Although the Wood Ducks are kayaks the large cockpit gives the open boat feeling. With big cockpits and ample stability, the emphasis is on comfort. However, these boats really paddle well.  It does not contain the plans (these are not required because the wood is pre-cut), any of the epoxy to glue and coat the boat, the fabric or tape nor any of the hardware or rigging. Compare this kayak with others. Build Time. Wood Duck Nesting Box. This content is accurate and true to the best of the author’s knowledge and is not meant to substitute for formal and individualized advice from a qualified professional. Questions & Answers. Question: How high up should I hang my wood duck nest box? Answer: Wood duck nest boxes can be placed over land or water. The house only needs to be about 6 feet above the ground, and should be mounted to a post that's protected by a predator guard. Question: When should I put up my wood duck nest box in South Louisiana?  Thanks for the wood duck nesting box plans. Really enjoyed the video of the ducklings. The lucky one landed in the ferns. Don't have wood ducks in your area? A duck box may even attract other cavity nesting birds such as kestrels, tree swallows, great crested flycatchers or screech owls. Already have a nesting box? See our tips for building a predator guard and finding the right place to install. Below are plans for a nest box that you can build, install and maintain. What you'll need for your box: (1) 1 X 10 X 12' cedar board. Duc,s I had a delicious sense that I was doing something unusual and wonderful, so I kept on climbing higher and higher, until I reached a little seat which somebody had built there so long ago that it had grown part of the tree itself. After that I wood duck box plans ducks unlimited university many happy hours in my tree of paradise, thinking fair thoughts and dreaming bright dreams. In mix of original and repaint with gunning wear, age lines, and neck cracks. A mallard drake by this early and influential New Jersey maker. This famous goose was also owned by Walter Bush a one time. Their kindness to me was the seed from which many pleasant memories have since grown. The warm sun was shining on us.

An outstanding pair of high-head pintails by Shimon. Clair Region, a closely related Miles Pirnie wigeon with comparable wing carving was chosen to lead the book as plate number one.

The author relates that Dr. Original paint with even gunning wear, faint crack in neck, and a knot showing in left side of breast. An elaborately finished carving with fine feather detail from the breast to the tail of the balsa body. In old working paint with even gunning wear. Jackson, Waterfowl Decoys of Michigan and the St. In gunning repaint with gunning wear, partially taken down. A grand black duck with excellent textured feathering and a thin paddle tail.

Original paint with even gunning wear and faint age line in left side of head. Original paint with even gunning wear, and a few age lines along back. A folky pair of canvasbacks by this Detroit River duck hunter and carver. The drake has a slightly turned head.

Each is in a second coat of paint with wear. A fine feather-light hollow Ontario bird with a flared thin bill, nice cheeks, a slightly turned head, and a thin paddle tail. Old working paint with gunning wear.

A featherweight decoy with a high and uplifted head. Original paint with minimal wear. Original paint with even gunning wear, hen has some discoloration on left shoulder. Original paint with even gunning wear, hen has restoration around tail edge and minor touch-up to neck seam. The hen is hollow. A nice pair of high-head canvasbacks.

Original paint with gunning wear, a few age lines in necks and heads. Drake has two spots of touch-up to back. Hen has some white stippling along left side on to tail. A hollow pair of divers with true broad bills. Original paint with minor gunning wear, hen has faint age line in head, and drake has a one-half bill repair and some flaking. A glass-eye model with a slightly uplifted head attitude. Original paint with even gunning wear, some age lines and flaking, especially in breast, and some touch-up to neck filler.

An early pair of glass-eyed sprigtail. The Ward Brothers Lemuel T. Often in motion on the water, goldeneye are an animated bird when afloat. This decoy accurately conveys the appearance of a whistler drake looking over its shoulder as it swims away.

Ward Bro. Original paint with gunning wear, age cracks along the bottom, and minor darkening. Ronald J. Gard and Brian J. This classic broadbill hen was acquired by Davison Hawthorne and subsequently went on loan to the Ward Museum of Waterfowl Art beginning in Early collectors often preserved pinnacle decoys as lamps for their dens, as was the case with this fine hen. The full body echoes the earlier humpback design and has a fine paddle tail.

