Chesapeake Traditions Article Series: Wildfowl Carving

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Celebrating one of Maryland’s cherished cultural traditions

When Rich Smoker started making decoys to use for hunting along the Susquehanna River when he was in high school, he probably couldn’t have imagined how wildfowl carving would impact his life. His father, who instilled in him a love of the craft, was an industrial arts teacher at the school and was well versed in woodworking. Smoker and his father would often work together in the woodshop. Throughout the years, Smoker, his father, and his younger brother, Ross, taught themselves how to carve decoys, and wildfowl carving became a beloved family tradition.

Although Smoker made decoys to hunt, he also admired the artistic aspect of the carvings. He later developed a greater appreciation for the aesthetics of wildfowl carving when he worked as a taxidermist. In this role, he learned about the anatomy of birds, which helped him improve his carving skills. During this time, Smoker continued to carve decoys for hunting while also expanding his work to include decorative carvings.

A master carver and teacher, Smoker—now a resident of Marion Station, Maryland, near Crisfield—has participated in numerous competitions as both a contestant and a judge and has won several accolades. He has served on the board of directors for 29 years, including five years as chairman, and currently holds the title chairman emeritus at the Ward Foundation, a nonprofit organization established in 1968 that is “dedicated to promoting wildfowl art and preserving the legacy of Eastern Shore decoy carvers, Lemuel and Stephen Ward.” He has also been a volunteer at the organization for 43 years. In addition, Smoker is a National Endowment for the Arts National Heritage Fellow, which is the highest honor in folk and traditional arts.

From Humble Beginnings

Like Smoker, avid Maryland wildfowl carvers are passionate not only about the historical significance of decoys but also the artistic contributions to our State’s cultural heritage. A centuries-old tradition, the craft of making decoys was passed down through the generations—beginning as utilitarian tools used for hunting and evolving into decorative, collectible folk art. Today, decoys are prized among collectors for their artistic value. 

Decoy making also connects people to the land and water. Maryland is a critical part of the Atlantic Flyway, a major route for migratory waterfowl, and the Chesapeake Bay is a significant stopover area for a variety of species, such as canvasbacks, mallards, and redheads. 

“The Atlantic Flyway funnels through the Chesapeake Bay, which abounds with marshes, grassy shallows, and [similar] environments that provide food and shelter for migratory waterfowl,” says Chief Historian Pete Lesher, Chesapeake Bay Maritime Museum (CBMM). “That abundance of migratory birds attracted—and still attracts—thousands of hunters. And one of the essential tools for waterfowl hunting is a rig of decoys. The Chesapeake Bay region fostered hundreds of decoy carvers who produced staggering quantities of decoys.” 

According to CBMM, decoy-making traces its origins back to the early-19th century with its history rooted in distinct cultures of hunters, market gunners (commercial hunters who hunted waterfowl to sell for profit to restaurants and city markets), sport, industry, and, eventually, folk art. Early decoys were rudimentary in nature and served one purpose: to lure waterfowl within hunters’ range. Carvers were influenced by indigenous culture and traditions.

The rise of market gunning in the late-19th century created a high demand for decoys. However, this increase—along with sportsmen’s concern for the decimation of bird populations and advocacy for conservation laws—brought an end to market gunning in the early-20th century. By the 1950s, carving decoys from wood became less popular due to the mass-market production of paperboard, Styrofoam, and, ultimately, plastic decoys. At the same time, decoys were increasingly recognized as folk art, and many carvers began creating the decorative, more realistic decoys that are so popular today. 

Master Carvers and Styles

At the height of its popularity, wildfowl carving dominated certain regions in Maryland, which became recognized as hubs for decoy making. As a result, prominent carvers emerged at the forefront of the tradition and gained acclaim for their work. Today, they are internationally renowned and celebrated for their contributions to decoy making.  

Significant areas for decoy making abound throughout the Chesapeake Bay region, and especially the Susquehanna Flats located at the mouth of the Susquehanna River. Havre de Grace, known as “the Decoy Capital of the World,” is home to the Havre de Grace Decoy Museum, a private, nonprofit institution established in 1986 “to preserve the historical and cultural legacy of waterfowling and decoy making on the Chesapeake Bay.” Other noteworthy areas for decoy making include Cecil County and Crisfield on Maryland’s Eastern Shore.

