Early Perdew weight on the underside. Measures 16.5” long. Original paint with minor wear under a thick coat of varnish that has darkened with age; small spot of gray paint on one side of breast; professional repair to a chip on side of bill; hairline crack at neck seat.

(6,000 - 9,000)

335 Bert Graves (1880-1956), Peoria, Illinois. Pair of mallards from the Caswell rig. Hollow carved with ‘CJC’ branded twice on the underside. Both retain their original Graves weight. Measure 17” long. Original paint with very minor wear under a coat of varnish; small spot of touchup on one side of drake; drake is lightly hit by shot; two hairline drying cracks in hen’s neck with small amount of touchup.

Provenance: Private Southern collection. (12,000 - 18,000)

336 Bert Graves (1880-1956), Peoria, Illinois. Rigmate pair of pintails with paint by Catherie Elliston. Hollow carved with comb feather paint detail on drake. Both retain their original Graves weight. Both are branded “J.L.S.” on the underside. This exact pair is pictured on p. 278 of “Decoys and Decoy Carvers of Illinois,” Parmele and Loomis. Measure 18” long. Original paint with minor gunning wear protected under a thick coat of early varnish that has darkened with age; minor flaking and scratches to varnish layer; very minor roughness on edge of tails; small bill chip repair on one side of drake’s bill.

(7,000 - 9,000)

337 Robert Elliston (1849-1915), Bureau, Illinois. Hollow carved mallard with deep body style and comb feather paint detail. Weight was removed at some point. Measures 16.75” long. Original paint with moderate flaking and wear; tight crack through neck with a few old nails added to secure; minor roughness on edge of tail; lightly hit by shot, including one larger shot scar in bill. (1,500 - 2,500)

338 Bert Graves (1880-1956), Peoria, Illinois. Mallard drake from the Caswell rig. Hollow carved with ‘CJC’ branded twice in the underside. Retains the original Graves weight. Measures 17” long. Original paint with minor gunning wear under a coat of varnish that has flaked in areas; lightly hit by shot. (3,000 - 5,000)

339 Bert Graves (1880-1956), Peoria, Illinois. Hollow carved mallard hen with ‘F.Cuneo’ stenciled on underside. Retains the original Graves weight. Measures 16.5” long. Strong original paint with almost no wear; a few minor paint rubs; areas where varnish was not applied are visible under UV light and is not touchup or repairs. (2,000 - 3,000)

340 Bert Graves (1880-1956), Peoria, Illinois. Hollow carved canvasback with fine comb feather paint detail. ‘ER’ painted twice on the underside. Retains the original Graves weight. Measures 17.25” long. Original paint with minor wear under a thin coat of varnish; a few small dents and shot marks, otherwise excellent structurally.

Provenance: Private Southern collection. (3,000 - 5,000)

341 Charles Perdew (1874-1963), Henry, Illinois. Hollow carved mallard. Measures 17.25” long. Original paint with moderate wear under an early coat of varnish; professional neck crack repair; some touchup to white bar at neck seat; minor roughness on tip of bill and tail; early Perdew weight is from another Perdew decoy. (1,500 - 2,500)

342 Frank Resop (1894-1968), Berlin, Wisconsin. Rigmate pair of blue wing teal with humped backs and 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; lightly hit by shot; tight cracks and shot strike chip in hen’s neck.

Provenance: Herb Desch collection. Mike and Ginger Raffia collection. (8,000 - 12,000)

343 Otto Weinert (1893-1979), Oshkosh, Wisconsin. Pair of bluewing teal with 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. (4,000 - 6,000)

344 Ferdinand Homme (1901-1963), Stoughton, Wisconsin. Hollow carved mallard with relief wing carving and raised, crossed wingtips. Head is tucked and slightly turned. ‘A.T. Shearer’ branded on the underside. Measures 16.25” long. Original paint with moderate gunning wear; old chip in underside of bill; small chip in tail; one raised wingtip is missing; hairline crack in each eye.

Provenance: Private Southern collection. (4,000 - 6,000)

345

Unknown maker, Wisconsin, early 20th century. Snow goose with two-piece body and high head pose. Great folk art appeal. ‘Bay Club’ stamped in the underside. Measures 18” long, stands 17” tall. Thick paint appears to be a mix of original and early in use touchup; minor to moderate gunning wear and crazing; structurally good.

Provenance: Part of a small rig found by Dave Spengler in Door County Wisconsin in the 1970s. This is the only one with the “Bay Club” brand. Bob Timberlake collection. Dr. David Meyer collection. James and Lyda Madden collection.

Literature: “The Great Book of Wildfowl Decoys,” Joe Engers, page 257, rigmate pictured. (8,000 - 12,000)

Joseph Francis Kernan

1878 - 1958

346 Joseph Francis Kernan (1878-1958), oil on canvas. Image measures 24.75” x 20.75”. Of a gentleman working on boat model or pond sailor. Signed. This exact illustration was published on the cover of “This Week Magazine, The Dallas Morning News” August 7, 1938. There they use the title “No matter how old he is every man remains part boy”. It was again used in an advertisement, a printed metal sign for Champagne Velvet Beer. Both pieces are included with the painting. As viewed under black light there is a spot of inpainting about the size of a dime in the sky above the boat; mild craquelure, mostly throughout the upper portion of the painting and sky above gentleman’s head.

Provenance: Full page front cover of the Dallas, TX Sunday paper from 1938 or 1939, as well as a tin advertising for Champagne Velvet beer. There was some thought that this painting may have won a prize at the Chicago Fair of 1939. (25,000 - 35,000)

Lynn Bogue Hunt

346a Lynn Bogue Hunt (1878-1960), oil on canvas. Image measures 28” x 22”. Signed. An impressive early period, fresh to the market painting by this important American sporting artist and illustrator. Recently found in a Texas home. Remains in original frame. On back of stretcher is written “Lynn Bogue Hunt, 41 Union Square New York City”. Remains in original condition; varnish has been darkened, could use a good cleaning; three punctures near edges of canvas; two have cloth tape on the back; one remains untouched; at one of the punctures a repair attempt was made, but was not done with proper conservation.

(15,000 - 25,000)

347 Arthur Fitzwilliam Tait (1819-1905), oil on canvas board. Image measures 8” x 16”. Retriever with mallard. Signed. “NA - A.F. Tait New York 82”, and is listed in his catalogue raisonne. Additional signature on back wood panel. Image has been cleaned and re-varnished with no visible inpainting as viewed under blacklight.

Provenance: Alan and Elaine Haid collection. (15,000 - 20,000)

348 David Maass (b.1929), oil on board. Image measures 23.5” x 36”. Signed. “Pheasants at Old Farmstead”. Professionally framed. Light staining to linen layer of frame, painting is very good and original. (7,000 - 10,000)

349 David Maass (b.1929), oil on board. Image measures 23” x 29.5”. Signed. Ruffed grouse in a winter landscape. Light staining to linen layer of frame, painting is very good and original.

(7,000 - 10,000)

350 Guy Wiggins (1883-1962), oil on canvas. Image measures 20” x 24”. New York City street scene on a winter day. Painted lettering on back reads, “5th Avenue entrance to the library.” As viewed under black light there is an area between the buildings and above lion’s head that has had some restoration and inpainting; canvas on back does not show any repairs; area at lower right has had a small amount of overpaint removed.

(8,000 - 15,000)

351 Milt Weiler (1910-1974), watercolor. Image measures 19” x 27”. Signed. Titled “Pick Up Time, Barnegat Bay”. This image was made into a popular limited edition print by the Winchester Press and is the artist’s most famous work. Professionally framed and matted. Excellent in all respects.

Literature: “The Art of Milton C. Weiler - A Sportsman’s World” by John T. Ordeman and M.C. Bud Weiler Jr, page 60-61, illustrated. (8,000 - 12,000)

352 Hy Sumner Watson (1868-1933), oil on board. Image measures 24” x 33”. Signed lower left. Likely used as an illustration for advertising or a story as Watson was a popular illustrator in this time period. When viewed under UV light, a .25” tear has been inpainted between man on right and fish; otherwise in excellent condition.

Provenance: David Fannon collection. (4,000 - 6,000)

353 John Scott (1907-1987), oil on paper board. Image measures 19.25” x 15”. Signed. Titled “One Ton of Trouble”. Charging bull moose. Used as the cover image for September 1957 issue of “Sports Afield”. A copy of the magazine is included. Frame shows some wear on edges; several rubs, otherwise very good and original. (5,000 - 7,000)

354 John Swan (b.1948), oil on board. Image measures 9.5” x 14.25”. Two pointers with gunner. Professionally framed and matted. (2,000 - 3,000)

355 Roy Grinnell (b.1933), oil on canvas. Image measures 23.5” x 17.5”. Signed. Titled “First Jump”. This exact illustration was used on the cover and page 249 of “Profiles in Saltwater Angling,” by George Reiger, published 1973. Remains excellent and original. (2,000 - 3,000)

356 Roy Grinnell (b.1933), oil on canvas. Image measures 23.5” x 17.5”. Titled “Surf Fisherman at Montauk”. Signed. This exact illustration was used on page 177 of “Profiles in Saltwater Angling,” by George Reiger, published 1973. Excellent and original.

(2,000 - 3,000)

357 Roy Grinnell (b.1933), two oil on canvases. Both images measure 17.5” x 23.5”. These exact illustrations were used on the back and front inside covers of “Profiles in Saltwater Angling,” by George Reiger, published 1973. Excellent and original. (4,000 - 5,000)

358 Roy Grinnell (b.1933), acrylic on board. Image measures 19.5” x 28”. Titled “Vanishing Species”. Signed. An illustration portraying vanishing species in America with a sturgeon, paddle fish, alligator gar, and wood duck taking flight. Professionally framed and matted. Excellent and original.

(500 - 1,000)

359 Roy Grinnell (b.1933), eight pen and ink drawings. Illustrations of different sizes framed and matted together. Frame measures 30.25” by 35.25”. Very minor toning from age, otherwise very good and original.

(1,200 - 1,800)

360 Roy Grinnell (b.1933), nine pen and ink drawings. Nine individual ink illustrations used in the book “Fishing With McLane,” by George Reiger. Each image measures 6” x 8.75”. Slight discoloration to drawings and matting; scattered spotting on underside of glass with some on images. (500 - 1,500)

361 Roy Grinnell (b.1933), nine pen and ink drawings. Each measures 4.75” x 6.75”.

Frame measures 22” x 27.5” Each is signed. Nine individual ink illustrations used in “Zane Gray Outdoorsman” by George Reiger. Slight discoloration from age to matting and ink drawings; some dark spots mostly on matting. (500 - 1,500)

362 Christopher Reiger, five pencil. Five individual pencil drawings. Largest measures 6” x 8.5”. Frame measures 17.5” x 25”. Signed. Images were uses as illustrations in “The Striped Bass Chronicles” by George Reiger. Published 1997. Very good and original. (500 - 1,000)

Image measures 12” x 14”. Black ducks landing in marsh. Signed and dated 1955. Remains very good and original. (3,500 - 5,500)

William

1923 - 2007),

Image measures 20” x 29.5”. Signed. Three ringnecks. Painting remains very good and original. (1,000 - 1,500)

362a Lynn Bogue Hunt (1878-1960), oil on canvas.

362b

Hollywood (UK,

oil on canvas.

362a

362b

363 Art LaMay (b.1938), watercolor on paper board.

Image measures 24” x 32”. Frame measures 36” x 44”. Canada geese. Signed. Professionally framed and matted. Excellent in all respects. (800 - 1,200)

364 Art LaMay (b.1938), watercolor on paper board. Image measures 30” x 32”. Frame measures 42” x 45”. Pair of yellow crowned night heron. Professionally framed and matted. Excellent in all respects. (800 - 1,200)

366

Image measures 23.5” x 35.5”. Signed and dated 1972. Widgeon taking flight. Original frame. Varnish has darkened slightly, otherwise very good and original.

(1,800 - 2,200)

(1,800 - 2,200) 365

Image measures 29.5” x 39.5”. Deer running through the northern woods of Michigan. A rare scene for the artist. Signed and dated 1973. Original frame. Varnish has darkened slightly, otherwise very good and original.

365 Jim Foote (1925-2004), oil on canvas.

Jim Foote (1925-2004), oil on canvas.

366

367 Robert Hautman (b.1959), acrylic on board. Image measures 14” x 18.5”. Signed. Three greenwing teal. Excellent and original; dent to bottom of wooden frame. (2,000 - 3,000)

368 Lloyd Cargile (b.1938), oil on canvas. Image measures 20” x 27”. Signed and dated 2022. Man fly fishing in a stream. Excellent in all respects. (1,500 - 1,800)

369 Lloyd Cargile (b.1938), oil on board. Image measures 9.5” x 11.5”. Signed and dated ‘24. An eastern shore treat: beer, lemon, and oysters. Excellent and original. (800 - 1,200)

368

369

370 Richard La Barre Goodwin (18401910), oil on canvas. Image measures 29” x 24”. Signed and dated 1886. Canvas has been relined and stretched, and likely cleaned; a few very small spots of inpainting.

Provenance: David Fannon collection. (2,500 - 3,500)

371 Unknown artist, oil on cavnas. Image measures 22” x 15”. High quality, well executed scene of a brace of dead game including quail, greenwing teal, plover, and grouse. As viewed under black light only a few very small spots of inpaint restoration; canvas has been relined and stretched for conservation.

Provenance: David Fannon collection. (400 - 600)

372 Unknown artist, 19th century, oil on board. Image measures 6.25” x 8.25”. A European farm scene in an early birds eye maple frame. Gallery sticker on back from Spiegel - Fabrik, in Frankfurt. As viewed under black light very good and original; several very tiny white spots possibly paint splatter in sky on right hand side.

