Massachusetts Masterpieces: The Decoy as Art

Massachusetts Masterpieces:
The Decoy as Art

An Exhibition at the Museum of American Bird Art

by Gigi Hopkins, Exhibition Curator, and
Amy T. Montague, Director, Museum of American Bird Art

published in
Hunting & Fishing Collectibles, Nov/Dec 2013

Greater Yellowlegs by unknown maker. From a private collection.

Massachusetts Masterpieces:
The Decoy as Art

An Exhibition at the Museum of American Bird Art

by Amy T. Montague, Director, Museum of American Bird Art

Gigi Hopkins opened my eyes to the won- The main gallery of the Museum of American Bird Art
ders of Massachusetts decoys. But when
she first suggested that we follow up the
Museum’s successful Crowell exhibition
with one focused exclusively on Massa-
chusetts birds, my response was, frankly,
lukewarm. I was reluctant because for
more than a decade the Museum had been
building a reputation for the professional-
ism and scope of its exhibitions and col-
lections, which feature art of national and
international importance. I was concerned
that an exhibition focused on our state
would be perceived as parochial. How-
ever, Gigi provided one compelling rea-
son after another why such an exhibition
could be both important and exciting.

She explained that the quality of design,
carving and paint, and the diversity of
styles found within such a limited geo-

The Coot Shooter by Frank W. Benson (1862-1951), oil on can- graphic area are remarkable. Unlike other parts of the
vas, 1913. From a private collection country, there is no regional school of decoy-making. Each
Yankee craftsman came to the task with his own eye, talent
and ingenuity. She led me through the stylized geometry of
Lincoln, the lively paint of Holmes, the sturdy shapeliness
of Lawrence, and much more. She also pointed out that the
collecting community had made the ultimate endorsement
of Massachusetts decoys: nine of the top ten record-setters
of the last four decades were Massachusetts birds.

Gigi had made the case persuasively. I decided we would
proceed with the exhibition and wanted her voice as cura-
tor to be as present to the Museum’s visitors as it had been
to me in our own discussions. Her depth of experience with
decoys is unrivalled. For nearly five decades as a conserva-
tor she has examined them closely, learning to reproduce
the varied carving and paint techniques. The exhibition’s
strength would be based on her deep knowledge and dis-
cerning eye, and I was delighted when she agreed to write
the interpretive text from a personal perspective.

Gigi knew immediately that the selection should begin with aes- Preening Jack Curlew by A. Elmer Crowell (1862-
thetics: beauty. Additionally, she required striking design, effortless 1952). From a private collection
woodworking and distinctive paint. And, equally important, each
bird should be an excellent portrait of the species it depicted.

We had the concept, and Gigi had in mind most of the decoys she
hoped to include, but in many cases we didn’t know who the cur-
rent owners were. We shared our ideas with Stephen B. O’Brien, Jr.
of Copley Fine Art Auctions, and he was immediately enthusiastic,
offering to help us connect with potential lenders. His assistance
was invaluable throughout the exhibition development process.

We were fortunate to have loans from some of the finest folk art and
sporting art collections in the country, and are sincerely grateful to
the lenders who made the exhibition possible: Philip and Tina De-
Normandie; the late, and deeply missed, Jim Doherty; Thomas K.
Figge; Ted and Judy Harmon; Paul Tudor Jones, II; Peter Van Dyke;
Cap and Paige Vinal; Henri Wedell; six collectors who preferred
their loans to be anonymous; and Historic New England. Our visits
with the lenders were a privilege and a delight.

In the pages that follow, we showcase some of the extraordinary de-
coys that were on view in the exhibition, May-September 2013. We
are currently fundraising to publish a book based on the exhibition,
and welcome donations and inquiries.

A Curator’s Quest for Beauty by Gigi Hopkins

How did I get into decoys? It was kind of inevitable. As When I was given the op-
a child, I’d take my father’s Crowell birds into the light, portunity to curate this
trying to figure out how the paint had been blurred. exhibition, I immediately
Dad, who loved gunning, founded a firm that sold min- knew that I wanted to se-
iature waterfowl, and these were all over the house. lect for beauty—and to me,
(They were great in the bathtub.) My mother adored a beautiful decoy combines
songbirds and came from a family of serious birders; both aesthetics and birdi-
she even had a cousin who invented the glass hum- ness, kinship to the bird
mingbird feeder. portrayed.

