North American Decoys at Auction - August 1 & 2, 2013

Guyette, Schmidt & Deeter

North American Decoys At AuctionAugust 1 & 2, 2013

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Guyette, Schmidt & Deeter North American Decoys At Auction

Wednesday, July 31, 2013Preview Monday 6:00 PM - 8:00 PMJoin us for complimentary cocktails and hors d’oeuvres

Thursday, August 1, 2013Preview 8:00 AMAuction 11:00 AMHarbor Cruise 5:00 PM

Friday, August 2, 2013Preview 8:00 AMAuction 10:00 AM

August 1 & 2, 2013Sheraton Harborside Hotel

250 Market StreetPortsmouth, New Hampshire

603-431-2300

Catalog $45. Out of Country $54Absentee, Phone & Online Bidding acceptedcall 410-745-0485 for arrangements

For Free Decoy Appraisal Contact:Gary Guyette | [email protected] | 410-745-0485Jon Deeter | [email protected] | 440-543-1416

For questions during the auction call 410-745-0485

Guyette, Schmidt & Deeter ■ Unofficial prices realized information will be available 5 business days after the

auction. Official prices realized list will be available online approximately 2 weeks later.

■ If you would like to consign decoys to our next auction please contact; Gary Guyette 410.745.0485 [email protected] or Jon Deeter 440.543.1416 [email protected]. Free appraisals are available with no obligation to consign and all correspondences are strictly confidential.

■ For delicate carvings we will need a written statement from the purchaser assuming responsibility for pursuing any claims in the event of any damage incurred during shipping, these items are marked *. Under no circumstances will we be responsible for damage to glass, frames, or fragile decoratives, regardless of the cause.

■ Auctioneer James D. Julia, Fairfield, Maine.

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

■ No Sales Tax.

■ Reserve a room at a discounted rate by calling The Sheraton at 603-431-2300

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

■ Trade Up Program - A limited numer of decoy purchases may be paid for by consigning decoys to the next Guyette, Schmidt & Deeter. auction. Ask Gary or Jon for Details.

September 21 & 22, 2013Chincoteague Refuge MuseumChincoteague, VirginiaHeld in cooperation with Zeb Barfield, Inc. Contents of the museum to be sold at auction.

November 7 & 8, 2013Talbot County Community CenterEaston, MarylandIn Conjunction with the Easton Waterfowl Festival50 Dealer buy, Sell, swap. Approximately 600 Quality decoys

February 14, 2014Southeastern Wildlife ExpositionMarriot HotelCharleston, South CarolinaIn Conjunction with the Southeastern Wildlife Expo

GUYETTE, SCHMIDT & Deeter UPCOMING DECOY AUCTIONS

Important Notices:

Guyette, Schmidt & Deeter Harbor CruisePortsmouth Harbor Cruises - Thursday evening, August 1 at 5:00 pm Guyette, Schmidt & Deeter will be hosting a harbor cruise for auction attendees who are stay-ing at the Sheraton. The cruise departs at 5:00 and returns at 6:30. Cash bar will be provided. Space is limited! Only 49 passenger capacity. Call Guyette, Schmidt & Deeter at 410-745-0485 and reserve your complimentary ticket.


Dale & Gary Guyette

PO Box 1170 St. Michaels, MD 21663Tel: 410-745-0485Fax: [email protected]

Zac Cote

Assistant Auction Manager, Gallery Manager, & Photography

Freeport, Maine LocationTel: 410.253.8616 Tel: 207.869.6004

[email protected]

Jon & Leigh Ann Deeter

7980 Darby’s RunChagrin Falls, OH 44023Tel: 440-543-1416Fax: [email protected]

Mike Stevenson

Graphic Designer & Website DeveloperSt. Michaels, Maryland Location

Tel: [email protected]

Ed Kenney

Merchandise Manager & ShippingSt. Michaels, Maryland Location

Tel: [email protected]

Lynda BrooksOffice Manager

St. Michaels, Maryland LocationTel: 410.745.0485

[email protected]

Jane O’Malley MonettiBookkeeper

St. Michaels, Maryland LocationTel: 410.745.0485

[email protected]

Peter BartlettCarolyn Rowland

Chincoteague Refuge MuseumIrving Brownhiem, JR

Richard ClaytonJohn Hudson Moore

Carol KokinWilliam BuschJoe Perticone

Robert GerardRalph Sterling

Featuring Decoys From The Collections Of:

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Carolyn Rowland

Carolyn Rowland (1916-2012) and her husband George lived in Boston, Massachusetts and had a summer home in Osterville on Cape Cod. Over a 35 year period they put together one of the finest collections of Elmer Crowell decorative shorebirds in the country. The collection includes several pieces that were gifts from Elmer Crowell to his benefactor, Dr. Charles Hardy. The Rowland’s purchased numerous decorative carvings and Massachusetts shorebirds at the Richard Bourne auctions in Hyannis in the 1970’s. During the 1980’s and 1990’s they purchased from Guyette & Schmidt,Inc. auctions.

Robert and Wilma Gerard

Long time collectors Robert and Wilma Gerard were regular exhibitors at the Easton Waterfowl Festival, both in the Buy, Sell, Swap meet and the Artifacts section. They were also active in the Long Island Decoy Collectors Shows. They mostly collected Long Island shorebirds, old squaw and mergansers. Proceeds from the sale of their decoys are going to Ducks Unlimited.

Carolyn Rowland

Robert Gerard

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Peter Bartlett

A visit to the Shelburne museum, while visiting with Loy Harrell, spending hours at the Bay Head house talking decoys, and eating at our first French restaurant while staying in his New York City apart-ment are a few of the great times that Deb and I shared with Peter Bartlett. And once again, we can say that decoys led to a great friendship. We met Peter for the first time at the Easton waterfowl festival when he was introduced to us because he was looking for New Jersey decoys. It soon became apparent that he was interested in all New Jer-sey decoys but particularly those from the head of the bay. The initial discussions that day led to many follow-up discussions on different decoys from different regions and on life in general. Peter loved to learn about the history associated with the decoys almost as much as he liked to col-lect them as he said that the history brought them to life and would also allow confirmation on who the maker really was. One such discussion that I remember was about 3 shorebirds that Peter owned. After researching the history of the birds, Peter and I believe we confirmed them to be made by Ezra Hankins. Peter also loved to teach. Deb particularly enjoyed learning about another of Peters’ passions, Toulouse Le Trec original pieces. He would set her up to read about the life of Toulouse Le Trec so that she could understand the subject matter often por-trayed in his pieces. As Debbie would read, Peter and I would once again engage in our favorite past times that of discussing the history of the Barnegat Bay decoys in his collection.We hope that those of you, who are lucky enough to procure 1 or more pieces from this beautiful decoy collection owned by Pe-ter Bartlett, enjoy them as much as he did.We truly miss Peter and know that he will be missed by many.

- Jimmy and Debbie Allen

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Session OneThursday, August 1, 201311:00 AMLot 1 - 304

Please read conditions of sale in the back of catalog

Session TwoFriday, August 2, 201310:00 AMLot 305 - 598

Mason Shorebirds 1-10Michigan 11-23BWard Brothers 24-28Contemporary 29-41Miniatures 42-67Canada 68-85Elmer Crowell 86-89Maryland 90-101Virginia 102-115Items of Interest 116-121Shorebirds 122-133Elmer Crowell 134-144New Jersey 145-170Shorebirds 171-181New England 182-198Paintings 199-208Items of Interest 209-216Miniatures 217-226New England 227-245Items of Interest 245A-245UWisconsin 246-251New Jersey 252-263New York 264-291Contemporary 292-304

Decorative 305-314Elmer Crowell 315-330Contemporary 331-342Maine 343-364Ward Brothers 365-369Shorebirds 370-386Ward Brothers 387-397Elmer Crowell 398-413Crowell Miniatures 414-442Illinois River 443-452ACanada 453-470Mason Decoy Factory 471-483Long Island, New York 484-493Delaware River 494-512Factory 513-521Shorebirds 522-548Contemporary 549-561New Jersey & New York 462-589Items of Interest 590-598

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SESSION ONEThursday, August 1, 2013 - 11:00 am

1 Detail1 Detail

Mason Decoy Factory1896 - 1924

Detroit, Michigan

William Bowman of Lawrence, Long Island is considered by many to be the best shorebird maker that ever lived. This copy

of a Bowman Curlew is one of only three or possibly four known to exist, and all were found on Long Island.

Why would the Mason Factory have produced such a decoy? The answer can be found in the company’s catalogs. As early as 1900, they advertised, “We can duplicate any special Decoy that

may be required.”

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1

Bowman Curlew - Sold in the 2000 Guyette & Schmidt/Sotheby’s auction for $464,000

1. Very rare and important curlew, made in the style of William Bowman, Lawrence, New York, Mason Decoy Factory, Detroit, Michigan. Relief wing carving with extended wing tips. Glass eyes and iron bill. One of three found on Long Island in the 1980’s. Original paint with fine detail; bill is probably replaced; minor wear and good patina; very lightly hit by shot; very slight roughness to edges of tail.

Provenance: Gerard collection.

Literature: “Mason Decoys,” Russ Goldberger and Alan Haid, p. 118. (30,000 - 40,000)

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2 3

4

2. Very rare long body style jack snipe, Mason Decoy Factory, Detroit, Michigan, circa 1900. Glass eye model. Strong original paint with good detail and minor wear; very lightly hit by shot; several small scrapes; pro-fessional touch up to edges of stick hole and to a shot mark at the left side of the back.

Literature: “Mason Decoys,” Russ Goldberger and Alan Haid, p. 110. (6,000 - 9,000)

3. Very rare split tail robin snipe in fall plumage, Mason decoy factory, Detroit, Michigan circa 1895. Tack eyes and original wooden bill. Original paint with good patina and very slight wear, two tiny chips missing from underside of tail, one from top of tail; tiny crack under bill.

(5,500 - 7,500)

2 Detail 3 Detail

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4. Rare sickle bill curlew, Mason Decoy Factory, Detroit, Michigan, circa 1900. Original paint that has darkened with age; tiny crack at face where bill joins head; minor wear; worn spot on front of head; small dents; hairline crack in one edge of tail.

Provenance: From a home in Canyon City, Oregon.

Literature: “Decoys of the Mississippi Flyway”, Alan Haid, p. 106. “Mason Decoys,” Russ Goldberger and Alan Haid, p. 106. (20,000 - 25,000)

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4 Detail

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5. Willet with tack eyes, Mason Decoy Factory, Detroit, Michigan. Good paint detail. Original paint with minor discoloration and wear; pitting on tack eyes and iron bill; a few small dents. (2,000 - 3,000)

6. Plover with tack eyes, Dodge Decoy Factory, Detroit, Michigan circa 1880’s. Old working repaint; structur-ally good. (650 - 950)

7. Yellowlegs, Dodge Decoy Factory, Detroit, Michigan last quarter 19th century. Tack eyes. Original paint with minor wear; bill is a replacement. (1,200 - 1,500)

7A. Yellowlegs, Mason Decoy Factory, Detroit, Michigan. Tack eye model. Original paint with moderate wear; car-rying hole drilled through tail; small split where metal bill joins head. (1,200 - 1,600)

5 6 7

7A

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8. Rare robin snipe in fall plumage, Mason Decoy Factory, Detroit, Michigan, circa 1910. Tack eye model. Original paint with minor wear; a few tiny dents.

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

(2,500 - 3,500)

9. Rare dunlin in spring plumage, Dodge Decoy Factory, Detroit, Michigan circa 1880’s. Original paint with minor wear; old overpaint taken off of a small area of the underside; professional repair to a small bill chip.

Literature: “Detroit Decoy Dynasty,” Bill Dodge and Ron Sharp p. 185. (2,500 - 3,500)

10. Robin snipe in fall plumage, Dodge decoy Factory, Detroit, Michigan, circa 1880’s. Original paint with minor wear, mostly on one side; several tiny dents.

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

(3,500 - 4,500)

8 9 10

MichiganBen Schmidt

Detroit, Michigan

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The Ward Brothers of the Midwest

It is interesting to draw parallels between Lem and Steve Ward of Crisfield, Maryland and Ben and Frank Schmidt of Detroit, Michigan. Their carving periods are almost identical. Both started making and selling decoys in the early 1900’s and both carved for several decades un-til they were forced to stop. Both had primary occupations prior to becoming full time carv-ers. Ben Schmidt was a lather who worked six days a week, he made his transition to full time decoy making in 1934. The Ward brothers were barbers who made decoys on the side. Their business also started to demand their full attention around the same time. Brothers Ben and Frank did

not however work out of the same shop like Lem and Steve. This makes identification between the two

brothers decoys relatively easy.

Most Michigan decoy collectors would agree that the Schmidt’s are considered the most prolific carv-ers from the state; however, they did very little work together. Ben’s work is considered superior to brother Frank’s decoys. Ben also began to gain recognition similar to the wards. His decoys were being sold by the most famous sporting goods store in Detroit, Hudsons Department Store. The Detroit News was publishing articles featuring his work as early as 1940’s and he was beginning to create reputation among other Michigan carvers as the guy to emulate. The magazine Chevrolet did a two-year feature on Ben in 1957 and 1958. Collectors were also starting to stop by Ben’s shop. In the 50’s Ben was taking orders and shipping nation wide. He was also competing in decoy carving contests in Iowa and Michi-gan. This is about when he met Bill Mackey. Mackey was later quoted as saying Ben “made the all American decoy”. The three pairs of puddle ducks in this sale were likely ordered by Carter Smith, an early collector from Mobile, Alabama. We believe that Carter then traded or sold the decoys to Summers Headley, of Sum-

merset, NJ.

These are with out a doubt the best group of Ben Schmidt decoys to be offered in over twenty years. The drake wood duck even has Ben Schmidt’s business card stapled to the underside. Only two of these

business cards have ever been seen.

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11 Detail

11. Exceptional pair of wood ducks, Ben Schmidt, Detroit, Michigan. Dated 1/13/55. Fine carving detail. The drake has Ben Schmidt’s card tacked to the under-side. Excellent and original.

Provenance: Formerly in collec-tion of Somers G. Headly, Newark, Delaware. Both are stamped “S.G.H.”. (8,000 - 12,000)

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12. Exceptional pair of pintails, Ben Schmidt, Detroit, Michigan, circa 1950. Fine carving detail. Keels are missing, otherwise excellent and original. (3,000 - 5,000)

13. Pair of exceptional widgeon, Ben Schmidt, Detroit, Michigan. Signed and dated 1/13/55. Fine carving detail. Excellent and original.

Provenance: Formerly in collection of Somers G. Headly, Newark, Delaware. Both are stamped “S.G.H.”.

(3,000 - 5,000)

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1918

14. Bluebill drake, Miles Pirnie. Relief wing carving with carved wing tips. Branded “F.M.D.” for Fanton Davis, Jr. Used at the Wigwam Club in Saginaw Bay, Michigan. Original paint with minor discoloration and wear; small crack in neck. (350 - 450)

15. Pair of canvasbacks very similar to the work of Ben Schmidt, Detroit, Michigan. Original paint with minor wear; several separations at small knots. (500 - 800)

16. Rigmate pair of mallards, Ben Schmidt, Detroit, Michigan. Near mint original paint; keel has been removed from drake; tail chip repairs on drake with touch up in that area; small chip missing from drake’s tail.

(1,000 - 1,500)

17. Oversize hollow carved blackduck, William Finch. Branded “W.H. Finch” in underside. Original paint with moderate shrinkage and minor wear; small crack in back. (800 - 1,200)

18. Mallard hen believed to be from Wisconsin. Lifted tail and slight inlet head. Original paint with minor wear; structurally good. (350 - 450)

19. Oversize bluebill Ken Chandley. Old in use repaint; a few small dents. (400 - 500)

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20. Very rare “low head” style blue-bill hen, Nate Quillen, Rockwood, Michigan, last quarter 19th cen-tury. One of only two known to exist in original paint. Worn origi-nal paint; cracks in underside and back as well as top of head and one side; small defect in wood on one side. (4,500 - 5,500)

21. Hollow carved redhead drake, Nate Quillen, Rockwood, Michigan, last quarter 19th century. Low head model with inlet in back of neck. Branded “G.A.S.T.E.R.”. Old working repaint has been taken down to reveal much of the original pat-tern; lightly hit by shot.

Provenance: Formerly in the col-lection of Barney Crandall.

(3,500 - 5,500)

22. Rigmate pair of mallards, George Sibley, Whitehall, Michigan, circa 1900. Both have slightly turned heads and inlet hardwood bills. Drake has traces of 1899 pat-ent date stamp. Both are branded “V.B.”. Original paint with mod-erate wear; crack in underside of drake; lightly hit by shot; hen has a reglued neck crack and roughness to one side of tail; hen also has a small shallow chip missing from back. (4,000 - 6,000)

23. Redhead drake, George Sib-ley, Whitehall Michigan, cir-ca 1900. Turned head with inserted hardwood bill. Hollow carved. Original paint; very slight wear; moderately hit by shot.

Literature: “Fish and Fowl of the Great Lakes,” Donna Tonelli, p. 32.

(4,000 - 6,000)

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23A

23B

23C

23A. Canada goose, Ben Schmidt, Detroit, Michigan, circa 1930’s. Removable head and hol-lowed out from the under-side. Good swimming pose and wing carving. “F.W.L” is painted on the underside which refers to Frank Linnenman , From St Clair Shores, Michigan. He was an attorney and his wife was an entertainer.The rig, circa 1940, con-sisted of pintails, mallards and geese. Original paint; some creasote staining on breast that has been removed and professionaly repaired. (3,500 - 4,500)

23B. Blackduck, Ben Schmidt, Detroit, Michigan, circa 1930. Very early style and form. Was sold in a hardware store in South Carolina and has Dick McIntyre’s brand on the underside. Exact decoy pictured in Lucky’s book of decoy values. Excellent and original.

Literature: “Luckeys” book. “Collecting Antique Bird Decoys,” plates 138 and 139, p. 129, exact decoy. (800 - 1,200)

23C. Rigmate pair of bluebills, Paul Lipke, Whiting, Indiana. “P.L.” stamped in weight. Original paint with minor discoloration and wear; slight separa-tion at body seam in hen.

(1,200 - 1,500)

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24 Detail

Ward BrothersCrisfield, Maryland

The White Mallard Club name has become synonymous with a rig of pintails and mallards used at this elite duck shooting club located in Northern California’s Butte Sink valley. Identified by the horseshoe shaped weights nailed to the rear of each de-coy, or the nail pattern of a missing weight, it is thought that these decoys made their way to the club via either Abercrombie & Fitch or Roos-Akins sporting goods store in

San Francisco, for one of the club’s founding members, William Burroughs. Most of the pintails and mallards are in the 1936 model but there were also a few pinch breast

pintails from the 1920s. This pintail has remained in the family of a White Mallard Club member since its departure from the club.

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24. Very rare pinch breasted style pintail drake, Ward Brothers, Crisfield, Maryland, circa late 1920’s. Paint on most of the decoy is original; white areas and black on tail have old repaint; minor wear; two small cracks in back; professional neck crack repair; with some touch up in that area.

Provenance: From the White Mallard Gun Club near Colusa, California. From the consignor’s father’s hunting rig who was a member there.

Literature: “Ward Brothers Decoys,” Brian McGrath and Ron Gard, p. 63. (35,000 - 45,000)

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24 Detail

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26 Detail

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26. Rare 1932 model canvasback drake, Ward Brothers, Crisfield, Maryland. Signed and dated at a later date by Lem Ward on the underside. Head is turned approximately 45 degrees. Original paint with good patina and minor wear; slight separation at neck seam and a tiny chip miss-ing from the original filler there; a few tiny dents.

Provenance: Clayton collection. (9,500 - 12,500)

25. Pair of balsa body mallards, Ward Brothers Crisfield, Maryland circa 1950. Slightly turned cedar heads; felt on undersides. Original paint with a warm patina and very slight wear; each has small dents in balsa on one lower side with paint missing from dents; slight separation at drake’s neck seam.


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27 Detail

27. Exceedingly rare hooded merganser hen, Ward Brothers, Crisfield, Maryland, circa late 1930’s. Slightly turned head and paddle tail. “L.T. Ward and Bro” ink stamp on underside. Also painted on underside is ”Female hooded merganser, Made for John H. Moore, New York”. Original paint with very minor wear; slight wear to edges of bill; small dents; slight separation at neck seam.

Provenance: John Hudson Moore collection by decent through the Hudson family. (20,000 - 30,000)

A New and Important DiscoveryThe decoy collecting community was not aware of any working mergansers made in the 1930s by the Ward Brothers, until this decoy was consigned this past spring

John Hudson Moore was the CEO of Sportsman’s Aftershave, a subsidiary of Colgate. He had these decoys made to have in his New York City office and to have them photographed to be on his bottles of aftershave.

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28. Classic rigmate pair of 1936 model canvasbacks, Ward Brothers, Crisfield, Maryland. Both have slightly turned heads with bills flaring out slightly towards the tips. Both have the “L.T. Ward and Bro” ink stamp under the tail and have been signed at a later date. Original paint with minor discoloration and wear; drake has a crack through the neck and small chip missing from each side of the tail.


28 Detail28 Detail

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3231

3029

32. Carved wooden fish decoy, Mark McNair, Craddockville, Virginia. 9 1/2” long with tack eyes, metal fins, and curved wooden tail. Original and very good. (600 - 800)

34. Sandpiper carved in the style of Obediah Verity, Mark McNair, Craddockville, Virginia. Original paint that has been aged; structurally good. (600 - 900)

35. Black bellied plover carved in the Cobb Island style, Mark McNair, Craddockville, Virginia. Original paint that has been aged; structurally good. (600 - 900)

36. Running peep carved in the style of Obediah Verity, Mark McNair, Craddockville, Virginia. Original paint that has been aged; lightly hit by shot. (500 - 800)

29. Widgeon drake carved in the Delaware River tradition, Mark McNair, Craddockville, Virginia. Relief carved wing tips and slightly turned head. Very good and origi-nal.

Provenance: Formerly in the collection of Tim Easton, Essex Connecticut. Easton collection stamp on underside. Purchased by the consignor in 1986 from John Delph.

(1,500 - 2,000)

30. Preening bluewing teal drake, Mark McNair, Craddockville, Virginia. Very good and original.

(1,500 - 2,000)

31. Catfish with metal fins, Mark McNair, Craddockville, Virginia. Tack eyes and curved wooden tails. 7 1/2” long. Original and good. (600 - 800)

Mark McNairCraddockville, Virginia

34 35 36

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40 41

39

3837

37. New Jersey style curlew, Mark McNair, Craddockville, Virginia. Original paint that has been aged; crack in lower breast. (750 - 950)

38. Hollow carved curlew made in the style of Nathan Cobb Jr., Mark McNair, Craddockville, Virginia. Original paint that has been aged; structurally good.

(1,000 - 1,500)

39. Pair of oldsquaws, Leo McIntosh, Woodville, New York. McIntosh stamp in underside. Original paint that has been aged; each has a crack in one side and has been lightly hit by shot; drake has a small copper repair to its crack.

Provenance: Gerard collection. (1,200 - 1,600)

40. Rigmate pair of buffleheads, Leo McIntosh, Woodville, New York. McIntosh stamp in underside. Glass eyes with relief wing carving. Original paint that has been aged; drake has been hit by shot.


41. Full size barn owl, Leo McIntosh, Woodville, New York. Signed. Original paint that has been aged, Numerous cracks. (1,250 - 1,750)

Lists of miniature songbirds from the Collection of Jim Parker

Lists of miniature ducks from the Heritage Plantation Collection Lists of miniature shorebirds from the Heritage Plantation Collection

Elmer Crowell1862 - 1952

East Harwich, Massachusetts

Miniature Shorebirds

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By 1910, Elmer Crowell had been making miniatures for almost 20 years. More importantly, he had

recently changed his style from small decoy like carvings to full body standing birds with wire legs on

carved wooden bases - a style that was used for the next several decades.

Crowell Miniatures can be divided into three primary groups; songbirds, shorebirds and ducks. He

made other birds including owls and upland game, but it was the primary three that Crowell promoted

the most. A full set consisted of 25 ducks, 25 shorebirds and 25 songbirds. It was not just collectors

that acquired the sets. Many went to institutions and schools for the teaching of ornithology. Accord-

ing to Brian Cullity, a set of 25 ducks cost $100 in 1930 and set of songbirds cost $75. The birds could

also be purchased separately. Prices for ducks and shorebirds ranged from $2 each in 1927 to $6 each

in 1933. They were $7.50 by the mid 1940s and $15 by 1959.