The alert head is turned to the left and features a wide flared bill. The underside is signed and dated by the makers over the filled lamp hole and also bears two impressions of the Hawthorne Collection ink stamp. Eugene V. Connett, ed. A fine sculpture, this black duck has a forty-five degree turn to the head with full cheeks and eye grooves. The racy body perfectly captures the attitude of a swimming black duck finishing with a rare uplifted tail.

Original paint with even gunning wear, professional touch-up to. Minor white spotting on back removed. Dudley decoys have been held in the highest regard since the earliest days of collecting. This decoy is one of the finest Dudley carvings ever to be offered at auction and one is hard pressed to find a more refined or elegant example.

This rare example carries excellent provenance and is in very good condition by Dudley standards. These points cannot be overstated.

The provenance leads back to the early and important collection of George and Hope Wick. A double stamp of this marking appears on the back as well. Most recently this decoy was selected to represent its region in Wings of Wonder. The Dudley decoy has always been known for its bold, singular form and this carving exemplifies all of the desirable attributes one looks for.

The successful. The form, execution, rarity, condition, and provenance of this sculpture place it among the finest Carolina decoys to have survived. Old, possibly original, paint with gunning wear, age line in bill, putty applied to worn tail edges, original weight.

In exceptional condition by Dudley standards. William J. Henry A Fleckenstein Jr. Joe Engers, ed. James M. A full-bodied little robin snipe from Hog Island. A closely related red knot is held in the Ward Museum of Wildfowl Art. The Mackey collection stamp is faintly visible on the underside.

Original paint with original stabilization to wood flake on left side and gunning wear. Collection Dwight D. Miller Collection.

The Eastern Shore of Virginia is known for developing a rich portfolio of bold shorebird forms from its northern barrier islands of Assateague, Chincoteague, and Assawoman, down to its southern isles of Cobb, Hog, and Smith.

Collectors of early Virginia decoys have long placed a strong emphasis on form. This is no surprise as harsh gunning conditions and collaborative carving efforts make mint surfaces and clear attributions a luxury not often available. This decoy helps to illustrate the breadth of sculptural quality from the region with a bold pattern and graceful refinements.

The broad body supports a tucked head on a thin neck, complimenting a thin dropped tail. Framing the full features, a soft ridge runs along the top of the back, throat, under the tail, and on the top of the wing tips.

These raised tips are also notable for their concave carving. In old working paint with gunning wear, touch-up on left shoulder, and a replaced bill. Miller Collection, acquired from Collectable Old Decoys. An early documented ruddy duck drake with fat cheeks that flow to a sharp chine along the crown.

The body has a raised neck seat and humped back. Traces of old paint worn to pleasing wood surface, replaced bill. Miller Collection, acquired from the above. A hollow Canada goose decoy with distinctive angular head carving. Original paint with even gunning wear and old touch-up to flaking nail holes.

Three gunning birds displaying three different poses: preening, straight, and snuggle head. Original paint with minor wear. A long and sleek decoy with a slightly turned head.

The thin tapered tail is fit with a stringing hole for carrying. Appears to be original paint with some working touch-up mostly to underside of belly and where an second stick hole was filled. The bill is an old replacement. Gunning wear with some shot scars. This fully extended peep appears to be among the most refined examples of this popular running pattern.

Appears to be original paint with gunning wear, some touch-up including to tail chip, and replaced bill. Original paint with even gunning wear, old stabilizing nail to age line on right side, chip to bill tip, possible second wash to black paint. A delicately-carved, tack-eyed shorebird decoy with an applied head.

A curlew made with this Coffin design holds the record price for any Nantucket decoy. In repaint with light wear, imperfection to wood on underside, and a replaced bill. William Mackey selected this exact decoy for his American Bird Decoys book, in which he identifies it as a rare pectoral sandpiper.

It shows clean lines, a diamond-shaped bill, and strong stippled paint. A well-crafted shorebird displaying a metal bill, raised carved wings, a downward-angled split tail, and a faint Mackey Collection stamp on the underside. A mixture of original paint and old in-use repaint on the underside with gunning wear.

A rare and plump red knot with deep eye grooves and chip carving. The underside is signed by Sprague and bears the McCleery Collection ink stamp. Excellent original paint with light gunning wear, age line in top of head.

This small beach bird has S-shaped raised wing carving and a petite dropped tail. The form is finished with rich paint, including stippled and dotted feathering on the back. This bird was attributed to Thomas Hewlett by George Combs.