(500 - 1,000)

373 John James Audubon (1785-1851), Great red breasted rail. Engraving and color by R. Havel 1834. Drawn from nature by John James Audubon. Great grey breasted rail or marsh hen. Male spring plumage, young autumnal plumage. Number 41 Plate CC111. Professionally framed with conservation glass and matting. Image size 12” x 18.75”, full sheet 25.25” x 38”. J. Whatman 1858 watermark. Retains bold colors, a few small foxing spots in the exposed area. (1,500 - 2,500)

374 John James Audubon (1785-1851), Pied Duck. Engraving and color by R. Havel 1836. Drawn from nature by John James Audubon. Professionally framed with conservation glass and matting. Sheet measures 24.75” x 37.25”. J. Whatman 1838 watermark. Darkened with age; two very small spots of discoloration area. (2,500 - 3,500)

375 Wayne Fulcher (1939-2016), acrylic on board. Image measures 36” x 24”. Signed. Probably a Cape Hatteras lighthouse. Very good and original, with one small paint flake approximately .25” round missing at top of lighthouse. (300 - 500)

376 Wayne Fulcher (1939-2016), acrylic on board. Image measures 23.5” x 36”. Signed. Swans in flight near lighthouse in Cape Hatteras area. A few scratches on frame and one small rub at bottom right corner. (300 - 500)

377 Set of framed federal duck stamps prints, 1934 -1995. 1936 etching by Richard Bishop in center. Stamps are not signed. Framed image is 30” x 31”. Stamps remain in mint condition; etching remains very strong. (2,000 - 3,000)

378 Federal migratory duck stamp, 1948. By Jack Murray. Professionally framed and matted. Retains Abercrombie & Fitch sticker on reverse. Frame measures 17” x 19.5”. A few small spots of foxing; darkened slightly. (300 - 500)

379 Roy Grinnell (b.1933), illustration. Image measures 14.25” x 11”. Made for the cover of “Zane Gray: Outdoorsman,” by George Rieger. Exact illustration used for the cover of the book. Signed. Includes photos of Zane Gray fishing, riding, and hunting. Matted but not framed. Also included is some of the preliminary sketch work. (300 - 500)

380 A.B. Frost, lithograph. Titled ‘”Chance Shot while Setting Out Decoys”. Copyright 1933, published by Derrydale Press. Professionally framed and matted Measures 25” x 30”. A few spots of light staining in image. (800 - 1,200)

381 A.B. Frost, lithograph. Titled “Coming Ashore”. Copyright 1934. Published by Derrydale Press. Professionally framed and matted. Frame measures 20.5” x 28.5”. Very good and original; some scratches and dents to outer edge of frame. (800 - 1,200)

382 Watercolor, signed B.D. Image measures 10” x 14.25”. Created in honor of a 4’ 8” pike that was caught at Danbury in September in 1877. Inscription reads “The pike 4’ and 8” long caught on a Gudgeon on the upper lake at Danbury. 11th of September 1877. Fish was said to have been released there from the Chelermer four years previously. Fish was weighed at 13 lb 5 oz.” Image includes a wooden measure stick, the pike with two hooks in its mouth, a chub, bobber and string. Has darkened with some small spotting areas; overall good with vibrant colors; matted and framed. (400 - 600)

383 Book accompanied by a series of four prints by Ogden Pleissner. Slipcased deluxe edition of “The Art of Ogden Pleissner“, with a limited suite of four miniature prints from Princeton Polychrome Press, Princeton, New Jersey. Along with a color print, “Big Fish Rise” published by David R. Godine Publishers, 24” by 36”. (800 - 1,200)

384 Thomas Buttersworth, Sr. (1768-1842) attributed, oil on canvas. Image measures 17.5” x 23.5”. Seascape with Royal Navy frigate flying a red ensign.. Scattered inpainting with one larger area approximately 3” x 4” in upper left section; relined; restoration was performed on 1/11/2004 by Art Conservation Center, Washington DC.

Provenance: J. Partridge Gallery, London, 200. Adimairal McKee to present owners.

(3,000 - 5,000)

385 Thomas Buttersworth, Sr. (1768-1842) attributed, oil on canvas. Image measures 17.5” x 23.5”. Seascape with Royal Navy frigate flying a white ensign and a lighthouse in the background. Small amounts of inpainting; painting has restoration and has been relined and cleaned.

Provenance: J. Partridge Gallery, London, 200. Adimairal McKee to present owners. (4,000 - 6,000)

The Gate City was a Savannah Line freight steamer built in 1878 in Chester, Pennsylvania. It was scheduled for a course from Savannah to Boston when it ran aground in a dense fog on Feb. 8th, 1900. At the time it was carrying a cargo of molasses and cotton, as well as 49 passengers. It now lies in about 15’ - 25’ of water just East of Moriches Inlet and is a popular destination for recreational scuba divers.

386 Antonio Nicolo Gasparo Jacobsen (1850 - 1921), oil on canvas. Image measures 21.5” x 35.5”. Signed lower right ‘A Jacobsen 1903. 31 Palisade Ave West Hoboken, NJ.’ Depicts a maritime rescue. A rare subject for the artist. Canvas has been relined; painting has been professionally conserved with two areas of inpainting, approx. 2” in length in sky; small tiny spots of inpainting in other areas. (9,000 - 12,000)

386a Antonio Nicolo Gasparo Jacobsen (1850-1921), oil on canvas. Image measures 19.5” x 29.5”. Signed and dated 1892 with Jacobsen’s address, 195 Palisade West Hobokin New Jersey. Steamer is named Grangemouth. Painting has been cleaned and revarnished with cracklature repair at that time; most of the inpainting is around right, left, and upper edges; only visible under UV light. (4,000 - 6,000)

386b Joseph Witham (UK, 1832 - 1901), oil on canvas. Image measures 19.5” x 29.5”. Sailing ship named Caldonia with an American flag. Signed and dated 1877. Frame shows heavy wear with chips and rubs. Cracklature throughout as well as a few puncture repairs that have some inpainting; including an area along the left edge; UV photos are available online. (1,500 - 2,000)

386c Ship model in framed case, circa 1900. Case measures 21.5” x 33.5”. American flag trails off of the stern. Ship is named “America” in yellow paint at the bow as well with a flag at the top with the word “America”. High quality construction with excellent patina and age. Much more detail than many ship models we have seen. 18 individual sails. Some sails have had some restoration and conservation over the years. (800 - 1,200)

386b

386c

387 Greg Woodard (b.1958), Brigham City, Utah.

“Peregrine Falcon,” 1998. Mounts to carved wood base emulating a rocky mountain peak, which is also mounted on carved stone. Falcon is removable. Total figure is 41” tall. Falcon remains excellent and original with exception of one broken wingtip at lower wing. (6,000 - 10,000)

388 John Leeder, (20th/21st century), Canada. Decorative red-tailed Hawk, 2000. 3rd Best of Ward Championship. Perched with wings out, fanned tail, and open beak. Stands 21” tall. Carving remains excellent and original.

(1,750 - 2,250)

389 Floyd Scholz (b.1958), Hancock, Vermont. Decorative red-tailed hawk. Dated September 2002 and titled “Autumn Leaves Red-tail Hawk”. Incredibly well detailed hawk standing on branch near rock with colored leaf foliage. Measures 12” tall including base. A very small amount of chipping to raised feathers at back of hawk’s head, otherwise good and original. (4,000 - 6,000)

390 Floyd Schultz (b.1958), Hancock, Vermont. Decorative merlin with a killed flicker. Highly detailed feather carving. Signed and dated 3/84 on the underside of base. Measures 22” tall. Some chipping to tips of wing feathers on both birds, otherwise excellent. (2,000 - 3,000)

Jack Franco (20th century), Assonet, Massachusetts. Decorative calling long-billed marsh wren with outstretched wings and upswept tail. Identified, signed, and dated 1990 on the underside. Wren measures 3” long with a 3.5” wingspan. Excellent and original. (1,200 - 1,800)

Joe Coutts, Halton Hills, Ontario. Falcon perched on branch. Signed on underside. Typical pieced construction. Stands 17” tall. Two wingtips are broken approximately 1/16” to 1/8” in; small amount of damage to one side of tail feather and what appears to be a water stain on both base and at tail feather. (2,000 - 3,000)

393

394 Willie Ross (1878-1954), Chebeague Island, Maine. Rigmate pair of red-breasted mergansers. Inlet neck seats. Measure 18” long. Original paint with minor flaking and wear; drake’s neck seat has risen slightly; hairline crack in hen’s neck; the original peacock feather crests are missing.

Provenance: Private Southern collection. (15,000 - 25,000)

395 Augustus Aaron Wilson (1864-1950), South Portland, Maine. Early preening eider hen with large inlet neck seat and relief wing carving. Wide body was made out of two pieces of wood. Measures 17.25” long. Thin second coat of paint with minor gunning wear; drying cracks in breast and underside; drying of wood has created a separation at back of neck seat; shallow chip and roughness on top of head.

Provenance: Gene and Linda Kangas collection. (10,000 - 15,000)

396 Willie Eastman (1871-1956), Harpswell, Maine. Exceedingly rare working loon. The best of two or three known examples. Hollow carved from the underside with an inlet bottom board. Inlet neck seat and tack eyes. Dr. George Ross Starr collection ink stamp on underside. Measures 24” long. Original paint with moderate gunning wear under an early, fairly uneven coat of varnish; hairline cracks in breast and tail; crack through lower neck and in one side of upper neck; minor roughness on tip of bill.

Provenance: Dr. George Ross Starr collection. Alan and Elaine Haid collection.

Literature: “Decoys” by Gene and Linda Kangas, page 295, exact decoy pictured. (25,000 - 35,000)

397 Pennell Alexander (1811-1890), Harpswell, Maine. Very rare gull. Large serifed ‘PA’ carved in underside. Relief carved wingtips. Body has been hollowed out from the back. Measures 19.25” long. Early thin second coat of paint with moderate flaking and wear; minor blunting and roughness on tip of bill; numerous cracks; professional neck crack repair.

Provenance: Charlie Hunter III collection. Gene and Linda Kangas collection.

Literature: - “Decoys” by Gene and Linda Kangas, page 260, exact decoy pictured. (4,000 - 6,000)

398

Captain Merritt P. Pinkam (1861-1947), Seguin Island, Maine. Pair of oversize eiders with large inlet neck seats. Mackey collection ink stamp on underside of hen. Captain Pinkam made a rig of 14 eider decoys from the bowsprit of a schooner that had washed up on Seguin Island in 1898. Measure 21” and 23” long. Drake is in original paint with moderate flaking and wear, mostly around head and neck seat area; tight drying cracks in body; crack in one side of neck; old chip in the underside of bill. Hen has had a thin layer of scoter paint cleaned down to the original eider paint showing moderate gunning wear; crack in neck; tight cracks in bill.

Provenance (drake): Frank Ash collection. Hal Evans collection. Robinson Bosworth collection. Thompson Bosworth collection. Private Tennessee collection. Provenance (hen): William J Mackey Jr collection. Private Tennessee collection. (7,000 - 10,000)

399 Augustus Aaron Wilson (1864-1950), South Portland, Maine. Preening black duck with long inlet neck seat, relief wing carving, and carved eyes. Measures 15.75” long. Original paint with minor wear; tight crack through neck and across neck seat under head.

Provenance: Gene and Linda Kangas collection. (4,000 - 6,000)

400 Augustus Aaron Wilson (1864-1950), South Portland, Maine. Rare rocking head black duck with open bill and relief wing carving. Measures 19” long. Original paint with moderate wear; small dents and shot marks; filled crack along one side of back; thin wash of black paint on parts of the back; tight crack in one side of head.

Provenance: Gene and Linda Kangas collection. (3,000 - 5,000)

401 Augustus Aaron Wilson (18641950), South Portland, Maine. Gull with inlet neck seat, carved eyes, and relief wing carving. Measures 20.5” long. Worn old paint; crack in one side; age split in the other; thin crack through neck; shallow chip missing form one wingtip.

Provenance: Al Marzorini collection. (1,000 - 1,500)

402 Augustus Aaron Wilson (18641950), South Portland, Maine. Early goldeneye with relief wing carving and carved eyes. Measures 19.5” long. Early in use repaint with moderate wear under a thick coat of varnish that has darkened with age; tail chip and bill chip repair; lightly hit by shot.

Provenance: Gene and Linda Kangas collection. (800 - 1,200)

403 Augustus Wilson (1864-1950), South Portland, Maine. Large early style scoter with relief wing carving and large inlet neck seat. Head is slightly turned to one side. “Kangas SR1” branded on underside. Measures 18” long. Old in use repaint with significant wear; dents and shot marks; drying crack along one side of back; minor roughness on edge of tail; tight drying crack running vertically through neck and top of head.

Provenance: Gene and Linda Kangas collection. (1,200 - 1,800)

404 Augustus “Gus” Wilson (1864-1950), South Portland, Maine. Eider with inlet neck seat, carved eyes, and relief wing carving. Measures 17” long. Original paint with very little wear; significant discoloration on front and back of neck and one side of head where the primer has bled through; small cracks. (3,000 - 5,000)

405 Unknown maker (1st quarter 20th century), Maine. Eider drake with deep relief wing carving and relief carved bill. Two piece head and neck construction with carved eyes. Measures 18.75” long. Dry original paint with moderate flaking and wear, mostly on one side; small loss of wood and some discoloration at an old nail in back of neck. (2,000 - 3,000)

Charles E. “Shang” Wheeler

1872 -

1949

| Stratford, Connecticut

406 Charles E. ‘Shang’ Wheeler (18721949), Stratford, Connecticut. Excellent hollow carved black duck with slightly turned head. Scratch feather paint detail on head and neck. Decoy was never rigged or weighted. Measures 18” long. Excellent original paint protected under an early coat of varnish; shallow dent in bill; a few dents and small scratches were touched up on one side; also with tiny splatters of black paint under tail that are visible under UV light.

Provenance: James and Lyda Madden collection. (20,000 - 30,000)

Courtesy Dixon Merkt

407 Samuel Hunt (early 20th century), Connecticut. Important oversize American merganser with raised neck seat and extended crest. Mackey collection ink stamp on the underside. Measures 20.75” long. Thin original paint with moderate gunning wear; some roughness on edge of tail and extended crest; tight cracks and small dents; professional neck crack repair and area of touchup on each side of head.