Today, collectors enjoy the pursuit of gathering exact sets of 25 as well as chasing the rare pieces that

were likely special order items.

Picture Credit - “The Songless Aviary,” Brian Cullity

4243

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42. 1/4 size preening yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. Approximately 6” tall. Fine feather paint detail. Rowland collection stamp on base. Excellent and original.

Provenance: Rowland collection. (5,000 - 7,000)

43. Extremely rare large miniature shorebird double mount, Elmer Crowell, East Harwich, Massachusetts. A curlew and a greater yellowlegs. Crowell’s rectangular stamp is in the underside. Approximately 5.5” tall. Very good and original.

Provenance: Rowland collection. “C.R.” stamped in base. (5,000 - 7,000)

Possibly the only known shorebird carving by Crowell with two birds on the same base

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47. Miniature eskimo curlew, Elmer Crowell, East Harwich, Massachusetts. Traces of Crowell’s circular ink stamp under base. Very good and original.


48. Miniature running ruddy turnstone, Elmer Crowell, East Harwich, Massachusetts. Very good and original.


49. Miniature jack curlew, Elmer Crowell, East Harwich, Massachusetts. Crowell’s circular ink stamp is under the base. Very slight paint shrinkage on top of tail, otherwise very good and original.


44. Miniature jack curlew, Elmer Crowell, East Harwich, Massachusetts. Crowell’s circular ink stamp is under the base. Fairly large, over 5” long. Very good and original.

Provenance: Rowland collection .(3,500 - 4,500)

45. Very rare miniature godwit, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the base. Fairly large, around 5” long. Very good and original.


46. Miniature upland plover, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is under the base. Very good and original.


4948

4746

4544

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53. Miniature purple sandpiper, Elmer Crowell, East Harwich, Massachusetts. Number “6” and Crowell’s rectangular stamp on underside. Bill has been broken and reattached.


54. Miniature spotted sandpiper, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is under the base. Underside of base is painted black. Very good and original.


55. Miniature yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. Very good and original.


50. Miniature sanderling, Elmer Crowell, East Harwich, Massachusetts. “Sanderling” is written under the base. Very good and original.


51. Miniature golden plover, Elmer Crowell, East Harwich, Massachusetts. Very good and original.


52. Miniature yellowlegs in walking pose, Elmer Crowell, East Harwich, Massachusetts. On burl base. Signed and dated 1939. Very good and original.


5554

5352

5150

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56. Pair of miniature bluebills, Elmer Crowell, East Harwich, Massachusetts. Very good and original.


57. Mini ruddy duck drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside of the base. Very good and original.

Provenance: Rowland collection. (950 - 1,250)

58. Pair of miniature mallards, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the undersides. Very good and original.


59. Miniature feeding canvasback drake, Elmer Crowell, East Harwich, Massachusetts. Very good and original.


60. Pair of miniature mergansers, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside of the bases. Very good and original.


61. Miniature goldeneye drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is under the base. Very slight wear on bill and top of head; otherwise very good. (1,000 - 1,400)

6160

5958

5756

33

65. Mini reaching brant, Elmer Crowell, East Harwich, Massachusetts. Crowell’s paper label is in the underside. Marked black brant. Very good and original.


66. Pair of miniature pintails, Elmer Crowell, East Harwich, Massachusetts. Both have Crowell’s paper labels on the undersides. Very good and original.


67. Miniature tern with split tail, Elmer Crowell, East Harwich, Massachusetts. On carved wooden clam shell base. Very good and original.


62. Widgeon hen and drake Elmer Crowell, East Harwich, Massachusetts. Drake has rectangular stamp and hen has paper label. Very good and original.


63. Miniature reaching blackduck, Elmer Crowell, East Harwich, Massachusetts. Crowell’s paper label is on the underside. Very good and original.


64. Miniature greenwing teal hen and drake, Elmer Crowell, East Harwich, Massachusetts. Very good and original.


6766

6564

6362

68

69

34

69. Delicate hollow carved black duck, Jim Duncan, Smith Falls, Ontario, Canada, last quarter 19th cen-tury. Raised wing tips with a blend of carved and scratch painted feathers on wings with strong scratch painting over body and head. Bill is carved away from face; glass eyes. Original paint has been damaged by a spill on back of body. Five nails secure a break in the neck that was done a very long time ago. A few other small dents.

Literature: “Ontario Decoys,” Bernie Gates, p. 156. (5,000 - 8,000)

68. Well carved bluebill drake, Peter Pringle, Dunnville, Ontario. Extra detailed gouge carving. Original paint with very slight wear; a few tiny dents. (4,000 - 6,000)

Ontario

70

70 Detail70 Detail

35

70. Hollow carved pintail drake, J.R. Wells, Toronto. Raised neck seat. Branded “J.R.W. maker”. Good comb and feather paint detail. Original paint with minor discoloration and wear; tiny shot mark at front of neck base; a couple of small shot marks; small plug in one side from when the decoy was made.

Literature: “Ontario Decoys,” Bernie Gates, p. 46. (16,000 - 20,000)

36

71. Goldeneye hen and drake, Ken Anger, Dunnville, Ontario. Hen is near mint; drake has minor discoloration and wear; minor separation at body seam in tail and breast area; a few small dents.


72. Rare oversize canvas-back drake, Isaiah Brown, Port Rowan, Ontario, circa 1900. Branded “H.M.S”. Used at the Long Point Club. Canvas cov-ered back attached with many tiny tacks. Original paint with minor wear; lightly hit by shot; old overpaint on underside extended approximately 1/2” around sides.

Literature: “Canvas Decoys of North America,” Archie Johnson, p. 133, exact decoy. (2,000 - 3,000)

73. Hollow carved redhead, George Warin, Toronto, Ontario, circa 1870’s. Fine paint detail. Original paint that has darkened with age; small crack in tail; several tiny dents and shot marks; small defect in one side. (2,000 - 3,000)

74. Very rare merganser hen, Billy Ellis, Whitby, Ontario, circa 1940. Original paint with mod-erate shrinkage and slight wear; old in use touch up on speculums; structurally very good.

Literature: “Ontario Decoys II”, Bernie Gates, p. 92, exact decoy.

(2,000 - 3,000)

71

72

73

74

George Warin1830-1905

Toronto, Ontario

75

75 Detail

75 Detail

37

75. Hollow carved Canada goose, George Warin, Toronto, Ontario, last quarter 19th century. Fine feather paint detail. Original paint with minor wear on most of the decoy; moderate wear on back; professional bill chip repair by Russ Allen; tail chip; thin crack in breast; slight separation at knot under tail.

Provenance: From an old Ottawa, Ontario collection.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid, p. 19. (8,000 - 12,000)

38

76. Solid body style blackduck, John R. Wells, Toronto, circa 1900. Branded “A.L.H.”. Original paint with good feather detail; worn to the primer and bare wood in a num-ber of places; a few small dents; wooden pin added across the breast when the decoy was made to keep a crack from opening up. (650 - 950)

77. Blackduck, Ken Anger, Dunnville, Ontario. His early style, circa 1930’s, with slightly turned head. Original paint with slight wear; a few tiny dents. (750 - 950)

78. Teal from Toronto Harbor, Ontario, last quarter 19th century. Old in use repaint; hit by shot; minor roughness to edge of tail. (600 - 900)

79. Mallard hen, Ken Anger, Dunnville, Ontario. Original paint shows minor wear; excellent structurally.

Provenance: Bartlett collection. (800 - 1,000)

80. Hollow blackduck, Ken Anger, Dunnville, Ontario. Excellent original condition.

Provenance: Bartlett collection. (600 - 900)

81. Very hollow bluebill drake, Toronto, Ontario, Canada, circa 1920. Glass eyes, slight bill carving between face and bill, slightly upswept tail. Original paint has crazed and oxidized slightly creating a white haze on back; light wear on head and bill where paint has exposed bare wood.

(500 - 800)

8180

7978

7776

39

82. Rare working Canada goose decoy from Trois Riviere, Quebec. Relief wing carving with some feather detail and fluted tail. Original paint with minor wear; small cracks and minor roughness to edge of tail; substantial crack in one side; there appears to be some old working touch up to the white under the tail. (1,500 - 2,000)

83. Solid body redhead drake, George Warin, Toronto, Ontario, 3rd quarter 19th century. Branded “C.H.GT.” twice in underside for C.H. Good. Nice form with raised neck seat. Original paint with subtle feathering; minor wear; small dents. (1,400 - 1,800)

84. Bluebill drake from Ont-ario. Finely carved with relief wing carving and carved prima-ries. Original paint with minor wear and good patina; a few tiny dents and shot marks.

(1,250 - 1,750)

85. Rigmate pair of redheads, Ken Anger, Dunnville, Ont-ario. Original paint with good patina and minor wear; keels have been pulled off the underside; a few tiny dents.

(2,000 - 3,000)

82

83

84

85

Dust Jacket Plover

40

From the Rowland Collection, the “dust jacket” black bellied plover,

purchased at the Mackey sale. A working shorebird made around 1900

and this exact decoy is pictured on the cover of William Mackey’s book,

“American Bird Decoys”. When William Mackey, whom many consider

the father of decoy collecting, created the cover for his book he selected

three of his favorite shorebirds. All three shorebirds featured on that cover

were carved and painted by Elmer Crowell. “Dust jacket” is now a term

used to describe Crowells highest level of carving and most desirable style

of hunting decoy. This is the first time that one of the actual “dust jacket’

plovers has been offered since the Mackey sale.

41

86

42

86. Important “dust jacket” black bellied plover, Elmer Crowell, East Harwich, Massachusetts circa 1890’s. Carved primaries with extended wing tips and shoe button eyes. Detailed shoulder carving with modeled spotting on breast and underside. Mackey collection stamp is on underside. Near mint original paint; structurally very good.

Provenance: Rowland collection.

Literature: This exact decoy is pictured on the center of photo of three shorebirds on front cover of William J. Mackey’s book “American Bird Carvings.” The Rowlands purchased the decoy in the Mackey collection sale at Richard Bourne’s at Hyannis in Massachusetts. (125,000 - 175,00)

86 Detail

43

86 Detail

86 Detail

87

88

44

87. Exceptional pair of yellowlegs silhouette, Elmer Crowell, East Harwich, Massachusetts. Approximately 12” long with tack eyes. Original carrying hole drilled through backs. Thicker and more well painted than most Crowell silhouettes. Excellent and original.

Provenance: From a home near Bangor, Maine. Purchased directly from Elmer Crowell by a long time Cape Cod resi-dent. (6,000 - 8,000)

88. Very rare pair of golden plover silhouettes, Elmer Crowell, East Harwich, Massachusetts. Approximately 11” long with tack eyes. Thicker and more finely painted than most Crowell silhouettes. Original carrying holes through backs. Tiny chip missing at one stick hole.

Provenance: From a home near Bangor, Maine. Purchased directly from Elmer Crowell by a long time Cape Cod resident. (6,000 - 9,000)

89

45

89. Classic black bellied plover, Elmer Crowell, East Harwich, Massachusetts, 1st quar-ter 20th century. Tack eyes. Fine paint detail and patina. Original paint with very minor wear, mostly on bill.

Literature: “New England Decoys,” John and Shirley Delph, p. 145. (9,500 - 12,500)

89 Detail89 Detail

46

90. Canvasback drake, John “Daddy” Holly, Havre de Grace, Maryland, 3rd quar-ter 19th century. From the Carroll’s Island Club. Club brand in underside. Old in use repaint; crack through neck. (1,750 - 2,250)

91. Swan decoy, John Vic-kers, Cambridge, Mary-land. Original paint with good patina and minor wear; small crack through neck base; small crack at defect in wood on one side; chip missing in underside where the weight was moved a long time ago.

Provenance: Formerly in col-lection of R.H. Richardson, Richardson ink stamp on underside. Collection of Morton D. Kramer, Kramer collection stamp on under-side. (2,500 - 3,500)

92. Bluebill drake, Captain Ed Phillips, Cambridge, Mary-land, circa 1930’s. Original paint with minor discolor-ation and wear; structurally good. (3,500 - 4,500)

93. Pair of redheads on their original wooden bases, Robert McGaw, Havre de Grace, Maryland. Fine feather paint detail. Near mint original paint; structur-ally excellent. (4,000 - 6,000)

Maryland

90

91

92

93

47

94. Rare full size working blue heron confidence decoy, Lloyd Tyler, Crisfield, Maryland. On wire legs. Rare open bill carving. Approximately 28” long. Original paint with good patina and minor wear; professional bill repair by Russ Allen; some filler and touch up on top of head; small area of touch up on back and near legs.

Literature: “Lloyd Tyler - Folk Artist and Decoy Maker,” Henry Stansbury, p. 93. (3,500 - 4,500)

95. Exceedingly rare working full size white heron con-fidence decoy, Lloyd Tyler, Crisfield, Maryland. 34” long on wire legs. Original paint with discoloration and minor wear; chip missing from tail; professional bill repair by Russ Allen; touch up to an early neck repair.

Literature: “Lloyd Tyler - Folk Artist and Decoy Maker,” Henry Stansbury, p. 93. (4,000 - 6,000)

94 95

Lloyd Tyler1898-1971

Crisfield, Maryland

48

96. Canvasback drake, John Holly, Havre de Grace, Maryland, 3rd quarter 19th century. Branded “E.N.L.”, “C.T.V.S.” and “FRAME”. Old in use repaint; small cracks. (950 - 1,250)

97. Canvasback drake, John Holly, Havre de Grace, Maryland, 3rd quarter 19th century. Worn original paint; several small cracks. (1,200 - 1,600)

98. Redhead drake, Captain Ben Dye, Perryville, Maryland, 3rd quarter 19th century. Old in use repaint; cracks in neck; roughness to edges of tail; small cracks in body.

(500 - 800)

99. Canvasback drake John Graham, Charlestown, Maryland, 3rd quarter 19th century. Branded “D.A.F.” Old in use repaint; neck crack repair; small dents and cracks. (500 - 800)

100. Redhead drake, Will Heverin, Chestertown, Maryland. From the Ed Robertson rig, branded “E.R.”. Signed. Working repaint by Charlie Joiner; very slight wear; several tiny dents. (600 - 900)

101. Canvasback drake, John Graham, Charlestown, Maryland, circa 1870’s. Branded “Stellwager, Media, PA”. Retains Graham weight. Worn old paint; numerous cracks, dents and shot marks; small chip missing from top of head. (650 - 950)

101100

9998

9796

49

Delbert “Cigar” DaiseyChincoteague, Virginia

102. Two ruddy duck hens, Cigar Daisey, Chincoteague, Virginia. Both have wing tip carving and fluted tails. Branded “Cigar” and signed. Small paint rub on hen’s breast, otherwise very good and original.

Provenance: Chincoteague Refuge Museum. (800 - 1,200)

103. Pair of bluebills, Cigar Daisey, Chincoteague, Virginia. Branded and signed. A few small paint rubs otherwise very good and original.

Provenance: Chincoteague Refuge Museum. (600 - 900)

104. Pair of dowitchers, Cigar Daisey, Chincoteague, Virginia. Both are branded “Cigar”. Relief wing carv-ing. Very good and original.


105. Pair of yellowlegs, Cigar Daisey, Chincoteague, Virginia. Both are branded “Cigar”. Relief wing carving and good paint detail. Very good and original.


106. Pair of ruddy ducks, Cigar Daisey, Chincoteague, Virginia. No feather carving. Branded and signed. Very good and original.


107. Pair of cork body brant, Cigar Daisey, Chincoteague, Virginia. Both are branded “Cigar”. Original paint with very minor wear; minor paint shrinkage on lower sides; a few tiny dents. (800 - 1,200)

107106

105104

103102

Dave “Umbrella” Watson1851 - 1938

Chincoteague, Virginia

50

Hunter with Watson brant and blackducks

Born in 1851 in Northampton County, Virginia, Watson eventually

relocated to Chincoteague, VA. He resided there until his death in 1938.

Watson made a living like most men on the island. Market gunning guid-

ing in the fall, carving decoys when time allowed, and harvesting oysters

and fish when time permitted. He was given his nickname because of the

umbrella that he always had at his side. Known for making geese, brant,

black ducks and pintail, almost all have glass eyes and a distinctive

carved browline making them easily identifiable.

51

108. Classic brant, Dave “Umbrella” Watson, Chincoteague, Virginia, circa 1920’s. Raised “V” wing tip carving. Original paint with minor wear on most of the decoy; moderate wear on breast; small cracks in breast; tight crack in neck; old in use repaint on white areas under tail.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr., p. 79. (14,000 - 18,000)

108 Detail108 Detail

108

52

110

110 Detail

109

109 Detail

109. Rare hollow carved three piece body style blackduck, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Fine paint detail. From the Kruger rig, Atlantic City, New Jersey. One of six known. Original paint with minor wear on much of the decoy; moderate wear on parts of back; small crack in top of bill; minor roughness to tip of bill. (5,500 - 8,500)

110. Finely painted blackduck, Ira Hudson, Chincoteague, Virginia, 1st quarter 20th century. Very round body style and fluted tail. Ice groove behind head. Highly detailed loop feather painting on body. Rigged but appears to never have been used; paint shrinkage in breast area and tail and part of the underside; structurally excellent.

(7,000 - 9,000)

53

111

111 Detail 111 Detail

Charles Birch1857 - 1956

Willis Wharf, Virginia

111. Hollow carved Canada goose, Charles Birch, Willis Wharf, Virginia. Hardwood bill is doweled through to the back of the head and splined. Tack eyes. Original paint with minor flaking and wear; numerous small dents; small crack in underside; traces of old varnish on underside.

Literature: “Southern Decoys,” Henry Fleckenstein, Jr., p. 135. (8,000 - 11,000)

54

112. Rare balsa body canvasback hen, Dave “Umbrella” Watson, Chincoteague, Virginia. Cedar head. Original paint with minor wear; small dents.

Literature: “Southern Decoys”, Henry Fleckenstein, Jr., p. 29.

(2,500 - 3,500)

113. Rigmate pair of buffleheads, Doug Jester, Chincoteague, Virginia, 1st quarter 20th cen-tury. Purnell brand in under-sides. Original paint with mod-erate wear; small cracks in bod-ies. (650 - 950)

114. Pair of unused blackducks, Doug Jester, Chincoteague, Virginia, 1st quarter 20th cen-tury. Original paint with minor wear; small surface crack in side of one head; several flakes of “in the making” filler missing on one side. (800 - 1,200)

115. Bluebill drake, Ira Hud-son, Chincoteague, Vir-ginia. “Football” body style with notched tail. Original paint with minor wear protected by an old coat of varnish; small crack in neck. (2,000 - 2,500)

112

113

114

115

55

116. Pintail drake weathervane, Elmer Crowell, East Harwich, Massachusetts. Approximately 27” long. Paint has been restored; filler added to several small cracks.

Provenance: Rowland collection. (400 - 600)

117. Carved owl on wooden base. Approximately 10” long. Signed “Stallings”. Original and good. (300 - 400)

118. Carved wooden owl, circa 1920’s. Approximately 14” tall. Original paint and varnish with good patina and minor wear; several small scratches. (650 - 950)

Items of Interest

121120

119118

117116

119. Pintail drake, Arthur Pellegrin, Houma, Louisiana. Signed. Original paint with minor discolor-ation and wear; structurally good. (350 - 450)

120. Wooden canvasback wing duck from Havre de Grace, Maryland, last quarter 19th century. Old in use repaint; small chip missing from top of head; small cracks.

(350 - 450)

121. Pintail hen, Larry Zaleski, Vallejo, California. Detailed feather carving. Original paint with minor wear; small crack in one side; separation and some paint flaking at knot in one side. (400 - 600)

56

122. Rare black bellied plover in winter plumage, George Boyd, Seabrook, New Hampshire. Extra fine feather paint detail. Original dry paint with minor wear; several spots of dark paint on one lower side; a few tiny dents.

Provenance: From a home in Canyon City, Oregon. (6,000 - 9,000)

123. Classic black bellied plover, George Boyd, Seabrook, New Hampshire, 1st quarter 20th century Fine paint detail. Dry original paint with very slight discoloration and wear; several tiny shot marks on one side; tiny chip missing from wing tips.

Provenance: From a home in Canyon City, Oregon. (6,000 - 9,000)

122 123

122 Detail

New England Shorebirds

57

124 125

125 Detail

124 Detail

124. Running yellowlegs, Elisha Burr, Hingham, Massachusetts, last quarter 19th century. Raised extended wing tips with carved primaries and shoe button eyes. Original paint; very minor wear; structurally very good.

Provenance: Formerly in the collection of John and Isabelle, Hillman, Sea Girt, New Jersey. Hillman collec-tion stamp on underside. (6,500 - 8,500)

125. Rare yellowlegs, Lothrop Holmes, Kingston, Massachusetts, 3rd quarter 19th century. Tack eyes and relief wing carving. Original paint with good detail; moderate discoloration and minor wear, several tiny dents. (10,000 - 14,000)

58

126. Golden plover by a member of the Harris family, Nantucket, Massachusetts, last quarter 19th centu-ry. Original paint with minor wear; two shot holes in one side; tiny chip missing from one edge of tail.

(1,250 - 1,750)

127. Very rare sandpiper from Nantucket, Massachusetts, circa 1880’s. Baleen bill. One of a rig of three found. Original paint with minor wear and good patina; very lightly hit by shot. (1,500 - 2,500)

128. Black bellied plover from Cape Cod, Massachusetts, last quarter 19th century. Tack eyes. “J.P.N.” is carved under the tail. Bill has been blunted slightly; small crack in tail. (1,500 - 2,000)

129. Golden plover with “beetle” head, Cape Cod, Massachusetts, last quarter 19th century. Original paint; minor discoloration and wear; a few tiny dents.

(2,000 - 3,000)

130. Golden plover Joseph Lincoln, Accord, Massachusetts circa 1900. Shoe button eyes. Original paint with very minor wear on one side, significant wear on the other side; bill is a professional replacement by Russ Allen.

(2,500 - 3,500)

131. Lesser yellowlegs, maker unknown from New England. The term “banana bird” refers to the odd curved shape which resembles a banana. Original paint shows minor wear and a fine patinaed surface; the bill is a late replacement.

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

131130

129128

127126

59

132. Golden plover from the Morton Rig, Quincy, Massachusetts. Branded “W.S. Morton”. Relief wing tip carving and carved eyes. Good paint detail. Originally this decoy had two wire legs. Hole was drilled in the underside at one time to use a decoy stand. Very good and original.


133. Preening yellowlegs, Melvin Gardner, Lawrence, Massachusetts. Original paint with minor discoloration and wear.

Provenance: Formerly in the collection of William J. Mackey, Jr. Mackey collection stamp on underside. This lot was sold in the Richard Bourne auction immediately after the Crowell dust jacket black bellied plover in this auction. Rowland collection. (6,500 - 9,500)

132 133


The Carolyn Rowland Collection

60

Carolyn Crossett Rowland (1916-2012) and her husband George had residences in Boston, Massachusetts and Osterville on Cape Cod. Caro-lyn was a 1937 graduate of Bennington College who studied with photog-rapher Ansel Adams and exhibited work worldwide from 1938 to 1941. She also studied at the Shipley School and the Jack Powell Photographic Studio. Carolyn left Bennington College with a degree in art and during the winter internship of her senior year walked into the New York gallery of the prominent photographer, Alfred Stieglitz and showed him her pho-tographs. Stieglitz introduced her to a then undiscovered modernist pho-tographer, Ansel Adams, and so began a longtime friendship and informal apprenticeship that strongly influenced her later work.

Over a 50 year period the Rowlands put together one of the finest col-lections of Elmer Crowell decorative shorebirds in the country. The col-lection includes several pieces that were gifts from Elmer Crowell to his friend and benefactor, Charles Hardy (these were signed by Hardy). Some of the carvings were purchased by the Rowlands directly from Crowell. Some are signed A.H. Dempsey (Ashley Hardy Dempsey) to J. Ashley Dempsey - this documents Charles Hardy’s daughter, giving them to her daughter. The Rowlands purchased numerous decorative carvings and Massachusetts shorebirds at the Richard Bourne auctions in Hyannis in the 1970’s. During the 1980’s and 1990’s they purchased from Guyette & Schmidt, Inc. auctions.

Lot numbers from the Carolyn Rowland collection42-60, 62-67, 86, 116, 132-144, 186, 219, 315-323, 325-330, 399, 404,

408-410, 412, 414-431, 434, 437, 439-442, 592

134

134 Detail

134 Detail

61

134. Exceedingly rare semi palmated plover with turned head, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. Good paint detail. Excellent and original.

