Boston Herald 1904 73rd Annual Exhibition Pebnnsylvania Academy of the Fine Arts

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Frank W. Benson ­ Sportsman/Etcher

September 13 - October 22, 2005

B oston impressionist Frank West. Benson (1862-1951) loved the pursuit of wildfowl, whether hunting them outdoors or trying to capture their elusive grace through the medium of etching. One focus of the exhibition will be the role the artist'due south hunting lodge on Nauset Marsh in Eastham played in his work.

Wall text from the exhibition

Salem creative person Frank West. Benson (1862-1951) was one of the most of import American impressionists. He was a founding member of the grouping known equally the Ten American Painters, which as well included Childe Hassam, John Twachtman, J. Alden Weir and Edmund Tarbell. And along with Tarbell, he taught several generations of students at the Museum School in Boston. Just in midlife, after establishing a stellar reputation for sunlit paintings of women and children (besides as for studio portraits), he abandoned those subjects in preference for scenes with hunters, fishermen and, peculiarly, game birds. (correct: Frank Westward. Benson, "Boats at Dawn," 1920, etching on zinc on Japanese paper, 7 7/8 x ten 7/8 inches; drove of the Cahoon Museum of American Fine art)

This wasn't really a new interest. As a youth, he had wanted to be an ornithological illustrator. And he had always enjoyed hunting and angling. In 1891 ­ with two other men in his extended family ­ he had purchased an erstwhile farmhouse on Nauset Marsh in North Eastham for use equally a hunting society. His time in that location inspired much of his sporting artworks.

Aside from an early on effort, Benson started doing etchings and drypoint engravings in earnest in 1912. In 1915, rather as a whim, he put 16 prints into a show along with his paintings at the Club of Boston Artists. Not really expecting them to attract much attention, he was amazed when the gallery chosen asking for boosted impressions. Apparently intrigued with the process ­ and probably excited by the public's response ­ he produced an amazing 52 etching and drypoint plates over the side by side year. 20-8 featured birds. Over the course of his career, he fabricated 355 etchings and drypoints, with the majority related to his experiences as a sportsman and bird-lover. As his reputation soared, his prints were held in such high esteem that his standard editions of 150 were more often than not fully subscribed before he had fifty-fifty printed them. Many collectors kept continuing orders with their dealers for new Benson prints.

Benson is commonly acknowledged equally the creator of the American sporting etching and is withal widely considered the all-time master of the art. Whether rendering a flock of geese hovering betwixt marsh and sky or a woodcock rise from the brush, he combined ornithological accuracy and an understanding of the mechanisms of avian flight with a rare ability to convey a sense of motion. In "Frank W. Benson'due south Etchings, Drypoints and Lithographs," John T. Ordeman uses this Benson quote from a 1935 Boston Herald story: "Y'all volition realize that a subject of this nature [birds] will hardly always pose for one, and my pictures of wildfowl are entirely the result of things seen in nature and drawn from memory. I endeavor to make them role of the mural in which they occur rather than to describe them as specimens. The thing I relish near about them is their wildness."

Our Benson etching exhibition includes 3 of the artist's lithographs, thus giving further proof of his printmaking expertise and his eye for birds. Nosotros too couldn't resist sharing a few of Benson'south sporting watercolors with our visitors. They afford the opportunity to compare his glorious work in color with his exquisite piece of work in black and white.

A special thanks to Faith Andrews Bedford for helping ­ directly and indirectly ­ with this exhibition. Her book "The Sporting Fine art of Frank W. Benson" (David R. Godine, Publisher, 2000) has been a wonderful resource, and we're indebted to her for much of the groundwork data that accompanies this prove. She likewise provided the vintage photography of Benson and the farmhouse in Eastham.

We also desire to thank James G. Hinkle of Cummaquid for his generosity in sponsoring this show. Jim, who is on the museum'south lath of trustees, helped spark our involvement in Benson'southward prints when he donated two sporting etchings to the museum in 2001.

Label re-create from the exhibition

The Fishermen 1915

Frank Westward. Benson (1862-1951)

Etching on Shogun paper

COURTESY OF ERNEST Due south. KRAMER FINE ARTS & PRINTS, INC., WELLESLEY

Benson based this print on his 1904 oil "Calm Morning," which is in the collection of the Museum of Fine Arts in Boston. The painting was done in Maine and pictures the iii oldest of the four Benson children ­ Eleanor, George and Elisabeth. The positions of the trio are reversed in the carving, and the artist made a number of other changes in the groundwork.