Provenance: William J. Mackey Jr. collection. Robert Gerard collection.

Provenance: Private Southern collection.

(15,000 - 25,000)

408

Attributed to Cassius Smith (1847-1907), Milford, Connecticut. Extremely rare bluebill drake. Branded ‘DA Young’ on the underside and with museum inventory number on one side. Very thinly hollowed with inlet lead weight and carved eyes. Measures 12.75” long. Original paint with moderate gunning wear; very slight separation in body seam at breast; approximately half of the bill is an old replacement.

Provenance: Mike and Ginger Raffia collection.

(6,000 - 9,000)

409 Attributed to Cassius Smith (1847-1907), Milford, Connecticut. Extremely rare goldeneye drake. Branded ‘DA Young’ on the underside and with museum inventory number on one side of neck seat. Hollow carved with inlet lead weight and carved eyes. Measures 14” long. Original paint with minor to moderate wear protected under a thin coat of varnish that has darkened with age; small dents and a few shot marks; crack in one side of neck seat with slight separation at back of neck seat.

Provenance: Mike and Ginger Raffia collection.

(8,000 - 12,000)

410 Albert Laing (1811-1886), Stratford, Connecticut.

Hollow carved preening bluebill branded ‘F. Burritt’ on the underside. Mackey collection ink stamp on the underside. Measures 12.5” long. Paint has been taken down to mostly bare wood with a coat of varnish added; heavily hit by shot with old filler in shot strikes; hairline cracks in breast.

Provenance: James and Lyda Madden collection. (2,500 - 3,500)

411 Charles E. ‘Shang’ Wheeler (1872-1949), Stratford, Connecticut. Early hollow carved preening black duck. Very similar to the work of Albert Laing. Rig brand on the underside. Measures 14.5” long. Old in use repaint with moderate wear; filled crack at base of neck; half of the tail is an early replacement.

Provenance: James and Lyda Madden collection. (2,500 - 3,500)

Decoys from the Pacific Coast

Horace “Hi” Crandall

1892 - 1969 | Westwood, California

Crandall was born in Ashaway, Rhode Island in 1892. He spent his younger days on the east coast and moved to Benicia, California in 1917 where he took a job as a ferry boat engineer. His job was carrying trains across the Sacramento River before the bridges were built. He made his first decoys while in Benicia, but they were all lost in a fire. In 1931, he moved to Westwood, California on Lake Almanor where he eventually took a job with Red River Lumber Company. This is when he made the decoys that collectors covet the most. “Hi,” as he was known, began selling decoys locally through the San Francisco sporting goods stores including, Phillips Sporting Goods. He was even asked to display his carvings at the 1939 World’s Fair on Treasure Island in San Francisco Bay. Known mostly for his mallards and pintails, his greenwing teal have always been highly sought by collectors around the country.

412 Horace “Hi” Crandall (1892-1969), Westwood, California. Exceedingly rare preening mallard with deep relief wing carving and recessed area carved in back for the bill to fit in to. Measures 12.5” long. Original paint with minor gunning wear, mostly around edge of tail and raised wings; flaking to filler at neck seat; head is slightly loose.

Literature: “Decoys – A North American Survey” by Gene and Linda Kangas, page 271, exact decoy pictured. “Wildfowl Decoys of the Pacific Coast” by Michael R. Miller and Frederick W. Hanson, page 352, exact decoy pictured. (12,000 - 18,000)

413 Richard “Fresh Air Dick” Janson (1872-1951), Sonoma, California. Pair of canvasbacks with slightly turned heads and relief feather carving. Wooden skegs at underside of tails. Measure 15.25” long. Original paint with minor gunning wear; drake with small dents and shot marks; fine hairline cracks along the underside of hen; otherwise very good structurally. (5,000 - 8,000)

414 Richard “Fresh Air Dick” Janson (1872-1951), Sonoma, California. Pair of pintails with relief wingtip carving. Measure 16.5” and 17.25” long. Original paint with minor wear; coat of varnish has darkened slightly with age; each has a reset crack through the upper part of neck; minor chipping and roughness to raised wingtip feathers on drake. (2,500 - 3,500)

415 Amiel Garibaldi (1908-1993), Sacramento, California. Green wing teal hen and drake with slightly turned head, brass tack eyes, and relief wing carving. Measure 10” long. Hen in excellent original paint with very minor wear; a few small shot marks; drake in a mix of original and early in use touch up; hairline crack in neck. (1,200 - 1,800)

416 Amiel Garbaldi (1908-1993), Sacramento, California. Mallard hen and drake. Hen with relief wingtip carving and tucked head. Drake in high head pose. Measure 16.25” and 18” long. Hen is in original paint with minor flaking to a green base coat on bill; early coat of varnish on both with areas of missing varnish that show under black light; drake with moderate flaking and wear; head and neck with an early second coat of paint. (1,200 - 1,800)

417 Amiel Garbaldi (1908-1993), Sacramento, California. High neck pintail. Measures 17.5” long. Second coat of paint by the maker with minor flaking and wear; very good structurally. (1,000 - 1,400)

few small spots of touchup on one side; professional neck crack and bill repair.

(1,500 - 2,500)

(3,000 - 4,000)

418 Charles Bergman (1856-1946), Astoria, Oregon. Hollow carved mallard hen and drake. Scratch feather paint detail on hen. Measure 17” long. Original paint with moderate gunning wear; drake is lightly hit by shot; reset crack through hen’s neck; old coat of vanrish has darkened slightly with age.

419 Charles Bergman (1856-1946), Astoria, Oregon. Hollow carved pintail. Measures 20” long. Original paint with moderate wear; lightly hit by shot; a

420 Horace “Hi” Crandall (1892-1969), Westwood, California. Mallard hen with deep relief wing carving. ‘H’ carved on the underside. Measures 14.75” long. Mix of original paint and later restoration to areas of flaking; all under a coat of wax or varnish; early neck crack repair.

(2,000 - 3,000)

421 Horace “Hi” Crandall (1892-1969), Westwood, California. Pair of miniature mallards with tucked heads and relief wingtip carving. Measure 6” and 6.5” long. Excellent and original. (500 - 800)

422 Richard Janson (1872-1951), Sonoma Creek, California. Pintail drake with relief wing tip carving. Measures 18” long. Original paint with moderate gunning wear; shot scars. (800 - 1,200)

423 Unknown maker, California, 2nd quarter 20th century. Rigmate pair of bluebills. Both have a brass tag with “WGS” stamped in to it. Feather stamping and exaggerated bill carving. Measures 15” long. Original coat of thick paint with very light gunning wear; a few rubs and discoloration spots. (500 - 800)

A. Elmer Crowell

1862 - 1952 | East Harwich, Massachusetts

424 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Rare miniature flicker with dropped wingtips. Early style base with maker’s round ink stamp on the underside. Measures 2.5” long. Early professional restoration to the bill and upswept tail; otherwise excellent.

Provenance: Cunningham collection. (2,000 - 3,000)

425 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Pair of miniature mergansers in running pose with extended crests. Unmarked undersides are numbered 11 and 12 in pencil. Measures 4.75” and 6” long. Excellent and original. (2,500 - 3,500)

426 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature greenwing teal with extended crest. Maker’s rectangle stamp on the underside. Measures 4” long. Excellent and original. (1,200 - 1,800)

427 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature widgeon with split tail carving. Unmarked underside. Measures 3.75” long. Original paint under a thin coat of varnish has darkened slightly with age; excellent structurally. (1,200 - 1,800)

428 A. Elmer Crowell (1862-1952), East

Harwich, Massachusetts. Miniature long tail duck. Maker’s rectangle stamp and signature on the underside. Measures 4” long. Surface has darkened slightly with age; otherwise excellent and original. (1,000 - 1,400)

429 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature canvasback hen. Maker’s rectangle stamp and signature on the underside. Measures 4.5” long. Professional bill chip repair, otherwise excellent and original. (600 - 900)

430 A. Elmer Crowell (1862-1952), East Harwich, Massachusetts. Miniature Canada goose. Maker’s rectangle stamp on the underside. Measures 5.25” long. Excellent and original. (1,500 - 2,000)

431 Jess Blackstone (1909-1988), Concord, New Hampshire. Rare double mount of miniature Canada geese. One in feeding pose, and one with slightly turned head. Both with raised wingtips and detailed feather rasping. Identified and with the maker’s initials on the underside. The geese are numbered 161 and 162 on the underside of base. Measure 5.25” and 4.5” long, base measures 14.5” across. Spots of touchup around upright goose’s neck; otherwise excellent. (1,200 - 1,800)

432 Richard and Dorothy Kohler. Appealing pair of miniature dove with deep relief wing carving and extended wingtips. Signed by the makers on the underside. Measure 5.25” long. Original paint with minor flaking and paint rubs; surface has darkened with age; tiny chip at the tip of one tail. (600 - 900)

433 Charles Perdew (1874-1963), Henry, Illinois. Miniature raised wing mallard. Measures 5” long. Original paint protected under a thin coat of varnish; spots of touchup on tip of tail, around neck seat, and at filled puppy chews on tip of bill. (800 - 1,200)

434 Frank Adams (1871-1944), West Tisbury, Massachusetts. 10” long Canada goose paper weight with deep relief wing carving and original paper label on underside. Original paint with a few small flakes and rubs under an early coat of varnish that has darkened slightly. (300 - 500)

435 Harold Gibbs (1886-1970), Barrington, Rhode Island. Miniature pheasant with extended head feathers. Signed and dated 1964 on the underside. Measures 6” long. Very good and original. (500 - 800)

436 Russ Burr (1887-1955), Hingham, Massachusetts. Miniature flying woodcock with applied, outstretched wings and relief wing feather carving. Maker’s ink stamp on underside of base. Measures 2.75” long, with a 3” wingspan. Original paint with minor flaking on top of bill; chip in one wing was tightly reglued with some glue visible. (300 - 500)

Marty Collins

b. 1960 | Bridgewater, Massachusetts

Marty was born in Marshfield on the South Shore of Massachusetts, but the family soon relocated to Wareham at the very base of Cape Cod. As a young man, he could barely wait for classes to end at the local schools so he could rush home to begin another day of hunting, fishing and trapping in the local woods, fields, marshes and cranberry bogs. When time allowed, he and friends would expand their territory to include the deer woods of northern New England. He quickly gained a wealth of practical knowledge about the native flora and fauna which he continues to expand upon even to this day. With his high school days behind him, he worked in house carpentry, and then a stint with commercial fishing.

Marty’s first attempts at decoys were for his own use but, in 1984, local Middleboro carver Byron Bruffee Sr (1942 –2013) gave him a roughed-out decoy head and told him to try his hand at finishing it. He returned the very next day with a finely carved and painted head and his professional carving career was born. His first shop was a tiny building on busy Rt 6 in Buzzards Bay. Outgrowing that, he moved to a larger facility on the shore, where Buttermilk Bay empties into Buzzards Bay. This quickly became a sort of natural gathering place for all the local decoy and duck hunting fanatics who, daily, would form a steady

437 Martin D. Collins (b.1960), Bridgewater, Massachusetts. Rare loon in summer plumage. Slightly turned uplooking head. Solid body with deep relief wingtip carving and nice paint detail. ‘MD Collins’ branded on the underside, also dated 2024. Measures 30.25” long. Mint. (2,000 - 3,000)

stream of distractions for the carver. He finally shifted operations to a shop at his home in Bridgewater. Here, in the fall and winter, visitors are greeted with the smell and warmth of a wood fire in a setting reminiscent of a northern Maine camp.

Marty’s work emulates the tradition of the working decoys of the past and clearly shows the influence of the old New England masters. The work of Crowell, and especially Joe Lincoln, along with a healthy dose of the classic Maine carvers, is evident in his carvings. He uses these mentors as inspiration, but the carvings are clearly his work and his alone. In addition to ducks, geese and shorebirds, Marty also creates an astonishing array of minis, fish, and a line of fine duck calls.

He is a regular at a number of the annual decoy shows and has been featured in articles in both Decoy Magazine and Hunting and Fishing Collectibles Magazine. He is included in Loy Harrell’s “Decoys – Sixty Living and Outstanding North American Carvers”. Today, Marty is justly considered one of the preeminent contemporary carvers in America.

437a Martin D. Collins (b.1960), Bridgewater, Massachusetts. Oversized cork body Canada goose with slightly turned head and deep relief wing carving. Painting of a goose’s head by the maker on the underside of bottom board. Also with the maker’s oval brand and brass tag. “My First Cork Goose” and dated 1993 on the underside. Measures 35.5” long and 18” wide Excellent and original. (1,200 - 1,800)

438 Martin D. Collins (b.1960), Bridgewater, Massachusetts.

Hollow carved pair of red breasted mergansers. Hen in swimming pose, drake in back preening pose. Both with carved, extended crest and relief wing carving. ‘MD Collins’ branded on the underside, also dated 2024. Measure 21.5” and 17.5” long. Mint. (1,000 - 1,400)

439 Martin D. Collins (b.1960), Bridgewater, Massachusetts.

Hollow carved long-tailed duck with slightly turned, uplooking head pose. Relief wing carving and extended tail sprig. ‘MD Collins’ branded on the underside. Also dated 2024. Measures 16.5” long. Excellent and original.

(600 - 900)

440 Martin D. Collins (b.1960), Bridgewater, Massachusetts. Standing back reaching black duck in the style of Elmer Crowell. Carved mounted base with Marty Collins brand on underside. Stands 11.5” tall. Excellent in all respects.