Provenance: Rowland collection. “C.R” stamped in base. (10,000 - 15,000)

62

135

135 Detail

135. Important full size flying tern, Elmer Crowell, East Harwich, Mass-achusetts. Approximately 22” from wing tip to wing tip. Exceptionally well blended feather paint. Old repair and paint touch up to filler where wings join back.


136

136 Detail

63

136. Very rare feeding lesser yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectan-gular stamp is in the underside of the base. Stamped “C.R.”. Very good and original with good feather paint detail; Several tiny scrapes on base.


64

137. Very rare full size piping plover on carved wood-en clam shell base, Elmer Crowell, East Harwich, Massachusetts. Signed “A.E. Crowell, Cape Cod”. Crowell’s rectangular stamp is in the underside. Approximately 5” tall. Excellent and original.


138. Screech owl on branch, Elmer Crowell, East Harwich, Massachusetts. Owl is approximately 3 1/2” long. Crowell’s paper label is on the underside of the base. Original paint; few small paint flakes are missing from jesso feet.


138

137

139


65

139. Full size tern, Elmer Crowell, East Harwich, Massachusetts. Carved, crossed wing tips and split tail. Crowell’s oval brand is in the underside. Well blended feather paint detail. Very good and original.


66

Charles Ashley Hardy

Charles Ashley Hardy was born in Norwich, Connecticut in 1874.

After receiving his bachelors degree from Harvard University in

1897 and a Masters in Engineering from MIT in 1904, he went to

work in the mining industry. He travelled extensively in Mexico

and the Southern United States. He often hunted game on his trav-

els and contributed some written accounts of those hunts for Out-

ing, Life, and Shooting and Fishing magazines.

The Chatham Bars Inn today

Lot numbers signed by Charles Hardy140-142

67

As a member of the Boston Art Club and an avid sportsman who’s

“Three Bears Club” employed Elmer Crowell as a guide, it is

no surprise that Hardy would encourage and financially support

Crowell to pursue the carving of “mantle birds”. Carvings not

meant for use in the field, but for discerning nature lovers to be

able to bring the outdoors in. These early artistic expressions by

Crowell are some of his greatest work, both in the use of animated

poses and in the thick, textured paint application.

By 1912 Charles Ashley Hardy had become a successful real es-

tate developer and stock broker. He began purchasing farmland

in Chatham, Massachusetts for what would become the Chatham

Bars Inn. Two years later the Inn, which included a main building,

nine seaside cottages, and a golf course, was opened and offered

“the best deep sea fishing, harbor fishing, and shorebird shoot-

ing.” It became a popular hunting lodge for the affluent sportsman

from Boston, Philadelphia, and New York. Sadly in 1924, Hardy

was involved in an accident, which claimed his life at the early

age of 50.

Underside of oval brand base with Charles Hardy signature

140 Detail

140 Detail

68

140. Very important and exceptionally rare upland plover, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand as well as a paper label is on the underside. The carv-ing is signed by Charles Ashley Hardy and was a gift from Crowell to him. It is outstanding throughout including the well carved wooden base that is made to simulate a rock. Very good and original.

Provenance: Rowland collection. Stamped “C.R.” (40,000 - 60,000)

140

69

Upland PloverEven though they are sandpipers, upland plovers do not need the water.

They prefer open country with tall grasses. They are also found at airports, blueberry farms and abandoned strip mines in the east. Their true core range and habitat is in the northern midwest United States

141 Detail

141 Detail

70

141

71

141. Extremely rare and important jack snipe, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. Exceptionally fine paint detail. Fine detail carving and paint on base as well. Signed “C.A. Hardy”. This carving was a gift from Elmer Crowell to Charles Ashley Hardy. Stamped “C.R.”. Excellent and original.


142 Detail

142 Detail

142 Detail

142

73

142. Important feeding curlew, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. It also has a paper label that reads “jack curlew” and is signed by Charles Ashley Hardy. Approximately 16 1/2” long. Exceptional form and paint detail. Mottled paint on base. Carved primaries. Very good and original.

Provenance: Rowland collection. This carving was a gift from Elmer Crowell to Charles Hardy. (60,000 - 80,000)

143 Detail

143

143 Detail

74

143. Exceptionally well painted preening greater yellowlegs, Elmer Crowell, East Harwich, Massachusetts. With lifted wing and metal feather in its bill. Crowell rectangular stamp is in the underside of the base. Dropped wing and carved primaries. Excellent and original with good patina.

Provenance: Rowland collection. “C.R.” in base. (20,000 - 30,000)

75

144


144. Very rare full size feeding least sandpiper, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. Approximately 4 1/2” tall. Original paint with good detail and patina; several paint flakes missing from jesso feet.

Provenance: Rowland collection. “C.R” stamped in base. (8,000 - 12,000)

76

145. Canada goose, Jake Barrett, Somers Point, New Jersey. Original paint with scratch feathering on back and sides; minor to moderate wear; a few tiny dents.

(1,000 - 1,500)

146. Hollow stick up brant attributed to Sam Soper. Some attribute this to Birdsall as the carving around the head resembles that of Eugene Birdsall, Point Pleasant, New Jersey. Old repaint shows average wear; thin crack in the neck; slight separation at the body seam.


147. Hollow bluebill hen, H.M. Shourds, Ocean City, New Jersey. Original paint shows moderate wear; there has been a rather crude repair to the bill which has been over-painted; small area of late filler at the body seam on one side.


148. Bluebill hen, Chris Sprague, Beach Haven, New Jersey. The paint has been restored and there has been a repair to the bill.


149. Blackduck, Ellis Parker, Beach Haven, New Jersey, last quarter 19th century. Dry original paint shows minor wear; there appears to have been a repair to the bill, oth-erwise the structural condition is excellent.


150. Bluebill drake, Rowley Horner, West Creek, New Jersey. The surface is mostly in a second coat of over-paint showing minor wear; excellent condition structur-ally.


New Jersey

150149

148147

146145

77

151. Classic brant, Rowley Horner, West Creek, New Jersey, first quarter 20th century. Original paint with minor wear on most of the decoy; old working repaint on white area; a few tiny dents.

(2,500 - 3,500)

152. Early merganser hen, Henry Grant, Barnegat, New Jersey, last quarter 19th century. The white areas are in an early working repaint the remainder of the decoy is in the original surface; thin crack in the bill secured from the bottom with a nail; otherwise structurally good.

Provenance: Bartlett collection.; ex-collection John & Isabelle Hillman and so stamped.

Literature: “The Hillman Collection Rare American Waterfowl Decoys,” Guyette & Schmidt, Inc., lot 35, exact decoy; “New Jersey Decoys,” p. 271, and “Decoys of the Mid-Atlantic Region”, p. 24, H.A. Fleckenstein; “Working Decoys of the Jersey Coast and Delaware Valley.” (2,500 - 3,500)

153. Early pair of hollow mergansers, Capt. Stites York, Cape May, New Jersey, early 1st quarter 20th cen-tury. The drake is branded, “F.W. CASSEDY”. The hen is in old working repaint showing moderate to considerable wear; the drake has a good deal of the original surface still intact; both have professional repairs to the bills; hen has several thin cracks in the body; drake has a small repair to the tip of the crest.

Provenance: Bartlett collection

Literature: “New Jersey Decoys,” Fleckenstein, p. 131, exact pair pic-tured. (2,500 - 3,000)

154. Rare blackduck with turned head, Ezra Hankins, Point Pleasant, New Jersey, circa 1890’s. Original paint with minor wear; a few small dents; bill has been broken off and reattached.

Provenance: Formerly in the col-lection of John and Isabel Hillman, Hillman collection stamp on under-side. (3,000 - 4,000)

151

152

153

154

Nathan Rowley Horner and son, Watson Horner

155

78

155. Fine hollow blackduck Nathan Rowley Horner, West Creek, New Jersey, 2nd quarter 20th century. For a complete treatise on Rowley Horner refer to “Classic New Jersey Decoys” by James Doherty, pp. 89-109. Dry original paint shows average wear with some discoloration to the surface; a few light shot marks; overall excellent structurally.

Provenance: Bartlett collection.

Literature: “North American Waterfowl Decoys & Bird Carvings At Auction,” Julia & Guyette w/Frank M. Schmidt, April 1991, lot 538, exact decoy; “Classic New Jersey Decoys,” Doherty, p. 107.

(5,000 - 7,000)155 Detail

Rowley Horner1881 - 1942

West Creek, New Jersey

156 Detail

156

156 Detail

79

156. Very rare goldeneye drake, Rowley Horner, West Creek, New Jersey, 1st quarter 20th century. Original paint with minor discoloration; slight shrinkage on white areas under tail; three short hairline cracks at neck base.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr., p. 138. (10,000 - 14,000)

157

157 Detail

80

157. Classic bluebill drake, Harry V Shourds, Tuckerton, New Jersey, 1st quarter 20th cen-tury. Strong original paint with minor discoloration and wear; old overpaint has been professionally removed from the white area; small dents; professional neck crack repair.

Provenance: From the Cassedy Rig, branded “F.W. Cassedy”.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr. “Classic New Jersey Decoys,” James Doherty. (8,000 - 12,000)

158 Detail

158

158 Detail

81

158. Classic brant, Harry V. Shourds, Tuckerton, New Jersey, 1st quarter 20th cen-tury. Original paint with minor flaking and wear; two cracks through neck; small dents.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr. “Classic New Jersey Decoys,” James Doherty. (8,000 - 12,000)

159 Detail

159

82

159. Pair of red breasted mergansers, Lou Barkelow, Forked River, New Jersey. The hen has the initials, “L.B.” branded into the lead ballast. Both are in excellent original condi-tion.


160 Detail

160

83

160. Exceedingly rare flying brant with canvas over wire frame wings, Ellis Parker, Surf City, New Jersey, 1st quarter 20th century. Feet are painted on under-side. 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.


84

161. Rare rigmate pair of bluebills, William Sites, Sea Isle City, New Jersey. Original paint with minor wear; a few small dents; small defect in wood on one side of drake’s bill.

(1,500 - 2,000)

162. Rigmate pair of working goldeneye, William Cranmer, Beach Haven, New Jersey. Signed 1982 and brand-ed. Original paint with minor shrinkage, discoloration and wear. (950 - 1,250)

163. Somewhat oversized and stylish red breasted mer-ganser drake, Bill Hammell, Absecon, New Jersey, 1st quarter 20th century. Old repaint shows moderate wear; some chips out of the carved crest; overall sound structurally.

Provenance: Bartlett Collection; ex-collection William Mackey and so stamped.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr., p. 123, exact decoy pictured. (1,200 - 1,700)

164. Early red breasted merganser drake, attributed to Nate Frazier. Old working repaint shows average wear; the glass eyes are missing, the cavity has been filled and painted.


165. Rare stick up mallard drake, Ellis Parker, Beach Haven, New Jersey, 1st quarter 20th century. Hollow carved working decoy. Working repaint shows average wear and some minor flaking; slight separation at the body seam.


166. Blackduck, Stanley Grant, Barnegat, New Jersey, circa 1920’s. Near mint original paint; a few tiny dents.

Provenance: Formerly in the collection of John and Isabelle Hillman, Sea Girt, New Jersey. Hillman collection stamp and Hillman paper label on underside.


166165

164163

162161

85

167. Early hollow pair of goldeneye, Capt. Jess Birdsall, Barnegat, New Jersey, last quarter 19th centu-ry. Hollow pegged construction. Old working repaint over the original pat-tern; each has a thin crack in the neck; overall both are good structur-ally.

Provenance: Bartlett Collection: ex-collection Johnny & Isabelle Hillman and so stamped.

Literature: “The Hillman Collection Rare Antique Waterfowl Decoys,” Guyette & Schmidt, Inc., April, 1996, lot 37E. (2,000 - 3,000)

168. Pair of goldeneye, Roy Maxwell, Lower Bank, New Jersey, 1st quar-ter 20th century. Paint appears to be second coat; minor to moderate flaking and wear; a few small dents.


169. Classic Canada goose, Harry M. Shourds, Ocean City, New Jersey, 1st quarter 20th century. Old in use repaint on much of the decoy with some original showing; cracks in underside; professional repair to several cracks in the neck.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr.

(2,000 - 2,400)

170. Hollow Canada goose, attributed to Rowley Horner, West Creek, New Jersey. This bird is in a working second coat of paint likely by Chris Sprague. Refer to page 114, plate 231, “Classic New Jersey Decoys,” James Doherty for the picture of a similar goose which he attributes to Sprague. This bird is somewhat deeper in the body than those known to have been made by Horner, but lacks glass eyes. The paint on this bird appears to be the same at that on the bird in plate 231. Working second coat of paint shows minor wear and nice patina; multiple shot marks on one side of the body; professional repair to the bill; thin tight crack in the neck.


Literature: “Classic New Jersey Decoys,” James Doherty, pp. 96-97, and 114. (4,000 - 6,000)

167

168

169

170

86

171. Set of three “Lincoln type” shorebirds, Hingham, Massachusetts, circa 1900. A golden plo-ver, robin snipe and yellowlegs. All have tack eyes. Original paint with minor to moderate wear; structurally good.


171

New england Shorebirds

87

172. Very rare hollow carved golden plover, Tom Wilson, Ipswich, Massachusetts, last quarter 19th century. Very thin, hollow carved with tack eyes. Original paint with very minor wear and good patina; several tiny chips missing from the tail.

(7,000 - 9,000)

172

172 Detail

88

172A. Rare eskimo curlew, Dr. Clarence Gardener and Newton Dexter. Relief wing carving and shoe button eyes. Original paint with minor flaking and wear; most of one eye is missing; two small reglued chips under bill.

Provenance: Given to the consignor by Henry Wentworth Bentley, Newport, Rhode Island. (6,000 - 9,000)

173. Early curlew from Nantucket, 3rd quarter 19th centu-ry. Two piece body construction with tack eyes. “T.B.” is painted on the underside. Original paint with good patina and minor wear; bill is an old replacement and is loose.

(5,500 - 8,500)

172A 173

89

174. Large hollow yellowlegs or possibly a curlew, attrib-uted to Joe Lincoln, Accord, Massachusetts. Hollowed with a horizontal seam. Original paint shows minor wear and a fine patinaed surface; the bill is a late replacement.


Literature: “Joseph W. Lincoln,” Cap Vinal, p. 70. (3,000 - 5,500)

175. Early golden plover from the Morton rig. Beetle head with wax eyes. Two smaller holes in underside from origi-nal wire legs. Original paint with minor wear; a few tiny dents and shot marks. (3,500 - 4,500)

176. Rare oversize yellowlegs with tack eyes, Charles Thomas, Assinippi, Massachusetts. Relief wing carv-ing. Approximately 14” long. Original paint with minor discoloration and wear; lightly hit by shot; old overpaint has been taken off of the bill. (3,000 - 5,000)

174 175 176

90

177. Nine assorted folding tin shorebirds, Strater Sohier, Boston, Massachusetts. Nine sticks are includ-ed. Original and good. (650 - 950)

178. Rare folding tin semi palmated plover, Strater Sohier, Boston, Massachusetts. Name and patent date stamped inside. Original paint with minor wear; structurally good.

(800 - 1,200)

179. Black bellied plover from Nantucket, last quarter 19th century. Moderately hit by shot; paint is an early second coat; small rough area on one edge of tail. (650 - 950)

180. Golden plover from Nantucket, last quarter 19th cen-tury. Original paint with minor wear; a few tiny dents.

(800 - 1,200)

181. Very rare least sandpiper, Benjamin Franklin Torrey, Braintree, Massachusetts, 3rd quarter 19th centu-ry. Original paint with minor discoloration and wear; structurally good.

Provenance: Formerly in collection of Robert J. Congden, Nantucket, Massachusetts. (900 - 1,200)

177

178

180

179

181

91

182. Hollow carved merganser hen, Ben Smith, Martha’s Vineyard, Massachusetts. Head is turned very slightly to one side. Appealing old in use repaint; rough area on one edge of tail; several small cracks.

Provenance: Ex Denormandie collection.

Literature: “New England Decoys,” John and Shirley Delph. (2,250 - 2,750)

183. Merganser hen, Keyes Chadwick, Martha’s Vineyard, Massachusetts. Branded “CSA”. Original paint with good patina and slight wear; crack in underside; bill has been broken and reset.

(1,500 - 2,000)

184. Oldsquaw drake, James Bourne, Cape Cod, Mass-achusetts, circa 1900. Branded “D.A. Peach”. Tack eyes. Original paint with mod-erate discoloration and wear; a few tiny dents.


185. Brant, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Original paint with minor wear on lower sides as well as white on neck; the rest has old in use repaint; pro-fessional repair to the end of bill; filled age split in underside; small cracks and dents.

Provenance: From the col-lection of Bill and Mary Blue Huey, Tesuque, New Mexico. Purchased by Bill from Bob Clifford in December, 1963. This was Mary’s favorite decoy.

(1,500 - 2,000)

182

183

184

185

New England

92

186. Swimming merganser drake with lifted head from Martha’s Vineyard, 1st quarter 19th century. Similar to the work of Keyes Chadwick, Oak Bluffs, Massachusetts. Original paint with moderate wear; two fairly large filled chips in back; crack in underside.

Provenance: Rowland collection. Stamped “C.R”. (4,000 - 6,000)

187. Very rare swimming merganser hen, attributed to F.J. Swift, Falmouth, Massachusetts, 1st quarter 20th century. Slightly turned inlet head with finely carved wooden crest. Tack eyes. “F.J. C. Swift, Falmouth” is painted in delicate script under tail. Original paint with good patina and minor wear; very lightly hit by shot; slight defect at knot in lower breast.


186

187

187 Detail

93

188. Self bailing brant, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Original paint with good detail and very minor wear; professional repair to a small crack through then neck with touch up in that area; hairline crack partway through the bill.

Provenance: Clayton collection. Formerly in the collection of William J. Mackey, Mackey collection stamp on under-side. (7,000 - 9,000)

189. Hollow carved blackduck, Ben Pease, Edgartown, Massachusetts circa 1900. Stamped “J.P.” in weight. Fine carving form, Original paint with precise feather detail, moderate wear, mostly on body; two short hairline cracks in tail; small defect in wood in one side.

Literature: “New England Decoys,” John and Shirley Delph. (6,500 - 9,500)

188

189

94

190. Rare “lowhead” style blackduck, Charles Disbrow, Stratford, Connecticut. Hollow carved with fine feather paint detail. Original paint with minor wear; structurally good.

Provenance: Formerly in the collection of George Ross Starr, Duxbury, Massachusetts. Starr collection stamp on underside, also Starr paper label.

Literature: Richard Bourne decoy auction May 1986 lot 41 exact decoy. (1,500 - 2,500)

191. Sleeping blackduck, Willard Baldwin, Stratford, Connecticut, 2nd quarter 20th century. Hollow carved with glass eyes. Particularly fine feather paint detail on head and back. Original paint with good patina and very slight wear; tiny rough spot on edge of tail.


Literature: “Connecticut Decoys,” Henry Chitwood, p. 87 (1,400 - 1,800)

192. Solid body blackduck, Cassius Smith, Milford, Connecticut., last quarter 19th century. Highly detailed bill carving and carved eyes. Worn old paint with some

original showing; chip missing from tail; cracks in under-side.


193. Balsa redhead drake, “Shang” Wheeler, Stratford, Connecticut, circa 1930’s. Good comb paint detail. Original paint with minor wear; numerous tiny dents; three worn areas in balsa on underside.

(1,250 - 1,750)

194. Rigmate pair of pintails, Roswell Bliss, Stratford, Connecticut. Both are branded “R. Bliss” on the under-sides and have three “R’s “ stamped there as well. Drake has metal tail sprig. Original paint with very slight wear on hen; minor to moderate wear on drake; structurally good.

Provenance: Clayton collection.

Literature: “Connecticut Decoys,” Henry Chitwood. (1,000 - 1,500)

195. Rigmate pair of oldsquaws, Joseph Lincoln, Accord, Massachusetts. From the Spear rig, both are branded “H. E. Spear”. Old repaint; cracks; most of bill is missing from hen. (1,500 - 2,500)

195194

193192

191190

196 Detail

196

196 Detail

95

196. Important oversize American merganser drake, Captain Sam Hunt, Essex Connecticut, 1st quarter 20th century. Over 20” long. Raised neck seat and carved wooden crest. Original paint with good patina and minor wear; worn area in center of underside; three cracks in underside; small dents; wear to wood on edges of tail and crest; several tiny dents.

Provenance: Gerard collection. Formerly in collection of William J. Mackey, Mackey collection stamp on underside. (9,000 - 12,000)

Shang and guide

Charles “Shang” Wheeler1872 - 1949

Stratford, Connecticut

96

Decoy carver, sportsman, oysterman, artist, politician, naturalist, and conservationist are

just a few of those life experiences that identify Charles “Shang” Wheeler. Born in West-

port, Connecticut, Wheeler grew up and spent his life hunting and fishing along the Housa-

tonic River and other Connecticut rivers flowing into Long Island Sound.

His achievements in all of the aforementioned fields are far too numerous to mention here,

but suffice it to say that he lived life to the fullest and made significant contributions to

each of his life’s endeavors. Wheeler’s decoys evolved from the works of Albert Laing

and Benjamin Holmes, the earliest of the Stratford, Connecticut School carvers. He carved

a wide variety of decoys, but his output of blackducks far exceeded his production of the

other species which included bluebills and scoters and, even to a lesser extent, pintails,

goldeneye, canvasback, teal, widgeon, geese, oldsquaw, redheads. “The rarest are wood

duck, merganser, ruddy duck, and swans.”

Wheeler achieved national recognition after he started competing in carving contests, and

decoy shows. The largest was the first American decoy show held in 1923 in Bellport,

Long Island, where he won the “Grand Prize”. Wheeler also exhibited a display of over

fifty of his decoys at the National Sportsman’s Show in New York City during the 1940s.

Ultimately, after Shang’s death, this display was housed at the Audubon’s Birdcraft Mu-

seum in Fairfield, Connecticut where they remained until the collection was sold privately

in the early 1980s.

197 Detail

197

97

197. Important hollow carved blackduck, Shang Wheeler, Stratford, Connecticut. Fine form with slightly turned head with detailed feather paint. Near mint original paint with good patina; a few tiny dents.

Provenance: Given to Charles Disbrow by Shang Wheeler in 1940. Written on underside is “From C.D. 3/27/54” and then under that is written in pencil “From Bill Mackey 1955”. Mackey gave/sold it to Frank Ash. Decoy was purchased directly from Ash’s grandson.

Literature: “Shang,” Dixon Merkt, p. 67. (30,000 - 40,000)

198

98

198 Detail

198 Detail

198

99

198. Very rare sleeping bluebill drake, Shang Wheeler, Stratford, Connecticut. Original paint with fine comb detail. Minor wear, mostly on back; structurally very good; this is a working decoy but there are traces of felt on underside that was added at a later date.

Literature: “Shang,” Dixon Merkt, p 130, exact decoy. (30,000 - 40,000)

100

199. Large oil on canvas by C.F. Deiker, 1864. Signed “C.F. Deiker” in the lower right. Image size 41” x 33”. Landscape scene at water hole with six doe and one large stag. Blue sky in the background. Very good; two small areas of in painting near eye and left leg of stag.

(5,000 - 7,000)

200. Watercolor of hunter in marsh, Chet Reneson, Old Lyme, Connecticut. Signed. Professionally matted and framed. Image size approximately 18” x 27”. On the back is another hunting scene by Reneson that is unsigned and appears to be not completely finished. Very good and original. (2,500 - 3,500)

199

200

Paintings

101

201. Watercolor of dogs, Edmond H. Osthaus. Signed. Professionally matted and framed. Image size 11” x 15”. Very good and original. (4,000 - 6,000)

202. Oil on board of flying canvasbacks, Roland Clark. Signed and dated 1925. Image size approximately 14” x 19”. Several narrow cracks in paint in sky, otherwise very good and original. (3,500 - 4,500)

202A. Two etchings of shorebirds, Linda Lloyd. Limited edi-tion 60/125 and 78/125, signed. Framed size 9” X14”. Very good and original. (350 - 450)

201202

202A 202A

102

203. Watercolor of street scene entitled “Near Albufeira”, Ogden Pleissner. Signed. Professionally matted and framed. Image size 7” x 10”. Very good and original.