Frank Westward. Benson and a Tame Osprey

COURTESY OF FAITH ANDREWS BEDFORD

This photograph of artist and bird was taken around 1913 at Wooster Farm, the Benson family's second home in Maine. Benson outset rented the onetime place, located on North Haven Island in Penobscot Bay, in 1901. He bought it five years afterward and summered there for nigh xl years. There was enough of time to enjoy tennis, sailing, swimming and hiking. Merely at Wooster Farm, Benson also did many of his impressionist paintings, often featuring his daughters posed on hillsides, wearing white dresses. Maine besides provided such motifs as ocean views, soaring eagles and osprey, and fishermen in dories. And the barn at the farm was Benson's kickoff carving studio. That's where he did his first plates (since his educatee days) in the summer of 1912.

Bound Domicile 1918

Frank W. Benson (1862-1951)

Etching on paper

Ane of the figures in "Jump Home" is Benson himself, who relaxes contentedly with his pipe, resting confronting the gunwales as the catboat skims over the waves. His son, George, is at full attention at the tiller.

Osprey With Fish

Frank West. Benson (1862-1951)

Watercolor on newspaper

Benson did his offset blackness-and-white wash drawings at the Farmhouse in Eastham, starting around 1898. These monochromatic pieces were often quick impressions, and the artist gave them to his sporting companions equally souvenirs or hung them up in the lodge. Then, in 1913, he exhibited two of them in a watercolor show at the Pennsylvania Academy of the Fine Arts and 20 at the Copley Guild in Boston ­ to an enthusiastic response. Thereafter, he painted many of them, and, to his surprise, they sold quickly and received much critical praise. Because these beautiful paintings limited much, with few and frail strokes, they were perceived equally existence "in the true Japanese spirit."

"Osprey With Fish" was probably done during ane of Benson's summers in Maine. He and his family enjoyed watching the osprey or fish hawks that nested near Wooster Farm.

Cancelled Zinc Etching Plate for "Fish Hawk" 1913

Cancelled Copper Etching Plate for "Ii Mallards" 1933

Zinc Etching Plate

for "Flight Widgeon" 1924

The House on Nauset Marsh

COLLECTION OF THE CAHOON MUSEUM OF AMERICAN Fine art

Maurice Richardson'due south son, Wyman, who also became a doctor, wrote essays about the Eastham farmhouse that were published in The Atlantic Monthly during the late 1940s and early on 1950s. Later on his expiry in 1953, they were published in the form of a book, "The Firm on Nauset Marsh" (W.W. Norton & Company, 1955). Much of the book (which remains in impress) contains Wyman Richardson'southward observations on the dunes and the shore and Cape Cod flora and fauna ­ and much of it takes place afterwards Benson stopped going there. Merely one chapter, "The West Shore," tells of a Christmas holiday hunting expedition and mentions Benson ­ though the author refers to him every bit "Uncle Frank."

Equally Richardson tells information technology, the party e'er hoped for a northwester that would brand weather just right for hunting black ducks. One year, they got their wish and, come up morning, the men and boys started out early in the biting cold. The party is led by long-legged Uncle Frank, who takes a hurried glance over his shoulder at the now brightening eastern heaven, and increases his stride still more than. Richardson writes a few paragraphs about shooting ducks from cliffs at the edge of the beach, and so mentions Benson once again: Uncle Frank stands up and waves, and you all reassemble and count the score. You have your duck, Uncle Frank has eight, and the others, two or 3 apiece. Nobody has done really well, except Uncle Frank, and even he has had his difficulties.

Today, "The Business firm on Nauset Marsh" remains in the hands of the Richardson family.

Onetime Tom 1926

Frank W. Benson ( 1862-1951)

Etching on Whatman paper

The human being in the impress is Eastham resident Thomas Nickerson, who was i of the principle caretakers for the hunting lodge (taking over the task from his father, Myrick Nickerson). He met Benson and his companions at the railroad train station, kept their traps and nets in good working condition, cleaned the game or fish, and prepared meals. He likewise oftentimes served every bit a hunting guide and oftentimes joined the sportsmen in shooting. He was said to have been quite a practiced shot.