Provenance: Cunningham collection (800 - 1,200)

441 Martin D. Collins (b.1960), Bridgewater, Massachusetts. Oversized hollow black duck with tucked head and wooden keel. Scratch feather paint detail on head. Relief tail feather carving and Elmer Crowell style chip carving around tail area. Maker’s oval brand twice on the underside. Measures 17.5” long. Excellent and original. (800 - 1,200)

442 Martin D. Collins (b.1960), Bridgewater, Massachusetts. Hollow carved greenwing teal hen with relief wingtip carving and slightly turned head. Maker’s oval brand and signature on the underside. ‘OCT 1996’ stamped in to lead weight. Measures 10” long. Excellent and original. (500 - 800)

443 Martin D. Collins (b.1960), Bridgewater, Massachusetts. Canvasback drake. Hollow construction with turned head. Feather combing on back. Signed and dated 2019 on underside. Measures 17” long. Excellent in all respecets.

Provenance: Cunningham collection (600 - 900)

444 Martin D. Collins (b.1960), Bridgewater, Massachusetts. Hollow carved black duck with deep relief wing carving and carved eyes. Feather gouging between raised wing tips. ‘MDC’ carved into lead weight. Measures 17.5” long. Excellent and original.

Provenance: Cunningham collection. (600 - 900)

445 Martin D. Collins (b.1960), Bridgewater, Massachusetts. Carved pumpkin seed fish on driftwood base. Deep relief gill and eye carving. Inserted metal fins. Excellent paint detail. Maker’s ink stamp on one side of base. Fish measures 6.25” long. Excellent and original. (500 - 800)

446 Martin D. Collins (b.1960), Bridgewater, Massachusetts. Plump yellowlegs with removable inlet neck seat. Deep relief wing carving and brass stick hole inset. ‘MDC’ painted near stick hole. Measures 11” long. Very good and original. (500 - 800)

447 Martin D. Collins (b.1960), Bridgewater, Massachusetts. Curlew with relief wing carving. ‘MDC’ painted near stick hole. Measures 13.5” long. Two very minor shallow dents in one side of head, otherwise excellent. (500 - 800)

448 Martin D. Collins (b.1960), Bridgewater, Massachusetts. Turned head plover with brass tack eyes and split tail carving. ‘MDC’ carved near stick hole. Stick hole has brass inset. Measures 10.75” long. Excellent and original. (500 - 800)

449 William Hanemann (b.1947), New Orleans, Lousiana. Preening pintail in the style of Mitchell Lafrance with deep relief wing carving and upswept tail. Measures 13.25” long. Original paint with minor wear; dent on one wing; some flaking to filler at defect in wood on the underside; repair to a chip at the tip of tail. (800 - 1,200)

450 Mitchell Lafrance (1882-1979), New Orleans, Louisiana. Swimming mallard hen with relief wing carving and scratch feather paint detail. Measures 18.25” long. Body by Lafrance was reheaded and the paint restored by William Henniman. (800 - 1,200)

451 William Hanemann (b.1978), New Orleans, Louisiana. High-head pintail in the style of Nicole Vidacovitch. Relief wing carving and elongated tail. Signed on the underside. Measures 19.25” long. Made to appear older with wear and dents; very good and original.

Provenance: James and Lyda Madden collection. (500 - 800)

452 Contemporary Louisiana Preening bluewing teal hen in the style of Clovis Vizier. Relief wing carving and raised wingtips. Incised wing and tail feather carving. Measures 8.75” long. Original paint with minor flaking and wear; significant flaking to the light blue of wing patches; dents and roughness on underside where weight was removed; tight crack on one side of neck seat. (600 - 900)

453 Russell Martin, Jr., Chauvin, Louisiana. Two 1/2 size mute swans. One with wing raised off of body. Both with turned heads. Both are signed on the underside. Swan with raised wing is dated 2016, the other 2011. Measure 17” and 17.5” long. A few tiny dents and paint rubs, otherwise excellent and original.

Provenance: Roger and Carolyn Bourgeois collection. (3,000 - 5,000)

454 Roy Legaux, Sr., St. Bernard Louisiana. Pair of shoveler with deep relief wingtip carving. Both in tucked head pose, hen’s head turned almost 90 degrees. Signed on the underside. Measure 12.5” and 14” long. Drake is excellent and original; hen with hairline separation and minor flaking at neck seat. (600 - 900)

455 Roy Legaux, Sr., St. Bernard Louisiana. Mallard with slightly turned head and raised wingtips. Relief tail feather carving and carved wooden tail curl. Signed on the underside. Measures 15.25” long. Near mint. (400 - 600)

456 Roy Legaux, Sr., St. Bernard Louisiana. Pair of canvasbacks with slightly turned heads and relief wingtip carving. Signed on the underside. Measure 15” long. Excellent and original. (500 - 800)

459 Oscar Peterson (1887-1951), Cadillac, Michigan. Pike fish decoy with tack eyes. Measures 9.5” x 1.5” tall x 1” wide. Original paint with some crazing; small areas of flaking to bare wood; a dot and small black line on one side probably added while in the Peterson shop; repair to a small portion of lower end of tail.

(2,500 - 3,500)

460 Oscar Peterson (1887-1951), Cadillac, Michigan. Unusual sucker fish decoy with tack eyes and red and yellow lines extending from top of gill plate. Measures 6.5” x 1.1” tall x .75” wide. Original paint protected by a coat of varnish; small area of paint loss at fins and belly weights. (800 - 1,200)

461 Oscar Peterson (1887-1951), Cadillac, Michigan. Brown trout fish decoy with tack eyes. Measures 7” x 1” x .25”. Strong original paint protected by a light coat of varnish; paint loss at belly weight. (1,200 - 1,800)

462 Oscar Peterson (1887-1951), Cadillac, Michigan. Pike fish decoy with tack eyes. Measures 7” x 1” x 5/8”. Original paint protected by a coat of varnish; paint loss at belly weight.

(800 - 1,200)

463 Oscar Peterson (1887-1951), Cadillac, Michigan. Brook trout fish decoy with unusual orange eyelash and stripe at tail. Also has so called “cut gill” carving. Measures 8” x 1.25” x .75”. Strong original paint protected by a coat of varnish; paint loss at belly weight. (1,000 - 1,500)

464 Oscar Peterson (1887-1951), Cadillac, Michigan. Perch fish decoy with tack eyes. Measures 5.5” long x 1” tall x .5” wide. Excellent original paint proteced by a coat of varnish; small amount of paint loss at fins and belly weight. (800 - 1,200)

465 Oscar Peterson (1887-1951), Cadillac, Michigan. Walleye fish decoy with carved eyes. Measures 7” x 2.25” x .75” Original paint protected by a coat of varnish; flaking to bare wood in some places.

(600 - 800)

466 Oscar Peterson (1887-1951), Cadillac, Michigan. Perch fish decoy with painted tack eyes. Measures 7” x 1.25” x .75”. Original paint protected by a coat of varnish; some paint loss at fins; rough area at end of tail and one side of face.

(800 - 1,200)

467 Leroy Howell, Hinkley, Minnesota. Early style flower fish. Natural sides with black and white dots. Measures 7” long. Original paint with some stained areas and paint loss mostly on fins.

(1,000 - 1,500)

468 Frog fish decoy, possibly Michigan or Minnesota. Appears to be circa 1920. Measures 5” long. Original blue paint over a red primer; crazing and some discoloration, otherwise good.

(500 - 800)

469 Leroy Howell, Hinkley, Minnesota. Three fish decoys. Two red and white suckers and one black and white sucker. Measure 7.5” long. One sucker retains what appears to be original price .10 cent on underside. All three are in original paint; light coat of varnish has mellowed slightly; light bending at back wings on suckers and tail of black and white.

(800 - 1,200)

470 Unknown maker and area, probably Minnesota. Three frog decoys with metal fins. One has bead eyes. Longest measures 6”. All three in original paint; probably made as contemporary decoration but appear to have age dating possibly back to 1970 or so.

(400 - 600)

Mason Decoy Factory

1896 - 1924 | Detroit, Michigan

Michigan. Rare and outstanding rigmate pair of pintails. Painted eye models. Measure 15.5” long. Dry original paint with very minor wear; hen is near mint including 100% of the original neck filler; drake with minor discoloration and small paint flake from the original neck filler. (5,000 - 7,000)

Michigan. Outstanding rigmate pair of canvasbacks. Painted eye models with long bodies. Measure 15.75” long. Dry original paint with very minor wear; some discoloration from age; drake retains 100% of its original neck filler; hen with very slight separation at neck seat with 50% of the original neck filler and some later restored neck filler with flaking; depression on one side of hen at a small knot. (2,000 - 3,000)

472A Mason Decoy Factory (1896-1924), Detroit, Michigan. Hollow carved premier grade black duck with extensive feather loop detail. Premier ink stamp on the underside. Measures 17.5” long. Excellent original paint with very minor rubs; small professional tail chip repair; small chip on underside near breast; small amount of touchup to chipping on one lower edge.

(3,500 - 5,500)

473 Mason Decoy Factory (1896-1924), Detroit, Michigan. Early two-piece whimbrel with glass eyes and iron bill. Measures 16.75” long. Original paint with minor flaking and wear; heavily hit by shot; some filler and touchup around neck seat; most of the face and the bill has been professionally restored.

Provenance: David Fannon collection.

(6,000 - 9,000)

474 Mason Decoy Factory (1896-1924), Detroit, Michigan. Yellowlegs with glass eyes and wooden bill. Measures 13.25” long. Original paint with minor wear; small spots of discoloration; round dents on each side of head and one side of body; bill is a professional replacement.

Provenance: Alan and Elaine Haid collection.

Literature: “Top of the line Hunting Collectibles” by Donna Tonelli, page 121, exact decoy pictured. (2,000 - 3,000)

475 Dodge Decoy Factory (1883-1893), Detroit, Michigan. Dowitcher with iron bill and tack eyes. Mackey stamp on underside. Measures 12” long. Original paint with very light gunning wear. (2,000 - 2,500)

476 Mason Decoy Factory (1896-1924), Detroit, Michigan.

Rare premier grade swan with applied relief carved bill. Charlie Hunter collection tag on underside. Measures 30.5” long. Old in use repaint with moderate flaking and wear; tight drying cracks in back; larger split along the underside; multiple dents and shot marks; separation where bill meets face; much of the tail has been professionally restored.

Provenance: Charlie Hunter III collection. Gene and Linda Kangas collection. (4,000 - 6,000)

Mason Decoy Factory (1896-1924), Detroit, Michigan. Bluewing teal hen. Challenge grade with snakey head. Measures 12” long. Original paint that has darkened with age; minor flaking and wear; reglued chip in tail with some roughness in that area; tight neck crack repair; minor roughness at neck seat; separation at a knot near one wing patch.

(2,500 - 3,500)

478 Mason Decoy Factory (1896-1924), Detroit, Michigan. Challenge grade brant. Measures 19.5” long. Original paint with very minor wear; professional neck crack repair has opened slightly; hairline crack in top and back of head. (4,000 - 6,000)

477

477

478

479 Mason Decoy Factory (18961924), Detroit, Michigan. Rigmate pair of canvasbacks with ‘AHK’ branded on the undersides. Premier grade, Seneca Lake models. Measure 16.5” long. Original paint with minor to moderate gunning wear; drying cracks along the underside; lightly hit by shot.

(3,000 - 4,000)

480 Mason Decoy Factory (18961924), Detroit, Michigan. Hollow carved mallard hen. Challenge grade with snakey head style. ‘DS’ branded on the underside. Measures 17” long. Original paint with minor flaking and wear, mostly on center of back; old tail chips and thin chips on both sides of neck seat.

(800 - 1,200)

481 Mason Decoy Factory (18961924), Detroit, Michigan. Greenwing teal hen, 1st quarter 20th century. Premier grade with “Manning” brand on underside. Measures 12.5” long. Strong original paint with light gunning wear; rubs to bare wood around neck seat, bill, and top of back and sides; neck filler is missing. (3,000 - 5,000)

482 Mason Decoy Factory (1896-1924), Detroit, Michigan. Early pintail drake with slightly turned head. Hollow carved, premier grade with early head style. Measures 18” long. Mix of original and professionally restored paint with moderate discoloration and wear; tail was cracked off and professionally reset by Russ Allen; chip in one side of lower breast. (3,000 - 4,000)

483 Mason Decoy Factory (1896-1924), Detroit, Michigan. Early redhead with slightly turned head. Hollow carved Premier grade. Measures 15” long. Original paint with moderate gunning wear; minor separation and a small chip in neck seat; professional repair to a chip in one side of bill. (800 - 1,200)

482

483

484 Mason Decoy Factory (18961924), Detroit, Michigan. Bluebill hen. Hollow carved premier grade. ‘FC’ branded in the underside. Measures 15” long. Original paint with moderate discoloration and minor wear; small dents in body; some flaking at neck seat with small amount of glue visible; one eye is replaced. (1,200 - 1,800)

485 Mason Decoy Factory (18961924), Detroit, Michigan. Canada goose. Premier grade. Measures 24” long. Mix of original and restored paint with moderate flaking and wear; filled splits; professional neck and bill repairs. (3,000 - 5,000)

486 Mason Decoy Factory (18961924), Detroit, Michigan. Standard grade greenwing teal with glass eyes. ‘E.A.W.’ painted on the underside. Measures 12.75” long. Original paint with minor flaking and wear; old chip and roughness on tail; hairline crack along the back; most of the neck filler is missing. (800 - 1,200)

484 485

487

488

Mason Decoy Factory (1896-1924), Detroit, Michigan. Very rare greenwing teal drake. Challenge grade with snakey head style. Measures 12.5” long. Original paint with moderate gunning wear under a thick coat of varnish; small dents and shot marks; roughness around neck seat with small amount of glue visible. (3,000 - 5,000)

489

Mason Decoy Factory (1896-1924), Detroit, Michigan. Mallard drake. Challenge grade with snakey head style. ‘X’ carved on underside of tail. Measures 16.5” long. Original paint with minor flaking and wear; lightly hit by shot; tight drying crack along the underside; professional tail chip and neck filler restoration; tight drying crack along one side of head. (600 - 900)

Mason Decoy Factory (1896-1924), Detroit, Michigan. Pintail drake. Standard grade glass eye model. ‘AA’ carved in the underside. Measures 16.5” long. Original paint with moderate wear under an old coat of varnish that has darkened with age; crack along the underside with a small chip under tail area; lightly hit by shot; minor roughness on edge of bill; cracks and chipping to the original neck filler; one eye is an old replacement. (600 - 900)

490 Mason Decoy Factory (1896-1924), Detroit, Michigan. Rare low head bluebill hen. Challenge grade with incised bill carving. Measures 14.5” long. Over paint was taken down to much of the original surface; some paint restoration to wing patches; roughness on edge of bill; in factory filled split on the underside has opened slightly. (1,000 - 1,500)

491 Dodge Decoy Factory (18721883), Detroit, Michigan. Widgeon drake with tack eyes and slightly turned head. Measures 14” long. Original paint; partial neck filler missing; paint missing at knot in back around edge of tail; some flaking areas at breast; underside was shaved slightly when weight was removed. (1,500 - 2,000)

492 Dodge Decoy Factory (18831893), Detroit, Michigan. Mallard with slightly turned head and tack eyes. Measures 15” long. Original paint with very minor wear protected under a thick coat of varnish that has darkened with age; tight drying crack in back; neck filler appears to be original. (800 - 1,200)

493 Petersen Decoy Factory (18731884), Detroit, Michigan. Widgeon hen with tack eyes. Measures 13.5” long. Original paint with some neck filler missing; rough area with wood missing at end and underside of bill; top of head has been shaved flat; light gunning wear with a few small areas of paint loss. (800 - 1,200)

Benjamin Schmidt (1884-1968), Detroit, Michigan. Rare hooded merganser with slightly turned head. Signed and dated 1963 on the underside. Carved speculums and wingtips. 13.5” long. Very good and original.