(6,500 - 8,500)

203

204

204. Oil on canvas of a dog, last quarter 19th century. Image size approximately 15” x 19”. Cracking to paint; two small areas of discoloration in sky. (1,500 - 2,000)

103

205. Four A. B. Frost prints from an original set of six by Scribners Printing Company, 1903. These were used to promote a larger set for national market distribution. This small size set of Chromo Lithographs are considered rare. Image sizes are 7.5” x 4.5”. Frame size 11.5 x 14.5”. Very good condition. (1,000 - 1,500)

206. Two watercolors on board, J.D. Knap. Signed. One is entitled “Going Out, Blackducks” the other is “St. Clair Flats pintails”. Unframed. Approximately 11” x 15” Glue marks on edges. (650 - 950)

207. Limited edition Massachusetts duck stamp print with two stamps, William Tyner. 48/157 Signed by the art-ist. Very good and original. (300 - 400)

208. Oil on board of hunter in marsh. Signed “B.M. Keyes”. Framed. Image size 11” x 16”. Original and good.

(650 - 950)

205 205 205

205

208207

206 206

104

209. 1929 Calendar, United States Cartridge Company, NY, NY. Illustration of hunter and beagle in pursuit of rab-bit by William Harden Foster, 1922. November calendar page. Top band is intact, small tear to left side; one 6” tear on lower part of calendar. (800 - 1,200)

210. Winchester hang tag for Ranger Smokeless Powder Shells. Image of lifting mallards and large Winchester shell with two piece box. By Lynn Boogie Hunt. 15” x 10”. Very slight age fading; a 2.5” scratch near bottom of shell; very light wear. (1,500 - 2,000)

210A. Hunting lodge sign on wide board. 24” x 47”. Original paint; some wear; small cracks. (800 - 1,200)

211. Oriental smokeless powder tin, Oriental Powder Mills, Portland, Maine. Original labels on front, back and top. Original paint on tin with minor flaking on extremi-ties; labels have minor discoloration; small tears on back and top labels. (800 - 1,200)

212. Glass target ball thrower, Moles Patent, March 22, 1878. Iron construction that has pitted. Base reads “Made by Batavia M.F. Co, Batavia, Illinois”. Structurally good; rubber inset glass ball holder has deteriorated and par-tially broken away. (1,500 - 2,500)

209

211

210

210A

212

105

213. Important 10 1/2’ long punt gun from Crisfield, Maryland, 1st quarter 20th century. This is the larger of two guns once owned by Elwood Dize. This was referred to as a “Pound and a Half” gun for the amount of powder it used per shot. This gun, along with another smaller punt gun and some 200 decoys were purchased by Lloyd Tyler from Dize in 1959. Tyler later sold the gun to Bill Mackey. The barrel is believed to have been made in the machine shop of Ed Melbourne, a resident of Crisfield. The stock is made from heart of yellow pine. 2” barrel diameter. Barrel has old black in use repaint; stock is original with split in underside and crack in back. (9,000 - 12,000)

214. Percussion heavy gauge punt gun, probably French, 1832. Stamped “M. 1831” with other numerical mark-ings on the barrel. 57” long. Two piece stock has probably been extended. A wool patch for cushion has been added. Faintly appears to read in metal near hammer “M. R. de Charleville” and rabbit ear sights. Metal is rusted.

(800 - 1,000)

215. Old waterfowling flintlock heavy gauge shot-gun. Stamped “GEOBARNARD”. Brass trigger guard and butt plate. 68 1/2” long. Crack in stock near hammer; numerous dents; several cracks in stock near action.

(1,000 - 1,500)

216. Break action 8 gauge market gun. C.S. Shattuck, Hatfield, Massachusetts. 51” long. Double trigger. Stamped American on end of barrel. Stock is fractured near trigger guard; shows some bluing. (1,000 - 1,500)

213

214

215

216

213 Detail

106

217. Miniature swimming Canada goose, Joseph Lincoln, Accord, Massachusetts. Original paint with slight wear; reglued crack in neck. (2,000 - 2,500)

218. Pair of miniature mallards, Robert McGaw, Havre de Grace, Maryland. On original hardwood bases. Near mint original paint with good detail; tight crack in hen’s neck. (1,200 - 1,600)

219. Five miniature flying teal, Russ Burr, Hingham, Massachusetts. Mounted on wooden base. Good carving detail. Original and good.


220. Three miniatures, Wendell Gilley, Southwest Harbor, Maine. Signed. A ring neck pheasant, grouse, and a quail. His earlier carvings. Original paint with good patina and very very slight wear; structurally very good.

(1,200 - 1,500)

221. Miniature Canada goose, Wendell Gilley, Southwest Harbor, Maine. Signed. Very good and original.

(400 - 600)

219

217

220

218

221

Miniatures

107

222. Pair of miniature mallards, George Boyd, Seabrook, New Hampshire. Original paint with good patina; minor shrinkage on drake’s breast.

Literature: “Finely Carved and Nicely Painted,” Jim Cullen, p. 44. (3,000 - 5,000)

223. Miniature knot in fall plumage, George Boyd, Seabrook, New Hampshire. Near mint original paint with good patina.

Literature: “Finely carved and nicely painted,” Jim Cullen, p. 68. (1,500 - 2,500)

224. Miniature plover, George Boyd, Seabrook, New Hampshire, circa 1920. Near mint original paint with good patina; structurally excellent. (1,500 - 2,500)

225. Miniature godwit, George Boyd, Seabrook, New Hampshire. Excellent and original. (1,500 - 2,500)

226. Five 1/4 size carvings, J.B. Garton, Smith Falls, Ontario. Signed. Original and good. (950 - 1,250)

225224

226

223222

108

227. Solid body style blackduck, Charles Hart, Gloucester, Massachusetts. Slightly turned head. Scratch feather paint. Feather carving on wings is layered and more finely detailed than typical Hart carv-ing. Original paint with minor wear; small crack in edge of bill; a few small dents.

(3,000 - 4,000)

228. Solid body blackduck, Charles Hart, Gloucester, Massachusetts. Raised neck seat. Carved feather detail and feather paint detail. Original paint with very slight wear; two “in the making” filled hairline cracks in back.

Literature: “Decoys - A North American Survey,” Gene and Linda Kangas. (2,000 - 3,000)

229. Pair of goldeneye, George Ross Starr, Duxbury, Mass-achusetts. Starr Decoys brand in underside with 1953 date; hen has turned head. Original paint with minor wear on bod-ies, moderate wear on heads; structurally good.

Provenance: Formerly in the collection of George Ross Starr, Starr collection ink stamps on underside.

Literature: Richard Bourne decoy auction catalog May 1986, exact decoys.

(1,750 - 2,250)

230. Swimming merganser drake from Massachusetts, circa 1900. Slightly turned head and tack eyes. Traces of horse hair crest. Appealing old in use repaint by Elmer Crowell; minor roughness to edges of tail and top of head. (1,500 - 2,000)

227

228

229

230

New England

109

231. Hollow carved goldeneye hen from Kingston, Massachusetts, circa 1900. Head is slightly crest-ed. Original paint with a subtle feather pattern and good patina; very slight wear; structurally good.

(1,500 - 2,500)

232. Merganser hen, Nickerson family, Cape Cod Massachusetts. Relief wing carving and paddle tail. Appealing old in use repaint; lightly hit by shot.


233. Oversize blackduck, Keyes Chadwick, Martha’s Vineyard, Massachusetts. Original paint with minor shrinkage and wear; structurally good.



234. Rare brant from Martha’s Vineyard. Branded “Levi Jackson”. Attributed to Captain Robert Jackson, Edgartown, Massachusetts. Original paint with moderate wear; age splits in underside.

Provenance: Stanley Murphy collection stamp on under-side. (1,200 - 1,500)

235. Rare goldeneye drake, Lothrop Holmes, Kingston Massachusetts, 3rd quarter 19th century. Branded “LT Holmes” twice in underside, also “B.W.D.”. Worn old paint; small dents and shot marks.

Provenance: Formerly in the collection of George Ross Starr, Duxbury, Massachusetts, Starr collection stamp on underside.

Literature: Richard Bourne decoy auction, May 1986, lot 569. (1,250 - 1,750)

236. Classic Canada goose, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. Paint has been restored in the Lincoln style; crack through neck; small dents; rough areas in underside, including fairly large area that appears to have been hollowed out by wasps.

(1,500 - 2,000)

236235

234233

232231

110

237. Hollow carved blackduck from Connecticut last quar-ter 19th century. Carved eyes. Old in use repaint; hair-line cracks in body. (650 - 950)

238. Hollow carved widgeon in preening pose, from Connecticut. Bill is buried in feathers. Branded “B. I. Jr.”. Worn original paint; a few small dents and shot marks.

Provenance: Ex Denormandie collection. (650 - 950)

239. Early period redhead drake, Keyes Chadwick, Martha’s Vineyard, Massachusetts. Fine sweeping form. Original paint with moderate wear; slight wear on one edge of bill. (950 - 1,250)

240. Canada goose, Joseph Lincoln, Accord, Massachusetts, 1st quarter 20th century. From the hunting rig of Leon Hatch. Hatch rig stamp in underside. Old in use repaint; some original showing on sides; age split in underside.

(1,200 - 1,500)

241. Early model blackduck, Roswell Bliss, Stratford, Connecticut. Hollow carved. Original paint with minor wear; a few small dents.

Provenance: Gerard collection. Made for Cap Wicks in 1947 as inscribed in the underside. Formerly in collection of Ken Peck, Peck collection stamp in underside.

(500 - 800)

242. Stylish merganser drake, circa 1900. Inlet head rounded in back and carved wooden crest. Worn old paint; slight separation at vertical seam in one side of body; small cracks and worn areas to underside.

Provenance: Gerard collection. (400 - 600)

243. Oldsquaw in summer plumage from New England, 1st quarter 20th century. Branded “J.M.”. Original paint with very minor wear; slight roughness to one edge of bill.

(650 - 950)

244. Brant from Cape Cod, Massachusetts, 1st quarter 20th century. Tack eyes. Original paint with minor to moder-ate wear; some old touch up on part of the black areas; thin cracks in neck; a few small dents. (500 - 800)

245. Swimming merganser hen from the Duxbury area. Working repaint; horse hair crest is probably a replacement. (600 - 900)

240

237

243

241

238

244

242

239

245

111

245A. Early ship diorama, circa 1880. Two wooden sailing sips with carved wooden sails. Large ship has an American flag, painted background and light house in the corner. 23 x 16 x 4. Everything appears to be original with age craz-ing in paint. (1,500 - 1,800)

245B. Unique and early ship diorama, circa 1870. A single sailing ship with eight signal flags and one American flag. Ship has twenty different cloth sails. All in front of a paint-ed background. Frame of box is carved wood that looks

like roping with a knot at the top. 20.5 x 15 x 5. Diorama is all original with crazing and flaking in background; separation at edges in background and small chip out of glass in upper right corner; dirty from age. (1,500 - 1,800)

245C. Large and powerful ship diorama with three tin ships at full sail. All three ships are made of tin that has been painted. All three have flags and largest ship has an American flag as well as numerous signal flags. Good and original. (1,750 - 2,250)

245A

245B

245C

Items of Interest

112

245D. Very large scale ship diorama with two ships and painted background. Both ships have carved sails. Back ground is of a folky New England scene with ships land-scape and a man. 46” x 26” x 6”. Original and good.

(1,500 - 2,000)

245E. Ship diorama lots of activity, circa 1900. Two steam ships and a large sailing ship all headed toward a piece of land with a house, light tower and an American flag. Large sailing vessel has an American flag and two people in front of a painted background. All boats are made of wood. 22.5” x 14” x 4”. Everything appears to be original with age crazing in paint. (800 - 1,200)

245F. Early ship diorama circa 1870. A single large sail-ing ship with carved wooden sails, and four people on deck. Nine sales and an American flag hanging off the back. Painted background with inset moon. 25.5” x 20” x 6”. Frame and glass are a later replacement but diorama

is original; dirty from age and some paint crazing; glass is cracked in upper corner. (800 - 1,200)

245G. Five sided ship diorama with two ships. One large sail or steam ship with smoke billowing out of stacks with an American flag and a smaller sail boat. Large boat has five people and six life rafts. Original and good. (800 - 1,200)

245H. Unique and early ship diorama, circa 1880. Large ship with twenty seven carved wood sales and two life rafts. 28 x 18 x 6.5 with a painted background. The ship and back-board are original but the box has been rebuilt including the glass and frame. Glass is cracked along the right side.

(500 - 800)

245I. Two sided window box with sailing ship inside, circa 1920. Engraved brass plaque reads “Blue Goose Queen of the Atlantic”. Wooden ship with cloth sails. Glass housing was built at a later time. Original and good. (500 - 800)

245D

245F

245H

245E

245G

245I

113

245J. Well carved perch, Oscar Peterson, Cadillac, Michigan His 3rd carving period. Approximately 9” long. Original paint with minor flaking and wear, mostly on weights; structurally good; small crack in lower side.

Literature: “Michigan Master Carver - Oscar W. Peterson”, Ron Fritz. (4,000 - 6,000)

245K. Well carved pike, Oscar Peterson, Cadillac, Michigan. Just under 8” long. His 3rd carving period. Original paint with minor flaking and wear, mostly on fins

(2,500 - 3,500)

245L. Finely painted trout, Oscar Peterson, Cadillac, Michigan. His 3rd carving period. Approximately 9” long. Minor flaking and wear, mostly on metal fins; sev-eral tiny holes drilled in weights on underside.

(2,500 - 3,500)

245J

245K

245L

245J Detail

114

245M. Carved walking stick with large snake wrapped around it, early 20th century. Carrying hole drilled through top at a later date, otherwise good and original. (300 - 400)

245N. Carved walking stick with four snakes, early 20th cen-tury. Original and good. (300 - 400)

245O. Carved walking stick with long snake and several relief carved wings, early 20th century. Wear on edges of leaves; one leaf is missing, several have small chips.

(300 - 400)

245P. Carved walking stick with fist and copper band, early 20th century. Original and good. (300 - 400)

245Q. Walking stick with duck head and carved snake, early 20th century. Original and good. (300 - 400)

245R. Lot of seven vintage eel spears. Original and good. (400 - 600)

245S. Very rare cast iron door stop entitled “Ducks in a Pond”, Hubley company, circa 1920’s. Foundry mark on back. Original paint with some flaking; structurally good.

(750 - 950)

245T. Two volume set, “Birds of Minnesota”, Thomas Roberts. Pages good; one cover is good one cover fair.

(125 - 175)

245U. Three volume set, “Birds of Massachusetts and Other New England States”, Edward Forbush. Original and good. (125 - 175)

245M 245N 245O 245P 245Q

245R

245S

245T

245U

115

246

247

246

248

246. Four cork body decoys, Walter Ruppel, Sheboygan, Wisconsin, 2nd quarter 20th century. Wooden heads and bottom boards. Original paint with minor wear, mostly on cork; several small rough spots in cork.

(1,500 - 2,000)

247. Canvasback drake with turned head, Gus Moak, Tustin, Wisconsin, 1st quarter 20th century. Original paint with minor discoloration and wear; professional repair to a chip in one side of the neck. (2,500 - 3,500)

248. Hollow carved canvasback drake, Gus Moak, Tustin, Wisconsin. Old in use repaint; shot marks. (900 - 1,200)

249. Grey coot, John Roth, Oshkosh, Wisconsin. “A. W. Stein” is painted on the underside. Original paint with minor wear; a few small dents; wear on one edge of bill.

(800 - 1,200)

250. Mallard hen from Wisconsin, second quarter 20th century. Relief wing carving. Original paint with minor wear; small crack under tail. (650 - 950)

251. Hollow carved bluebill drake Gus Moak, Tustin, Wisconsin. Branded “J.H.B.”. Old in use repaint; neck repair. (650 - 950)

Wisconsin

249 250 251

116

252. Hollow blackduck Rowley Horner, West Creek, New Jersey, 1st quarter 20th century. Some late restora-tion to the paint shows moderate wear; overall very good structurally.


253. Early hollow bluebill drake, Henry Grant, Barnegat, New Jersey. Most of the decoy is in an old repaint; the white on the lower sides may be the original surface; traces of the original coat shows through some chips in the paint; thin tight crack in the neck; a few shot marks; filler has popped off of the nails holding it.


Literature: “Classic New Jersey Decoys,” James Doherty, p. 144 shows pair of Grant bluebills in original paint.

(900 - 1,200)

254. Bluebill drake, Stanley Grant, Barnegat New Jersey, circa 1920’s. Original paint on white area; the rest is old in use repaint, a few tiny dents.

Provenance: Formerly in the collection of Dr. John Conover, Conover collection stamp in underside.

(800 - 1,200)

255. Rare brant, Stanley Grant, Barnegat, New Jersey, circa 1930’s. Near mint original paint; professional bill chip repair.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr., p. 19. (800 - 1,200)

256. Pair of hollow bluebills, Ezra B. Hankins, Point Pleasant, New Jersey. The pad weight on each bird is cold stamped, “E.B. HANKINS”. Both are in early and thin working repaint with traces of the original surface still visible; hen has some minor damage at the neck seam with a thin split in the tail.


257. Hollow brant, Birdsall Ridgeway, Beverly, New Jersey. Old repaint shows average wear; very good structurally.

Provenance: Bartlett Collection. (900 - 1,200)

New Jersey

252

254

256

253

255

257

117

258. Early Canada goose attributed to Jess or Eugene Birdsall. Hollow pegged construction. Old repaint shows average wear; crack runs through the neck; overall sound structurally.


259. Early hollow Canada goose, Capt. Jess Birdsall, or Eugene Birdsall. Old working repaint shows average to moderate wear; crack in the neck and a chip on the underside of the bill.


260. Classic brant, Harry V. Shourds, Tuckerton, New Jersey, 1st quarter 20th century. Paint was restored a long time ago; minor wear; hairline cracks in neck and tail; minor roughness to tail. (1,000 - 1,500)

261. Early hollow brant, Henry Grant, Barnegat, New Jersey, last quarter 19th century. From the rig of Lou Barkelow, it is branded “L.B.” three times. Old working repaint shows average wear; thin chip in the bill; some minor separation at the body seam.


262. Bufflehead drake, Lloyd Johnson, Bay Head New Jersey. Signed. Carved primaries, secondaries, and fluted tail. Very good and original. (800 - 1,200)

263. Early hollow merganser hen, attributed to Nate Frazier. Original paint shows with some later over-paint on the back; the surface shows moderate wear with considerable flaking and crazing; slight separation at the body seam, otherwise good structurally.


258

260

262

259

261

263

118

264. Early model bluewing teal hen, so called “swollen or goiter neck” style, Harvey Stevens, Weedsport, New York, circa 1870. Dry original paint shows average to moderate wear with a nice patina; piece of wood miss-ing on the underside around a knot, overall very good structur-ally; chip in neck.


Literature: “The Stevens Brothers, their Lives, the Times and their Decoys,” Dr. Peter J. Muller & Peggy Lane Muller,

p. 162. (3,000 - 5,000)

265. Mallard drake, Harvey Stevens, Weedsport, New York, last quarter 19th cen-tury. Retains Harvey’s sten-cil. Original paint shows mod-erate wear and some crazing and flaking; some old touch up to the red on the breast; thin tight check along one side of the tail.


Literature: “The Stevens Brothers, their Lives, the Times and their Decoys,” Dr. Peter J. Muller & Peggy Lane Muller.

(4,500 - 6,500)

266. Rare blackduck hen, Stevens Brothers, Weedsport, New York, 1880. Tack eye model. Slightly smaller body form than the drake’s. Hen blackducks are extremely rare. Original paint worn on body to expose bare wood; edge wear around tail; small chip out of neck on right side and hairline crack around base of neck. (4,000 - 6,000)

267. Mallard drake, Harvey Stevens, Weedsport, New York. A good deal of restora-tion to the paint; structurally sound.

Provenance: Bartlett Collection. (3,000 - 4,000)

264

265

266

267

New York State

119

268. Exceptional goldeneye hen, Chauncey Wheeler, Alexandria Bay, New York. Near mint original paint with a little shine to it; several tiny dents.

Literature: “Chance,” Harold Reiser, p. 67. (2,500 - 3,500)

269. Important blackduck, Sam Denny, Clayton, New York, 1st quarter 20th centu-ry. Extremely rare low head style with raised neck seat and neck bulged out slightly to the front. Original paint with minor wear; small chip missing from one side of tail with old touch up; a few small dents.


Literature: “Decoys - A North American Survey,” Gene and Linda Kangas, p. 159.

(3,000 - 4,000)

270. Bluebill hen, Chauncey Wheeler, Alexandria Bay, New York, circa 1920. Good feather paint detail. Original paint with minor discoloration and wear; several small dents and shot marks; slight roughness to edges of tail. (2,000 - 2,500)

271. Rare rigmate pair of red-heads, Chauncey Wheeler, Alexandria Bay, New York, circa 1925. Balsa body with strong combing on the drake. Classic reverse feather painting on the hen. Construction of balsa wood shows dove tail construc-tion to secure two piece bodies. Wood is probably remnants from old life rafts. Hen has original paint with typical balsa edge wear at tail and around edges of underside of neck; areas of flaking to bare wood and paint has crazed; an in the making, approximately 2.5” long, crack on top of decoy near the tail; drake has original paint with areas of touch up to neck seam, tail, and around face where bill comes in; paint has crazed slightly. (4,000 - 6,000)

268

269

270

271

120

272. Rare blackduck, Ed McNiel, Alexandria Bay, New York. Raised neck seat. Thin bottom board added but decoy does not seem to be hollow. Original paint with good feather detail and minor wear; professional tail chip repair; thin crack in back; moderately hit by shot.

(1,750 - 2,250)

273. Rare blackduck, Frank Coombs, Alexandria Bay, New York. Slightly turned head. Original paint with minor wear, mostly on edges of bill and tail; hit by shot on one side.

Literature: “Decoys - A North American Survey,” Gene and Linda Kangas, p. 155. (1,750 - 2,250)

274. Working bufflehead drake, Roy Conklin, Alexandria Bay, New York. High head model with good paint detail. Hairline crack through neck, otherwise very good and original with some patina. (1,500 - 2,000)

275. Unused pair of bluebills, Frank Coombs, Alexandria Bay, New York. Made for Maryanne Greene for her hus-

band Horace in 1952. Stamped “H. Greene, Redwood New York” in underside. Near mint original paint; structurally very good. (2,000 - 3,000)

276. Goldeneye drake, attributed to Harvey Stevens, Weedsport, New York. Possibly an old copy of Harvey’s work. Original paint with some in-use touch up; couple of cracks on the underside.


Literature: “The Stevens Brothers, their Lives, the Times and their Decoys,” Dr. Peter J. Muller and Peggy Lane Muller. (2,000 - 3,000)

277. Redhead hen, George Stevens, Weedsport, New York, last quarter 19th century. Original paint shows aver-age to moderate wear; couple of areas flaked to the bare wood.


Literature: “The Stevens Brothers, their Lives, the Times and their Decoys,” Dr. Peter J. Muller & Peggy Lane, Muller. (1,800 - 2,200)

272

274

276

273

275

277

278

278 Detail

121

Ed DingmanAlexandria Bay, New York

278. Very rare and important merganser hen, Ed Dingman, Alexandria Bay, New York, circa 1920’s. Exceptional fine form with long graceful neck. Serrated crest. Notch carving on top and underside of tail. Original paint with good patina and minor wear, mostly on the bottom edge; slight roughness to edges of tail; one shot mark; hairline crack in neck.


Literature: “Decoys - A North American Survey,” Gene and Linda Kangas, p. 213. (10,000 - 14,000)

122

279. Ruddy duck in the style of the Stevens Brothers, Weedsport, New York; the maker is unknown. Likely started life as a bluebill the repainted as a ruddy. Old repaint shows average to moderate wear; crack through the neck.

Provenance: Bartlett Collection. (350 - 550)

280. Blackduck, Harvey Stevens, Weedsport, New York, last quarter 19th century. Tack eyes. Paint has been restored; cracks in underside; small dents. (400 - 600)

281. Bluebill drake, Chauncey Patterson, Thousand Island Park, New York. Original paint; very minor wear; slight roughness to edge of tail; small cracks in underside.

(350 - 450)

282. Rare cork body pair of mallards, Ken Harris, Woodville, New York. Pair is stamped on undersides. Original paint with minor wear; slight roughness to cork. (500 - 800)

283. Rare Canada goose, Ken Harris, Woodville, New York. Harris ink stamp on underside, slightly turned head, and scratch feather paint on back. Original paint with a few small rubs; structurally good. (900 - 1,200)

284. Blackduck Stevens Brothers, Weedsport, New York. Old repaint shows average wear; multiple shot marks; some minor wear to the edges of the tail.


285. Merganser hen form Alexandria Bay, New York, 1st quarter 20th century. Original paint with moderate discoloration and wear; crack in body; lightly hit by shot.

(800 - 1,200)

282

284

279

283

285

280 281

123

286. Canvasback drake, Stevens brothers, Weedsport, New York, last quarter 19th century. Old working repaint shows average to moderate wear; sound structurally.