“Waterfowling and decoy making are woven into the cultural fabric of the Susquehanna Flats and the communities that surround it,” says Mike Tarquini, president of the board of directors, Havre de Grace Decoy Museum. “The lore of this region is rich with history that should not be lost. Those within our community need to be aware of the folk art of [creating] decoys.” 

Since Maryland’s close proximity to the Chesapeake Bay and its strong ties to waterfowl hunting created a need for decoys, some carvers developed their own unique styles and established a legacy that is still revered today by carvers and collectors.

According to the Havre de Grace Decoy Museum, John “Daddy” Holly (1818–1892), who is considered a pioneer of wildfowl carving, is credited with creating the Harford County or Havre de Grace style of decoy in the mid-to-late 19th century. His son, James (1855–1935), refined the style, and it was made famous by R. Madison Mitchell (1901–1993), who is known as the most prolific decoy maker in Havre de Grace.  

“John ‘Daddy’ Holly gets much of the credit for the development of the body design used for almost two centuries by decoy makers on the Harford County side of the Susquehanna Flats,” Tarquini says. “John B. Graham (1822–1912) [one of the most famous decoy makers of the Upper Chesapeake Bay], gets similar status relative to the decoy body style used on the Cecil County side of the Flats. The bodies of Harford County decoys tend to have a rounded bottom with an upswept tail and lack a neck shelf to mount the head. Cecil County decoys tend to have bodies with flat paddle tails and a raised neck shelf where the head is mounted onto the body.” 

According to the Ward Foundation, Lemuel T. Ward, Jr. (1896–1984) and Stephen Ward (1895-1976)—collectively referred to as the Ward Brothers—are considered pioneers of the Crisfield style of wildfowl carving (ca. early 1900s). In particular, they are known for their work in making the transition from utilitarian hunting decoys to highly realistic, decorative works of art. 

Unlike the Harford County or Havre de Grace style, Crisfield style decoys have flat bottoms, carved heads that exaggerate the bird’s features, and are often oversized. This particular style resulted in a highly visible, lifelike decoy that rode upon the water. The brothers’ father, L. Travis Ward, Sr. (1865–1926), was also a pioneer of the Crisfield style. 

Smoker says he met the Ward Brothers and was greatly influenced by their work. In fact, they made a significant impact on his own wildfowl carvings.

“When someone is at the top of their game, they will be imitated,” Smoker says. “You can see the Ward’s influence in so many of the more than 80 recognized carvers in Crisfield. Their influence has spread to every part of the country. And many carvers and artists often include that they were influenced by the Ward Brothers in their bios.”

Wildfowl Carving Exhibits

Whether Marylanders are interested in decoys from the perspective of a carver, collector, artist, birder, or nature enthusiast, they can visit museums or festivals to view decoy collections and exhibits.

Every November, the community gathers in Easton for the Waterfowl Festival, a three-day celebration of the heritage, sporting traditions, and artistic expression of the Eastern Shore. The popular festival features exhibits of decoys—from traditional works to decorative, artistic carvings, which are on display and available for sale—as well as live demonstrations. 

“For over 54 years, the celebration of our shared waterfowling heritage has been the cornerstone of the festival, which offers several opportunities to see carvers and their work and also promotes conservation,” says Deena Kilmon, executive director, Waterfowl Festival, Inc. “Every year, a grant program gives generously to local, regional, and national organizations that submit projects that will support wetlands restoration or promote conservation education. Our program has donated over $100,000 in 2025 alone to specific projects through this program and about $6 million since 1971.” 

In addition to wildfowl carvers, the festival also features artists from around the world, including painters, sculptors, and photographers, the World Waterfowl Calling Championship Competition, Dock Dogs, food and beverages, children’s activities, and much more.

Tarquini says the Havre de Grace Decoy Museum collects, documents, preserves, and interprets waterfowl decoys as a unique folk art that is a distinctive element in the cultural landscape of the Lower Susquehanna River and the Upper Chesapeake Bay. The museum focuses primarily on working decoys that supported the hunting activities that took place on the famed Susquehanna Flats. The works of prominent local decoy makers are featured, including both vintage and contemporary decoys. 

“The museum highlights the stylistic differences between decoys made in Cecil County and Harford County,” says Tarquini. “These two counties surround the Susquehanna Flats, and residents fashioned the majority of decoys that were used there. The earliest decoys likely started out in a similar vein in terms of size, style, and construction. But over time, the carving styles on the two sides of the river diverged—not markedly so, but enough to be distinguishable. The exhibits contain decoys that represent the styles that were characteristic of the regions from where they originated.”