(3,000 - 4,000)

493b Benjamin Schmidt (1884-1968), Detroit, Michigan. Canada goose, 2nd - 3rd quarter. Slightly turned head. Body appears slightly hollow, made from 3 pieces of laminated wood. Measures 25” long. Strong original paint on most of body; white area under tail and around front of breast appears to have been cleaned; some shot marks on one side of head; small chip missing from top of tail.

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

493a

493b

493a

493c Benjamin Schmidt (1884-1968), Detroit, Michigan. Pintail hen, 2nd - 3rd quarter 20th century. Highly detailed feather stamping. Measures 16” long. Excellent and original.

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

493d Benjamin Schmidt (1884-1968), Detroit, Michigan. Widgeon drake. Stamped “FB” for Frank Buck on underside. Keel has been removed. Heavy feather stamping over entire body. Original paint with very light gunning wear. Measures 16” long.

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

493e Benjamin Schmidt (1884-1968), Detroit, Michigan. Canada goose, 2nd quarter 20th century. An early smaller body example. Slightly hollowed with bottom board. Good shoulder relief carving. Measures 22” long. Strong original paint; with nine small gouges to the wood; very slight crazing and paint shows nice age; keel was never attached to underside.

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

493c

493d

493e

493f Benjamin Schmidt (1884-1968), Detroit, Michigan. Mallard hen, 3rd quarter 20th century. Slightly turned head. Wide body. Measures 17” long. Strong original paint with light gunning wear.

Provenance: Aikin collection.

(600 - 800)

493g Benjamin Schmidt (1884-1968), Detroit, Michigan. Widgeon, 1st or 2nd quartet 20th century. One of Schmidt’s earlier decoys with simplified carving, low profile body. A blacklight reveals that Joe French once owned this decoy and id’ed it as his property by leaving his initials on underside in blacklight pen. Someone also wrote Frank Schmidt on underside which is not accurate, it is a very early Ben Schmidt. Measures 16” long. Original paint that has darkened slightly; moderate to light wear from gunning; two tight cracks and couple small areas of paint loss.

Provenance: Aikin collection.

(1,500 - 2,500)

493h Benjamin Schmidt (1884-1968), Detroit, Michigan. Redhead hen. Signed and dated 1964 on underside. A slight turned head. Measures 14.5” long. Very strong original paint; unused

Provenance: Aikin collection.

(400 - 600)

493i Benjamin Schmidt (1884-1968), Detroit, Michigan. Circa 1940. Rare hollow mallard drake. Keel has been removed. Measures 17” long. Original paint with very light gunning wear.

Provenance: Aikin collection.

(1,000 - 1,500)

493j Benjamin Schmidt (1884-1968), Detroit, Michigan. Black duck, 2nd quarter 20th century. Slightly turned head. An earlier style model with lower profile keel and simple wing carving.

Measures 17.5” long. Original paint; tight crack in back; shot scars, mostly on one side; a few small paint smudges of gray.

Provenance: Aikin collection.

(500 - 800)

493k Benjamin Schmidt (1884-1968), Detroit, Michigan. Black duck, 2nd-3rd quarter 20th century. With a shapely tall body and head that is slightly reared back. Measures 16.5” long Excellent and original.

Provenance: Aikin collection.

(600 - 800)

493L Benjamin Schmidt (1884-1968), Detroit, Michigan. Circa 1950. Coot. Branded “WWW” numerous times on underside. Measures 14” long. Light gunning wear; original paint with light gunning wear.

Provenance: Aikin collection.

(300 - 500)

493i

493k

493j

493L

494 Harvey Stevens (1847-1894), Weedsport, New York. Rare bufflehead with glass eyes, round inlet lead weight, and inlet line tie staple. Measures 12.5” long. Strong original paint with a few shot scars and moderate flaking and wear on underside; smaller area at top of one side of back where wood is exposed; minor roughness on tip of bill and some separation at a small knot on underside near tail; head swivels as it should.

Provenance: Mike and Ginger Raffia collection. (6,000 - 9,000)

498

Canada goose field decoy, attributed to M. Leo Lamothe, Canada. Relief wing carving and reared back head. Stick hole drilled in underside. Measures 22.5” long. Thick original paint under an old coat of varnish with minor gunning wear; minor roughness on edge of tail; tight drying cracks in body; in the making filled split in breast and one side; area of paint flaking near stick hole on underside; head was off and reset.

Provenance: Charlie Hunter, III collection. Purchased at a Decoys Unlimited auction in 1988. (2,000 - 4,000)

499 John Ramsey (1858-1934), Summerside, Prince Edward Island. Breast preening brant with iron legs and tack eyes. Measures 19” long, stands 20.5” tall. Early in use repaint with moderate flaking and wear; old metal patch on one side of neck to secure cracks in neck.

Provenance: Gene and Linda Kangas collection.

Literature: “Decoys – A North American Survey” by Gene and Linda Kangas, page 125, exact decoy pictured.

(4,000 - 6,000)

500 Unknown maker, early 20th century, Prince Edward Island, Canada. Running stickup brant with iron leg. Head is cocked to one side. ‘BT8’ stamped in the underside. Measures 21.5” long, stands 23” tall including base. Old in use repaint; moderate to significant flaking and wear; multiple dents and shot marks; drying crack along the underside; small chips at neck seat.

Provenance: Gene and Linda Kangas collection. (1,000 - 1,500)

501 Unknown maker, Nova Scotia. Two long tail duck drakes. Longest measure 13”. Both in original paint that has worn to bare wood over much of bodies; crack in underside and neck of smaller duck; crack to one side of head in larger.

(500 - 700)

502 Henry Laviollette, Verdun, Quebec. Bluebill hen with fine relief carving on back and tail. Two piece body. Export stamp on underside, dated 1969. Measures 15” long. Original paint with some crazing on white area along side; small flakes and chips from light gunning wear. (800 - 1,200)

503 Henry Laviollette, Verdun, Quebec. Bluebill drake. Measures 15” long. Original paint protected by a coat of varnish. (500 - 800)

504 Achilles Hart (1902-1962), St. Anicet, Quebec. Goldeneye with deep relief wingtip carving and feather rasping throughout. Measures 14” long. Original paint with minor gunning wear; lightly hit by shot; hairline crack in one side of neck seat; some filler and touchup to a small chip at the underside of bill tip. (700 - 1,000)

505 Thomas Chambers (1860-1948), Toronto, Ontario. Hollow carved redhead. Branded ‘B.S.Warren’. Measures 15.5” long. Original paint with minor wear; heavily hit by shot; eyes are later replacements.

(1,000 - 1,400)

506 James Barr, Ontario. Redhead drake. Hollow carved with .25” bottom board. Measures 14.5” long. Original paint with moderate gunning wear; small areas exposed to bare wood; a few shot scars.

(500 - 800)

507 William ‘Buck’ Crawford (1897-1958), Smiths Falls, Ontario. Classically carved bluebill drake with slightly turned head. Retaining the original swing weight. ‘WJC’ branded in underside. Heavy decorative carving on wings and back. Measures 12.75” long. Original paint protected by an old coat of varnish that has darkened; flaking evenly dispersed over body and head; tight crack in neck. (800 - 1,200)

508 Unknown maker, 20th century, Ontario, Canada. Pair of hollow carved bufflehead. Measure 10.5” long. Original paint with moderate wear; drake’s head is slightly loose; hen with hairline crack around neck seat and old repairs to cracks in the bill, neck, and head; filler added to a chip on top of head that has flaked some.

(600 - 900)

509 David Nichols (1859-1949), Smiths Falls, Ontario. Rigmate pair of American mergansers. Old Oliver sticker on underside. Hen has feather stamping behind carved raised wings. Hen’s head is slightly turned. Measures 17” long. Both are in strong original paint; good and original. (1,500 - 2,500)

510 David Nichols (1859-1949), Smiths Falls, Ontario. Early working pair of redheads with relief wing carving and comb feather paint detail. Both are stamped ‘OCOX’ on the undersides. Measure 15” long. Original paint with moderate flaking and wear; small dents and shot marks; some roughness on the edge of both bills; tight crack in hen’s neck. (500 - 800)

511 Ken Anger (1905-1961), Dunnville, Ontario. Pair of bluebills. Measures 14” long. Both show very light gunning wear; hen had a keel removed with the underside repainted; drip on underside about 1” long came up on side under tail, otherwise good and original. (400 - 600)

512 Clyde Edwards, Barrington Passage, Nova Scotia. Hollow carved black duck with bottom board and slightly turned head. Measures 16” long. Strong original paint with areas worn to primer and bare wood around edges of bill and tail; small spot of filler missing under one eye.

Provenance: Retains Julia & Guyette auction sticker. (800 - 1,000)

Joseph Romuald “Bernier the Lumberman” Bernier

1873 - 1952 | Biddeford, Maine

For many years, the work of a folk carver from the coast of Maine was known to American collectors. His identity, however, was basically unknown, and he was simply referred to as “Bernier the Lumberman”. This label was based on oral history which claimed that the carver was a poor Canadian laborer who was crippled when a tree fell on him, breaking his back, while he was working as a lumberjack.

He first appears in the literature when, in 1974, Richard Bishop gave him a brief mention in his “American Folk Sculpture”. His history was finally pieced together by Leslie Rounds and Jessica Routhier of the Saco Museum in Saco, ME. when they published his life story in the 2010 summer edition of “The Magazine Antiques”.

Born in Sainte Henedine, Canada near Quebec, he lists his date of immigration to the United States on various

census records as occurring sometime between 1889 and 1893. In 1894, he married his first wife, Georgiana Turgeon, in Biddeford, and they both listed their occupations as “operative” meaning simply, laborer (usually in a mill) . He would continue to list that as his means of making a living through the 1908 record of the birth of his 8th child. After the birth of his 9th child, Georgiana died, and in 1912, he married his second wife, Athenaise. In 1910, he was living with his brotherin-law and working as a “molder in a foundry”. The injury to his back (“lumberjack or otherwise) may have occurred at, or just before 1920 for in that year, a Joseph Bernier matching his age and country of origin appears as a patient at the State Hospital in Augusta, Maine. This cannot be taken as a certainty however, because he appears in the 1921 Biddeford Directory as a day laborer. What does appear to be certain is that by 1923, he is listed as “cripple”.

The family remembers him as carving constantly, using whatever wood he could get his hands on. Most of his work was relatively small, although larger pieces are known. It is believed that he offered these for sale “on the street”, probably in front of his home. Some early pieces are marked with what must be assumed to be the price, with one small peacock being labeled “10 cents”. The family remembers that he carved at least two large eagles, one of which was displayed on a car hood in a 1936 Biddeford parade.

Bernier is buried in an unmarked grave in the St Joseph’s Cemetery in Biddeford.

514 Joseph Romauld Bernier (1873-1952), Biddeford, Maine. Carved eagle with glass eyes and open beak sitting atop a painted multi-colored base. Deep relief feather carving. Wingspan measuring nearly 45”, stands 26” tall. Thick original paint that has crazed evenly to an appealing aged surface; some cracks and flaking to an original primer coat. (18,000 - 22,000)

(4,000 - 6,000)

515 Handmade replica of the Budweiser Clydesdale horses and wagon. Complete with driver and dalmatian. Eight individually carved Clydesdales with full tack. When assembled measures approximately 10’ long. Made by Harry O’Cochran (1890-1958), Laporte County, Indiana, circa 1950. Each horse is carved and painted wood and in a unique walking pose, complete with tied manes. Handmade leather tack. All are structurally good; some of the leather tack is fragile and is broken; there are more parts available for the complete setup than pictured.

Bronze Sculptures

H. Kreg Harrison (b.1963). Bronze sculpture of a hunter returning from a successful turkey hunt. Signed, dated 2001 and numbered 5/21 on side of base. Stands 26.25” tall. Excellent and original. (1,000 - 1,400)

517 Michael Hamby (b.1962). Bronze sculpture titled “The Mountain Man”. On original hardwood base. Marked ‘Hambry 1993’. Also numbered 3/31 AP for Artist Proof. Stands 25” tall including base. A few minor scuffs and scratches to base otherwise; excellent and original. (1,200 - 1,800)

516

516

517

518 Samuel Wisnom (late 20th century), Arizona. Bronze of elk and wolf titled ‘Wapiti - North American Elk’ with maker’s name on brass plaque on base. Bronze is dated 1987 and numbered 6/30. Turntable mechanism allows the hardwood base to rotate. Measures 14.5” long. Very good and original. (1,000 - 1,400)

519 David H. Turner (b.1961), Onley, Virginia. Two bronze canvasbacks. Both are signed and dated ‘06. From a series of 300. Measure 8.25” long. Excellent and original.