Provenance: Bartlett Collection. (650 - 950)

287. Pair of bluebills, Frank Coombs, Alexandria Bay, New York, circa 1925. Hen has shot marks to right side of body, old paint strengthening to head, bill and tail, underside has been completely repainted; drake has been restored in the Coombs style of paint. (400 - 600)

288. Swimming goldeneye hen from Alexandria Bay, New York. Inlet head. Working repaint by Chauncey Wheeler; minor wear; very lightly hit by shot. (350 - 450)

289. Bluebill drake, George Stevens, Weedsport, New York, last quarter 19th century. The paint on the body is original showing average to moderate wear; the head is a late replacement.


290. Rigmate pair of mallards, Ken Harris, Woodville, New York. Harris ink stamp on undersides. Hollowed out from the undersides; slightly turned heads. Near mint original paint; structurally very good. (400 - 600)

291. Canvasback drake, Harvey Stevens, Weedsport, New York, last quarter 19th century. Traces of Harvey’s stenciled marking is still visible. Old repaint shows aver-age to moderate wear; thin tight crack on the top of the tail; overall good structurally.


286

288

290

287

289

291

124

292. Three decoys, Hurley Conklin, Manahawkin, New Jersey. A shoveler, blackduck and brant. All are branded “H. Conklin”. Original and good. (650 - 950)

293. Pair of Canada geese, Hurley Conklin Manahawkin, New Jersey. Both are branded “H. Conklin”. A few small paint rubs; thin crack in one neck; one has a dent on one side. (1,250 - 1,750)

294. Pair of mergansers, Hurley conklin, Manahawkin, New Jersey. Branded “H. Conklin” Original paint that has been aged; structurally good. (450 - 650)

295. Swimming Canada goose, Hurley Conklin, Manahawkin, New Jersey. Signed by Conklin on underside. Also on underside is written “Secured 9/22/71 from Mort Hansen.” Noyes Museum exhibition stamp on underside. Original and good.

Provenance: Formerly in the collection of Somers G Headly, Newark, Delaware, stamped “S.G.H.” (650 - 950)

294

293

292

295

Contemporary Carvings

125

End of Session One

296

299

302

297

300

303

298

301

304

296. Coot, Reggie Birch, Chincoteague, Virgin-ia. Signed. Original paint that has been aged; structur-ally good. (400 - 600)

297. Pair of mallards carved in the Delaware River tradi-tion, Vincent Giannetto. Signed. Very good and origi-nal. (400 - 600)

298. Dove with turned head, Eddie Wozny Cambridge, Maryland. Signed and dated 1989. Relief wing carving with extended wing tips. Very good and original.

(350 - 450)

299. Two items; a full size flying brant, Ken Kirby and a one fourth size flying black duck, George Strunk. Both are signed. Very good and original. (400 - 600)

300. Curlew carved in the style of Robert Andrews, Frank Finney, Virginia Beach, Virginia. “A” carved under tail. Original paint that has been aged; structurally good.

(400 - 600)

301. Hollow carved wood duck drake, Reggie Birch, Chincoteague, Virginia. Signed. Slightly turned head relief wing carving. Very good and original. (500 - 800)

302. Large widgeon drake, David Ward, Essex, Connecticut. Stamped “D.B.W. 82”. Original paint with slight wear; a few tiny dents. (600 - 800)

303. Large flying blackduck, Reggie Birch, Chincoteague, Virginia. Signed. Carved in the style of Ira Hudson. Scratch feather paint detail. Very good and original.

(600 - 800)

304. Decorative woodcock, Frank Finney, Virginia Beach, Virginia. The maker’s name is rubber stamped on the bot-tom of the base. Old tail chip repair, otherwise excellent and original.


305

305 Detail

Marty Hanson carving a decoy*Photo credit Lee Kjos

126

305. Patriotic New England style eagle, Marty Hanson. Made from native white pine and handcarved and constucted in traditional fashion. Paint is oil based and the trim-mings are all oil gilt in 24 carat gold. Eagle is approximately 30” long and has a two sided banner that can be switched, with one side reading “Welcome” and the other, “Live Free or Die”. Excellent and original. (2,750 - 3,250)

“I created this New England style patriotic eagle using a John Bellamy carving as a basis but with my own added interpretations. Although they are similar in style, they are quite different in detail. I have been making the eagles with the current issues politically in mind, whether its the second amendment or another political event, these eagles have always been a way to express yourself politically or patriotically using art as the medium.” - Marty Hanson

Session TwoFriday, August 2, 2013 – 10:00 AM

Decoratives

306

306 Detail

127

306. Flying mallard drake, Norman Hudson, Chincoteague, Virginia. Fine carving detail. Original paint protected by an old coat of varnish; a few small dents; and minor varnish shrinkage; oil gilt.

Provenance: From American Legion Post 166, Ocean City, Maryland. (4,000 - 6,000)

128

307. Life size bald eagle perched on log with talons grasping carved fish at base, circa 1950. Log is elevated with three square legs to give a total height of 37”. Eagle has separated wing carving, slight feather stamping and split tail. Glass eyes. This carv-ing was made by southern Missouri folk artist known as “whittling Bill.” He carved turkeys, raccoons, turtles, quail and other North American animals. Bill started carv-ing in the 1940s. At the auction of his estate it is said that over 2000 of his carvings were sold Original paint; structurally good. (5,000 - 7,000)

307

129

308

308 Detail

308. Extremely rare flying mallard hen, Gus Wilson, South Portland, Maine. The only hen by Wilson that we know of. Inlet head and carved eyes. Carved feet and incised wing carving. Original paint with good patina with minor flaking and wear; small cracks in wings; hole drilled in underside to mount on stand; small chip in one foot.

Provenance: From a home in Falmouth, Maine. (8,000 - 10,000)

130

309. Five carved wooden sandpipers on old block plane, Chris Sprague, Beach Haven, New Jersey. Very good and original. (1,250 - 1,750)

310. Penguin, Charles Hart, Gloucester, Massachusetts, circa 1930’s. Approximately 6” long. Two tiny dents in back, otherwise very good and original.

Provenance: From an estate sale in Williamsburg, Virginia. (1,500 - 2,000)

311. Hollow carved canvasback drake, William Schultz. An exceptional example of Schultz work with layered, carved primaries, secondaries and fluted tail. Fine, subtle feather paint detail and slightly turned head. Near mint with good patina. (1,250 - 1,750)

309

310

311

131

312. Rare one third size swimming Canada goose, Joseph Lincoln, Accord, Massachusetts. Fine feath-er paint detail. Near mint original paint; structurally very good.

(3,500 - 5,500)

313. Oversize and hollow carved black duck, George Ross Starr, Duxbury, Massachusetts. “Starr decoys” stamp in underside. Highly detailed wing tip carving and fluted tail; slightly turned head. Fine feather paint detail. Near mint original paint; several tiny specks of off white paint on back.

Provenance: Formerly in the col-lection of George Ross Starr, Starr collection ink stamp on underside.

Literature: Richard Bourne decoy auction catalog May 1986, lot four, exact decoy. (2,500 - 3,500)

314. Rare decorative merganser hen, Cigar Daisey, Chincoteague, Virginia. Slightly turned head and fine feather carving detail on most of the upper body and head. Fluted tail, carved primaries and second-aries. Included is a second place ribbon for the 1976 Greater Snow Goose Decoy contest, Chincoteague, Virginia. Near mint original paint; a few small dark rubs on underside.

(1,750 - 2,250)

312

313

314

132




133

315

315. Important calling greater yellowlegs with dropped wings, Elmer Crowell, East Harwich, Massachusetts. On carved clam shell base with Crowell’s oval brand in the underside. The price of $5.50 is written in pencil on the underside. Finely detailed feather paint. Very good and original.


134

316. Killdeer, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the base. Also Ashley Dempsey is stamped in the underside of the base. Approximately 7 1/2” tall. Excellent and original with carved tail feathers.


316

316 Detail

316 Detail

135

317. Fairly large kingfisher, Elmer Crowell, East Harwich, Mass-achusetts. Crowell’s oval brand is in the underside. Approximately 8 1/2” tall with carved crest. Original paint with good detail and patina; fish has been glued back into bill several tiny paint flakes missing from jesso feet.


317

317 Detail

317 Detail

136

318. Extremely rare walking willet, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. Fine paint detail and patina. Near mint original paint; structur-ally excellent.


318 Detail

137

318

318 Detail

138

319. Very rare preening lesser yellowlegs with dropped wings, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside of the base as well as the initials “C.R.” inscribed on underside “To Clyde and Nina with my good wishes, lesser yellowlegs, A.E. Crowell, 1950, Cape Cod”. Excellent and original.


319

319 Detail

319 Detail

139

320. Curlew with turned head, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside of the base. Stamped in base is “A.H. Dempsey to J. Ashley Dempsey”. Original paint with good patina and very minor wear; approximately 1/2 of bill is a professional replacement by Ken DeLong.

Provenance: Rowland collection. Stamped “C.R.” in base. (17,500 - 22,500)

320

320 Detail

320 Detail

321


140

321. Rare walking greater yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. Fine paint detail. Near mint original paint; several small paint flakes missing from jesso feet; small amount of paint shrinkage on base.


322


141

322. Finely made black bellied plover mantle carving, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside as well as his circular paper label marked beetlehead. Excellent and original; good patina.

Provenance: Rowland collection. Stamped “C.R.” in base. (20,000 - 30,000)

142

323. 3/4 size mallard drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectan-gular stamp is in the underside. Slightly turned head. Near mint original paint; filled “in the mak-ing” crack in the back.

Provenance: Rowland collection. Stamped “C.R.” (2,000 - 3,000)

324. Full size Chipping sparrow, Elmer Crowell, East Harwich, Massachusetts. On branch made to screw in to wall. Good paint detail. Very good and original.

(2,500 - 3,500)

325. Sandpiper, Elmer Crowell, East Harwich, Massachusetts. Crow-ell’s rectangular stamp is in the underside. Signed “A.E. Crowell, Cape Cod”. Fine feather paint detail. Excellent and original.

Provenance: Rowland collection. “C.R.” carved in base.

(5,000 - 8,000)

323

324

325

143

326. 2/3 size standing blackduck, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside of the base. Head is slightly turned. Fluted tail and good feather paint detail. Inscribed in underside is “A.H. Dempsey to J. Ashley Dempsey.” And the initials “C.R.” Approximately 11 1/2” long. Excellent and original.


327. Lesser yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Crowell rectangular stamp is in the underside. Near mint original paint with good detail and patina; structurally excellent.

Provenance: Rowland collection. Marked “CR” on base. (6,000 - 9,000)

326

327

328

328 Detail

144

328. Preening lesser yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Fine paint detail with flut-ed tail and lifted wing. On burl base, signed “A.E. Crowell, Cape Cod, 1939, summer yellowlegs”. Stamped “C.R.”. Excellent and original.


329

329 Detail

145

329. Lesser yellowlegs with turned head, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside of base. Also inscribed “A. Hardy Dempsey to J. Ashley Dempsey”. Crowell paper label is also on the underside as well as stamped “C.R.”. Excellent and origi-nal.


146

329A. Photo of Elmer Crowell in his work shop. Matted and framed. Frame size approximately 14” x 18”. A few small scrapes on frame, otherwise very good and original.

Provenance: John Delph collection. (150 - 250)


329A

147

330. Rare preening curlew, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangu-lar stamp is on the underside of the base. Particularly fine form and paint detail. Old touch up on jesso thighs; thighs may be replaced, otherwise excellent and original.

Provenance: Rowland collection. Stamped “CR” on base. (20,000 - 30,000)

330

Throughout his carving career, Cameron has only made a handful of swans. It’s really the material that limits this production. Watching wintering Tundra Swans on the Eastern shore of Virginia, he has always been intrigued by their gracefulness. This notable carving is captured in a feeding pose, the moment before it plunges into a full tip up posi-tion.

It was a red cedar tree growing near the McIntyre home in New Church, Virginia that provided the important root for the neck and head. Over years the wind exposure twists and turns the red cedar trees sometimes producing the exact diameter and curvatures neces-sary for a long necked swan. The body is carved of old growth, north-ern white cedar grown in Maine. Hollowed with a bottom board in a style that is unique to Cameron.

148

331. Feeding swan, Cameron McIntyre, New Church, Virginia. “C.T.M.” carved in underside. Hollow carved. Original paint that has been aged; a few small dents. (5,000 - 7,000)

332. Miniature brant carved in the style of Nathan Cobb, Jr., Cameron McIntyre, New Church, Virginia. Signed. Slightly turned head. Carving is approximately 9” long. Original paint that has been aged; structurally good. (800 - 1,200)

Contemporary CarvingsCameron McIntyre

New Church, Virginia

331

332

331 Detail

Cameron with his two boys after 2012 duck hunt

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333. Preening goldeneye drake, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Branded “JAS”, signed and dated 12-89. Carved, crossed wing tips. Original paint with minor wear at wing tips and edges of tail; struc-turally very good.


334. Canvasback hen, Jim Schmiedlin, Bradfordwoods, Pennsylvania. Branded and signed. Dated 1986. Original paint with minor wear; small scuff on one side of breast; structurally good. (3,500 - 4,500)

333

334

150

335. Extremely rare and well made reproduction pair of buffle-heads carved in the style of Obediah Verity, Seaford, New York, Cameron McIntyre, New Church, Virginia. Worn origi-nal paint; small cracks; small area of dry rot on underside of drake.


336. Very well made pair of repro-duction mergansers carved in the style of Albert Terry, Riverhead, New York, Cameron McIntyre, New Church, Virginia Serifed “A.T.” carved in the undersides. Original paint that has been aged; structurally good.


337. Rigmate pair of greenwing teal carved in the style of Obediah Verity, Cameron McIntyre, New Church, Virginia. Original paint that has been worn and aged; structurally good.


337

336

335

151

338. Rigmate pair of mergansers. Relief wing carv-ing. Original paint that has been aged; small cracks; tiny chip missing from each tail.


339. Two swimming mergansers carved in the style of the record setting Martha’s Vineyard merganser sold in the September 1986 Julia & Guyette decoy auction in Kittery, Maine, Leo McIntosh, Woodville, New York. Unsigned. Original paint that has been aged; one has a small crack and its head turned slightly to one side and glued in place.


340. Full size great horned owl, Frank Finney, Virginia Beach, Virginia. Glass eyes; detailed wing and tail feather carving; signed under base. A few small paint rubs; otherwise very good and original. (1,500 - 2,500)

341. Swan decoy from the Eastern Shore. Aged surface, high head, and tack eyes. Paint is original; age cracks in head and body; iron cleat attached to underside; several coats of white paint aged to look old. (1,000 - 1,500)

342. Wood duck hen, Robert Kerr, Smith Falls, Ontario. Signed and dated 1984. Raised extended wing tips and slightly turned head. Good paint detail. Very good and original. (450 - 650)

342341

340339

338

152

Gus Wilson1864 - 1950

South Portland, Maine

343 Detail

343 Detail

Every state that produced decoys has their professional maker whose

production far outnumbered that of their peers. Elmer Crowell in

Massachusetts, Harry Shourds in New Jersey, the Ward Brothers in

Maryland, Ira Hudson in Virginia, and Gus Wilson in Maine. Of these

professional decoy makers, nobody produced gunning birds in so many

different head and body positions as Maine’s Gus Wilson.

A practical “Mainer” who used what wood was available and wouldn’t

waste paint on the underside of a decoy or on highly detailed paint

patterns, it is surprising that Wilson put so much time and effort into

the carved form of his birds. He obviously believed that a rigs success

depended on the appearance of movement and activity in its decoys and

not on the application of individually painted feathers.

With so many different positions and styles having been carved by Gus

Wilson one would think the side preening position would be one often

used. This eider hen, however, is the only one of its kind known to ex-

ist. The fact that it remains in original paint is certainly an added bonus

for the serious collector.

153

343. Exceptional eider hen in very rare side preening pose, Gus Wilson, South Portland, Maine. Wilson’s earlier and most coveted “Monhegan Island” style with very wide body and lifted tail, large inlet where head joins body. Relief wing carving, carved eyes, and bill carving detail. Original paint with minor wear; crack in back; small tail chip repair; several small dents; professional repair to a crack in the bill.

Literature: “New England Decoys,” John and Shirley Delph, p. 28. “Great Book of Decoys,” Joe Engers, editor, p. 42. (30,000 - 40,000)

343

154

344. Hollow scoter, Morris Eaton, Vinalhaven, Maine. Thin shelled hollow carved decoy with a thin bot-tom board; exhibits carved eyes and exaggerated ridge down the top of the head; raised primaries and folky upturned tail. Excellent dry origi-nal paint shows minor wear and a wonderful patinated surface; superb structurally. (2,000 - 2,500)

345. Eider hen from Port Clyde, Maine. Very well sculpted with inlet head and raised neck seat. Original paint with moderate wear, mostly on the sides; small shot scars and small cracks.


346. Goldeneye drake, Oscar Bibber, South Harpswell, Maine. Original paint with moderate wear; a few small dents; knot extending across the underside of the decoy; slight separation at knot. (3,000 - 4,000)

347. Bufflehead hen from Islesboro, Maine. Similar to the work of Morris Eaton. Inlet head and carved eyes. Original paint with good pati-na and minor wear; small crack in back. (1,200 - 1,400)

344

345

346

347

348


155

348. Back preening white wing scoter, Gus Wilson, South Portland, Maine, circa 1905. Classic inlet head. Back preening to the left side of body. Raised carved wings. From the hunting rig of Leigh Floyd Witherspoon, 1882, North Haven Island, Maine. Witherspoon’s initials “L.F.W.” and roman numeral “VIII” carved in the underside. Witherspoon himself was a known decoy carver. Old paint covering a lighter brown primer coat; inlet neck has separated due to shrinkage and exposed filler; white wing patches appear to be strengthened; paint worn away to expose wood on left side of body; a coat of black paint has been removed from underside of decoy; small area of repair to crack in neck. (9,000 - 12,000)

349

349A 349B

349 Detail

156

349. Large rocking head blackduck, Gus Wilson, South Portland, Maine. Relief wing carving and carved eyes. Original paint with minor wear; small cracks and dents.

Provenance: Formerly in collection of Barbara Johnson, Princeton, New Jersey. Johnson collection stamp on under-side.

Literature: “New England Decoys,” John and Shirley Delph, p. 28. “Great Book of Wildfowl Decoys,” Joe Engers, editor, p. 42. (7,500 - 9,500)

349A. Large goldeneye hen, Gus Wilson, South Portland, Maine. Inlet head and relief wing carving. Original paint with very slight wear; small dents. (950 - 1,250)

349B. Scoter, Gus Wilson, South Portland, Maine. Inlet head, relief wing carving, and carved eyes. Original paint with moderate wear; cracks and dents. (500 - 800)

157

350. Well sculpted goldeneye hen, Oscar Bibber, South Harpswell, Maine. Long body style with pointed tail and slightly turned head. Original paint with minor wear; small crack at neck base.

Literature: “The Great Book of Decoys,” Joe Engers Editor, p. 32. (5,500 - 8,500)

351. Pair of eiders, Amos Wallace, West Point, Maine. Wallace eider hens are very rare. Drake was originally in the col-lection of George Thompson, Cazenovia, New York. Purchased from Thompson in 1976. Both decoys have classic inlet heads and bill and eye carving. Hen has inset tack eyes. Drake’s tack eyes have rusted away. Horseshoe

weight on underside of hen. Kangas brand in underside of drake. Drake has very old working repaint, age cracks in neck and body, a few shot marks and dents; hen appears to have old worn original paint, tight cracks in neck and body, age split in underside.

Provenance: Art Academy of Cincinnati, Ohio, “Folk Art form the Collection of Gene and Linda Kangas. The Ward Museum of Wildfowl Art, the Decoy Study Gallery Inaugural Exhibition, July 1992.

Literature: “National Directory of Decoy Collectors,” 1978.1979. “A North American Survey,” Gene and Linda Kangas. “Decoys,” Gene and Linda Kangas.

(6,000 - 8,000)

350

351

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352. Pair of mergansers, Fred Anderson, South Portland, Maine. Both have a large “A” carved in the under-side. Very good and original. (650 - 950)

353. Rare eider hen possibly by George Huey, from Friendship, Maine, circa 1920. Carved eye, inlet neck with detailed bill and nostril carving. Dry original paint; in the making working patch on both sides of body where wood was replaced; professional restoration to end of tail. crack in top of back.

(1,200 - 1,500)

354. Folky Mallard hen possibly Maine, 1st quarter 20th century. High neck with tack eyes and upswept tail. Two piece neck with original paint; structurally good.

(400 - 600)

355. Back preening mallard drake possibly Maine, circa 1900. Paint that shows good age, painted eyes with unpainted underside, unrigged. Original paint that has light crazing, nail hammered through top of neck to secure head to body and small nail in bill to secure bill to body.

(500 - 800)

356. Oversize old squaw drake, Gus Wilson, South Portland, Maine. Slightly turned inlet head and relief wing carv-ing. Worn old paint; numerous cracks and dents; thin piece missing from back behind neck; wear to the wood on

one side; decoy was hollowed out from the underside with cork added for buoyancy. (600 - 900)

357. Oversize eider drake from the coast of Maine, 1st quar-ter 20th century. Inlet head tack eyes, body is approxi-mately 20” long. Old in use repaint; age split in back; piece appears to have been replaced in neck a long time ago; weight has been removed; holes in underside nail indicate that weight was attached with square nails.

(650 - 950)

358. Oversize rocking head blackduck carved in the style of Gus Wilson, Fred Anderson, South Portland, Maine. Relief wing carving and carved eyes. Original paint with minor wear; several small cracks. (650 - 950)

359. Pair of goldeneye, Lyford Coombs. Inlet heads and incised wing carving. Original paint with minor discolor-ation and wear; structurally good. (750 - 1,000)

360. Oversize white wing scoter, Bailey’s Island, Maine, 2nd quarter 20th century. Detailed bill carving, carved eyes and unpainted underside, 27” long. Old paint has been strengthened on black and white patches; bill carving enhanced in the late 1970’s; neck has been broken and reglued; shot holes and age cracks on body. (700 - 1,000)

354

357

360

353

356

359

352

355

358

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361. Oversize eider drake from the Maine coast. Hollowed out from the underside with tin tacked to area; slightly turned head. Appealing old in use repaint; small dents; tin is worn. (3,000 - 4,000)

362. Oversize scoter, Alton Wallace, Smalls Point, Maine, circa late 1940’s. Inlet head. Original paint with minor wear; small defect in wood in back.

Provenance: Written in pencil in underside, “From George Starr, Duxbury, Mass, 4/20/_3.” Formerly in the collection of Somers G. Headly, Newark, Delaware. Stamped “S.G.H.” three times in underside.

(2,500 - 3,500)

363. Oversize eider drake from Port Clyde, Maine, circa 1900. “E. Benner” is carved with serifed let-tering in the underside. Relief bill carving and inlet head. Old in use repaint; small cracks small chips in tail. (2,000 - 3,000)

364. Pair of goldeneye from Friendship, Maine. Inlet heads and carved eyes. Original paint with minor discoloration and wear; a few small dents.


361

362

363

364

365



160

365. Outstanding pair of redheads, Ward Brothers, Crisfield, Maryland. Both have raised, carved primaries and secondaries and fluted tails. Slightly tuned heads. Inscribed on underside “My best for my good friend Ralph Sterling. Lem Ward, 1967”. L.T. Ward metal plaque on underside. Near mint original paint; very slight paint shrinkage at one wing tip; small crack in underside of drake.

Provenance: Sterling collection. (10,000 - 14,000)

366

366 Detail

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366. Outstanding decorative preening Canada goose, Ward Brothers, Crisfield, Maryland. Signed “For Norris Pratt col-lection 1963, L T Ward” Hollow with well sculpted raised, crossed primaries, carved secondaries, and fluted tail. Near mint origi-nal paint; slight separations at some of the body seems, mostly in tail area.


162

367


367. Exceptional well carved pair of sleeping mallards, Ward Brothers, Crisfield, Maryland. Balsa bodies with cedar heads. Raised extended wing tips and shoulder carving. Both are identified on underside by the Ward Brothers. Near mint original paint; tip of one of the drake’s wing tips has been broken off and glued back on.

Provenance: Clayton collection. Formerly in the collection of Somers G. Headly, Newark, Delaware. Headly collection stamp in underside. (9,000 - 12,000)

163

368. Pair of decorative greenwing teal, Ward Brothers, Crisfield, Maryland. Signed “For Somers Headley” and dated 1960. Hollow carved with carved, raised wings and fluted tails. Hen is in preening pose and drake has slightly turned head. Two tiny paint flakes missing from hen’s back; otherwise very good and original.