In 1923, after Nickerson had died, Benson painted a watercolor of him wearing his yellowish oilskins and holding a gun and a dead bird. Three years after, he produced this etching, based on the painting in those specifics, but having a more powerful overall effect. Here, Nickerson is almost a heroic figure, massive and imposing. Benson also made Nickerson the subject of an etching titled "The Gunner."

Over Cape Cod 1932

Frank W. Benson (1862-1951)

Carving on paper

The House on Nauset Marsh

COURTESY OF Faith ANDREWS BEDFORD

In the late fall of 1891, Benson bought a pocket-sized, rustic farmhouse in North Eastham with Edward Peirson (blood brother of his wife, Ellen) and Maurice Richardson (husband of Ellen'south sis). Peirson and Richardson were both physicians, and they shared Benson's enthusiasm for hunting and fishing. The three men paid a total of $650 for the place on Nauset Marsh, with Richardson coming up with one-half and Benson and Peirson each paying a quarter. They hired locals to fix upwards the firm, so had their first stay at that place in March 1892. The Farmhouse, as they called it, became a frequently used retreat for them and their sons and their friends. (Benson oft invited other artists.) Spending the week after Christmas there became a tradition, and the men fabricated several other trips down to the guild in the jump and autumn. The like shooting fish in a barrel-going temper at the Farmhouse was exemplified by the words "Exercise As You Damned Please," which the men carved into a fireplace mantle. A year or two afterward, Benson painted a mural of flying geese on the walls. (One time, after a hunt, one of boys, mistakenly thinking his gun was unloaded, took aim at a goose and fired, hitting it in the neck and narrowly missing the melt who was working beyond the wall in the kitchen.) Eventually, the men had a veranda added to the side of the firm so they could better savour their views of the marshes, sand dunes and sea.

The house on Nauset Marsh was a superb location for hunting ­ and for observing birds. There were ducks of many varieties; shorebirds similar yellowlegs, plover, sandpipers and heron; and such field specimens as quail, snipe and pigeons. The rule of the firm was that y'all had to consume anything you shot ­ even a gull or a crow.

This vintage photograph ­ and the two others on showroom here ­ are reproduced in Organized religion Andrews Bedford's book "The Sporting Fine art of Frank West. Benson."

Heading Back to the Farmhouse

COURTESY OF Organized religion ANDREWS BEDFORD

Benson, seated at the tiller, and Maurice Richardson canvas back to their hunting order in Eastham post-obit a twenty-four hour period of shooting on the marsh. This photo probably dates from around 1898.

Hawk 1945

Frank W. Benson (1862-1951)

Watercolor on newspaper

Three Mallards 1945

Frank W. Benson (1862-1951)

Watercolor on paper

Hunter and Decoys

Frank West. Benson (1862-1951)

Watercolor on newspaper

Bickering Rising 1938

Frank Westward. Benson (1862-1951)

Watercolor on paper

In "The Sporting Fine art of Frank W. Benson," Religion Andrews Bedford writes at some length most the artist'southward interest in the bickering: "The natural camouflage of the bickering fascinated Benson, every bit did its behavior. He painted them oft, well-nigh oftentimes in watercolor, since the medium was ideally suited to capturing the quick movements of these cautious birds. Benson once said that few shooting experiences could equal that of flushing a bickering. Literally from under his feet the birds would rocket off, heading for cover with an explosive roar of wings, the cocks rise steeply towards a high tree, the hens scurrying for depression brush. Although Benson admitted that few dogs could find and hold a grouse, he nevertheless got plenty of them, for his paintings too as for his bag."

"Grouse Ascension" shows how perfectly the bird's plume blends with the colors of the winter woods.

Common Goldeneye Working Decoy (Male)

Frank West. Benson (1862-1951)

Wood etching

When shooting was poor at the farmhouse, Benson frequently spent his time carving decoys. He besides used decoys in many of his artworks.

Common Goldeneye Working Decoy (Female)

Frank W. Benson (1862-1951)

Wood carving

Snipe c. 1878

Frank Westward. Benson (1862-1951)

Oil on board

This is i of the ii earliest known oils that Benson painted, dating from when he was 16 and hoping to go an ornithological illustrator. He had been hunting with friends and shot ii birds ­ a rail and a snipe. When he brought them dwelling house, he hung them upside down on the befouled door and did a separate painting of each bird. His desire to study and understand birds was already very apparent.