From the beginning I was drawing and carving animals. Every bird in the exhibition
Then, in the sixties, I got hooked on birds. I spent hours stopped my heart when
at Dad’s Cape Cod hunting camp scoping the mud- I first saw it. In a way, it
flats for shorebirds. In the seventies, I carved birds for became mine. And if I was Hopkins banding birds at
Mass Audubon and spent four blissful years banding lucky, the owner would Manomet, 1977
song and shorebirds at Manomet Center for Conserva- send it to me for conservation work, and then I would
tion Sciences. In 1966 I restored my first decoy, and the savor every moment with it.
business took off like a rocket. Lucky timing! So in the
last—what, almost fifty?—years, I’ve had the privilege It was an intense pleasure to bring these treasures to-
of handling many thousands of wonderful decoys. gether, and to bring them back to their home state.

Massachusetts Masterpieces: The Decoy as Art

Wood Duck Drake
Benjamin Warren Pease (1866-1938), Martha’s
Vineyard
A quiet, attractive portrait finished in discreet
colors. Whereas the Lincoln Wood Duck is rather
cool and aloof, this decoy invites the viewer in with
its warmth and subtlety.

Collection of Thomas K. Figge

Red-breasted Merganser Drake
Captain Preston Wright (dates unknown),
Osterville
Although worn by hard use in the field,
this bird remains a fine example of Ameri-
can folk art. Its horsehair crest is rare, and
the chiseled upper wing edges are an un-
expected treat.
From a private collection

Red-breasted Merganser Pair
Clinton Thomas Keith (1887-1975), Kings-
ton
Keith was an exception to the rule of Mas-
sachusetts makers developing their own
style. He copied a pair of mergansers made
by Lothrop Holmes, a friend of his father’s.
But no known Holmes merganser has a
swimming hen—which is the most dynam-
ic aspect of these two. Keith started with
Holmes but improved upon the master’s
design.
Collection of Paul Tudor Jones, II
Formerly George Ross Starr, M.D. Collection

Museum of American Bird Art at Mass Audubon

Wood Duck Drake
Joseph Whiting Lincoln (1859-1938), Accord
This is surely one of Lincoln’s most desirable decoys,
and one of his most renowned, with its clean shape,
geometric colors and remarkable condition.
Collection of Paul Tudor Jones, II

Red-breasted Merganser Drake
Henry Keyes Chadwick (1865-1958), Martha’s
Vineyard
A slender, racy bird with delicate form, perfectly
matched with its refined, somewhat abstract
paint pattern. The head is slightly turned to the
left, giving it a sense of motion.
Collection of Ted and Judy Harmon

Red-breasted Merganser Drake
Anthony Elmer Crowell (1862-1952), East Har-
wich
A decoy that provides striking contrast to the
merganser above. This massive bird is one of
Crowell’s best. In spite of its imposing size, it is
finished with fine details like the carved spray
of rump feathers falling over its chiseled wings.
The painted colors were kept discreet thus do not
subtract from the bird’s form. This merganser was
made for Harry V. Long of Boston and Cohasset,
an early, important patron of Crowell.
Collection of Cap & Paige Vinal

Massachusetts Masterpieces: The Decoy as Art

Golden Plover
Folger family (1800s), Nantucket
A beautifully-seen plover coming into winter plum-
age. The stylized paint pattern, though abbreviated,
is convincing and artistically pleasing. The same is
true of the plover’s shapely profile.
Collection of Paul Tudor Jones, II

Eskimo Curlew
Folger family (1800s), Nantucket
Another wonderful portrait of a now-extinct shore-
bird. Like its rig-mate, the Folger Golden Plover, its
curves are well balanced and the decoy is enhanced
with subtle coloring.
From a private collection

Greater Yellowlegs
Unknown Maker
The group of five yellowlegs displayed in
the exhibition is from one of the most re-
markable rigs of lively shorebirds ever
discovered. Each bird’s pose is different,
dynamic and beautifully seen. The carved
details—beaks, wings and tails—are im-
possibly delicate.
From a private collection