(500 - 800)

520 Turner Foundry, Onley, Virginia. Hollow cast bronze model of an Ira Hudson pintail. Cast at the Turner Foundry but is unmarked. Measures 19” long. Excellent and original. (400 - 600)

521 Cast brass copy of a Ward Brothers pintail. Part of a limited series, which was personally signed by Steve Ward. Reads on underside “Lem - Steve Ward Brothers Crisfield, Maryland 1941.” Measures 17” long. Old surface with some verdigris starting; structurally good.

Provenance: Given to Oliver Lawson by Steve Ward. Purchased from Oliver Lawson by the consignor. (800 - 1,200)

518

520

519

521

Ernest “Popeye” Reed

Ernest ““Popeye” Reed was born in Jackson County, Ohio of both Irish and Native American heritages. He quit school after 8th grade and left home at 14 but stayed in the area and found his way eventually as a furniture maker. By then he was 40 and he was earning a living as an artist. He carved and did demonstrations at flea markets and county fairs. His name, which he preferred to be called “Popeye”, came from his bulging arms strengthened by his stone carving. His preference was sandstone although he did work in limestone and wood. Mythological books, ancient culture, the Bible, angels,

and Indians were a source of inspiration for his work which varied in sizes from very small to life size. Though he never achieved great fame after being featured in a 1980 Folk Art from Ohio collection, one of his testaments to the quality and depth of Popeye’s work is the number of excellent dealers who have handled and marketed his work. Popeye Reed’s work is included in many museums including the American Folk Art Museum, Smithsonian American Art Museum, High Museum of Art, and the Columbus Museum of Art.

Source: Michel Noland for Antiques and Fine Art Magazine (2007)

Ernest “Popeye” Reed (1919 - 1985), Ohio. Rare white sandstone carving of an Indian with headdress riding the back of an eagle. Signed “E Reed” on underside. Measures 13” tall. Structurally good. (3,500 - 5,500)

523 Ernest “Popeye” Reed (1919 - 1985), Ohio. Rare white sandstone of a goddess with orb and serpent wrapped around lower half of body. Signed “E Reed” on the back. Stands 12” tall. Very good and original. (2,500 - 3,500)

522

523

522

524 Impressive handmade steam boat, named Del Monte. With the boat’s named prominently displayed in four areas. Mostly light colored stain with varnish; small areas of painted surface. Appears to be remnants of an American flag at the bow pole. Most rigging remains intact. Measures 32” in length, 24” tall on personalized base. (500 - 1,000)

525 Lloyd Cargile (b.1938), Baltimore, Maryland. Carved bird tree with six birds. Two of the birds have heads turned 90 degrees, and one in preening pose. All with raised wingtips. Signed and dated 2023 on the underside. Birds measure 3.75” long, tree stands 12” tall. Excellent and original. (1,500 - 2,500)

526 Cast iron and sheet metal index horse, Rochester Iron Works Factory, last quarter 19th century. Measures 24” in length, 19” tall. Weighs approximately 25 lbs. Some very tight cracks to surface behind right front leg; repair at tail and to one side of body behind left shoulder; what appears to be plaster repair to tail and left shoulder. (5,000 - 8,000)

527 Horse weathervane in the form of Smuggler. Cast zinc head, full body copper. Surface has probably had color added but it remains a nice decoration mounted to wooden base. Measures 36” long. (500 - 800)

524

526

525

527

528 Unknown maker, early 20th century. Decorative calling Clark’s will widow on natural wood perch. Open mouth with applied carved tongue. Relief wing and tail feather carving, with wingtips raised and crossed off of body. Measures 10.5” long. Original paint under an early coat of varnish that has darkened slightly; a few tiny dents; some paint flaking above each eye.

Provenance: Al Marzorini collection. (1,200 - 1,800)

529 Inuit kayak model. With carved man and multiple whaling tools strapped to his boat. Measures 20” long. Moderate flaking and wear to boat; small amount of loss to canvas near bow. (600 - 900)

530 Folk art hooked rug early 20th century. With flying mallards. Similar in style to those by Grenfell Labrador Industries. Measures 25” x 41.5” Colors are slightly faded from age and use; some separations to weave. (200 - 300)

531 Vintage painted wooden sign with relief carved letters. Measures 32” x 48”. Made from five boards. Original paint that has flaked to bare wood; black letters have been strengthened at some point; probably circa 1950. (500 - 1,000)

528

531

530

Abercrombie & Fitch

New York, New York

In its early years, the firm of Abercrombie and Fitch represented everything that was desirable and opulent in the sporting world. Founded in a small waterfront shop on the outskirts of Manhattan in 1892 by miner and trapper David Abercrombie, it quickly gained fame for its wide variety of expensive and often exotic sporting equipment and accessories, ranging from tennis shoes to elephant guns. One of its earliest customers was wealthy New York sportsman and attorney, Ezra Fitch, who was so fond of the company that, in 1900, he purchased a major share and became co-founder. Unfortunately, the two men had differing visions for the firm, Abercrombie wishing to continue to focus on gear while Fitch wanted to expand into a wider line of merchandise, including apparel for woman. In 1907 the frequent quarrels resulted in Abercrombie selling his share to Fitch who became sole owner.

In 1909, Fitch almost bankrupted the company when he produced 50,000 copies of an expensive ($1.00 each) 456-page catalog of clothing and outdoor equipment which was mailed worldwide. The gamble proved highly successful, and A&F began a period of growth including a series of address changes moving ever closer and closer to the heart of downtown Manhattan. In 1917, the company moved into a building at the corner of Madison Avenue and East 45th Street with the business occupying all 12 floors of the structure. The Madison Avenue location included many different amenities. The basement housed a shooting range, while on the main floor, paraphernalia for skiing, archery, free diving, and lawn games were sold. The second through fifth floors were reserved for clothing that was suitable for different climate or terrains. On the sixth floor were a picture gallery, a bookstore (focused on sporting themes), a watch repair facility and a golf school (fully equipped with a resident professional). The seventh floor included a gun room with hundreds of shotguns and rifles, decorated with stuffed game heads, as well as a kennel

for dogs and cats. The eighth floor contained fishing, camping, and boating equipment and included a desk for a fly- and bait-casting instructor who gave lessons at the pool, which was located on the roof. The fishing section alone was stocked with over 48,000 flies and over 18,000 fishing lures. The roof was also the location of a luxuriously furnished, full size log cabin, which Fitch utilized as his private townhouse.

Ultimately, the company would expand by purchasing other similar or related firms such as VL&A in Chicago. Its name and prestige drew the attention of numerous notable sportsmen and adventurers of the day such as Presidents Theodore Roosevelt, and William Taft, Earnest Hemingway, Charles Linburg, Amelia Earhart and Admiral Richard Byrd. By 1939, A&F was calling itself “The Greatest Sporting Goods Store in the World”. For more than half a century, the store’s apparel, guns, tackle, and other merchandise, represented the epitome of the proper sporting image, inspiring the American humorist Ed Zern to lampoon a perfectly accoutered angler as an “Abercrombie and Fitcherman”.

The company continues to exist today but with only a passing nod to its once rich outdoor heritage.

David Abercrombie (l) and Ezra Fitch (r)

Madison Ave interior c1913

1909 A&F catalog

531a A. Elmer Crowell (1862-1951), East Harwich, Massachusetts. Group of four miniature ducks retailed at Abercrombie & Fitch Co., New York, New York. Includes a Canada goose, brant, redhead, and bluebill hen. All with Abercrombie & Fitch paper labels on the underside of bases. Includes a custom glass case with small A&F plaque. Measure from 3.25” to 5.5” long. Original paint with very minor flakes and paint rubs; small spot of touch up on brant’s base, back, and bill. (6,000 - 9,000)

531b Wooden Abercrombie & Fitch gun room sign. From their New York, New York store. Appears to have once been mounted to the oak gun displays in that room. Measures 14.5” in diameter. Fine hairline cracks and a few small pieces missing along lettering; fine crack was reset where the A and C join. (800 - 1,200)

531a

531b

532 Five bird carvings. All stamped Abercrombie & Fitch. Four on carved wooden bases made by George Winters. A rail, brown pelican, flamingo, and black bellied plover. Also includes a Walter Rupple bluewing teal drake. Flamingo is 5” tall. (800 - 1,000)

533 Three shadow boxes. With painted plaster. Birds are male and female bobwhite quail. All are signed J.Q. Whipple. All three measure 5” x 5”. (200 - 300)

534 Umbrella stand, “The man in khakis.” Cast iron and paint. Stands 27” tall. circa 1900. (500 - 1,000)

535 Vintage putting and smoking stand. The Parlor Putter, from the Wllington-stone company, Chicago. Three hickory stick parlor putters. A stand decorated entirely in golf motife. Retains original water label. Stand is 35” tall. Tarnished surface, but original paint still visible; structurally good. (500 - 800)

532

534

533

535

536 Rare salt water tackle box from Abercrombie & Fitch. . A collapsible metal surf casting pole holder. . A pen reels catalog number 14. Abercrombie & Fitch metal label mounted on inside of lid. Five spools of fishing line marked Abercrombie & Fitch. Box is made from wood, brass and leather corner supports. Leather handles. Owner’s initials “APM” on brass tag on top. Box is 24” long x 12” deep x 12” tall. Shows great age; structurally good with exception of one leather side strap that is partially worn away. (1,200 - 1,800)

537 A group of Penn and Pflueger reels in boxes with accessories. Penn No. 49 in original box with Penn lubricating oil and wrench. Penn Squidder No. 140 with extra spool, Penn oil and wrench. Penn Senator 2/0 Game Fish Reel with Penn oil and wrench. Penn Senator 3/0 Game Fish Reel with Penn oil and wrench. Penn Delmar No. 285 with Penn oil and wrench. Boxes show wear and age with creases, staining, and short tears; reels are very good. (1,200 – 1,800)

538 Three shooting stools/walking sticks. All three are stamped Abercrombie & Fitch, made in England. One is missing the letter seat, on the other two it is retained but leather is brittle. Measure approximately 34.5”. (300 - 500)

539 Three fox horns and a riding crop from Abercrombie & Fitch. The horns are stamped “Abercrombie & Fitch –Made in England”. Measure from 9” to 11.5” long. Riding crop in original box with Abercrombie & Fitch paper label. Horns show signs of age and use; box with edge wear and some staining. (500 - 800)

536

538

537

539

540 A group of hunting and sporting items, most of which are marked Abercrombie & Fitch. Including a gun cleaning rod, a bottle opener, five pocket knives, two whistles – including one dog training whistle, an ink stamp, ash tray, and a pin for five years service. (1,500 - 2,000)

541 Ephemera from Abercrombie & Fitch, decoy related. Including Joel Barber’s hardbound book, “Wildfowl Decoys”. All in very good to excellent condition. (500 - 1,000)

542 Variety of Abercrombie & Fitch items. Including Bobby Jones flip picture books, six silver sterling putters for cocktails, an 8 day clock with hands made from putters, winter sports catalog, selection of early Abercrombie & Fitch catalogs. (600 - 900)

540

542

542

541

544 Group of 50 leather bound sporting titles, Derrydale Press. All are from the 1990’s. Many are from an edition of 2500. See the online listing for a list of titles. Generally very good; a few with minor edge wear or very minor tears. (2,000 - 3,000)

545 A bar set with trays coasters, and glasses. All sold through Abercrombie & Fitch, most of which are marked. Variety of glasses include shot, sipping, and cocktail glasses, as well as beer mugs. Many hand painted wildlife images, including some by Cyril Gorainoff. (1,000 - 1,500)

546 Variety of items sold through Abercrombie & Fitch store. Most are marked Abercrombie & Fitch, New York. Set of cards with score keeper, a picnic box marked HB with Abercrombie & Fitch emblems with two thermos and two containers for glasses and other items. Three German stines. Two tea cups and a small containers with trout flys and six metal drinking glass also marked Abercrombie & Fitch shot glass, measuring cups and other bar decoration. (300 - 500)

544

546

546

545

548

grouping of 40 decoy and sporting reference books and decoy collecting periodicals. Many hardbound with dust jackets. A few short tears at edges of dust jackets, otherwise excellent and original.

549 Nice grouping of 32 decoy and sporting reference books. Most hardbound with dust jackets. A few short tears at edges of dust jackets, otherwise excellent and original.

From a decoy collector of 40 years. (700 - 1,000)

Nice

Provenance: From a decoy collector of 40 years. (700 - 1,000)

Provenance:

Calls

550 Very rare Charles Ditto hard rubber tongue pincher style call. Believed to be his first model. This exact call is pictured on p. 71 in Duck Calls of Illinois”. Measures 3.25”. (2,500 - 3,500)

551 Charles Perdew (1874-1963), Henry, Illinois. Unusual three duck carved call with red mouth piece and the “Bill” carved lengthwise in the barrel. Only one we have seen like this. Measures 6.5”. Some flaking and wear to bare wood to paint on ducks; discoloration or water damage to one side; all parts appear to be original. (5,000 - 8,000)

550

551

553

554

be original. (600 - 800)

Perdew (1911-1998), Henry, Illinois. Cedar duck call. “Chas. H Perdew Henry IL” stamped in barrel. Two metal bands. Very good and orginal. (300 - 400)

552 Haddon Perdew (1911-1998), Henry, Illinois. Carved duck call. VL&A style call. “Perdew Henry Illinois” carved in top of barrel. All parts appear to

Haddon

William Clifford (1877-1958), River Forest, Illinois. Duck call. Laminated walnut call with cedar stopper. Metal lanyard inlay. Copper reed. Measures 6.75”. Very good and original. (3,000 - 4,000)

552

553

554

555 Tiffany Edward Roseberry, Sr. (1924-1979), Murphysboro, Illinois. Duck call. Three panel checkered barrel. Made from walnut with cedar stopper. ‘Bill’ carved in one side. Call has likely been shortened approximately .5”. Measures 4.5”. (2,500 - 3,000)

556 Tiffany Edward Roseberry, Jr. (1941-1997), Murphysboro, Illinois. Shorter and fatter three panel checkered duck call. Walnut with cedar stopper and metal reed. All parts are original. Stamped “TR 1990” at top of barrel. Measures 4.75”. (1,200 - 1,800)

557 Tiffany Edward Roseberry, Sr. (1924-1979), Murphysboro, Illinois. Duck call. Slender three panel duck call. Walnut with cedar stopper. Metal reed. Measures 5”. All original. (1,200 - 1,800)

558 Tiffany Edward Roseberry, III (b.1966), Murphysboro, Illinois. Three panel checkered duck call. Walnut with cedar stopper and metal reed. Measures 5.5”. (300 - 500)

557

556

558

559 William Spaulding (1880-1956), Horseshoe Lake, Illinois. Extremely rare, early 1900’s tongue pincher style duck call. Only a few known to exist. Two piece wood held together with cotton string wrap. Spaulding was an early conservationists who played a role in preserving in what is now Horse Hose Lake Wildlife Refuge in Olive Branch, Illinois. Measures 4.5”.