Plodding Dwelling house 1924

Frank W. Benson (1862-1951)

Etching on newspaper

COLLECTION OF THE CAHOON MUSEUM OF AMERICAN ART; Souvenir OF JAMES 1000. HINKLE

Setting Decoys 1923

Frank W. Benson (1862-1951)

Carving

Wildfowler 1923

Frank Due west. Benson (1862-1951)

Etching on Japanese vellum

"Wildfowler" tells a little story. Out very early in the morning, the hunter has arranged his decoys in the h2o and, afterwards checking their pattern, is about to have upward his position in his bullheaded. Birds flying in the distance offer hope that his efforts volition not accept been in vain.

Boats at Dawn 1920

Frank W. Benson (1862-1951)

Etching on zinc on paper

COLLECTION OF THE CAHOON MUSEUM OF AMERICAN ART; Gift OF JAMES Grand. HINKLE

Yellowlegs No. two 1919

Frank W. Benson (1862-1951)

Drypoint on Shogun paper

Turnstones 1928

Frank W. Benson (1862-1951)

Drypoint on copper on Whatman newspaper

Heron Angling 1919

Frank Westward. Benson (1862-1951)

Drypoint on paper

Woodcock 1930

Frank W. Benson (1862-1951)

Drypoint on Shogun newspaper

Chickadees 1919

Frank Due west. Benson (1862-1951)

Drypoint on paper

Blackbirds and Rushes 1920

Frank Due west. Benson (1862-1951)

Drypoint on Japanese vellum

"Blackbirds and Rushes" has a very dissimilar look from Benson's other prints of birds ­ and a decidedly Oriental flavor. The velvety black birds are placed seemingly at random amid the airy, delicately drawn beach grasses. Our optics flit from one small, dark grade to another, adding to the sense of the grasses trembling in the wind.

Two Crows 1920

Frank Due west. Benson (1862-1951)

Drypoint on Japanese vellum

The Punter 1927

Frank West. Benson (1862-1951)

Etching on Whatman newspaper

The Etcher's Art: Frank W. Benson

In 1926, Harvard University shot a 23-minute silent pic of Frank Westward. Benson creating his etching "Towering Widgeon," producing information technology for the Museum of Fine Arts in Boston. This rare footage follows the procedure from the artist's first sketch to his test of the finished print ­ all shot in Benson's studio at his home in Salem. The film was later transferred to video format by John T. Ordeman, author of "Frank West. Benson: Master of the Sporting Print" and "Frank Due west. Benson's Etchings, Drypoints and Lithographs."

Winter Wildfowling 1927

Frank W. Benson (1862-1951)

Etching on Whatman newspaper

Marsh Gunner 1918

Frank W. Benson (1862-1951)

Etching on paper

John T. Ordeman, author of a monograph on Benson, has referred to the confident young sportsman in "Marsh Gunner" as "Michelangelo's 'David' in hip boots standing in an Essex marsh."

Clam Digger 1914

Frank W. Benson (1862-1951)

Etching on paper

The Gunners' Bullheaded 1921

Frank Westward. Benson (1862-1951)

Etching on newspaper

The light is spectacular in this romantic impress, which could accept been titled "I'm Out of Hither" or, possibly, "The 1 That Got Away." A lone duck spots the 2 hunters before they've completely concealed themselves in their bullheaded and flies away. The standing hunter seems to expect after the wildfowl, noting a missed opportunity. In this particular piece of work, man doesn't necessarily seem to accept the upper edge. Under the vast and dramatic heaven, the hunters look very small.

Duck Blind 1925

Frank W. Benson (1862-1951)

Etching on paper

Dusk 1914

Frank W. Benson (1862-1951)

Etching on zinc on paper

Hovering Geese 1922

Frank W. Benson (1862-1951)

Drypoint on paper

Geese Alighting 1916

Frank W. Benson (1862-1951)

Drypoint engraving on newspaper

John T. Ordeman writes admiringly of this print in his book "Frank W. Benson'due south Etchings, Drypoints and Lithographs," noting how well the artist captured ii steps in the landing process of the Canada goose. The bird on the left has cupped its wings to curb its speed; the bird on the right, closer to the h2o, has thrust its legs frontwards to absorb the shock. "A photograph could not accept rendered the forms of these birds more accurately, and it would be a remarkable photograph indeed that could convey the grace, the power, the spirit of the noble Canada goose so well," Ordeman says.