Museum of American Bird Art at Mass Audubon

Oldsquaw Drake
Stephen Badlam (1822-1898), Boston
A snooty duck with great attitude and fine con-
struction details. It was very likely made by a
grandson of Stephen Badlam (1751-1815), the
renowned Boston cabinetmaker.
From a private collection

Common Goldeneye Hen
Franklin Pierce Wright (1856-1939), Osterville
This modest little duck is superbly defined
by its carving. Such affectionate attention to
detail is rare in a gunning bird. Only two other
decoys are known by this maker.
Collection of Ted and Judy Harmon

Canada Goose
Charles Augustus Safford (1877-1957),
Newburyport
An imposing goose constructed from
several pieces of laminated wood. The
seams remain tight, even though the de-
coy spent many gunning seasons out on
the marsh. It is finished with surprisingly
sensitive detail in the face.
Collection of Historic New England
Gift of Bertram K. and Nina Fletcher Little,
1991.1173

Massachusetts Masterpieces: The Decoy as Art

Black-bellied Plover
Lothrop Turner Holmes (1824-1899), Kingston
This Holmes Willis-rig plover is without peer and
pays perfect homage to its subject.The form cannot
be improved upon. The paint is breathtaking: the
playful lines on both sides that define the black and
white breast feathers overlaying one another are a
visual joy.
Collection of Peter Van Dyke
Formerly Philip Y. DeNormandie Collection, James M.
McCleery, M.D. Collection

Sandpiper
Anthony Elmer Crowell (1862-1952), East Harwich
This diminutive feeding peep is one of the rarest
Crowell decoys known. It is an early work, with
carved wings similar to the famed 1910 dust jacket
rig of large plovers and greater yellowlegs.

Collection of Jim and Pat Doherty

Black-bellied Plover Pair
Melvin Gardner Lawrence (c. 1880-
1930), Revere
These two exemplify ingenious, inde-
structible design. Both are surprisingly
heavy, indicating they were made from
hardwood. The neck and beak on the
loafing bird are, of course, unbreakable—
but the wings and tail are also thick and
strong. The second bird is reaching for-
ward, putting its neck along the wood
grain rather than across it. It, too, would
be nearly impossible to snap.
Collection of Thomas K. Figge

Museum of American Bird Art at Mass Audubon

Ruddy Turnstone
Lothrop Turner Holmes (1824-1899), Kingston
Here is perhaps the country’s most renowned shorebird
decoy, and deservedly so. Like its Black-bellied Plover
mate, the shape portrays the target bird wonderfully.
And the signature paint, capped by the bird’s famous
curlicues, is not to be outdone.
Collection of Paul Tudor Jones, II
Formerly George Ross Starr, M.D. Collection, James M.
McCleery, M.D. Collection

Dovetail-headed Black-bellied Plover
Unknown maker, c. 1900
A fine hollow bird with two-piece construction; it is
unusual in that the halves are cut horizontally. The
head-to-neck joint has a beautifully-crafted dovetail
between, whereby one can readily slip off the head. It
has an elegant plane on the upper tail which is paint-
ed with unusual crosshatched barring.
From a private collection

Curlew
Gordon Fox Rig (1800s), Duxbury
Here is one of the most seductive, curvaceous forms
seen in a shorebird decoy—yet the curlew looks as it
should. The bird is complimented by its deceptively
casual, painterly surface.
Collection of Henri Wedell
Formerly George Ross Starr, M.D. Collection

Massachusetts Masterpieces: The Decoy as Art

An Art Museum Like No Other

by Amy T. Montague, Director, Museum of American Bird Art

The Museum of American Bird Art at Mass Audubon has a opened its doors to the public, and a year ago its name
unique and singular focus on art inspired by birds. Within was changed to the Museum of American Bird Art, to bet-
that focus, we collect and exhibit a broad range of art, em- ter reflect the focus of our mission.
bracing and expanding beyond the traditional categories
of fine art, sporting art, folk art and illustration. The con- The Collection. In the early years, the collection’s core was
sistent element we seek is quality, both in the works of art art by Audubon, including hand-colored engravings from
and in the ways they are interpreted and displayed. his Birds of America. Over time the collection expanded to
include paintings, sculpture, and works on paper by some
The Museum’s History. From its founding in 1896, Mass of the most acclaimed bird artists of Europe and America:
Audubon has been inextricably linked with art. Named for Louis Agassiz Fuertes, Frank W. Benson, Robert Verity
John James Audubon, the legendary painter of American Clem, and Lars Jonsson, among others. The collection also
birds, Mass Audubon quite naturally became the recipient includes works by well known artists not usually associ-
of generous gifts of artworks. And from the beginning, the ated with birds, such as Milton Avery, Leonard Baskin and
organization connected people to nature through art, us- Andy Warhol. I will highlight here some artworks that
ing art to inspire and educate. may be of particular interest to sporting art collectors.