369. Decorative bluewing teal drake, Ward Brothers, Crisfield, Maryland. Carved primaries and secondar-ies; fluted tail and turned head. Near mint original paint; structurally very good. (3,500 - 4,500)

368

368 Detail

369

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370 371


Shorebirds

370. Verity family greater yellowlegs, Seaford, New York, last quarter 19th century. Over 14” long with carved eyes and relief wing carving. Original paint with minor to moderate wear; bill appears to be an professional replace-ment.


371. Verity family greater yellowlegs, Seaford, New York, last quarter 19th century. Relief wing carving and carved eyes. 13” long. Original paint with minor flaking and wear; professional repair to a chip on the top of the head with touch up in that area.


165

372. Two small peeps from the North Shore of Long Island, New York, last quarter 19th century. Original paint with good patina and minor wear; tip of one bill is missing; lightly hit by shot.


373. Fat peep from Cobb Island, Virginia, last quarter 19th century. Raised “V” wing carving. Most of the paint has been worn off; hit by shot; numerous dents; bill is a professional replace-ment by Frank Finney. (2,000 - 3,000)

374. Lesser yellowlegs, Thomas Gelston, Quogue, New York, last quarter 19th century. Relief wing tip carving and shoe button eyes. Original paint with minor discoloration and wear; hit by shot; small area of paint dripped on underside near stick hole.


375. Rare sandpiper, Daniel Lake Leeds, Pleasantville, New Jersey, circa 1900. Near mint original paint with good patina; bill is a professional replacement by Russ Allen.

(3,000 - 5,000)

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373

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375

166

John DilleyQuogue, Long Island, New York


Shorebird shooting on the South Shore of Long Island

167

376. Very important and rare ruddy turnstone, John Dilley, Quogue, Long Island, New York. Outstanding and well blended feather paint with excellent patina. “Brant Bird” is painted under the tail. Near mint original paint on much of the decoy; very minor wear on one edge of the top of head and part of bill, several tiny dents on underside of bill; two tiny holes on back.

Literature: John Dilley article, Joe French, Decoy Magazine, Jan/Feb 1994, p. 8. (80,000 - 100,00)

376

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377. Running peep, Outer Banks, North Carolina, circa 1920. Extended body position with iron bill, draw shave marks visible. Original paint is mostly worn away to exposed oxidized wood; two shot marks and crack in face where bill enters head. (1,500 - 1,800)

378. Sandpiper, Captain Al Ketchem, Copiague, New York. Relief wing carving and carved eyes. Original paint with minor discoloration and wear; a few tiny dents.

(1,500 - 2,000)

379. Robin snipe from Cobb Island, Virginia, last quarter 19th century. Shoe button eyes. Signed and identified by Lloyd Johnson under the tail. Two coats of paint with moderate wear; bill, although very early, appears to be a replacement. (1,400 - 1,800)

380. Robin snipe, Pharoah Midgett, Salvo, North Carolina, circa 1890. Two piece with long extended neck. Old paint some of which is original; several shot scars; crack below nail that secures neck to body. (1,500 - 2,000)

381. Curlew from New Jersey, last quarter 19th centu-ry. Carved indentations near eyes. Written in pencil a long time ago under tail is “Barnagate and J”. Appealing old paint appears to be original with moderate wear; bill is a professional replacement; lightly hit by shot.

Provenance: Gerard collection. Formerly in collection of William J. Mackey, Mackey collection stamp under tail.

(2,000 - 3,000)

382. Running curlew from Long Island, New York, last quarter 19th century. Carved eyes. “II” and “F” carved under tail as hunter ID marks for Alma Fitchett, (Smith Island, Virginia. Original paint with good patina and minor wear; bill is an old replacement.

Provenance: Gerard collection. Formerly in collection of William J. Mackey, Mackey collection stamp under tail.

(2,000 - 3,000)

380

382

379

381

378377

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383. Early robin snipe, maker unknown, Eastern Shore, Virginia, last quarter 19th cen-tury. Exhibits raised wing and tail carving. The paint is completely worn away; the bill appears to be a late replacement; some flaws to the wood, but overall sound struc-turally.


384. Set of three yellowlegs from the Eastern Shore of Virginia. Raised “V” wing tip carving. Bills are all old working replacements, splined through to the back of head. Original paint with minor discoloration and wear; small shallow chip from one end of wing and tail tip.

(3,000 - 4,000)

385. Curlew attributed to Walter Brady, Oyster, Virginia, last quarter 19th century. Relief wing carving. Stamped “W.B.” in underside. Old working repaint; lightly hit by shot. (2,500 - 3,500)

386. ”Lumberyard Rig” yellowlegs, New Jersey, last quarter 19th century. Original paint with good patina and minor wear; tiny chip missing from one edge of tail; relief wing carving with extended wing tips and shoe button eyes.

Provenance: Formerly in the col-lection of Dr. James McCleery, McCleery auction stamp on underside.

Literature: Guyette & Schmidt, Inc./Sotheby’s auction catalog, January 2000, lot 326, exact decoy. (3,000 - 4,000)

383

384

385

386

Photo credit byabodine

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In the 1930s Lem and Steve Ward were earning a reputation for making high

quality gunning decoys. On the rare occasion, they were asked to make what

we now call, “presentation quality” decoys. These special order items were

probably made for special events, possibly gifts, and there is little doubt that

they were able to charge more for the extra quality that went into these rare

decoys. Most “presentation quality” decoys can be characterized as being

made as gunning decoys, exhibiting the finest carving and painting that the

brothers could offer. For instance, the extra feather loops between the breast

and side pockets on the canvasback and bluebill are rarely seen. Additional-

ly, the canvasback has bill carving between the face and bill. The additional

primary and secondary wing and tail feathering combined with the detailed

paint stippling works to set these decoys apart from many of the more com-

mon models.

387

387 Detail

171

387. Important presentation grade blackduck, Ward Brothers, Crisfield, Maryland, circa late 1930’s. Slightly turned head. Extra fine paint with precise feather detail and well blended wing tips. Well formed head with wide bill. Near mint original paint with very good patina; slight separation at neck seam.

Provenance: Formerly in the collection of Richard Larrimore.

Literature: “Ward Brothers Decoys,” Ron Gard and Brian McGrath. (60,000 - 80,000)

387 Detail

1936 Presentation Grade Ward Brothers Blackduck

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389. Hollow carved pair of red breasted mergansers, Ward Brothers, Crisfield, Maryland. Both have slightly turned heads. Signed and dated 1967. Original paint with very minor wear; very minor paint shrinkage on breast and tail of drake; more significant paint shrinkage on breast and tail of hen; very tip of hen’s bill has been blunted slightly.


388. Pair of 1936 style goldeneye carved in 1969, Ward Brothers, Crisfield, Maryland. Signed “William Cross Collection Lem and Steve 1969”. Both have slightly turned heads and shoulder carving. Very slight separa-tion at front on hen’s neck seam; otherwise very good and original.

Provenance: Clayton Collection. (5,000 - 8,000)

388

389

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390. 1936 model greenwing teal hen, Ward Brothers, Crisfield, Maryland. Slightly turned head. Unused; professional bill repair and tail chip repair by Russ Allen.


391. Rare 1929 model canvasback drake, Ward Brothers, Crisfield, Maryland. Relief wing carving with extended wing tips and slightly turned head. Worn original paint on much of the decoy; white on back appears to be old second coat; small crack; defect in wood in underside.

(7,000 - 9,000)

390

391

392

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1936 Presentation Grade Ward Brothers Canvasback

John Hudson Moore was the CEO of Sportsman

Grooming Essentials, a subsidiary of Colgate. He

had these decoys made to have in his New York City

office and to have them photographed to be on his

bottles of aftershave.

Vintage Sportsman Grooming Essentials advertisement

392 Detail

392 Detail

392 Detail

175

392. Important presentation canvasback drake, Ward Brothers, Crisfield, Maryland, circa late 1930’s. Slight turned head. “L.T. Ward and Bro” ink stamp on underside. Extra fine paint detail and good patina. Near mint original paint; hairline crack part way through neck; slight wear on one edge of bill; thin dent on one side of bill.


393

176

1936 Presentation Grade Ward Brothers Bluebill

393 Detail

393 Detail

393 Detail

177

393. Important presentation bluebill drake, Ward Brothers, Crisfield, Maryland, circa late 1930’s. Slightly turned head. “L.T. Ward and Bro” ink stamp on underside. Extra fine paint and stippling. Near mint original paint; crack in underside.

Provenance: John Hudson Moore collection by decent through the Hudson family.

Literature: “The Story of Lem Ward,” Ida Ward Linton, p. 27. (30,000 - 40,000)

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394. Bluebill drake, Ward Brothers, Crisfield, Maryland. Signed and dated 1932. Slightly turned head. Original paint with minor wear; old overpaint has been taken off part of the bill; small cracks and minor touch up at neck seam.

Provenance: This drake broadbill or greater scaup is from a rig owned by Bill Jones of Pocomoke, MD. Jones used them at the mouth of the Annam Essex River, just north of Crisfield, MD. The rig contained mostly 1936 model bluebills and Canvasbacks along with this single 1932 model Broadbill with an exceptionally wide bill. (6,000 - 9,000)

395. Rigmate pair of shooting stool model pintails, Ward Brothers, Crisfield, Maryland. Signed “1 of 15, Lem Ward, 1971”. Both have slightly turned heads. Very good and original.

Provenance: Sterling collection. (4,000 - 6,000)

396. Shooting stool model sco-ter, Ward Brothers, Crisfield, Maryland. Slightly turned head; Signed with poem and dated 1972. Tiny rough spot on one edge of bill; otherwise very good and original.


394

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396

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397. Very rare 1936 model goldeneye hen, Ward Brothers, Crisfield, Maryland. Head is turned approxi-mately 30 degrees. Underside has painted emblem by the Wards saying, “Female goldeneye” and “Ward’s decoys, Crisfield, Maryland”. Fine feather paint detail. Near mint original paint with good patina; very slight roughness to underside of tip of bill; minor separation at neck seam with a small chip missing from the filler at the back of the head; two cracks in lower side.

Provenance: Clayton collection.

Literature: “Ward Brothers Decoys”, Ron Gard and Brian McGrath, p. 35. (17,500 - 22,500)



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398 Detail

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398. Important oversize merganser drake, Elmer Crowell, East Harwich, Massachusetts. Pre brand with slightly turned and lifted head, and fluted tail. From the hunting rig of Stephen and Priscilla Smith, Hyannis, Massachusetts, Smith brand in underside. Original paint with fine detail and good patina; small filled area next to knot at one side of tail, appears to be from when the decoy was made; professional repair to neck base where a chip was broken out and reattached; professional repair to end of bill where several puppy chew marks were filled and touched up; both repairs were done by G.G. Hopkins.


398 Detail

398

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399. Pintail drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the under-side. Original paint with minor wear; several small dents; two cracks through neck; small chip missing from end of bill.

Provenance: Formerly in the collec-tion of William J. Mackey, Mackey collection stamp on underside. Also inscription reading “not for sale”. Rowland collection, stamp in under-side. (4,000 - 6,000)

400. Large blackduck, Elmer Crowell, East Harwich, Mass-achusetts. Slightly turned head. Crowell’s oval brand is in the under-side. Original paint with minor to moderate wear; old overpaint on flat part of underside; small defect in wood on one side and behind head.

(2,500 - 3,500)

401. Blackduck, Elmer Crowell, East Harwich, Massachusetts. Slightly turned head. Traces of rectangular stamp in underside. Original paint with minor wear; crack in back; wear on tail. (4,000 - 6,000)

402. Blackduck with turned head, Elmer Crowell, East Harwich, Massachusetts. Relief wing tip carving and fluted tail. Crowell’s rectangular stamp is in the under-side. Original and good; filled defect in wood is from when the carving was made. (3,500 - 4,500)

399

400

401

402

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403. Rare widgeon drake, Elmer Crowell, East Harwich, Massachusetts. Carved crossed wing tips, fluted tail, and slightly turned head. Crowell rectangular stamp is in the underside, with “Widgeon” written in pencil and “Barres” written in ink. Original paint with good patina and very slight wear; a few paint flakes missing from neck seat area; small crack in underside and small area of filler there from when the decoy was made.

Literature: “New England Decoys,” John and Shirley Delph., p. 123. (12,000 - 15,000)

403


184

405

406

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404. Preening blackduck, Elmer Crowell, East Harwich, Massachusetts, circa 1900. Carved, crossed wing tips and fluted tail. Chip carving under wings and in tail area. Crowell’s rectangular stamp is in the underside, but must have been put in when the decoy was taken back to Crowell for verifica-tion. Old varnish or overpaint has been taken off leaving original paint which has been affected by the take down process; age split in the underside; a few small shot marks.



185

405

406

405. Mallard hen, Elmer Crowell, East Harwich, Massachusetts, circa 1900. Pre oval brand, circa 1910. Branded “C.M.” in underside. Original paint with minor wear, mostly on the underside; crack in underside.


406. Mallard drake, Elmer Crowell, East Harwich, Massachusetts. Relief wing carving and fluted tail; head is slightly turned. Pre brand. Original paint with minor to moderate flaking and wear, mostly on lower sides; struc-turally good. (6,000 - 9,000)

405 Detail

186

407. Blackduck, Elmer Crowell, East Harwich, Massachusetts. Pre brand. Original paint with good feather detail and minor wear; small dents and shot marks; small crack in back. (1,500 - 2,500)

408. Widgeon drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the under-side. Paint has been restored in the Crowell style by Ken DeLong; a few small dents.


409. Blackduck, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand in underside. Old in use repaint; numerous dents and small cracks.


410. Blackduck, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the under-side. Old in use repaint; a few small dents.


411. Pintail drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the under-side. Paint was restored quite a while ago; a few small dents. (600 - 900)

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411

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407

411A

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411A. Wood duck drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s oval brand is in the underside. 11 1/2” long with slightly turned head. Good paint detail. Underside is unpainted and has a circular lead weight poured into it. Near mint original paint with good patina; structurally very good.

Literature: “The Songless Aviary,” Brian Cullity, p. 67. (9,500 - 12,500)

411A

411A Detail

411A Detail

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413. Lowhead gunning scaup, Elmer Crowell, East Harwich, Massachusetts, circa 1910. Oval brand in underside. Original and good. (1,750 - 2,250)

412. Rigmate pair of goldeneye, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is on the underside of each twice. Original paint with minor wear; several tiny dents and shot marks.


412

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414

416

418

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414. Miniature wood duck drake, Elmer Crowell, East Harwich, Massachusetts. Very good and original.


415. Rare miniature surf scoter, Elmer Crowell, East Harwich, Massachusetts. Crowell’s paper label is on the underside. Marked “S.H. Schooter”. Very good and original.


416. Miniature flying Canada goose, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp on the backside. Approximately 8” long. Very good and original.


417. Miniature flying mallard drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is on the backside. Approximately 7 1/2” long. Very good and original.


418. Miniature willet, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. Fairly large, over 4” long. Very good and origi-nal.


419. Miniature curlew, Elmer Crowell, East Harwich, Massachusetts. Approximately 5 1/2” tall. Crowell’s rectangular stamp is in the underside. Very good and origi-nal.


415

417

419

414

416

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Miniatures by Elmer Crowell1862 - 1952


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423. Miniature willet, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside of the base. Underside of base is painted black. Bill is short, but does not appear to have been bro-ken.


424. Miniature dunlin, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. Very good and original.


425. Rare miniature marbled godwit, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is under the base. 4.5” long. Very good and original.


420. Miniature spotted sandpiper, Elmer Crowell, East Harwich, Massachusetts. Crowell rectangular stamp is in the underside. Very good and original.


421. Miniature running yellowlegs, Elmer Crowell, East Harwich, Massachusetts. Traces of Crowell’s round ink stamp under base. Very good and original.


422. Miniature robin snipe in spring plumage, Elmer Crowell, East Harwich, Massachusetts. Very good and original.


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429. Miniature semi palmated plover, Elmer Crowell, East Harwich, Massachusetts. Identified under the base. Very good and original.


430. Miniature wilson snipe, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is under the base. Very good and original.


431. Rare miniature stilt, Elmer Crowell, East Harwich, Massachusetts. Very good and original.


426. Miniature Canada goose, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. Very good and original.


427. Flying miniature blackduck, Elmer Crowell, East Harwich, Massachusetts. Good paint detail. Original paint with slight wear; filler and touch up where wings join back.


428. Miniature ring neck plover, Elmer Crowell, East Harwich, Massachusetts. Traces of Crowell’s circular ink stamp under base. Very good and original.


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435A. Miniature chickadee, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp in underside. Several tiny rubs, otherwise very good and original.

(800 - 1,100)

436. Group of eight 1/4 size decoys, George Thompson, Cazenovia, New York. “Made from photos in the clas-sic series Milton C. Weiler” and signed in underside of wooden base. Decoys are made in the style of various decoy makers such as Rowley Horner, the Ward Brothers, and Harry Shourds. Original and good.


432. Pair of half size song birds, Robert Morse, Ellsworth, Maine. Original and good. (500 - 700)

433. Miniature grouse, George Reinbold. Signed. Original and good. (350 - 450)

434. Miniature bufflehead drake, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside of the base. Very good and original.


435. Miniature flicker, Elmer Crowell, East Harwich, Massachusetts. Crowell’s circular ink stamp on the base. Slight wear at tip of bill; otherwise very good and original. (900 - 1,200)

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440. Miniature hooded merganser drake, Elmer Crowell, East Harwich, Massachusetts. Traces of Crowell’s ink stamp on underside. Very good and original.


441. Miniature black bellied plover, Elmer Crowell, East Harwich, Massachusetts. Traces of Crowell’s circular ink stamp under base. Minor paint shrinkage on breast, otherwise very good and original.


442. Miniature dowitcher, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is under the base. Very good and original.


437. Miniature old squaw drake, Elmer Crowell, East Harwich, Massachusetts. Very good and original.


438. Miniature nuthatch, Elmer Crowell, East Harwich, Massachusetts. Traces of Crowell’s circular ink stamp on underside. Very good and original. (800 - 1,200)

439. Miniature jacksnipe, Elmer Crowell, East Harwich, Massachusetts. Crowell’s rectangular stamp is in the underside. Very good and original.


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443. Mallard drake with bright and highly detailed origi-nal paint., Robert Elliston, Bureau, Illinois, circa 1880’s. Retains Elliston weight. Five shot marks in bill. Original paint with very minor wear; a few dents.

Provenance: Ex collection of Kirk Whaley.

Literature: “Decoys of the Mississippi Flyway,” Alan Haid. (6,000 - 9,000)

444. Classic mallard hen, Robert Elliston, Bureau, Illinois, circa 1880’s. Retains Elliston weight. Bright original paint with good detail. Rigmate to Elliston mallard drake in this sale. Slight wear; very minor roughness to edge of tail; chip missing from underside of bill; small crack partway through neck. (6,000 - 9,000)

Illinois RiverRobert Elliston

1849 - 1915Bureau, Illinois

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445. Rare preening mallard hen, Robert Elliston, Bureau, Illinois, circa 1880’s. Retains Elliston weight. Fine feather paint detail. Deep body style, over 4” thick. Original paint with minor wear; moderate wear near speculums; a few tiny dents.


This is an early style body which can be described as being “fatter” or more rounded and slightly larger than the sleepers used in Illinois. It was

likely ordered for the big water gunning clubs in Wisconsin.

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446. Mallard hen, Charles Perdew, Henry, Illinois, 2nd quarter 20th century. Retains Perdew weight. Raised dots on Perdew weight indicate the decoy was made in 1937. Original paint with minor flak-ing and wear; shot marks on center of one side.

(4,000 - 6,000)

447. Exceptional canvasback drake, Bert Graves, Peoria, Illinois. Fine swirl feather painting on back. Near mint and bright original paint; almost no wear; several small dents.


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448. Pintail drake, Robert Elliston, Bureau, Illinois, circa 1880’s. Retains Elliston weight. Original paint with mod-erate discoloration on underside and minor wear; a few tiny dents. (6,000 - 9,000)

449. Seven miniatures, Charles Perdew, Henry, Illinois. Three flying mallards on burl bases and four swimming mallards. Mounted on birdseye maple and in Plexiglas case. Case size 12” x 5 1/2” x 6 1/2”. Included are two letters from George Miller to Perdew ordering the carvings and asking about their status at a later date. Very good and original. (4,000 - 6,000)

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450. Very rare hollow carved Canada goose, Perry Wilcoxin, Liverpool, Illinois, circa 1920’s. Original paint with scratch loop feather painting on back; very slight wear; small crack in one side of head.

(5,000 - 7,000)

451. Canvasback drake in rare eclipse plumage, Bert Graves, Peoria, Illinois. Retains Graves weight. Original paint with minor wear protected by an old coat of varnish; lightly hit by shot; sev-eral filled and touched up shot marks in breast. (3,500 - 4,500)

452. Rare canvasback hen, Bert Graves, Peoria, Illinois, circa 1920’s. Retinas Graves weight. Original paint with very slight wear protected by an old coat of varnish; a few tiny dents.


452A. Canvasback drake, Andy Anderson, Peoria, Illinois. “A.L.A.” is carved in the under-side. Ed Moore collection stamp is in the underside. Strong original paint with combing; minor discol-oration and wear. (2,000 - 3,000)

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Canada

453. Hollow carved pintail hen. Raised primaries. Old in use repaint; small cracks in wing tips.


454. Mallard hen and drake, Ken Anger, Dunnville, Ontario. Original paint with minor wear; hen has a few small dents and shot marks.


455. Hollow carved Canada goose, Phineas Reeves, Long Point, Ontario. Made for Edward W. Harris, Long Point Company member 1877-1906. “Cliff Loach” is written on underside. Paint has been restored; small shot marks; neck crack repair. (3,000 - 4,000)

456. Loon, Douglas White, Lunenburg, Nova Scotia. Relief wing carving with extended tips. Small crack in back and tail; some discoloration on underside; otherwise very good and original.

Literature: “Decoys of Maritime Canada,” Dale and Gary Guyette, p. 20. (650 - 950)

457. Hollow carved bluebill drake, John R. Wells, Toronto, Ontario. Branded “W.H.B.”. Original paint with minor wear; moderately hit by shot; chip in one side of bill

(1,500 - 2,000)

458. Redhead drake, George Warin, Toronto, Ontario, 3rd quarter 19th century. Branded “A.H. Buhl”, “F.A. Walker” and “Mills”. Original paint that has darkened with age; minor wear; small dents and shot marks.

(1,250 - 1,750)

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459. Greenwing teal hen from Quebec, 2nd quarter 20th century. Raised neck seat. Original paint with very minor wear; several small dents. (350 - 550)

460. Lowhead blackduck, Tom Chambers, Toronto, circa 1870’s. Hollow carved. Branded “Steers W.L.M.” and “J.A. McDougall”. Old paint with moderate wear; paint on head and bill appears to be original; numerous small dents and shot marks; wear to wood on bottom edges.

(500 - 800)

461. Hollow carved blackduck, John R. Wells, Toronto. High neck seat. Branded “J.R.W. maker”. Also “J.M.” is painted on the underside. Worn original paint with some over paint showing; tail chip; lightly hit by shot. (500 - 700)

462. Hollow carved pair of bluebills, Will Smith, Bloomfield, Ontario, circa 1900. Working repaint by Davey Nichol, circa 1940’s or 1950’s; a few small dents.

Provenance: Perkins collection stamp on underside. (400 - 600)

463. Hollow carved goldeneye hen, D. K. Nichol, Smith’s Falls, Ontario. Old in use repaint; tiny knot hole through tail; very lightly hit by shot. (250 - 350)

464. ”Turtle back” style eider drake from the Eastern shore of Nova Scotia. Probably from Musquadoboit Harbor. Worn old paint; numerous cracks; tail chips miss-ing. (400 - 600)

465. Hollow carved redhead drake from Toronto Harbor. Paint has been restored; a few small dents.

(600 - 900)

466. Goldeneye drake, Orel LeBoeuf, St Anicet, Quebec. Black paint appears to be original; minor wear; paint on white areas appears to have been restored; two filled defects in underside; several tiny dents. (400 - 600)

467. Redhead drake, Orel LeBoeuf, St. Anocet, Quebec. Highly detailed feather carving. Paint has been restored in its original style; small chips and cracks.