Reflections 1920

Frank W. Benson (1862-1951)

Drypoint on zinc on newspaper

Ducks at Dawn 1920

Frank W. Benson (1862-1951)

Drypoint on zinc on newspaper

The Mirror 1916

Frank W. Benson (1862-1951)

Drypoint on newspaper

Redheads No. 2 1923

Frank W. Benson (1862-1951)

Drypoint on copper on paper

Probably more than any other one subject, ducks ­ especially flying ducks ­ fascinated Benson. Mallards, mergansers, redheads, teal, buffleheads, black ducks and others all came to life on his etching plates.

Rising Geese 1924

Frank W. Benson (1862-1951)

Drypoint on copper on Whatman paper

Evening Flight 1927

Frank W. Benson (1862-1951)

Carving on Whatman paper

This print is a trial proof rather than part of the published edition. Notice how Benson roughed in the clouds and their reflections in pencil. He later added these details to the etching plate.

Evening 1916

Frank W. Benson (1862-1951)

Copper-plate etching on newspaper

Collection OF CHARLES Yard. HARDEN II

"Evening" was one of 20 of the etchings and drypoints Benson produced in 1916. Although he'd only first shown his prints the yr before, his reputation as a printmaker grew so quickly that Adam E.Grand. Paff, an assistant in the print department at the Museum of Fine Arts, compiled a catalogue raisonné of his etchings and drypoints that was published in early 1917. Information technology became the start of iv volumes compiled by Paff. Afterward Benson and Paff had both died, Arthur W. Heintzelman, keeper of the prints at Boston Public Library, compiled the fifth and last volume. Based on their chronology, all of Benson'southward 355 etchings and drypoints were assigned "Paff" numbers. The Paff number for "Evening" is 103, significant that it is the 103rd known impress that Benson made.

Duck Stamp Design 1942

Frank W. Benson (1862-1951)

Carving on Shogun paper

In 1942, Benson was persuaded to exercise a small carving based on his 1935-1936 duck stamp for the art and volume department at Abercrombie and Fitch, a New York sporting goods shop. He produced an edition of a hundred signed prints. It was his concluding etching.

1935-1936 Migratory Bird Hunting Stamp

Based on a wash painting by Frank W. Benson (1862-1951)

The 2d Federal Duck Stamp ­ issued past the U.S. Department of Agronomics ­ was based on a blackness-and-white wash painting of iii canvasback ducks landing in a marsh. Benson submitted the painting at the asking of creative person Jay N. "Ding" Darling, who had designed the starting time stamp at the request of President Franklin D. Roosevelt.

The Federal Duck Stamp Program has continued annually since 1934, with sales of stamps to hunters, stamp collectors and conservationists totaling more than than $700 million over the years. These funds have been used to buy more than than 5.ii million acres of habitat for the U.Southward. Fish & Wildlife Service's National Wild fauna Refuge Organization. While Benson's stamp cost $1, the cost today is $15 ­ and thousands of artists from all over the country compete for the honor of having their pattern selected for a stamp.

Mallards No. ii 1918

Frank W. Benson (1862-1951)

Etching on newspaper

Herons at Rest 1923

Frank Due west. Benson (1862-1951)

Etching on Japanese vellum

Blue Heron 1915

Frank West. Benson (1862-1951)

Etching on Shogun newspaper

Snowy Herons 1917

Frank W. Benson (1862-1951)

Etching on paper

Four Mallards 1931

Frank W. Benson (1862-1951)

Stone lithograph on paper

COURTESY ERNEST Due south. KRAMER FINE ARTS & PRINTS, WELLESLEY

In comparison to his 355 etchings, Benson made only seven lithographs ­ three in 1927 and four in 1931. Of these, "Four Mallards" was the most popular; Benson printed at least 36 copies.