Gifts and bequests of art by Audubon and others flowed Frank Weston Benson was one of the most celebrated of
to the fledgling organization from its inception. And over American impressionist painters, known equally for his
the years the collection grew to include paintings and sun-drenched portraits of patrician Bostonians and his
sculpture by some of the finest bird artists of Europe and evocative sporting art. Benson had a lifelong interest in
America. Remarkably, generations of Mass Audubon staff, birds and served as the first president of the Essex County
with expertise and responsibilities unrelated to art, cared Ornithological Club. He was also the great friend and duck
for these treasures without any designated facility or fund- hunting companion of Augustus Hemenway, whose wife,
ing until the bequest of Mildred Morse Allen made it pos- Harriet, was a founder of Mass Audubon. His oil painting,
sible to develop a proper museum facility on her estate in The Duck Marsh (see opposite page), is one of my personal
Canton. In 1999, the Mass Audubon Visual Arts Center favorites in the collection.

Green-winged Teal Pair by A. Elmer Crowell (1862-1952). Common Sheldrake, Radjah Sheldrake by Louis Agassiz
Mass Audubon Collection, anonymous gift, 2008. Fuertes (1874-1927), watercolor, 1921. Mass Audubon
Collection, bequest of John Henry Dick, 1995.

Museum of American Bird Art at Mass Audubon

Ring-necked Pheasant Family by Allen James King (1881- Visit the Museum
1963). Mass Audubon Collection, gift of James Baird, 1997.
The Museum of American Bird Art is located in
Anthony Elmer Crowell needs no introduction on the pag- Canton, Massachusetts, 10 miles south of Boston.
es of this magazine. Along with an impressive group of Although Massachusetts Masterpieces is no longer on
miniatures by Crowell, the collection includes a magnifi- view, a small gallery of decoys is on display along
cent pair of green-winged teal (see opposite page), carved with changing exhibitions. Check the website for
for Crowell’s early patron, Harry V. Long. current exhibition information. And bring your
walking shoes to explore the trails of the 121-acre
Allen James King was the preeminent miniature bird carv- wildlife sanctuary. For tours of the collection,
er of his era. His compositions are unequalled for artistry, contact museum director Amy Montague.
detail, and integrity of form. The Museum holds the most
extensive and important collection of his work, including Museum of American Bird Art at Mass Audubon
more than 100 carvings, as well as works in a variety of 963 Washington St, Canton, MA 02021
other mediums: watercolors, etchings, relief prints and as- massaudubon.org/maba p 781-821-8853
tonishingly meticulous jewelry designs. [email protected]

Exhibitions & Programs. The Museum presents three to
four exhibitions per year, with a wide range of artworks
represented. Some examples of our past exhibitions are: A.
Elmer Crowell: Master of Decoys which featured nine decoys
made by Crowell for Harry V. Long; The Art of Identifica-
tion: Field Guide Paintings by David Sibley; and Nests, Eggs,
Heartbreak & Beauty, focusing on a rare and extraordinary
19th century ornithological book. As I write, the current
exhibition displays the bird photography of Arthur Mor-
ris, one of the world’s most renowned bird photographers.
An array of education programs for all ages draws on the
original art in the exhibitions and collections.

The Museum recently received a $200,000 gift, focused on
increasing organizational capacity, and we are embarking
on a strategic planning effort. We welcome visits and in-
quiries from anyone who shares our interest in art inspired
by birds.

c The Duck Marsh by Frank W. Benson (1862-1951), oil on
canvas, 1921. Mass Audubon Collection, gift of Agnes S. Bristol,
The photographs of decoys are by David Allen, courtesy of 1972.
Copley Fine Art Auctions.