Old repaint, surface was professionally cleaned and new varnish applied, replaced bill. Sieger and Dr. The prolific author and historian illustrated a rigmate to this decoy twice in his book on shorebirds. Mostly worn to the wood with heavy gunning wear and a replaced bill.

These small gunning decoys have captured the imaginations of collectors for almost a century. In original paint with even gunning wear to wood in places. An exceedingly rare tucked-head ruddy turnstone. In early Verity gunning paint with heavy.

A classic Seaford beetle-head with refined form and tight stippling. In old working Verity paint with gunning wear, including some flaking, mostly on breast and top of tail. McCleery, M. A plump dowitcher with unusually turned wing and tail tips. The underside bears the Donal C. Original paint with light gunning wear, minor touch-up to wing and tail tips, and a reset bill. Collection, acquired from the above Dwight D. Miller Collection, acquired at the sale of the above.

A rare species for this distinct rig. Taken down to mix of original and working paint, and gunning wear. A refined Seaford stick-up with good proportions. Two folky plover with dry surfaces and applied heads on raised neck shelves. Original paint with gunning wear, one has a replaced bill and one has a replaced head. This two-piece shorebird features a mortise-and-tenon joint affixing the root-head into the long body.

This may be from North Carolina. Original paint with traces of a white wash on the underside and heavy gunning wear. Bill is replaced. This black duck, with its turned head and exquisite paint, reveals Rathmell at the height of his abilities. Purnell Jr. Collection John Dillon Collection. Albert Laing was raised and began waterfowling in New York City during the early 19th century, placing him as one of the earliest known decoy makers.

There is no evidence that Laing ever sold decoys commercially, and it is believed that at the time of his death the decoys from his gunning rig constituted the majority of his entire output. His decoys are carved with a full proud breast. Perhaps his greatest contribution was adding a lifelike quality to his decoys utilizing a variety of head positions.

This decoy was hunted by Wheeler until the s. Thomas Marshall found this Laing decoy to be of significant historical and aesthetic value and decided to retire it from gunning. In old working repaint with gunning wear. Laing Rig Charles E. Marshall, acquired from the above c. An exceptional and refined hollow and early sleeper. The form of this bird is similar to the work of Albert D. Laing and his cousin Richard Wistar Davids , two early pioneers of American decoy carving.

The two-piece body has a carved shoulder groove designed to accommodate the neck and flows to a gently curved tail. Original paint with some working touch-up and light gunning wear. Bourne Jr. With direct access to this prime trading post, the young Laing became a market hunter.

Minimum weight, compactness and durability are combined with accuracy of species and an attitude of quiet repose to create a highly effective working decoy. His decoy rig went north with him where it had a tremendous impact on the next generation of the areas decoy makers and hunters.

His rig totaling over one hundred decoys was hunted over for many decades after his passing and the carvings became the template for the Stratford School of. Notably, Charles E. His stylistic influence also appears to have extended to the Delaware River, as directly seen in the rig of his cousins, Richard Wistar Davids — and Caspar W. Morris This elegant early Laing has a head that is deeply tucked into the sleek thin body which has slight wing separation in the back.

Old working paint with gunning wear and roughness to tail. A classic Stratford school goose with a thin paddle tail. In restored paint with even wear. Accomplished representations of Long Island floating sculpture with thin tails which have concave undersides, and elaborate head carving. The slightly inlayed heads have distinct broad cheeks, eye grooves, and flared broad bills.

In original paint with even gunning wear and some traces of working paint on the drake. A hollow, turned-head decoy with elaborate carving that handsomely captures this distinct species.

This sterling example that represents Wheeler at his finest. Scoter decoys by any maker are quite rare, with the vast majority of representations of the species stemming from Maine, Massachusetts, and Connecticut.

Charles Edward Wheeler is widely recognized as the most famous bird carver from Connecticut. While his predecessors, Albert Laing and Benjamin Holmes , made many gunning decoys of exceptional quality, it was Wheeler who took the art form to the next level, producing everything from sandhill cranes to sailfish. Shang, as everyone called him, was an enigmatic figure: oysterman, politician, boxer, cartoonist, public speaker, conservationist, and world-renowned decoy carver.