(300 - 500)

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468. Hollow carved bluebill drake, Walter Humphries, Toronto, Ontario, circa 1870’s. Raised neck seat and flared bill carv-ing. Good comb paint detail on back. Original paint with very slight wear; a few small dents, otherwise structurally very good. (4,000 - 6,000)

469. Rare hollow carved red-head drake, Phineas Reeves, Toronto, Ontario, last quar-ter 19th century. Tack eyes. Original paint with good patina and minor wear; lightly hit by shot; professional touch up to white areas on lower sides; small spot of overpaint on top of tail; small crack in tail.

Literature: “Ontario Decoys,” Bernie Gates, p. ___.

(5,500 - 7,500)

470. Merganser hen from Luneburg County, Nova Scotia, 1st quar-ter 20th century. Relief wing carving. Original paint with minor discoloration and wear; structurally good.

(5,000 - 7,000)

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471. Rare mallard hen, Mason Decoy Factory, Detroit, Michigan. From the D.B. Day rig. Premier grade. Slightly turned head with “D.B. Day” brand in underside. Original paint with very slight wear and good patina; two shot marks in head; several tiny dents.

(9,000 - 12,000)


Detroit, Michigan

D. B. Day of Canton, Ohio was an executive at Timkin Roller Bearing Company also located in Can-ton. His special order decoys represent Mason’s finest paint and thick bills, made to resist breaking. Day was a member at the Toussaint Shooting Club in Port Huron on the Western basin of Lake Erie.

472. Early hollow widgeon hen, Mason Decoy Factory, Detroit, Michigan, 1st quarter 20th century. Premier grade. Initials “J.S.M.” painted in black on underside. Original paint with minor wear; thin age crack on the back; a number of shot marks over the decoy; a minor fracture at the base of the neck; overall structurally good.

Provenance: Ex Barney Crandall collection.

Literature: “Decoying St. Clair to the St. Lawrence”, Bernard Crandall, color plate 182, exact decoy. (12,000 - 15,000)

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. Important red breasted merganser drake, Mason Decoy Factory, Detroit, Michigan, circa 1910. Premier grade. This decoy is best described by the quote on p. 98 of “Call to the Sky,” “this is the finest of a handful of red breasted mergansers known to have been made by the factory. Most Mason fac-tory mergansers were American or common mergansers. Original paint with moderate discoloration and minor to moderate wear; several small dents and shot marks; two “in factory” hairline cracks in back; professional repair to a fairly large chip in the top of the head with touch up in that area.

Provenance: Formerly in the collection of Dr. James McCleery, McCleery stamp on underside. Guyette and Schmidt/Sothebys decoy auction catalog January 2000, lot 595, exact decoy.

Literature: “Call to the Sky,” Robert Shaw, p. 98, exact decoy. “Mason Decoys,” Russ Goldberger and Alan Haid, p. 92, exact decoy. (25,000 - 35,000)


Detroit, Michigan

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474. Pair of bluebills, Mason Decoy Factory, Detroit, Michigan. Standard grade with painted eyes. Original paint with minor wear; several small dents and shot marks; some of the neck filler is missing. (300 - 500)

475. Mallard drake, Mason Decoy Factory, Detroit, Michigan. Challenge grade. Original paint with minor discoloration and wear; neck filler has been professionally restored; small dents; small crack in underside.

Provenance: Powell collection. (500 - 800)

476. Canada goose, Mason Decoy Factory, Detroit, Michigan. Premier grade. Signed and dated 1968. Bottom has been trimmed and the decoy was been repainted by Steve Ward; head is a little loose. (400 - 600)

477. Early mallard drake, Mason Decoy Factory, Detroit. Premier grade. Original paint with good patina and minor wear; moderately hit by shot; slight roughness to tip of tail; white paint around neck base appears to have been restored. (1,250 - 1,750)

478. Rare bluewing teal drake, Mason Decoy Factory, Detroit, Michigan. Glass eye model with painted eyes. Original paint with minor wear; approximately 1/3 of the neck filler is missing; “in factory” filled defect in back where some of the filler has come out; lightly hit by shot. (1,300 - 1,600)

479. Rigmate pair of goldeneye, Hays Decoy Factory, Jefferson City, Missouri. Original paint with minor wear; some of the neck filler is replaced; small dents; each has a crack in the underside; hen has a worn area on the underside. (800 - 1,200)

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480. Very early bluewing teal drake, Mason Decoy Factory, Detroit, Michigan. Premier grade. Branded “L.I.N.N.” in under-side. Original paint with minor wear; crack through neck; paint drip on one side; two small cracks in back; very slight roughness to end of bill.

Provenance: From a hunting club in Southern Illinois. (3,500 - 4,500)

481. Outstanding blackduck, Mason Decoy Factory, Detroit, Michigan. Challenge grade. Snakey head style. Exhibits fine feather detail. Original paint with minor tail chip repair and in fac-tory repair to area of body on right side.

Literature: “Mason Decoys A Complete Pictorial Guide,” Russ J. Goldberger & Alan G. Haid, p. 29. (3,000 - 3,500)

482. Bluewing teal drake, Mason Decoy Factory, Detroit, Michigan. Early style premier grade, circa 1905. Very slightly lifted head. Original paint with minor wear; small “in factory” crack in back; minor wear to one edge of bill; several tiny dents; small defect in wood on lower breast.

Provenance: Branded “L.I.N.N.”, from a hunting club in southern Illinois. (3,500 - 4,500)

483. Bluewing teal drake, Mason Decoy Factory, Detroit, Mich-igan. Challenge grade. Original paint with moderate wear; small crack in one side; some neck filler is missing. (1,250 - 1,750)

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484. Rigmate pair of bluebills, Ackerly family, Long Island, New York. From the hunting rig of Langdon Thorne, Thorne brand in underside. Working repaint to the white areas, the rest is original with moderate wear; drake has been lightly hit by shot. (1,250 - 1,750)

485. Large pair of cork body goldeneye, Gene Wells, Stoney Brook, New York, circa 1900. Carved wooden heads. Original paint with minor wear; a few small dents.


486. Bluebill drake by a member of the Verity Family, Seaford, New York, last quarter 19th century. Carved eyes. Original paint with good patina and minor wear; lightly hit by shot. (1,200 - 1,500)

487. Goldeneye hen in rare swimming pose, Gene Wells, Stoney Brook, New York, circa 1900. The decoy has repaint on the white area on the underside and lower

sides; the rest is original with minor wear; small dents; small repair to neck base.


488. Rigmate pair of cork body blackducks, Dan Tustake, Babylon, New York. Both have well carved wooden heads and wooden keels. Original paint with minor wear on heads; moderate wear on bodies; some wear to the cork.

Provenance: Gerard collection. (950 - 1,250)

489. Early streamlined merganser drake from the South Shore of Long Island, New York, last quarter 19th century. Head is attached to the body with dowel splined through to underside of body with wedge inserted. Very appealing old in use repaint; with moderate flaking and wear; crack in underside; small chip in front of underside.


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Long Island, New York

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490. Rare rigmate pair of goldeneye, Will Smith, Stoney Brook , New York, circa 1900. Good carving detail. Both have “W.S.” on the underside. Original paint with minor discoloration and wear; very small cracks in underside.


491. Oldsquaw drake, North Shore of Long Island, New York, last quarter 19th century. Original paint with good patina and minor wear on much of the decoy; old in use repaint on black areas; bill has been blunted slightly; lightly hit by shot.


492. Swimming oldsquaw drake, Long Island, New York, last quarter 19th century. Two piece body construction and tack eyes. Appealing old in use repaint on white areas; black is original with moderate wear; thin crack through neck; small dents.


493. Swimming oldsquaw drake, Long Island, New York, last quarter 19th century. Tack eyes. Two piece body construction. Original paint with minor wear on white areas; black may have a second coat on back; small crack at neck base; worn area on underside; small dents.


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Delaware River

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494. Exceptional pair of hollow pintails, Clark Madera, Pitman, New Jersey, 2nd quarter 20th centu-ry. These decoys represent some of Madera’s best work; the drake exhibits fine vermiculated paint. Fine original paint shows average wear; the drake has a thin crack in the neck; overall both are in excellent structural condition.


Literature: “Classic New Jersey Decoys,” James Doherty, p. 162, similar decoy pictured. (5,000 - 7,000)

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495. Superb early model hollow mallard drake, Dan English, Florence, New Jersey. Stamped “McCleery” and bearing the Sotheby’s tag from the McCleery auction presented by Guyette & Schmidt in conjunction with Sotheby’s, New York, January 2000. Also cold stamped ““H.C.” from the Harry Cheesman rig. Exhibits classic raised “V” tail carving. Original paint with a fine patinated surface; excellent structurally.

Provenance: Bartlett collection.; Ex-collection Dr. James McCleery.

Literature: “American Waterfowl Decoys - The Distinguished Collection of Dr. James M. McCleery,” Guyette & Schmidt & Sotheby’s, Jan. 2000, lot 9; “Call To The Sky,” Robert Shaw, p. 65, illus. (6,000 - 9,000)

496. Rare blackduck, Dan English, Florence, New Jersey. Extra feather carving detail with raised “V” carved primaries, carved secondary and fluted tail. Near mint original paint; structurally very good.

Literature: “New Jersey Decoys,” Henry Fleckenstein, Jr., 185 and 186. (6,500 - 9,500)

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499. Bluebill drake, tucked head position Howard Bacon, Jr., Delanco, New Jersey, 2nd quarter 20th centu-ry. Exhibits incised wing carving, tack eyes and the original weight. Bacon made fewer than 50 decoys for his own rig. Some old in-use touch up to the white area of the specula and the edge of the tail, otherwise the paint is original showing minor wear; some light shot marks.


Literature: “Floating Sculpture,” Harrison Huster and Doug Knight, p. 21, exact decoy. (900 - 1,200)

500. Gadwall drake, John English, Bordentown, New Jersey, last quarter 19th century. Raised “V” wing tip carving. Signed. Paint was restored by Bob White in 1962; a few tiny dents.

Provenance: Formerly in collection of David Campbell, branded “D.F.C.”. (900 - 1,200)

501. Blair school canvasback drake, last quarter 19th centu-

ry. Hollow carved. Appealing old in use repaint; several staples added to neck seat. (700 - 1,000)

502. Mallard drake, Harry Fennimore, Bristol, Pennsylvania, 1st quarter 20th century. Deep body model with raised “V” primary carvings. Superb dry original paint shows minor wear and a nice patinated surface; small scrape on the back, otherwise structurally excellent.


503. Hollow mallard drake, Clark Madara, Pitman, New Jersey. Old repaint shows average wear; very good structurally.


504. Lowhead model blackduck, William Kuhn, Tullytown, Pennsylvania. Retains Kuhn’s embossed tag bears his name and town. Old repaint shows average wear; excel-lent structurally.


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505. Rare canvasback drake, John Dawson, Trenton, New Jersey, first quarter 20th century. Stamped “JD” in underside. Original paint with good patina and very minor wear; several small specks of dark paint on back; never rigged. An excellent example of Dawson’s work.


506. Rare redhead drake, John Dawson, Trenton, New Jersey, first quarter 20th century. Stamped “JD” in underside. Weighted but never rigged. Near mint original paint with good patina; structurally excellent. An excel-lent example of Dawson’s work.


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507. Pair of hollow low head red-heads, William Quinn, Yardley, Pennsylvania. Both retain the lead ballast stamped, “W. QUINN, YARDLEY, PA.” Both are in a second coat of working repaint possibly by Quinn; both are excel-lent structurally.


508. Early stylish mallard drake, attributed to T. Scott, Bristol, Pennsylvania. Very thin light-weight construction; retains a tin tag embossed, “T. SCOTT, BRISTOL, PA.” Original paint shows wear with some flaking; very good structurally.


509. Hollow low head model bluebill drake, William Quinn, Yardley, Pennsylvania. Retains the lead ballast cold stamped, “W. QUINN, YARDLEY, PA.” Working second coat of paint likely by Quinn, shows average wear; structurally excellent.


510. Oversize hollow carved mal-lard drake, John McGloughlin, Bordentown, New Jersey. Signed at a later date. Slightly turned head. Original paint with minor wear; very slight separation at body seam. (1,500 - 2,500)

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511. Pair of mallards, Joe King, Edgely, Pennsylvania. The lead ballast on the drake is cold stamped, “J.S. KING, EDGELY, PA.”; the weight is missing from the hen. Both are in a working second coat of paint, possibly by King; both are in excellent structural condition.


Literature: “Working Decoys of the Jersey Coast and Delaware River,” Gosner, pp. 89 & 94. (5,000 - 8,000)

512. Pintail hen, so called “Blair School” type. Flat-bottom, solid body construction. Fine original paint shows aver-age wear; narrow crack in the neck; overall excellent structurally.


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513. Redhead drake, Dodge Decoy Factory, Detroit, Michigan, circa 1885. Original paint with moderate wear, mostly to the back; neck filler has been profession-ally replaced; small cracks. (400 - 600)

514. Rigmate pair of mallards, Dodge Decoy Factory, circa 1890. Slightly turned heads. Both in original paint with average wear; areas missing from both decoys’ neck filler; hen shows glue to area of back; filler at rear of neck.

(1,500 - 2,000)

515. Mallard hen, Dodge Decoy Factory, Detroit, Michigan, circa 1890. Paint is protected by an old coat of varnish with good feather painting. Original paint with restora-tion to neck filler and two areas the size of a dime on the back near the speculum. (700 - 1,000)

516. Rigmate pair of mammoth canvasbacks, Evans Decoy Factory, Ladysmith, Wisconsin. Evans stamp on under-side. Original paint with minor wear; small dents; two crack through hen’s neck. (650 - 950)

517. Pair of Wildfowler Factory mallard bookends. On hardwood bases. Original paint with minor wear, mostly on edges of bills; structurally good. (400 - 600)

518. Hollow brant, Wildfowler Factory. Made in the style of Harry Shourds. Very strong original condition.


519. Oversize canvasback drake, Wildfowler Factory, Old Saybrook, Connecticut. Old Saybrook stamp in under-side. Never used; near mint original paint with some small scuffs and tiny dents; slight separation at body seam.

(300 - 400)

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Factory

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520. Swan, Dodge Decoy Factory, Detroit, Michigan, circa 1880’s. Solid body with glass eyes. Numerous coats of old white paint and wood filler around base of neck and area where head meets neck. (4,000 - 6,000)

521. Extremely rare unused rigmate pair of redheads, Evans Decoy Factory, Ladysmith, Wisconsin, circa 1930’s. Both have the Evans ink stamp and a small “E.” on the underside. Exceptionally strong original paint with a few small rubs; both have paint shrinkage at neck seams.

Literature: “North American Factory Decoys,” Ken Trayer p. 136. (4,000 - 6,000)

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522. Yellowlegs, Harry V. Shourds, Tuckerton, New Jersey, last quarter 19th century. Painted eye with a bill splined through the back of the head. Very dry crazed surface with strong stipple painting on the back. Strong original paint with crazing on the breast; structurally excellent.

Literature: “Classic New Jersey Decoys,” James Doherty. (4,000 - 6,000)

523. Curlew from Cape May, New Jersey, last quarter 19th century. Small dowel through head to hold bill in and serve as eyes. Original paint with moderate wear; reglued crack in neck with small rough area at back of neck; lightly hit by shot.


524. Rare black bellied plover, Nate Frazier Tuckerton, New Jersey, 1st quarter 20th century. Good feather paint detail. Original paint with good patina and very minor wear; black on breast may be a working second coat.

(2,500 - 3,500)

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Shorebirds

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525. Black bellied plover, Harry V. Shourds, Tuckerton, New Jersey, 1st quarter 20th century. Original paint with minor discoloration and wear; working repaint on white areas; small dents. (1,000 - 1,400)

526. Pair of robin snipe from the Rogers Rig, Jamaica Bay, New York. Worn old paint appears to be original; bills have been replaced; numerous small cracks and shot marks.

(1,000 - 1,400)

527. Hollow carved black bellied plover from Massachusetts. Relief wing carving. Original paint with minor discoloration and wear; a few tiny dents.

(800 - 1,200)

528. Working style black bellied plover, Lloyd Johnson, Bay Head, New Jersey. Signed and dated 1958. Relief wing carving. Very good and original. (800 - 1,200)

529. Working style sandpiper, Lloyd Johnson, Bayhead, New Jersey. Signed. Relief wing carving. Inscribed that the decoy is from the Somers Headly collection. On origi-nal base. (800 - 1,200)

530. Black bellied plover, Chris Sprague. Carved in the manner of Harry Shourds; branded with the initials, “C.T.S.” Excellent original condition.


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531. Red knot purchased from Jack Midgett’s Towing Service, Salvo, North Carolina in 1969, circa 1900. Tack eyes with iron bill. Old paint most of which is original; structurally sound. (1,200 - 1,500)

532. Black bellied plover, Doug Jester, Chincoteague, Virginia. Raised “V” wing carving. Original paint with slight wear; a few small dents. (1,250 - 1,750)

533. Lesser yellowlegs, Lloyd Parker, Parkertown, New Jersey, last quarter 19th century. Good scratch paint detail. Original paint with moderate wear; lightly hit by shot, shot scar in back and breast.

Literature: “Shorebird Decoys,” Somers Headly and John Levinson, p. 80, exact decoy. (1,250 - 1,750)

534. Sandpiper, Chris Sprague, Beach Haven, New Jersey. Signed at a later date by Sprague. Also signed by Ann Sunonim. Very good and original. (900 - 1,200)

535. Peep with unusual lifted head, circa 1900. Original paint with good patina and slight wear; tiny chip missing from tail; tip of bill is replaced. (1,200 - 1,500)

536. Early yellowlegs form Long Island, New York. Relief wing carving. Two piece body construction. “V” carved in underside near stick hole as hunters ID mark. Worn old paint; lightly hit by shot; bill is a very well done replace-ment.


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541

221

537. Two plump dowitchers found at Oregon Inlet, North Carolina, circa 1920. Knife marks present on both with red breasts and light area under tail. Old paint that has mostly worn away, numerous shot marks, bills might be old replacements. (500 - 800)

538. Sandpiper with relief wing carving from Cobb Island, Virginia, last quarter 19th century. “A” carved under tail and attributed to Arthur Cobb. Original paint with good patina and minor wear; bill is a professional replace-ment. (900 - 1,200)

539. Early black bellied plover, Harry Gale. Old repaint shows minor wear; thin crack in the neck; multiple shot marks, the bill is a late replacement.


540. Curlew form Long Island, New York, last quarter 19th century. Shipman brand in underside. Old in use repaint;

bill appears to be an old replacement; carrying hole drilled a long time ago through body; cracks and worn areas in body.

Provenance: Gerard collection. Formerly in the collection of William J. Mackey, Mackey collection stamp on under-side. (1,000 - 1,400)

541. Early curlew from Long Island, New York. Two piece body construction with slightly turned head. Two stick holes. Worn old paint is probably a second coat; bill is an old replacement; several small chips and shot marks in head; minor roughness to one edge of tail; lightly hit by shot.


542. Two yellowlegs, maker and origin unknown. Believed to be from Long Island. They both exhibit incised wing carving. Original paint shows minor wear with the sur-face covered with a coat of varnish. (1,000 - 2,000)

538

540

542

537

539

541

222

543. Three shorebirds, unknown carver, New Jersey, last quarter 20th century. Two black bellied plovers and one yellowlegs. One plover has iron bill, yellowlegs has split tail. All are in original paint; fat plover has flaking and imperfections in wood; yellowlegs has had original bill reglued. (500 - 700)

544. Golden plover from Martha’s Vineyard, Massachusetts, last quarter 19th century. Small chip at tip of bill; orig-inal paint with minor wear; lightly hit by shot. (650 - 950)

545. Large sickle billed curlew from Massachusetts. Appears to be around 40 years old. Original paint with minor wear; structurally good. (400 - 600)

546. Yellowlegs from New Jersey circa 1900. Similar to so called “lumber yard” rig. Original paint with minor dis-

coloration and wear; several tiny dents. (800 - 1,200)

547. Yellowlegs similar to the work of William Bowman, Lawrence, Long Island, New York last quarter 19th century. Relief wing carving with extended tips, glass eyes and whale bone bill. Worn original paint; minor roughness to edges of tail and wing tips; whale bone bill appears to be original but it is probably a working replacement.

Provenance: Found with the Cuffee herons sold in our April 2013 auction. (800 - 1,200)

548. Early knot attributed to Ben Maxwell. Old repaint shows average wear; the bill is a late replacement; a few shot marks.


544

546

548

543

545

547

549

551

553

223

549. Rigmate pair of Delaware River style buffleheads, Bob White, Tullytown, New Jersey. Signed and dated 1973. Original paint with minor discoloration and a little wear. (1,500 - 2,500)

550. Well made reproduction of a Long Island mergan-ser. Original paint that has been aged; small dents; small cracks in underside.


551. Merganser drake carved in the Hog Island, Virginia style. Inlet head and carved wooden crest. Original paint that has been aged; small dents.


552. Two ruddy ducks, Reggie Birch, Chincoteague, Virginia. One has been signed. Original paint that has been aged; small dents and cracks; one has a tail chip missing. (800 - 1,200)

553. Set of five yellowlegs carved in the style of Ira Hudson, Reggie Birch, Chincoteague, Virginia. Signed. Original paint that has been aged; a few small shot marks.

(1,000 - 1,500)

554. Pair of oversize mergansers, Reggie Birch, Chincoteague, Virginia. Signed. Both have relief wing carving and slightly turned head. Original paint that has been aged; structurally good. (950 - 1,250)

550

552

554

549

551

553

Contemporary Carvings

224

555. Pintail drake carved in the Delaware river tradition, Bob White, Tullytown, Pennsylvania. Signed. Very good and original. (800 - 1,200)

556. Pair of doves, Ian McNair. One has a slightly turned head. Original with very minor wear. (800 - 1,200)

557. Large swan carved in the Chesapeake Bay tradition Evans McKinney, Elkton, Maryland. Signed and dated 1979. Small cracks in sides; original paint with minor wear. (650 - 950)

558. Pair of full size flying blue wing teal, Mike Valley, Prairie du Chein, Wisconsin. Good carving detail; signed. Very good and original. (650 - 950)

559. Greenwing teal hen, Ken Harris, Woodville, New York. Signed. Slightly turned head. Good paint detail. Carved primaries and secondaries. Excellent and original.

(450 - 650)

560. Two half size song birds, Russ Burr, Hingham, Massachusetts. Burr ink stamp on underside of base. Small chip missing from one edge of blue bird’s tail, otherwise very good. (650 - 950)

561. Hollow carved blackduck, Jim Fawcett, Poland Springs, Maine. Signed and dated 1991. Raised carved wing tips. Very good and original. (350 - 550)

561

556

558

560

555562

557564

566

559

225

562. Large hollow carved blackduck, John McGloughlin, Bordentown, New Jersey. Signed at a later date. Relief wing caring with carved, crossed wing tips. Original paint with minor wear and a few tiny dents. (1,500 - 2,000)

563. Swimming merganser hen from Long Island, New York, circa 1900. Two piece body construction. Paint appear to be original; moderate wear and good patina; small cracks.


564. Solid body canvasback drake, John McLoughlin, Bordentown, New Jersey. Original and good.

(650 - 950)

565. Early hollow bluewing teal, maker unknown. So called “Blair School” style; branded, “Jack H. McCardy, Seville

Hotel”. The paint is worn with only traces remaining; piece missing at the base of the neck with traces of glue showing; slight separation at the body seam.


566. Stick up black duck, Lloyd Johnson, Bay Head, New Jersey. Exhibits relief carved wings with detailed feather carving. Original paint shows average wear; structurally excellent.


567. Early hollow redhead drake, Henry Kilpatrick, Barnegat, New Jersey, 1st quarter 20th century. Early working second coat of paint shows average wear; very slight separation at the body seam.


563

565

567

562

564

566

New Jersey and New York

226

568. Working snow goose, William Cranmer, Beach Haven, New Jersey. Signed and dated 1983. Original paint with significant shrinkage, discoloration and wear; structurally good. (450 - 650)

569. Pair of hollow bluebills, Tom Gaskill, Toms River, New Jersey. Gaskill not only hollowed the body, but also the head. Both are in old repaint showing average to moder-ate and flaking; drake has a couple of thin cracks in the body.


570. Early hollow canvasback drake, Henry Grant, Barnegat, New Jersey, last quarter 19th century. Old working repaint has been taken down to reveal traces of the original surface; thin fracture in the neck, otherwise sound structurally.

Provenance: Bartlett collection; ex-collection William Mackey and so stamped. (650 - 950)

571. Bufflehead drake, Percy Gant, Osborneville, New Jersey second quarter 20th century. Incised delineation between black and white paint. Original paint with minor wear; shot scar in underside. (600 - 900)

572. Hollow bluebill drake, Lloyd Parker, Parkertown, New Jersey. Old repaint shows moderate wear; the structural condition is good.


