E.A. Faifer: From Clarendon to Abbeville

In the pantheon of early Southern duck call makers, few figures are wrapped in as much mystique and intrigue as Emil A. Faifer. Born in Missouri in 1878, Faifer left behind more questions than answers—but what he did leave is a legacy of craftsmanship and design that helped shape the early identity of Arkansas and Louisiana duck call making.

While most early callmakers are tied closely to a single geography or tradition, Faifer was a man of movement. From the muddy banks of the White River in Clarendon, Arkansas, to the oar-building shores of Portland, Oregon, and finally to the marshlands of Abbeville, Louisiana—Faifer seemed to carry with him both a creative spirit and a relentless entrepreneurial drive.

A Start in Clarendon

Faifer first appears in Arkansas in the late 1890s. Clarendon was a growing town along the White River, flush with commerce and waterfowling tradition. During this time, Faifer was likely involved in the Clarendon Boat Oar Company—though some oral histories suggest he may have also captained riverboats on the White. What is certain is that Faifer made duck calls during his Arkansas years that stood out for their precision, artistry, and distinct tone.

His calls from this era are believed to have been made between 1898 and 1901, before he left the state due to a malaria outbreak that made business untenable. These Arkansas-era calls were stamped “EAF” on the top of the barrel and constructed with either checkered or octagonal designs. The checkering was elaborate, carved with two triangular panels. The calls also featured Reelfoot-style inserts—then a newer approach in sound production that gave hunters more realistic vocalizations.

Despite his short stint in Arkansas, these early calls are significant. They represent one of the earliest examples of commercial callmaking in the state, and by some accounts, Faifer may have even influenced other Arkansas craftsmen who followed. With only a limited number surviving, these calls are now prized collector’s items—each one a sonic snapshot of a time when duck calling as an art was just beginning to take root.

A Return to Craft in Louisiana

By the 1940s, Faifer had relocated to Abbeville, Louisiana, near Baton Rouge. Census records from this period list him as a “boat builder,” but it’s clear that he also returned to duck call making—this time with a partner. In this partnership, the unnamed associate turned the barrels, while Faifer handled the tuning and finishing. The calls from this era were stamped “EAF” on the top and branded on the side with: “Genuine E. A. Faifer Duck Calls Abbeville LA.”

It’s believed that no more than 150 to 200 of these Louisiana-era calls were ever completed, making them rarer still than his Arkansas work. Yet their craftsmanship reflects the same level of care—just refined by decades of experience. Faifer’s commitment to tone and durability remained unchanged, a hallmark of any great callmaker.

A Legacy Without a Footnote

Unlike callmakers who passed on their techniques to sons or apprentices, or who left behind published instructionals or journals, Faifer disappeared into history without a defined endpoint. His death date remains unknown, and his legacy is largely preserved only through the calls that bear his initials.

Yet Faifer’s story continues to resonate. He was one of the first in Arkansas to adopt and craft the Reelfoot-style insert. His checkered and octagonal barrel designs stood out in an era of simpler construction. His cross-regional journey—Arkansas, Oregon, and Louisiana—makes him a rarity among callmakers who typically stayed close to home. And his influence may stretch farther than anyone realizes, subtly shaping the work of other makers who drew inspiration from his form and tone.

Collectors today revere Faifer’s calls not just for their age, but for their artistry. Each one reflects the hands of a craftsman who pursued clarity of sound and integrity of build—regardless of what state he was in or who his market might be. In a time when duck call making was still largely regional and unstandardized, Faifer's work speaks with remarkable consistency and character.