Himself a skilled ornithologist, former cowboy, and avid sportsman, Roosevelt had made conservation one cornerstone of his political platform. Wheeler followed in his footsteps. During several terms in the Connecticut General Assembly, he led the campaign to pass anti-pollution and wildlife conservation legislation. But Wheeler was satisfied with. He had many good friends; his work kept him outdoors; and each year he had time for hunting and fishing trips.

Public concern over the popular and devastating practice of dusking hunting after dark had started to take shape. Led by conservationists, including early historian, author, and collector Joel Barber, along with Paul Bigelow and John Boyle, the group started the Anti-Duskers Society.

A carving competition held at the event was aimed at hunters in attendance to further advance the concept of shooting over decoys. The inaugural event attracted amateur and professional carvers from near and far; however, it was Wheeler who took home top amateur honors with his dynamic turned-head mallard drake. Dixon MacD. Merkt, Shang. A Biography of Charles E. Wheeler, Spanish Fork, UT, , p.

In addition to his legendary writing and collecting, Barber dedicated much time and effort to creating the ideal modern decoy. Henry C. Barber only produced approximately fifty decoys in his lifetime. Voorhees by Joel Barber Voorhees Collection, gifted from the above, c. An early racy swimming merganser with clean lines and a hollow body. The plumage is represented with subtly blended paint. An intricately built hollow black duck with an inlayed head and tail and an elaborate bottom board construction.

Original paint with heavy gunning wear, including chips to tail, age lines, wear to the wood, and a possible second coat of paint on bill. To this end, he created works with a high degree of variation, as demonstrated by his black-bellied plover carvings. Illustrating this connection is a highly comparable decoy in the collection of the American Folk Art Museum which has also been exhibited at the Metropolitan Museum of Art.

The obvious variation of the museum decoy is its incised raised primary carving. Original paint with light gunning wear, approximately two inches of touch-up to wood chip on bottom behind stick hole. Gary Guyette and Frank Schmidt, Inc. A review of these materials not only connects Hatch with his fine carvings, it also documents his close relationship with Joseph W.

Lincoln Hand is lame and stiff. Hatch Rig Dwight D. Miller Collection, acquired from Alan and Elaine Haid. A well-fed golden plover form with distinct upright posture, and a split tail. The underside is fitted with one standard stick hole and two smaller holes for a pair of wire legs. Original paint with some working touchup mostly to shot hole areas, gunning wear and a replaced bill. Rarely do historians have access to first hand records connecting decoys with their 19th century craftsmen and gunners.

In the instance of this bird and its rigmates the efforts of several inquisitive collectors over the course of decades has shed light on a brilliant facet of New England shorebird history.

Fortunately, William Mackey and. The decoys carved by Morton are identifiable with their distinct forms, most noticeably their sharp chines along their lower wing edges and flat bottoms. This elegant Eskimo curlew would have seen most its use on the Island of Nantucket where Morton also employed his golden plover rig.

Original paint with even gunning wear, appears to have a working wash of white on the breast. Finding Wright decoys with their original heads, bills, and tails intact is nearly impossible. The carving has a meticulously designed and hollowed-out weighted underside. This design, the head attachment, and the inletted pad weight all relate to the goldeneye drake shown on page 85 of Massachusetts Masterpieces.

One is the snakiest, raciest merganser ever found. In an appealing second coat of paint with even wear. This was very likely because it abutted the Barnstable Great Marsh.

He was a seasonal market gunner and the marsh provided a wealth of waterfowl and shorebird habitat. An iconic Long Island form with excellent provenance. Paff 27, edition of The Snow-Shoe Dance, c. William Koelpin was an avid hunter and fisherman from Wisconsin. He went on to become a celebrated sporting artist who excelled in a number of mediums, including bronze, paint, and wood. Throughout his career, Koelpin displayed his passion for the outdoors in his accurate and detailed works.

This decoy is one of two of carved by McNair and is the first of the species by any carver that we have seen. While some smew find there way to the New England coastline and Great Lakes, this handsome white merganser is less common than even the Harlequin duck.

John James Audubon recorded taking one specimen near New Orleans and included the species in his epic Birds Of America folio, as plate Elmer Crowell to portray the texture of this area of plumage. The underside is rigged and includes two star-nails in the leather tie. A grand eider drake dining on a mussel with a slightly turned head. The inletted head displays finely carved bill detail around the carved mussel.