Literature: “Illinois Calls,” Robert Christensen, p. 164. (3,500 - 4,500)

560 Wayne Meyer, Manito, Illinois. Duck call. Relief carved ducks, cattails, with “JM” painted on barrel. An olt d-2 key insert from the ‘60s as a stopper. Signed “Wayne Meyer” on top of barrel. (300 - 400)

561 Fred Allen (1838-1912), Monmouth, Illinois. Rare hawk call. Measures 5.25”. All parts appear to be original.

- 700)

(500

559 560

561

562 William Ludwig (Ludwig & Ludwig) Chicago, Illinois. Duck call, circa 1920. Stamped “Ludwig” in barrel. All metal with flared end. Allen style insert with brass reed and cork wedge block.

Literature: Robert Christensen duck call book, p. 108 and 109. (1,000 - 1,500)

565 Tom Turpin (1871-1957), Memphis, Tennessee. Box turkey call. Cats eye connector at top. Measures 11”. Lightly used.

Provenance: Earl Mickle collection. (1,000 - 2,000)

566 Tom Turpin (1871-1957), Memphis, Tennessee. Box turkey call. Cats eye fastener at top of call. Paddle measures 11”.

Provenance: Earl Mickle collection. (1,000 - 2,000)

563 William Ludwig (Ludwig & Ludwig) Chicago, Illinois. Duck call, circa 1920. All metal with flared end. Allen style insert with brass reed and cork wedge block.

Literature: Robert Christensen duck call book (1,000 - 1,500)

564 Possible goose call. Stamped “Ward” on side of barrel. All metal allen style insert with brass reed and cork wedge. 7.75” long. (800 - 1,200)

567 Tom Turpin (1871-1957), Memphis, Tennessee. Hen box call. Lightly varnished. 11”. Remains very good and excellent.

Provenance: Earl Mickle collection. (2,500 - 3,500)

568 Tom Turpin (1871-1957), Memphis, Tennessee. Box turkey call. Measures 11”. Natural wood varnished; small amount of varnish missing top of paddle.

Provenance: Earl Mickle collection. (2,000 - 3,000)

569 Tom Turpin (1871-1957), Memphis, Tennessee. Box turkey call. Measures 11”. Lightly used.

Provenance: Earl Mickle collection. (1,000 - 2,000)

570 Tom Turpin (1871-1957), Memphis, Tennessee. Four different paddle patterns.

Provenance: Earl Mickle collection. (500 - 800)

571 Three calls A.M. Bowles (18931977), Little Rock Arkansas. All three are stamped on underside. Pictured in Book One p. 23. All show light amounts of wear.

Provenance: Earl Mickle collection. (1,200 - 1,500)

572 Four vintage box turkey calls. All four say “Lynches world champion turkey call” on top of paddle. Three are the 1958 model. One has scenery with turkey and differentiates one side for gobbler and one side for hen. One of these calls is signed by Jerry Allen and was his personal call. Pictured in book one p 146 Calls 39-42.

Provenance: Earl Mickle collection. (400 - 600)

573 Dan Searcy, Eminence, Missouri. Turkey box call. “DDS 1995” carved in underside of paddle. Underside of box reads “Happy birthday, Mick from Jaene.” Measures 13”. Excellent and original.

Provenance: Earl Mickle collection. (500 - 800)

574 Dan Searcy, Eminence, Missouri. Signed “DDS 1999” under paddle. On the top “Made In meminse guaranteed under the pure food and drug act 1906”. Carved and burnt wood decorations covering nearly all of this 12.5” call.

Provenance: Earl Mickle collection. (400 - 600)

575 Kent Bowers Four trumpet calls. One is signed 1994. One 1995. One 1998. Pictured in Book One, p 21.

Provenance: Earl Mickle collection. (800 - 1,200)

End of session two

Index of Carvers

Adams, Frank 434

Alexander, Pennell .................................................................... 397

Allen, Charles 40

Allen, Russell 222

Allen, Fred 561

Andrews, Captain Robert 69

Anger, Ken 511

Audubon, John James 373,374

Bailey, Clarence ................................................................. 115-118

Barnes, Sam 44,48-50

Barr, James 506

Bergman, Charles 418,419

Bernier, Joseph Romauld 514

Birch, Charles 309,311

Birch, Reggie .............................................................................. 329

Blackstone, Jess ......................................................................... 431

Blair, Jr., John 43

Bowers, Kent 575

Bowles, A.M. 571

Bowman, William 133,131C

Boyer, S.P. 225

Brady, Walter ............................................................................. 307

Brewer, Josh 267-270

Briddell, Don 292

Burr, Russ 436

Buttersworth, Sr, Thomas 384,385

C. Farlow & Co, 220

Cargile, Lloyd ............................................................... 368,369,525

Chambers, Thomas .................................................................... 505

Chauvin, Barry 452

Chesser, Grayson 91-94

Clifford, William 554

Cobb, Arthur 67

Cobb, Elkanah 68,304

Cobb, Jr, Nathan ............................................................... 74C,303

Collins, Martin 437-448

Coutts, Joe 393

Crandall, Horace ‘Hi” 412,420,421

Crawford, William “Buck” 507

Crowell, A. Elmer 95-107,162-171,424-430,531A

Cuffee, Chief Eugene 138,148

Demott, Daniel .......................................................................... 131

Dodge Decoy Factory 475,491,492

Doughty, Eli 70,75,305

Dudley, Lee 175

Dye, Ben 47

Eastman, Willie 396

Eberhart, George ...................................................................... 145

Edwards, Clyde .......................................................................... 512

Elliston, Robert 332,337

English, John 34,36

English, Dan 37

Erskine, James 231

Finney, Frank 149-156

Foote, Jim ........................................................................... 365,366

Franco, Jack 392

Frost, A.B. 380,381

Fulcher, Wayne 375,376

Garbaldi, Amiel 415-417

Gelston, Thomas ...................................................................... 131B

Gibbs, Harold 435

Gibian, William 16-21

Goodwin, Richard La Barre 370

Graves, Bert 331,335,336,338-340

Grinnell, Roy 355-361,379

Hamby, Michael 517

Hancock, Miles .......................................................................... 315

Hanemann, William 449-451

Hanson, Marty 273,274 Harrison, Kreg 516

Hart, Charles 108-112

Hart, Achilles 504

Hautman, Robert ....................................................................... 367

Hayman, Joe ............................................................................. 172 Heinemann, Ben 283,284

Heverin, William 46

Hewlett, Thomas 137

Holland, Mark 207 Holly, James T. 44B Hollywood, William .................................................................. 362B

Delbert 72,74,74B

Ira 73,74A,313

Samuel .............................................................................. 407 Hunt, Lynn Bogue .......................................................... 346A,362A Irvine, Lawrence 213-215

Jacobsen, Antonio Nicolo Gasparo 386,386A

Janson, Richard “Fresh Air Dick” 413,414,422

Jester, Doug 314

Joiner, Charles 53,54,66

Kellum, Frank .............................................................................. 139

Kennebec Canoe Company 212

Kernan, Joseph Francis 346

King, Joe 39

Knight, Will 173

Laing, Albert 410

Lamay, Art 363,364

Lamothe, M. Leo ........................................................................ 498

Laviollette, Henry 502,503 Lawson, Oliver 287-290

Leeder, John 388

Legaux, Sr., Roy 454-456

Lincoln, Joseph 114,119,124

Ludwig, William ................................................................... 562,563

Maass, David ...................................................................... 348,349

Mailman, Paul 216-219

Martin, Jr., Russell 453

Mason Decoy Factory 471-490

McGaw, Robert 51,52

McIntosh, Leo 282

McIntyre, Cameron ........................................... 79-83,147,326-328

McNair, Mark 1-15,316-325

Meyer, Wayne 560

Mitchell, Madison 44C

Moore, Jeff 190-194

Mueller, Keith ............................................................................. 285

Mueller, Keith 286

Nichols, David 509,510

Osgood, Charles 113

Parker, Ellis 182

Parsons, Ed 60

Pelkey, Jack 210,211

Perdew, Charles ...................................... 330,333,334,341,433,551

Perdew, Haddon 552,553

Peterson, Oscar 459-466

Peterson Decoy Factory 493

Phillips, Captain Ed 44A,58,59

Pinkam, Captain Merritt P. 398

Ptashnik, Robert .................................................................. 202-206

Quinn, William .................................................................... 33,35,38

Ramsay, John 499

Reed, Ernest “Popeye” 522,523

Reiger, Christopher 362

Resop, Frank 342

Reyes, Jose Formoso 224

Roberts, John ............................................................................. 142

Robichaud, Emile 208,209

Roseberry, III, Tiffany Edward 558

Roseberry, Jr., Tiffany Edward 556

Roseberry, Sr., Tiffany Edward 555,557

Ross, Willie 394

Schmidt, Ben

493A-493L

Schmiedlin, Jim ................................................................... 271,272

Scholz, Floyd 389,390

Scott, John 353

Searcy, Dan 573,574

Shourds, Harry M. 185

Shourds, Harry V. 181,183,186 Smith, Cassius 408,409

Southard, William ....................................................................... 129

Spaulding, William 559

Sprankle, Jim 195-201

Sterling, Lloyd 302B

Stevens, Harvey 494

Strunk, George 275-281

Swan, John ................................................................................. 354

Tait, Arthur Fitzwilliam ................................................................ 347

Thengs, Harold 146 Turner Foundry 520

Turner, David H. 519

Turpin, Tom 565-570 Tyler, Lloyd 302A,302C Upshur, Phineaus ....................................................................... 306 Verity, Obediah 126-128,130,132,136 Verity, Smith Clinton 141,143 Verity Family 131A Ward Brothers 22-32,293-302

Watson, Dave “Umbrella” 78,310

Watson, Hy Sumner .................................................................... 352 .................................................................... 157-161 26A,351 343 71 406,411 350 ........................................................................... 144 174 395,399-404 518 386B 387 84-90

“OLD HOSS” A FRESH TO MARKET AND IMPORTANT PARKER AAH GRADE 12 GAUGE. SOLD $48,000!

EXTREMELY RARE AND FINE PARKER AHE GRADE 12 GAUGE GAME GUN. SOLD $45,600!

TRULY EXCEPTIONAL AWARD WINNING PARKER BHE 16 GAUGE. SOLD $30,000!

SWIVEL PENNSYLVANIA LONG RIFLE BY ADAM ANGSTADT, c1800. SOLD $30,000!

TRUE PAIR OF 32 BORE W.W. GREENER SHOTGUNS WITH CASE. SOLD $87,000!

BROWNING MIDAS GRADE SUPERPOSED SUPERLIGHT .410 BORE SOLD $48,000!

ABBIATICO & SALVINELLI JOREMA EXTRA LUSSO 28

GAUGE SIDELOCK OVER UNDER SOLD $48,000!

PETER CHAPMAN OF PURDEY’S 28

BORE SHOTGUN. SOLD $45,000!

Collection Planning Program

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Co ntact Jon or Zac to discuss our Legacy Planning Program today. Jon Deeter | 440-610-1768 jdeeter@guyetteanddeeter.com Zac Cote | 207-321-8091 zcote@guyetteanddeeter.com

Since 1971 the Waterfowl Festival community has raised millions for community causes...and enjoyed every minute

“A wildlife arts exposition, a small town celebration, a commitment to conservation.”

Resources

Pictured: The Wellington Wildlife Management Area, a recent collaboration project supported in part by the Waterfowl Festival with Ducks Unlimited and the Department of Natural

Eastern Shore’s Wild Heritage, Our Shared Responsibility

From the beginning, the goal was clear. If people learn to love the outdoors, they would work to preserve it.

The magnitude of our mission has never been more important. From the beginning, when the founders of the festival raised the alarm about our shrinking outdoor spaces, people responded. As exponential growth from a few thousand attendees to last year’s record crowds shows, the Festival’s draw is a great as ever.

As new residents of the Eastern Shore move in and generations of residents stay put, and the pressure of new growth as well as natural expansion of familes takes place, we find that it is our ever-present challenge to maintain a sense of who we are. Festival attendees, many of whom are fourth generation attendees, come together to celebrate our shared story - the love of the outdoors, the culture of the Eastern Shore, and the beautiful combination of communities that cherish the lifestyle.

Downtown Easton is the place to be!

Strolling along the historic streets of Easton, you might imagine you are back in time - with a twist! Live music on every corner, trendy restaurants and boutiques are showcased in centuries-old buildings, bumpy brick sidewalks, adorable alleyways, and pocket parks are part of the charm.

The thousands of volunteers that care for our community truly shine as they welcome everyone downtown - giving of their time once again to make the magic happen.

This year’s festivities allow you unparalled access to all of downtown while the streets are closed to vehicles for three full days. Special Waterfowl Festival venues are scattered throughout the citymany in walking distance or easily accessible by the four bus routes - a few minutes on each one and you are discovering more of the festival and diving into to our history and tradition on each route!