573. Early hollow Canada goose, Lloyd Parker, Parkertown, New Jersey, last quarter 19th century. Old working repaint shows average wear with some areas of flaking to the bare surface; very good structurally


574. Hollow bluebill drake, Willis Johnson, Lakewood, New Jersey. Willis Johnson is the son of Taylor Johnson. The paint has been restored; thin crack on one side of the head.

Provenance: Bartlett collection. Ex-collection John Hillman with his tag taped to the bottom. (400 - 600)

575. Early hollow redhead drake, Taylor Johnson, Point Pleasant, New Jersey, last quarter 19th century. Some old repaint over much of the bird, however, a good deal of the original surface is still in tact and showing moderate wear with areas to the bare surface; couple of chips to the bill; some minor separation to the body seam.


576. Two hollow blackducks from New Jersey One by Harry V. Shourds. One maker unknown. Unknown has original paint shows minor wear; thin fracture in the bill, otherwise good structurally. Shourds has old repaint shows consider-able wear with the bare surface showing; repair to the bill.


570

573

576

569

577

579

581

572

575

568

571

574

227

577. Brant from Long Island, New York, last quarter 19th century. Branded “Collins”. Worn old paint; numerous cracks. (600 - 900)

578. Hollow black duck, Tom Fitzpatrick, Delanco, New Jersey. Old repaint shows average wear; structurally sound.


579. Hollow black duck, Lawrence McLaughlin, Edgerly, Pennsylvania. Retains the maker’s copper name tag. Excellent and original in all respects.


580. Oldsquaw drake in low head sleeping pose, North Shore of Long Island, New York, last quarter 19th cen-

tury. Old in use repaint; structurally good.


581. Oversize cork body blackduck in preening pose. Bill is buried in feathers. Wooden bottom board and keel. Original paint with moderate wear; wear to edges of tail.


582. Goldeneye drake from Long Island, New York, last quarter 19th century. “K.D.” is painted on the under-side. Raised neck seat. Old in use repaint; small dents and shot marks.

Provenance: Gerard collection. Formerly in the collection of Doug Rogers. (650 - 950)

578

580

582

577

579

581

228

583. Hollow contemporary pintail drake, made in the man-ner of John Blair, Jr., maker unknown. Painted and treated to simulate an old bird, the structural condition is excellent.


584. Merganser drake, Long Island, New York, circa 1900. Wooden dowel eyes and carved wooden crest. Old in use repaint; neck base repair; wood on back is weath-ered and worn; filler added around neck base; small dents and chips.


585. Redhead drake, Harry Shourds, Tuckerton, New Jersey. Old in use repaint; a few small dents.

Provenance: Formerly in the collection of John Hillman, Sea Girt, New Jersey. Hillman collection stamp on under-side and old Hillman tag on underside. (350 - 550)

586. Hollow redhead drake, Joe King, Manahawkin, New Jersey, last quarter 19th century. The paint has been

restored; tight fracture in the neck.


587. Swimming goldeneye, Gene Wells, Stoney Brook, New York. His earlier carving style, circa 1880. Old overpaint has been taken off of the white area showing much original with minor wear; a few small dents.

Provenance: Gerard collection.(350 - 550)

588. Redhead drake branded “W.A. KEMBLE”. Working repaint shows moderate wear and some flaking; sound structurally.

Provenance: Bartlett collection.(350 - 550)

589. Two brant, Ben Paul. One is made in the style of Hurley Conklin. Both have Ben Paul on the underside Paul brant has body seams have opened somewhat; some paint loss under tail. Sprague has old in use repaint; structurally good.


585

587

589

584

586

588

583

590

593

596

229

End of Session Two

592

595

598

591

594

597

590

593

596

590. Early knot, maker unknown, Eastern Shore Virginia, last quarter 19th to 1st quarter 20th century. The sur-face is a late repaint; the bill has been replaced; multiple shot marks over the body; the stick is glued into the body with some filler around the stick hole.


591. Curlew on scallop shell base, Mike Valley, Prairie du Chein, Wisconsin. Signed. Very good and original.

(300 - 400)

592. Three miniature shorebirds. Marked “W.W.” under bases. Only around 1” long. Original and good.


593. Two contemporary black bellied plovers, David Rhodes. Both are in excellent original condition.


594. Two carved swallows on wooden base, first quarter 20th century. Original and good. (250 - 350)

595. Canada goose attributed to Joe Paul. Working repaint shows considerable wear and flaking with a good deal of the bare surface showing; couple of cracks in the body;

damage to the bill; separation at the body seam.


596. Pair of bluebills, Wildfowler Company. Retains the circular Wildfowler stamp. Both are in a working second coat of paint and structurally sound. (150 - 350)

597. Goldeneye drake, maker unknown, Amos Wheaton, South Seaville, New Jersey, circa 1900. Old repaint shows average to moderate wear; a couple of chunks miss-ing. (100 - 300)

598. Bluebill hen maker unknown from Michigan. Old repaint shows average wear; a couple of thin cracks in the body; overall sound structurally.


599. Three gallon stone wear jug with blue flower decora-tion, Cushman and Company, Albany, New York, 3rd quarter 19th century. Handle is a professional replace-ment, otherwise original and good. (100 - 150)

230

Ackerly Family ........................................................484Anderson, Fred ................................................ 352, 358Anderson, Andy ....................................................452AAnger, Ken ................................ 71, 77, 79, 80, 85, 454Bacon, Jr., Howard ...................................................499Baldwin, Willard ......................................................191Barkelow, Lou ..........................................................159Barret, Jake ..............................................................145Bibber, Oscar .................................................. 346, 350Birch, Charles ..........................................................111Birch, Reggie ...........................296, 301, 303, 552-554Birdsall, Jess ........................................... 167, 258, 259Bliss, Roswell ................................................. 194, 241Bourne, James ..........................................................184Boyd, George ................................... 122, 123, 222-225Brown, Isaiah .............................................................72Burr, Elisha ..............................................................124Burr, Russ ....................................................... 219, 560Chadwick, Keyes .................................... 183, 233, 239Chambers, Tom ........................................................460Clark, Roland ...........................................................202Conklin, Roy ............................................................274Conklin, Hurley ............................................... 292-295Coombs, Frank ........................................ 273, 275, 287Coombs, Lyford .......................................................359Cranmer, William ............................................ 162, 568Crowell, Elmer ................. 42-67, 86-89, 116, 134-144,

315-330, 398-431, 434-442Daisey, Cigar ............................................ 102-107, 314Dawson, John .................................................. 505, 506Deiker, C.F. ..............................................................199Denny, Sam ..............................................................269Dilley, John ..............................................................376Dingman, Robert ......................................................278Disbrow, Charles ......................................................190Dodge Decoy Factory .........7, 7A, 9, 10, 513-515, 520Dye, Ben9 ....................................................................8Eaton, Morris ...........................................................344Ellis, Billy ..................................................................74Elliston, Robert ........................................ 443-445, 448English, Dan .................................................... 495, 496English, John ............................................................500Evans Decoy Factory ...................................... 516, 521Fawcett, Jim .............................................................561Fennimore, Harry .....................................................502Finch, William ...........................................................17

Finney, Frank .......................................... 300, 304, 340Fitzpatrick, Tom .......................................................578Forbush, Edward ...................................................245UFranklin, Benjamin ..................................................181Frazier, Nate .............................................................524Gale, Harry ...............................................................539Gardner, Melvin .......................................................133Gardner, Clarence .................................................172AGarton, J.B. ..............................................................226Gaskill, Tom .............................................................569Gelston, Thomas ......................................................374Gilley, Wendell ................................................ 220, 221Graham, John .................................................... 99, 101Grant, Henry .................................. 152, 253, 261, 570, Grant, Stanley ......................................... 166, 254, 255Grant, Percy .............................................................571Graves, Bert ............................................ 447, 451, 452Hammell, Bill ...........................................................163Hankins, Ezra .................................................. 154, 256Harris, Ken ...................................... 282, 283, 290, 559Hart, Charles ........................................... 227, 228, 310Hays Decoy Factory ................................................479Heverin, Will ............................................................100Holly, John .................................................... 90, 96, 97Holmes, Lothrop ............................................. 125, 235Horner, Rowley ....................... 150, 151, 155, 156, 252Hubley company ................................................... 245SHudson, Ira ...............................................109, 110, 115Hudson, Norman ......................................................306Humphries, Walter ...................................................468Hunt, Sam ................................................................196Jester, Doug ..............................................113, 114, 532Johnson Lloyd ................................. 262, 528, 529, 566Johnson, Willis .........................................................574Johnson, Taylor ........................................................575Kerr, Robert .............................................................342Ketchum, Al .............................................................378Kilpatrick, Henry .....................................................567King, Joe ..........................................................511, 586Kirby, Ken ................................................................299Knap, J.D. ................................................................206Kuhn, William ..........................................................504LeBoeuf, Orel ................................................. 466, 467Leeds, Daniel Lake ..................................................375Lincoln, Joseph .............. 130, 185, 188, 195, 217, 236,

240, 312

Index of Carvers

231

Madera, Clark ................................................. 494, 503Marter Ridgeway .....................................................257Mason Decoy Factory ........... 1-6, 8, 471-478, 480-483Maxwell, Roy ...........................................................168McGaw, Robert ................................................. 93, 218McGloughlin, John ................................. 510, 562, 564McIntosh, Leo ...................................................... 39-41McIntyre, Cameron .......................... 331, 332, 335-337McKinney, Evans .....................................................557McLaughlin, Lawrence ............................................579McNair, Mark ...................................................... 29-38McNair, Ian ..............................................................556McNeil, Ed ...............................................................272Midgett, Pharoah ......................................................380Moak, Gus ............................................... 247, 248, 251Morse, Robert ..........................................................432Nichol, D.K. .............................................................463Nickerson Family .....................................................232Oriental Powder Mills ..............................................211Osthaus, Edmond .....................................................201Parker, Ellis ............................................. 149, 160, 165Parker, Lloyd ........................................... 533, 572, 573Patent Moles ............................................................212Patterson, Chauncey .................................................281Paul, Ben ..................................................................589Pease, Ben ................................................................189Pellegrin, Arthur .......................................................119Perdew, Charles .........................................44P, 446, 44Peterson Oscar ............................................. 245J-245LPhillips, Ed .................................................................92Pirnie, Miles ...............................................................14Pleissner, Augden .....................................................203Pringle, Peter ..............................................................68Quillen, Nate ..............................................................21Quinn, William ................................................ 507, 509Reeves, Phinneas ............................................ 455. 469Reinbold, George .....................................................433Reneson, Chet ..........................................................200Rhodes, David ..........................................................593Roberts, Thomas ................................................... 245TRoth, John ................................................................249Rupple, Walter .........................................................246Schmidt, Ben .................................................. 11-13, 16Schmiedlin, Jim .............................................. 333, 334Schultz, William .......................................................311Scribners Printing ....................................................205

Shourds, Harry M. ...................................147, 169, 585Shourds, Harry V. .............................157, 158, 260, 522Sibley, George ......................................................22, 23Sites, William ...........................................................161Smith, Ben ...............................................................182Smith, Cashus ..........................................................192Smith, Will .......................................................462, 490Sohier Strater ...................................................177, 178Sprague, Chris ..................................148, 309, 530, 534Starr, George Ross ...........................................229, 313Stevens, Harvey ...................... 264, 265, 267, 280, 291Stevens, George ...............................................277, 289Stevens Brothers ......................................266, 284, 286Thomas, Charles ......................................................176Thomson, George .....................................................436Tustake, Dan ............................................................488Tyler, Lloyd ..........................................................94, 95Tyner, William .........................................................207US Cartridge Company ............................................209Valley, Mike .....................................................558, 591Verity Family ...........................................................486Vickers, John ..............................................................91Wallace, Amos .........................................................351Wallace, Alton ..........................................................362Ward, David .............................................................302Ward Brothers ........................24-28, 365-369, 387-397Warin, George ........................................73, 75, 83, 458Watson, Dave ...................................................108, 112Wells, John ...........................................70, 76, 457, 461Wells, Gene ..............................................485, 487, 587Wheeler, Shang ........................................193, 197, 198Wheeler, Chauncey ..................................268, 270, 271White, Douglas ........................................................456White, Bob .......................................................549, 555Wilcoxin, Perry ........................................................450Wildfowler Factory .................................. 517-519, 596Wilson, Thomas .......................................................172Wilson, Gus ..........................305, 343, 348, 349, 349A,

349B, 356Winchester ...............................................................210Wozny, Eddie ...........................................................298York, Stites ...............................................................153Zeleski, Larry ...........................................................121


Guyet te , Schmidt & Deeter week ly onl ine auct ionsDecoys , Duck Cal l s , Shot She l l Boxes , Spor t ing

Adver t i s ing and Col l ec t ible s

Guaranteed descr ipt ions , mul t ip le photos , qu ick sh ipping

Vis i t our webs i t e for more infor mat ion

A selection of items that will be sold in our online auctions

Chincoteague Refuge Museum

Decoys, Guns, and Hunting, Fishing and Nautical Items

Contents to be Sold at Auction

September 21st & 22nd, 2013

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P.O. Box 208 Hallwood, VA 23359

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P.O Box 1170St. Michaels, MD 21663

Select items available for online bidding through Artfact.com

The Legacy of the American Duck Call

$89.95 New Book$149.95 Limited Edition Book

In this follow up to the 1988 book “Duck Calls – An Enduring American Folk Art” Howard Harlan and James Fleming depict the art of the duck call craft and display the efforts of those masters who set the standards of ingenuity and craftsmanship in luring the wary puddle duck.

This 496-page, full color book is the culmination of over 60 years of research conducted by Harlan and Fleming and is the most complete work of its kind. As you turn the pages of this book you will be revisit-ing the golden age of water fowling.

Visit www.howardharlan.com to order your copy today.

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by James R. Doherty

To Order:Send a check payable to Jim Doherty in the amount of $66.00 for each book ordered.

Mail to:Weber Display & Packaging

Attn: Jim Doherty 3500 Richmond StreetPhiladelphia PA 19134

• Featuring New Jersey’s finest coastal decoys in original paint• 216 pages with 426 color photographs• Accurate decoy maker identification• 1000 numbered First Edition copies

Order Now!

by James R. Doherty

To Order:Send a check payable to Jim Doherty in the amount of $66.00 for each book ordered.

Mail to:Weber Display & Packaging

Attn: Jim Doherty 3500 Richmond StreetPhiladelphia PA 19134

• Featuring New Jersey’s finest coastal decoys in original paint• 216 pages with 426 color photographs• Accurate decoy maker identification• 1000 numbered First Edition copies

Collection Planning Program

Enjoy Collecting Now and Plan Ahead for Later

With a forty year history, you can rely on the most trusted decoy auction firm to handle your estate planning and collection management needs. Whether it’s for tax purposes, estate planning, gifting, charitable giving or insurance purposes, let us manage and periodically update a comprehensive written appraisal of your collection.

Gary and Jon are available to work with banks, attorneys, trust and estate officers, probate court, private clients and family members who may be responsible for the dispersal of estates and collections.

Let professionals document your collection with accurate values and descriptions. We will work closely with you to ensure that your wishes are established at agreed upon terms and conditions now, to make it easier to administer your estate later.

Feel free to contact Gary or Jon to discuss collection planning program.

Find us on Facebookfacebook.com/mymaritimemuseum

Find us on Facebookfacebook.com/mymaritimemuseum

Situated in the heart of the downtown historic waterfront district, our neighborhood includes historic homes and sites, boutiques, galleries, fi ne dining, and live entertainment. Harbor cruises depart from the dock directly across from the hotel. Located just one hour north of Boston, MA and south of Portland, ME, our hotel offers 181 beautifully appointed guestrooms.

250 Market St., Portsmouth, NH 03801603-431-2300 www.sheratonportsmouth.com

The Sheraton Portsmouth Harborside Hotel

Great Lakes Decoy Association Next Season is Closer Than You Think! Put The Dates on Your Calendar Now!

www.greatlakesdecoyassociation.com

March 13th-15th, 2014 Holiday Inn, Westlake, Ohio

Ken Cole (810) 845-2434 Marty Hanson (952) 210-9377 Patrick Kane (989) 631-3168

Valley Fish & Cheese carries a complete line of hickory-smoked fish, turtle meat, fresh & frozen fish

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Don’t Miss the Nationals 49th National Antique Decoy and Sporting Collectibles Show

April 24-26, 2014Pheasant Run Mega Center - St. Charles, IL

Open to the public - $5.00 Admission

The 2014 show will feature• New Jersey Decoys Exhibit• Contemporary Decoys with

Demonstrations• Call Makers Contest and Display• Member Tabled Show• FreeSeminars,DecoyIdentifications

and Appraisals• Room-to-Room Trading• Guyette, Schmidt & Deeter Auction

The show is an international gathering of collectors, carvers, authors, auction houses, and dealers. A diverse audience that creates a unique networking opportunity. For more information visit www.midwestdecoy.org or

call (317) 337-7957

H.V. Shourds Mallard drake

A MILLION WINGS: A Spirited Story of the Sporting Life Along the Mississippi Flyway

Our new release features stunning wildlife photography and heartfelt storytelling from 12 of the country’s finest duck hunting clubs, from historic properties in St. Louis to the duck havens of the Mississippi Delta to the swamps of south Louisiana.

FIRST SHOOTING LIGHT: A Photographic Journal Reveals the Legacy and Lure of Hunting Clubs in the Mississippi Flyway

This photographic journal provides an insider’s view of 19 hunting clubs in the Mississippi Flyway with historic interviews with club members and extraordinary photography of this unique culture and landscape.

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WILD ABUNDANCE: Ritual, Revelry & Recipes of the South’s Finest Hunting Clubs

This cookbook anthology features photography, recipes and stories from nine of the South’s famed duck hunting retreats, pairing the country’s finest chefs with hunting club cooks for an abundance of good times and good food.

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A Million Wings, First Shooting Light and Wild Abundance, volumes edited by Susan Schadt, are perfect for the hunter, outdoorsman, cook or Southern enthusiast. To find a local retailer or online outlet, visit wildabundancepublishing.com.A division of ArtsMemphis, Wild Abundance Publishing produces and sells books that celebrate the best of the sportingSouth, the proceeds from which benefit the arts, conservation and environmental education.

wild abundance publishing chronicles,celebrates and preserves the unique culture

and tradition of American sportsmen and theirintense devotion to land and wildlife.

Three of our collectible series now available!

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CONDITIONS OF SALE -- PLEASE READ

1. GUARANTEE - We have made a consistent effort in correctly cataloging and describing the property to be sold. The catalog descriptions are guaranteed for authenticity and condition. 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 condi-tion, the auctioneer will be sole judge in the matter of refunds.

2. DURATION OF GUARANTEE - Request for refund for items purchased IN PERSON at the auction must be made within 3 days of the sale. If you are an absentee or phone bidder it is your responsibility to examine the lot immediately upon receipt. On items purchased in absentee, the guarantee will end 3 days from the time of delivery. Therefore, all guarantees on items purchased will become null and void 7 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 35 days after the auction.

3. PROTESTED BIDS- In case of a disputed bid, the auctioneer is the sole determinant as to whom 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 is sales records shall be conclusive as to whom 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 opening bid subject to the auctioneer’s discretion. The auctioneer reserves the right, at his sole discretion, to refuse any bids that he deems unreasonable. The minimum bid increment guideline is as follows:

$500 to $1000 - $25 $10,000 to $20,000 - $500 $100,000 and above - $2000 $1000 to $10,000 - $100 $20,000 to $100,000 - $10005. 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 at 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 & Schmidt 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 deficiency 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. RESERVES - A very small percentage of the decoys in this auction carry reserves. A reserve is a confidential minimum price established between the auctioneer and the consignor. The reserve will not exceed the low estimate printed in the catalog, and is usually much less. Reserves are executed by the bookkeeper on behalf of the consignor.

8. PAYMENT FOR PURCHASES MAY BE MADE WITH VISA , MASTERCARD, CASH OR CHECK. 9. BUYERS PREMIUM- The buyer’s premium, assessed on each selling lot, is 15% of the hammer price up to and including

$100,000, plus 10% on any amount in excess of $100,000. For payments made using Visa or MasterCard, the buyer’s premium is 18% up to and including $100,000, plus 13% on any amount in excess of $100,000.

10. TAX - THERE IS NO SALES TAX IN NEW HAMPSHIRE.11. ACCEPTANCE OF CONDITIONS - Bidding on any articles in this catalog indicates your acceptance of all the above items.12. 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.

13. WITHDRAWAL - We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal.

14. TITLE - Title passes upon the fall of the auctioneer’s hammer. It will then be the responsibility of the buyer to make full pay-ment 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 & Schmidt 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.

15. 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.

16. All calls are sold “As Is”.

THE OFFICE WILL NOT BE OPEN UNTIL WEDNESDAY AFTER THE AUCTION.

A MILLION WINGS: A Spirited Story of the Sporting Life Along the Mississippi Flyway

Our new release features stunning wildlife photography and heartfelt storytelling from 12 of the country’s finest duck hunting clubs, from historic properties in St. Louis to the duck havens of the Mississippi Delta to the swamps of south Louisiana.

FIRST SHOOTING LIGHT: A Photographic Journal Reveals the Legacy and Lure of Hunting Clubs in the Mississippi Flyway

This photographic journal provides an insider’s view of 19 hunting clubs in the Mississippi Flyway with historic interviews with club members and extraordinary photography of this unique culture and landscape.

$50 $70

WILD ABUNDANCE: Ritual, Revelry & Recipes of the South’s Finest Hunting Clubs

This cookbook anthology features photography, recipes and stories from nine of the South’s famed duck hunting retreats, pairing the country’s finest chefs with hunting club cooks for an abundance of good times and good food.

$45

A Million Wings, First Shooting Light and Wild Abundance, volumes edited by Susan Schadt, are perfect for the hunter, outdoorsman, cook or Southern enthusiast. To find a local retailer or online outlet, visit wildabundancepublishing.com.A division of ArtsMemphis, Wild Abundance Publishing produces and sells books that celebrate the best of the sportingSouth, the proceeds from which benefit the arts, conservation and environmental education.

wild abundance publishing chronicles,celebrates and preserves the unique culture

and tradition of American sportsmen and theirintense devotion to land and wildlife.

Three of our collectible series now available!

w i l da b u n d a n c e

ABSENTEE AND PHONE 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 of 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 succesful or unsuccesful.

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 15% 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 7 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 $1000, but not wishing to lose the lot for simply $25 more, the party might bid $1000 + 1 bid if they definitely don’t want to go over a certain price, they would indicate $1000 +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 one week 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. 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. According to UPS regulations, we must now crate all paintings. In addition, 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 Schmidt, Inc auctions.

12. Bidding on any article(s) indicates your acceptance of these terms above. 13. If you would like any additional information on any of the lots, please contact: Gary Guyette at (410) 745-0485 or Jon

Deeter at (440) 610-1768.14. We will do our best, but for bids submitted less than one hour before or during the auction, are not responsible if they are

not executed.

If you have any questions concerning absentee bids, please call us.

NAME

ADDRESS

CITY STATE ZIP

TELEPHONE

DEPOSIT $ (Check Amount or Visa or MasterCard # & Exp.)

I desire to bid on the following items in the sale. The bids are to executed by Guyette & Schmidt, Inc., 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.

Signature

A PREMIUM OF 15% WILL BE APPLIED TO ALL ITEMS SOLD, TO BE PAID BY THE BUYER

OFFICEUSE

IN CATALOG # ORDER DESCRIPTION BID AMOUNT

A SECOND PAGE IS PROVIDED ON BACK SHOULD YOU REQUIRE ADDITIONAL SPACE

TOTAL BIDS $ x 20% EQUALS DEPOSIT ENCLOSED $

OFFICE:PO Box 1170

St. Michaels, MD 21663 410-745-0485

Fax 410-745-0487 [email protected]

ABSENTEE AND PHONE BID FORMOFFICE USE ONLY

TIME

DATE OF BID

AUCTION DATE

MANAGER

ABSENTEE OR PHONE BID

NAME PHONE AUCTION DATE

OFFICEUSE

IN CATALOG # ORDER DESCRIPTION BID AMOUNT

1

343

Guyette, Schmidt & DeeterPO Box 1170, St. Michaels, MD 21663

410-745-0485 | www.guyetteandschmidt.com

North American Decoys at Auction - August 1 & 2, 2013

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Transcript of North American Decoys at Auction - August 1 & 2, 2013