Rigged with a weight and leather thong. Original paint with even wear and some age lines. A canvasback pair exhibiting dowel-through-head construction, incised primaries, and fine bill carving. A grand egret decoy with a hollow body and root-head. It is clear the maker enjoyed creating this bird.

The head is removable and fits into the body with a mortise-and-tenon joint. The oak branch used for the head was finished with stylized incised and embossed details. The hollow cedar body is vertically laminated and the halves are held together with wooden pegs and sealed twine wraps at.

Keeping the emphasis on the wood and construction, the bird was painted in a wash. An original base is included with this lot. One of the largest McNair curlews we have handled, measuring over nineteen inches from tip to tail. The bill was fashioned from a vintage pitchfork tine with the sharp tip safely bent inward. McNair b. This elaborately painted plover stands on a pair of fence-wire legs fixed into an original hardwood base.

Original paint with minimal wear and original lifted grain by stick hole. Original paint with minimal wear and check on right side. A traditional Eastern Shore style curlew decoy featuring carved eyes, raised wings, and a split tail. Original paint, wear, and age line in head. Original paint with minimal wear, original bill reset at joint. A miniature curlew in the Cobb Island style.

Mounted on a finial base. At the historic sale the auctioneer enlisted McNair to assist him with the sale of the now famous rig. This hands-on experience informed this folky homage. A full-bodied carved curlew in flight with good incised detail mounted on a trade-sign-style plaque.

Six life-size carved and painted bobwhite quail with turned heads. All six feature delicate raised wing and tail carving. Original paint with some craquelure to grain in breast. Private Collection, Weston, Massachusetts. Herman Palmer was born in Utah in He studied at the Art Students League in New York and was known as a leading animalier artist of his time.

Palmer served in the Navy in World War I. He was a pupil of Mahonri Young , and several of his animal sketches are in the National Gallery of Art in Washington, DC, and other works can be found in the Brooklyn Museum and the Art Institute of Chicago, among other institutions. He was awarded a Guggenheim fellowship in and died in Kudu ink and watercolor, 8 by 9 in.

The Walter L. Bush Collection Walter L. Many Bush carvings are closely linked to decoys in the. Shelburne Museum collection. Sources: Barber, Joel. Barber, Joel. French, Joe. These Hudson butterballs are an exceedingly rare find. These slightly turned-head decoys were never rigged and remain in exceptionally fine condition, having been in museum storage for over sixty years.

Stansbury, Ira D. Hudson and Family, Lewes, DE, , pp. A rare and early bufflehead with tack eyes, a sharp crest, and a dynamic underside. Branch, NC. This early swan decoy is as rare as it is hollow. The rarity of hollow North Carolina swans is demonstrated by the fact that only two such well-known rigs are known to exist. The eggshell-thin construction is particularly noteworthy as this grand decoy weighs less than some duck decoys.

In addition to its interior refinements, it showcases graceful flowing lines. The body measures nearly eleven inches in width and has a gentle sweep from the raised neck seat, through the humped back, to the upswept tail. The high neck is drawn back and flows to an uplifted head. It displays full cheeks and is finished with a mortise-and-tenon bill. This rare hollow design has been highly sought after by collectors and institutions over the decades.

Related examples in varying conditions have been acquired by William J. As per the inscription, this decoy hails from the Monkey Island Club which is located in the middle of Currituck Sound in North Carolina.

Monkey Island was named for the Pamunkey Indians who once inhabited the seven -acre island. In tobacco executives purchased the club and surrounding land. As a result, the Monkey Island Club consisted of one thousand acres, an eight-bedroom clubhouse, a boat house, and a three-bedroom cottage. Its membership represented some of the wealthiest and most powerful figures of the day, including George Hill, president of the American Tobacco Company.

Renowned artist Roland Clark was a recurring Monkey Island Club guest who was said to have frequented the club armed with his sketch pad and pen as well as his gun. The island is now part of the Currituck National Wildlife Refuge.

In very good old working paint with even gunning wear. The Bush pair exhibit two poses with long flowing tails and distinctive almond-shaped eyes.

The undersides bear museum identification codes in red paint. Mackey, William J. Occasionally, decoys come to light that are complete unknowns, as was the case with appearance of the now famous Kankakee pintail rig that surfaced over a decade ago. This elegant high-head long tail invokes the same visceral sense of wonder, standing as a virtually undocumented form.

