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This 17.5-inch duck decoy by Shang Wheeler is considered a rare gem among collectors, with one selling for nearly $40k at an auction in 2023. Featuring fine “feather paint detail” on the head ...
In 2007, a red-breasted merganser hen decoy created by Lothrop Holmes sold at auction for $856,000. [17] At the time, it was one of the highest prices ever paid for a duck decoy. [ 16 ] The first million-dollar price was achieved when two decoys (a Canada goose decoy and a preening Northern pintail drake decoy) created by A. Elmer Crowell were ...
This heavily illustrated book aimed to be a comprehensive guide to the carved wooden duck decoy. Used by early American waterfowl hunters, this type of decoy was promoted by the author as a form of folk art. The book is considered by art historians to be the first on the subject, and was a bible to decoy collectors throughout the 20th century.
Their decoys are highly prized by collectors. Few examples of their work survive on the open market, as private collectors and museums now own most of their original works. In November 2006, a Ward Brothers goldeneye drake decoy sold for US$109,250 at an Easton, Maryland waterfowl festival auction. [1]
Joel David Barber (1876–1952) was an early 20th-century architect from New York City who is best known as an early collector and promoter of duck decoys as folk art.. Barber began collecting the carved wooden decoys in 1918 after finding one, a red-breasted merganser hen, by accident near his Long Island boathouse. [1]
In 1980, Ernie Mills was commissioned by Ducks Unlimited to make decoys for their fund raising events and auctions. His reputation as a decoy maker grew, and he was awarded with a Ducks Unlimited Life Sponsor award in 1985. [3] Ernie Mills makes traditional working decoys, [4] using techniques that he had been taught by his father and ...
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For this reason, decoys of his from this period are slightly less desirable than those made earlier. The decoy, as a form, implies both sculpture and function, and Crowell approached their creation as an artist. As George Hepplewhite wrote in the 18th century, the interpretation and execution of the decoys, "blend the useful with the agreeable."
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