A. Elmer Crowell (1862-1952)
East Harwich, MA, c. 1912

“During Elmer Crowell’s youth, the landscape of the Cape was experiencing a regrowth of its forests. Before the arrival of Europeans, Native Americans lived in primarily pine and oak forests, with hickory, beech, cypress, red maple, and birch trees interspersed. Early colonial settlers vastly diminished these forests by cutting down trees in order to sustain themselves in their new land. Wood was used to build and heat homes, and the cleared land was utilized to grow food and graze livestock.

In the late 1800s, as the human population on the Cape declined, timber was no longer in such high demand and trees began to repopulate the landscape. This pattern of land use was beneficial to bobwhite quail, woodcock, and ruffed grouse that thrive in the mixed vegetation of an early-stage regrowth forest. Today these species are not commonly associated with Cape Cod; however, they were fairly abundant in Crowell’s time.” -Chelsie Olney and Stephen B. O’Brien Jr., “Elmer Crowell: Father of American Bird Carving”

This carving represents not only one of the maker's earliest and best carvings of the species, but also his finest paint applications. A very closely related and possible mantel mate resided in the collection of top Crowell patron Dr. John H. Cunningham. Today, the Cunningham example, which also features rarely seen carved wooden legs, resides in one of the country's top decorative collections.

While Crowell often utilized metal legs for his upland and shorebirds, this early example exhibits carved wooden legs. The authors of "Elmer Crowell: Father of American Bird Carving" explain, "In the case of his decorative carvings on wooden bases, Crowell experimented with different techniques for creating legs, eventually discovering that umbrella stays, with their thin diameter yet great strength, provided the best stability."

This early decorative woodcock bears the maker's crisp oval brand on the underside of its carved wooden base. The grand body is outfitted with a bill which displays precise incised mandible carving and a curvature to the very tip of the bill. The timberdoodle’s complex plumage is masterfully applied with tight feathering and soft blending.
Excellent original paint with minimal wear, minor chipping at feet insertion and one missing spur.

Provenance: Private Collection, acquired from the maker
Private Collection, Massachusetts, acquired from the family of the above

Literature: Brian Cullity, “The Songless Aviary: The World of A. E. Crowell & Son,” Hyannis, MA, 1992, p. 86.Stephen B. O'Brien Jr. and Chelsie W. Olney, "Elmer Crowell: Father of American Bird Carving," Hingham, MA, 2019, pp. 15, 16 related carvings illustrated, p. 193 makers leg treatment discussed.Robert Bishop, "American Folk Sculpture," New York, NY, 1985, p. 181, pl. 332, related example illustrated.Richard A. Bourne, Inc. “Rare American Decoys, Bird Carvings, Miniature, and Related Items,” August 1, 1972, lot 142, closely related example illustrated.

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