The exceptional qualities and distinctive features of this carving are immediately evident. The high head on the raised neck seat is among the most stately seen on any long-tail or sea duck. It features full cheeks which taper up past the counter-sunk eyes to a sharp ridge along the crown.

The unknown maker has creatively reduced the weight of the bird by hollowing the bottom half of the decoy. It is a particular standout for the species south of Accord, Massachusetts home of master long tail carver. Joseph Lincoln. Very few early Long-tail decoys carved along the Mid-Atlantic region survive today. Copley is pleased to present this documented example for the first time. Very early working paint with even gunning wear and a partial neck crack.

The head is turned slightly to the right. Original paint with some patches of flaked paint and paint rubs. A challenge-grade black duck carving mounted on a wooden base which bears a red museum code on the side.

This carving displays a bill section inlaid down through the top of the head. The head is removable and set on an angled dowel. Good wood for the large bodies was just too hard to find! Original paint with gunning wear including some flaking, checks along lower left side, small chip to top left corner of special bill joint.

An exceedingly rare, if not unique, turnstone with strong paint. An elaborately carved and painted golden plover with raised wings that lead into an exceptionally long, thin tail and split wing tips. The possibly unique form is accentuated by a grand white S-curve which sweeps from head to elegant, arching tail.

Excellent original paint with gunning wear including some shot. Shang Wheeler, Stratford Conn. In a second coat of Wheeler gunning paint with light wear. Wheeler, Spanish Fork, UT, , dust-jacket cover, p.

The discovery of this preening canvasback is an exciting early addition to the already-impressive portfolio of the Stratford School of decoy carvers. This decoy was sourced from the Currituck Shooting Club and bears a distinctive F. This famous goose was also owned by Walter Bush a one time.

Decoys from this rig and a Joel Barber drawing of closely related preening teal are held in the Shelburne Museum. One other related canvasback has been held for many years in a premier New England collection. This early decoy was confidently executed with bold form and fine features. The base of the neck transitions perfectly from the body and the preening head wraps around and is inlaid into the right wing.

Each wing is raised in the front, a successful embellishment not seen elsewhere in this carving school. The raised primaries along the sides and back are a feature that Wheeler used in his canvasbacks and geese. The fashion in which the bird was hollowed, seems entirely unique to the maker during this period—an inlaid central bottom board finished with chamfered edges.

The imprint of a teardrop. Wheeler, Spanish Fork, UT, , front dust-jacket cover and p. There is not a bad line on this grand American Merganser decoy. Made Some old putty fill to neck cracks and top of bill. James R. Legendary Jersey collector John Hillman owned an example which was very closely related in form, paint, and condition. Excellent second coat of Parker paint with light gunning wear and some flaking to head and neck. A hollow pair of merganser decoys with refined and delicate carving, including thin crests, bills, and tails.

Each also has a gentle shoulder carving, not often seen in this region. They are attached to wooden bases. The inscriptions on undersides of both bases has an early misattribution. Shourds Tuckerton, N. Two of the best Barrett decoys to ever be offered for sale. In nice dry early gunning paint with light wear.

The hen has a crack in the thin crest and drake has three paint flakes to the head. Kenneth L. Probably from Delaware River. An early Philadelphia-School pintail drake with a down-turned head and eye-groove carving. The long and hollow body is finished with elaborate plumage.

The famous capitalist, philanthropist, and sailor passed away while giving a patriotic speech at The Union Club in New York. Navy in Original paint with even gunning wear, chip to back of neck seam, an age line along back, paint rub on front right side, and a knot on left wing.

Columbia Daily Spectator, vol. XLIII, no. A hollow pintail with heart-shaped wing carving. Original paint with even gunning wear, rubs to bill tip and tail. In old paint with light gunning wear. A snakey-neck decoy with full cheek carving and a wide body with humped back and upswept tail. While this pert model closely resembles a ruddy duck, the white patch behind the bill and the black bill tip identify it as a scaup hen.

Original paint with even gunning wear and neck seam is slightly loose. Illustration of this exact decoy by Joel D. Barber, Duck Swimming, Collection of Shelburne Museum, gift of J. Watson, Jr. Photography by Andy Duback. The upswept tail and flat bottom set it apart from other ruddy decoys carved in the area.