To brand a lithograph, an creative person draws on a smooth, apartment, porous stone (often limestone) with a greasy crayon. After the stone is thoroughly moistened with water, an oil-based ink is rolled across its surface. Considering oil and water don't mix, the ink sticks to the design, but not to the rest of the stone. The print ­ made by pressing a slice of paper confronting the rock ­ will exist an exact mirror image of the artist's drawing. In her book "The Sporting Art of Frank W. Benson," Faith Andrews Bedford suggests that Benson ­ who patently enjoyed a challenge ­ found lithographs rather as well predictable. That could well explain his preference for etchings, a far trickier medium.

Militarist and Mallard 1927

Frank W. Benson (1862-1951)

Rock lithograph on paper

Yellowlegs 1931

Frank W. Benson (1862-1951)

Stone lithograph on newspaper

Hunters 1919

Frank West. Benson (1862-1951)

Etching on paper

In 1917, instead of spending summertime at their Wooster Farm in Maine equally usual, Benson and his family traveled west. They stayed with friends at a ranch at the base of the Tetons in Jackson Hole, Wyoming. Benson enjoyed seeing many new species of birds, did some trout angling, shot some sage chickens, rode horseback and camped out. Although he arrived exhausted and intended to do no work, he grew restless after a few weeks and started doing a picayune painting and sketching.

This etching may have been based on a sketch of a pair of hunters seeking elk, moose, deer or bighorn sheep. There's a photograph of Benson bird-watching, taken during his trip to Wyoming, that shows him dressed very much like the men in "Hunters."

Supper 1920

Frank Westward. Benson (1862-1951)

Etching on Japanese vellum

COURTESY ERNEST Southward. KRAMER FINE ARTS & PRINTS, WELLESLEY

A Cup of Water 1920

Frank W. Benson (1862-1951)

Etching on newspaper

On the Kedgwick 1923

Frank Westward. Benson (1862-1951)

Etching on paper

In the late summertime of 1894, a friend invited Benson to go to New Brunswick to fish for salmon. The creative person discovered he loved the sport too every bit camping out in the wilderness and thereafter made annual trips to Canada for almost 40 years. The Kedgwick River in New Brunswick was his favorite river for salmon angling. 1 day he caught 10 salmon there, including a 28-pounder. He as well fished in the Restigouche.

The Log Jam 1915

Frank Westward. Benson (1862-1951)

Etching on Shogun paper

Some line-fishing expeditions took Benson north to Quebec and New Brunswick, where the logging industry sometimes hindered the salmon's journey upriver. Simply if a log jam kept Benson from angling, there was probably some compensation in the drama of lumberjacks struggling to get the timbers unstuck and moving. The strong diagonals in this etching assist convey the figures' precarious remainder and a sense of ongoing movement. Nosotros can near experience in our own bodies the strain exerted by these rugged men.

Editor's note: RL readers may besides bask:

• American Impressionism -- RL listing of articles and essays
• American Impressionism Earlier 1940 by Lonnie Pierson Dunbier
• Light Shines on Frank W. Benson: American Impressionist (9/19/00)
• Impressionists at PAFA: From Beaux to Benson (10/18/99)
• Impressions of Nature: The Wildfowl Art of Frank W. Benson (8/20/99)
• From Magazine Antiques Benson in bloom: a new look at Summer, April, 2006  past Trevor Fairbrother

Read more than articles and essays apropos this institutional source past visiting the sub-index page for the Cahoon Museum of American Art in Resource Library.

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TFAO also suggests these DVD or VHS videos:

Etcher'due south Art: Frank Westward. Benson, The. In 1926, Harvard University shot a 23-infinitesimal silent film of Frank W. Benson creating his carving "Towering Widgeon," producing it for the Museum of Fine Arts in Boston. This rare footage follows the procedure from the artist'southward first sketch to his examination of the finished impress ­ all shot in Benson'due south studio at his domicile in Salem. The picture was after transferred to video format past John T. Ordeman, author of "Frank West. Benson: Principal of the Sporting Impress" and "Frank W. Benson's Etchings, Drypoints and Lithographs." (text courtesy Cahoon Museum of American Art)

TFAO does not maintain a lending library of videos or sell videos. Click hither for data on how to infringe or purchase copies of VHS videos and DVDs listed in TFAO's Videos -DVD/VHS, an authoritative guide to videos in VHS and DVD format.

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