Although the Ward Museum of Wildfowl Art, which was located near Salisbury University, closed in 2022, items from the collection can be viewed at the Museum of Eastern Shore Culture at Salisbury University (museumofeasternshorecultureatsu.org). 

And CBMM is excited to open a new exhibit, Stories from the Shoreline, in July 2026. Located in the Welcome Center, the exhibit will showcase the local perspectives and connections to the Chesapeake Bay. Inspired by oral histories, manuscripts, memoirs, and documentary and historic photographs, as well as tools, fine art, and folklife artifacts, the exhibit will provide an understanding of several beloved cultural traditions. In addition, Stories from the Shoreline will feature the museum’s world-class decoy collection.

“Chesapeake Bay Maritime Museum boasts a comprehensive collection of more than 200 waterfowl decoys from all parts of the region—representing the breadth of carvers and carving styles,” Lesher says. “Since waterfowl hunting is just one of the many ways that people interact with the Chesapeake Bay shoreline—along with trapping, recreational fishing and crabbing, dining, beachcombing, artmaking, and more—the tools for these activities, including decoys, feature prominently in the forthcoming exhibition.”

Carrying on a Legacy

Wildfowl carvings—whether they are created as hunting tools or decorative works of art—underscore the importance of passing down cultural traditions to the next generation. Not only do the carvings preserve Maryland’s rich history and culture by leaving a record of the past, but they also establish an enduring legacy for pioneers, such as Holly, the Ward Brothers, and many others. Their work inspired a new generation of carvers who took up the mantle and carried on the tradition. 

Whether decoy making is passed down from one family member to another or taught by a master carver to a student in an apprenticeship or classroom setting, wildfowl carving keeps Maryland’s cultural heritage and identity alive for all generations to appreciate and enjoy. 

“In today’s increasingly digital world, hands-on [opportunities], such as the Waterfowl Festival, bring our traditions to life in an engaging and entertaining way,” Kilmon says. “The [wildfowl carving] community is supportive, positive, and committed to helping the next generation of carvers and waterfowl enthusiasts learn in an accessible and friendly atmosphere. You can’t replace that interaction with a video, a book, or a website. Keeping our traditions alive involves human-to-human relationships that transmit emotion and joy across the generations.” 

Upcoming Wildfowl Festivals

55th Annual Ward World Championship Wildfowl Carving Competition & Art Festival

April 24, 10 a.m. - 5 p.m., April 25, 9 a.m. - 5 p.m., April 26, 10 a.m. - 3 p.m. Roland E. Powell Convention Center, Ocean City. Presented by the Ward Foundation, the Ward World Championship is the most prestigious wildfowl carving competition in the world. In addition to the competition, the event features a festival with exhibits showcasing a variety of decoys—from functional hunting decoys to highly decorative works of art. About 1,200 different wildfowl carvings representing more than 150 species from around the world can be viewed. The event also features seminars and classes by master carvers, vendors, and children’s activities. For more information, call Kristie Clattenburg, director, Ward Foundation, at 410-339-0668 or e-mail kclattenburg@wardfdn.org. wardfdn.org

44th Annual Havre de Grace Decoy & Wildlife Art Festival

May 2, 9 a.m. - 5 p.m., May 3, 9 a.m. - 3 p.m. STAR Centre, Havre de Grace. Honorary Chairman: Chad Tragakis. The festival, which is expected to attract approximately 1,000 attendees, features 50–60 exhibitors, including decoy makers, decoy resellers, decoy collectors, wildfowl artists, and collectibles resellers, from the New England area to the Carolinas.  In addition to exhibits and children’s activities, the event also includes three distinct carving competitions: • Floating Working Decoys Competition (hunting decoys) • Decorative Decoys Competition (decoys not designed for hunting) • Old Decoy Competition (vintage decoys, generally 50 – 75 years old or older). Festival tickets include admission to the Havre de Grace Decoy Museum and its world-class collection of decoys and wildfowl art. For more information, call Mike Tarquini, president of the board of directors, Havre de Grace Decoy Museum, at 410-459-8487 or e-mail president@decoymuseum.com. decoymuseum.com