From Currituck Sound, NC. Old working paint with gunning wear and several neck cracks. A bold gunning decoy with a grand body, lively paint, and deeply fluted banjo tail. The excellent condition of this decoy suggests that it was never hunted, and it is possible that Bush collected it as a contemporary decoy from the maker. An early, turned-head, canvas-over-wire Canada goose decoy.

Original paint with gunning wear and working coats of white and black. In repaint with minimal wear. A mallard drake by this early and influential New Jersey maker. In working Chris Sprague paint with light wear. Original paint with light gunning wear, replaced bill is broken off. A large running peep with black and umber stippled feathering. While a curlew was likely the target species for the carver, the upswept curve of the bill does illustrate the possibility that this represents an exceedingly rare godwit decoy.

Appears to be in original paint with heavy gunning wear, tight crack in bill, and neck seam is loose. Three rigmate shorebirds consisting of a ruddy turnstone and a plover pair. Each has a museum identification code in red paint on its underside. Original paint with gunning wear to all three. The plover in spring plumage and turnstone have some reddish discoloration.

The plover in winter plumage has flaking and possible gunning touch-up to right side. Levinson and Somers G. This raised-wing decoy was immortalized by Joel Barber in The architect borrowed the decoy from John Updike and recorded it with his iconic drawings and paintings.

Walter L. Barber, Whistler with Raised Wings, Holly Havre de Grace, MD, c. This decoy, like others by John Holly was refitted with head by his son James T. Original paint with even gunning wear, replaced head by James Holly has a neck crack. Flaking to bottom. Dows Rig Daniel G. Webster and William Kehoe, Decoys. A large canvasback decoy with a slight ridge down the tail. Holly Said to have been used in rig shot over by President Grover Cleveland.

As found in old paint. A flat-bottomed decoy with an oak keel. A rare yellowlegs carving with a removable dovetailed head. The vertically laminated hollow body is finished with raised wings and split and raised wing tips. The maker used an ingenious method to construct this elaborately designed decoy. The vertical lamination allowed the maker to not only hollow the body, but also more easily carve out the dovetail cavity. Additionally, the dovetail keystone was applied to the underside of the head rather than carved out of the neck.

Dovetail keystone is replaced. Gilbert E. Wallace Forked River, NJ, c. Four rigmate decoys with carved separated wing tips, an unusual feature in a flattie. Each has a unique Roman numeral rig marking and museum code on the underside. Bird heavily hit by shot has replaced bill, some chipping at bill insertions. New Jersey, c. This flattie yellowlegs with fine paint is paired with an unfinished block of the same form. The decoy is in original paint with minimal gunning wear.

A Dodge shorebird preserved in remarkable condition retaining its original long tail and bill. Detroit Decoy Dynasty authors Dodge and Sharp illustrate a closely related example leaning towards a red knot identification. The contemporary authors also discuss the upswept underside of the bill and suggest it may have been how the bird left the factory. This is one of the finest Dodge shorebirds to ever be offered at public auction. Outstanding dry original paint with minimal wear.

Original paint with gunning wear and a crack along right side. A teal drake with a two-piece body joined on a vertical seam. The probable rigmate to this decoy is held by the Shelburne Museum, having come through the Barber Collection. Original paint with gunning wear including rubs to head and slight neck seam separation. Bush Collection. The William K. My good friend and Crowell book collaborator, Gavin Ashworth, had set up the meeting.

Indeed, Winterthur, the former residence of his relative Henry Francis du Pont — , houses one of the most important collections of Americana in the United States. As I turned up his wooded lane, I immediately knew I was entering the grounds of a passionate hunter.

Deer stands, duck blinds, and goose pits were in abundance all around. Apple groves, corn fields, and thickets had been integrally woven together, creating a tapestry of wild game habitat. He was instrumental in bringing Ducks.

He complimented me on my Aiden Lassell Ripley and He was an avid hunter for decades, owning waterfowling. He told me the story of bringing a book of poetry down to Lem Ward. Meanwhile, the quality of his. American antiques and passion for the outdoors were always on full view.

Copley is honored to serve as a conduit. We always want more time spent with those whom we share common passions and purposes; however, we do not always get to choose the lengths of time we spend with our kindred spirits. The Ward Canvasback is an iconic American bird decoy.