A three-day pass offers free festival parking, bus routes, free admission to all children’s activities, and entrance to over a dozen Waterfowl pavilions and exhbits. Don’t miss the breathtaking art pavilions presented this year by PNC Bank or the waterside Party at the Ponds supported by The Oaks Waterfront Hotel and Kelly Distributors.

The Tidewater Inn in 1971 and in recent years - still an icon

Highlights of the 53rd Annual Waterfowl Festival

53 YEARS OF AWESOME

“Why do we do it? It is a labor of love and community - oh - and my friends are all there, too!”

The Waterfowl Festival is no longer just a festival that raises funds for conservation. It is a homecoming for the thousands of volunteers, locals, artists, visitors - human and canine- to Easton, Maryland each fall. It features over 125 artists, craft vendors,, retriever dog and fly-fishing demos, kid’s Quackin/ Trail, live music, food vendors, and conservation-focused events. The festival raises funds for wildlife and habitat conservation and offers something for the entire family, including art galleries, outdoor demonstrations, kid’s calling contest, and The World Waterfowl Calling Championship.

Whether you are an art collector, a decoy afficionado, a people watcher, a craft beer drinker, a die-hard shopper, a student of history, a lover of music, or a family just looking for some outdoor fun - the festival has it all! Visit the Duck Blind Bar, Party at the Ponds, the Sportsman’s Pavilion, the Chesapeake Bay Pavilion...and more. Don’t miss the Outlaw Gunner exhibit at the Talbot County Historical Society and the Harry M. Walsh Waterfowling Exhibit at the Country School supported this year by Guyette & Deeter.

Dogs are welcome

Dogs are well represented at the festival. This year’s feature include the Delmarva Dock Dogs stage where amateurs and professionals alike can compete; field trial dog demos by Mason Dixon Game Outfitters, and exhibitions by the Talbot Retriever’s Club.

Delmarva Dock Dogs

FESTIVAL SCHEDULE

“Here’s a tip - make sure you come for more than one daythere is more to see every year!”

Thursday, November 7 Opening Ceremony 5-6, Tidewater Inn

Easton Waterfowl Festival’s 2024 Artifacts Display

A Can’t Miss Display at the Country School!

This year’s Artifacts display has moved to the Country School November 8 and 9 10am - 5pm and November 10 10am - 4pm Special preview held Friday 9am - 10am

Celebrating 53 years of Waterfowl Festival with conservation donations of over $6 million!

This year’s display will be held at

The Country School

716 Goldsborough St Easton, MD 21601

It will be included on the Waterfowl Festival bus route and will be accompanied by tailgating in the parking lot, an indoor dealer show, and the Guyette & Deeter auction!

Visit waterfowlfestival.org for more information on the Festival

Featuring displays by :

• Artifacts chairman and Hall of famers Kim Newcomb and husband Ronnie will have miniature decoys.

• Dr. Lloyd Newberry will be Exhibiting part of his amazing Virginia Cobb Island decoys carved by Nathan Cobb Jr (1825 to 1905) and family. Including some outstanding North Hampton County decoys.

• Phil Ryer will be by East Long Island New Jersey carver Charles Huff (1846-1925 ).

• The Delmarva Decoy Club will fill in between New Jersey and Virginia.

• Rob Benjamin will be displaying Dorchester County decoys.

• Larry Myers will have shorebirds

• Hall of Fame exhibitors Henry Stansbury will be displaying Chincoteague shorebirds .

• C John Sullivan will be bringing the book Decoys of the Alantic Flyway to life in 3D.

Featured this year in the Harry Walsh artifacts exhibit at The Country School during the Waterfowl Festival is a rig of shorebird Decoys assembled by William Matthews, the owner of the Atlantic Hotel. The Atlantic Hotel was built in 1876 and acquired by William Matthews around 1880. It was the largest structure on Chincoteague Island containing 52 guest rooms, a dining room and bar, and featured guided shorebird hunting opportunities for hotel patrons. It is thought that most of the shorebirds were made by the guides who were employed by the hotel. Two of the guides have been identified as David Watson and Charles Clark, but there were probably at least three other guides who also carved shorebirds and guided for guests of the Atlantic Hotel.

Oddly there are no Ira Hudson shorebirds in the rig, probably because he did not arrive on Chincoteague Island until 1900. Hudson made and sold several hundred shorebird Decoys. It is believed he never worked as a guide, which might also explain why Matthews didn’t buy any of his birds. Several great Hudson and Matthews rig shorebird decoys are included in the Artifacts Display during The Waterfowl festival.

The exhibit is presented by Henry and Judy Stansbury of Catonsville, Maryland.

Boutique Dining & Retail in Historic Downtown Easton

The Stewart

An intimate bar-and-restaurant with an unparalleled focus on the very finest of single malt Scotch whiskeys, vintage Champagnes, and elegant cuisine.

Wed & Thur 5 - 10pm | Fri & Sat 5pm - 12am thestewart.com | @thestewartbar 3 Federal Street, Easton (410) 793-4128

Authentic Roman style pizza for takeaway by the slice or whole pie with fresh, prime ingredients. Outdoor seating available on a first come, first serve basis.

Mon - Wed 11am - 8pm romaeaston.com | @romaeaston (410) 770-9701

Bas Rouge

Timeless design meets innovative cuisine and an award-winning wine program for a world-class dining experience.

In 2024, Executive Chef Harley Peet became the first chef on the Eastern Shore of Maryland to be named Best Chef: Mid-Atlantic by the James Beard Foundation.

Lunch Thurs & Fri 11am - 1:30pm | Dinner Wed - Sat 5 - 9pm basrougeeaston.com | @bas_rouge 19 Federal Street, Easton (410) 822-1637

Epicurean market, wine shop, and bistro featuring delicious sandwiches by day; pasta and wine in the evenings; and Sunday brunch.

Tues - Thurs 11am - 9pm | Fri & Sat 11am - 10pm Sunday Brunch 10am - 2pm thewardroom.com | @_thewardroom 103 N. Washington Street, Easton (410) 826-5489

View the full list of Bluepoint properties and special Waterfowl Weekend event schedule at bluepointhospitality.com | @bluepointhospitality

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

$1000 to $10,000 $100

$10,000 to $20,000 ‑ $500

$20,000 to $100,000 $1,000

$100,000 and above ‑ $2,000

5. ABSENTEE BIDS ‑ Phone or mail bids, at the discretion of the Auctioneer, will be accepted with a 20% deposit. In such case, the bookkeeper will execute such bids competitively. Absentee bids are executed by the bookkeeper on behalf of the bidder in accordance with the bid increment policy shown above. Please review the rules governing both absentee and phone bids in the back of the catalog.

6. TERMS ‑ All items are to be paid for in U.S. funds on the day of the auction. No items will be released until they are paid for. Those who have not established an account with us and wish to pay by check, must do so prior to the beginning of the auction, by presenting a current letter of reference from their bank, or by providing references, that are suitable to the Auctioneer. The Auctioneer reserves the right to hold merchandise purchased by personal check, until the check has cleared the bank. Phone and absentee bidders ‑ You will be notified one week after the auction of your bids/results. PAYMENT IS DUE UPON RECEIPT. A late charge will be accessed on all balances not paid, at the rate of 12% A.P.R. commencing 30 days after the auction. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. Guyette & Deeter will not carry insurance on items that are not paid for within 35 days of the auction. Also, the auctioneer may retain and/or recover the deposit specified as liquidated damages. In addition, the property can be resold at public or private sale without further notice. Any defi ciency resulting from such resale shall be paid to the auctioneer by the defaulting buyer, together with all charges, fees, and expenses incurred by such resale, or the enforcement of the obligation hereunder. Buyer agrees to pay all charges and expenses incurred by reason of any breach of the Terms and Conditions of Sale, including without limitation, reasonable attorney fees.

7. PAYMENT FOR PURCHASES CAN BE MADE WITH CREDIT CARD (VISA, MasterCard, American Express, or Discover), CASH, CHECK, OR WIRE TRANSFER.

8. BUYERS PREMIUM The buyer’s premium, assessed on each selling lot, is 20% of the hammer price up to and includ ing $1,000,000, plus 10% on any amount in excess of $1,000,000. For payments made using a credit card, the buyer’s premium is 23% up to and including $1,000,000, plus 13% on any amount in excess of $1,000,000.

9. TAX ‑ THERE IS AN 6% SALES TAX IN MARYLAND. TAX IS WAIVED IF BUYER PRESENTS A VALID RESALE CERTIFICATE FROM ANY STATE OR HAS PURCHASES SHIPPED OUTSIDE OF MARYLAND.

10. ACCEPTANCE OF CONDITIONS ‑ Bidding on any articles in this catalog indicates your acceptance of all the above items.

11. BIDDING AGENT RESPONSIBILITY ‑ If you are registering for someone or if you execute a bid for someone else under your number, you are responsible for the settlement of that account. You are also responsible for examining the decoy(s) for your client regarding the guarantee.

12. WITHDRAWAL ‑ We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal.

13. TITLE ‑ Title passes upon the fall of the auctioneer’s hammer. It will then be the responsibility of the buyer to make full payment prior to removing the goods from the premises. Removal is at both the buyer’s risk and expense, and must be made at the conclusion of the sale, unless other arrangements are made with the Guyette & Deeter staff. Any lots we might make arrangements for moving or storing are solely at the risk of the owner, and any damage or loss occurring after the fall of the hammer becomes that of the buyer.

14. LEGAL DISPUTE ‑ Any legal disputes arising from this auction shall be settled in the court system of the State of Maine. UNIFORM COMMERCIAL CODE ‑ The Maine Uniform Commercial Code, Title II, Section 2328 applies to this auction.

15. Cases are not included with shotgun shell boxes. All dimensions are approximate and are not guaranteed. All calls are sold “As Is”.

OFFICE WILL NOT BE

UNTIL WEDNESDAY AFTER THE AUCTION.

ABSENTEE, PHONE, AND ONLINE BIDS

1. Absentee bids are a service provided to our customers free of charge. Every effort is made to execute all absentee bids, however, in the event of an error or omission, or failure to properly execute absentee bids, the Auctioneer shall not be held liable.

2. All absentee bids must be accompanied by a 20% deposit, which will be refunded immediately after the auction if your bid is unsuccessful. If your bid is successful, the deposit will be applied to the purchase price and the balance due upon presentation of your bill. All absentee bidders are notified by mail, whether successful or unsuccessful.

3. Visa and Mastercard numbers can be given in place of a check deposit, if your bid is submitted by phone. Your card number will not be used to make payments for purchases, it is only used as collateral. Your card number will only be used to make payment for purchases if you default on payment.

4. To execute an absentee bid, fill out the enclosed form listing catalog number, description, and your top bid price (not including the 20% buyer’s premium). Send this together with your deposit as soon as possible. If your bids are sent seven days or less prior to the auction, you should call our office three days prior to the auction, to confirm that we have received your bids. If they have not been received at that point in time, we will take your bid over the phone. We cannot guarantee that bids received after the auction has started will be executed.

5. If two or more bids are received on the same item from different people, the bidding will open at the next logical raise above the second highest bid. If two absentee bids are received with the exact same amount, the first one received will take precedence.

6. All bids must be in even dollar amounts. Bids in fractions of dollars will be considered the next lower even dollar amount.

7. Bid increments: The bid increment policy, which also applies to both absentee and phone bidders, is listed under “CONDITIONS OF SALE” (item #4), in the front of the catalog.

8. Open bids, bids with no set top amount, or orders to just simply buy the lot, cannot be accepted. You must have a definite top limit before we can execute your bid. Alternatives to this are as follows:

a. To bid over the telephone. This can be done by simply sending a 20% deposit for what you wish to bid on the object. This will bind whatever bid amount you wish to bid over the telephone. (NOTE: There are only 8 phone lines into the auction room and phone bids will be handled on a first come, first serve basis.)

b. Some bidders concerned that a lot might just go for one bid above their top limit, leave a top bid plus one bid. This works as follows: the top bid submitted might be $1,000, but not wishing to lose the lot for simply $25 more, the party might bid $1,000 + 1 bid if they definitely don’t want to go over a certain price, they would indicate $1,000 +1 ($1,025) (NOTE: One possible problem that occasionally arises with absentee bids is when someone in the audience bids exactly the amount, which you specify is your limit. In such a case, we would not go one extra bid unless your bid sheet indicates “plus one” bid.).

9. If you are a successful bidder, a bill will be sent a few days after the auction. Purchasers should indicate their desired method of shipment, if such is necessary. There is a charge for shipping, labor, materials, and insurance. Please provide notice in writing if items are covered under your own insurance policy. Shipping is done on a first come, first serve basis, and can take up to 4 weeks. Please note that a certified check, Visa, Mastercard, or any other form of guaranteed funds will expedite shipping.

10. For expensive oil paintings and delicate carvings, we need a written statement from the purchaser, assuming the responsibility of pursuing any claims, in the event of damage incurred during shipping. Valuable lots need to be sent 2nd day air UPS due to values. Under no circumstances will we be liable for damage to glass or frames, or fragile decoratives, regardless of cause.

11. TERMS Phone and absentee bidders You will be notified one week after the auction of your results. Payment is due upon receipt. Interest will be charged on all balances not paid within 30 days after the bill is sent at the rate of 12% APR. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. If an account is 75 days overdue, the items may be returned to the consignor and overdue buyer will pay the buyers premium and commission from the sale, if they wish to participate in future Guyette and Deeter auctions.

12. Bidding on any article(s) indicates your acceptance of these terms above.

13. If you would like any additional information on any of the lots, please contact: Jon Deeter at (440) 610-1768, Zac Cote at (207) 321-8091, or Gary Guyette at (410) 745-0485.

If you have any questions concerning absentee bids, please call us.

OFFICE:

OFFICE:

PO Box 1170

PO Box 1170

St. Michaels, MD 21663

St. Michaels, MD 21663

410-745-0485

410-745-0485

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