Finding hens with their original bills and tails is quite rare. Ward - Bro. This superb example has a forty-five degree turned head, nostril carving through the bill and subtle nail carving at the tip.

Of the highly coveted model canvasbacks the Wards produced it is rare to find one with its original bill and tail intact as they were prone to breakage. Ward - Bros Crisfield, MD. The Ward brothers were among the very few carvers who derived commercial success from both hunters and collectors during their lifetimes. In the s, they quickly found local notoriety with carvings such as this pintail.

By the s, they were shipping birds to Chicago and California. Renowned judges included Wm J. Mackey, Jr. Edgar Burke. Steve recalls that they would pole out to their duck blind, shoot all day then they would pole back…a journey of four miles. He said that when he and Lem would approach the sand bar the pintails and the baldpates would jump up and would resemble a cloud of smoke…they enjoyed some of the best shooting on the Chesapeake Bay.

The body is rotund but elongated, with a magnificent accent of an exaggerated upward sweeping tail This decoy is extremely desirable. Ward - Bros. The underside retains three links of chain used for ballast. Original paint with gunning wear, working repaint to white on front and back and the brown on head.

Old worn chip to top of tail, neck seam separation, missing right eye, age line in neck, breast, and bottom. Loy S. Ward and his brother Lemuel Travis Ward of Crisfield, Maryland would eventually go on to become the most prominent Chesapeake Bay carvers of the twentieth century and among the greatest and most influential bird carvers of all time. The brothers worked closely together throughout their lives…Lem, a natural lefty who was born with a deformed left hand, taught himself to paint with his good hand, while Steve exhibited strong carving skills early on, creating dynamic forms for Lem to paint.

The Ward World Championship logo featuring the iconic goose held in the permanent collection of the Ward Museum. These birds were commissioned by Mr. Original paint with minimal wear and minor craquelure. Each has an age line on bottom. This celebrated pair immediately draws a parallel to the famous A.

Elmer Crowell geese commissioned and prominently displayed by patron Harry V. Long sixty years earlier. One of the pair is the single-most iconic decorative form by the maker. It is in a relaxed head position with raised wing tips.

A goose in this content pose was chosen as the logo for the Ward Foundation when it was founded over a half century ago. A tribute to this form, the premier competition and museum have both adopted this goose pattern in their logos. The drawn-back and preening head virtually completes a figure-eight as the bill rests on the left shoulder.

In addition to their grand poses, each carving features carved feather detail throughout the wings and fanned tails. The Ward Museum logo featuring the iconic goose held in the permanent collection of the Ward Museum. A closely related preening example featured on the catalog cover of an exhibition presented by the North American Wildfowl Art Museum of the Ward Foundation at the Maryland Historical Society Museum, A decorative snow goose featuring a shoulder-preening pose with raised and crossed carved wings.

A pair of decorative brant displaying uplifted wing tips, turned heads, and incised wing, tail, and bill detail. The hen is in a preening posture with incised wing treatment and raised crossed wing tips. Ward and Bro. His decorative shorebirds were wildly popular among these early patrons of the arts and curlew took the lead.

Today, the two top prices ever paid for decorative shorebirds at auction are both Crowell running curlew. The species, posture, execution, condition, rarity, and provenance of this du Pont Collection carving place it as one of the best decoratives to enter the market in some time. Requiring a level of craftsmanship that few carvers have demonstrated, Crowell relished the challenges presented in both form and paint.

He made ducks with their heads turned backward, as ducks do turn their heads, when preening their feathers This feature spans high across the body to hover its bill just off of the primary feathers. While the final layer of paint was still wet, the maker applied contrasting-color delineations. Once the contrasting paint became tacky, he took a clean, dry brush and gently feathered the two colors together, producing his noteworthy blended effect.

Crowell Cape Cod Excellent original paint with minimal wear, some touch-up to thigh putty and belly around thighs, a paint flake under the neck has been darkened, left foot is missing back toe.

A fine pair of full-bodied broadbill with pronounced crowns, cheek carving, painted tack eyes, scratched wing paint, and fluted paddle tails. Mostly original paint with working paint to black on drake and brown on hen. Hudson Chincoteague, VA, c. A testament of his fondness for this carving, William J. Despite his working steadily to fill orders to support his wonderful family, he took time to make these fanciful decorations.

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