“Contestant number 123!” echoed the authoritative voice of Larry Mellinger, a seasoned lawyer at the U.S. Department of the Interior, stirring whispers among the onlookers. A representative from the U.S. Fish and Wildlife Service (FWS) gracefully approached center stage, showcasing a modestly sized, 7-by-10-inch artwork before five discerning judges. Behind them, a large screen magnified the image: a striking depiction of Spectacled Eiders, ducks known for their unusual but captivating appearance. The male, with its vibrant orange beak and lush green feathers near the nostrils, contrasted sharply with its more subdued female companion against a backdrop of snowy Alaskan peaks illuminated by the morning sun.
This moment marked the peak of the 2024 Federal Duck Stamp Contest held at the Bruce Museum in Greenwich, Connecticut, on September 20. The event had drawn a diverse crowd over the past two days, ranging from flannel-wearing seasoned artists to bright-eyed young newcomers, along with casual observers and even a charming guide dog in training. The contest attracted a varied audience, each member as likely to have a silver beard as a streak of neon hair. Online, thousands more engaged through a live stream, filling the FWS YouTube channel’s chat with comments about the artwork’s subtle details and playful jests about the depicted birds’ expressions.
From an initial pool of 239 submissions, judges had narrowed down the field to 85 and then to 15 finalists. Now, the stakes were high. The victorious artwork would grace the 2025 Duck Stamp, and the winner would receive a pane of 25 stamps signed by the Secretary of the Interior. While the prize might seem modest, winning this contest grants the artist significant prestige and lucrative print sales opportunities, sometimes earning the painting the nickname “The Million-Dollar Duck.”
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Mellinger’s voice broke the tension once more, urging, “Please vote.” Judges lifted their scores in a method reminiscent of Cold War-era Olympic figure skating evaluations: four judges voted 5, and one voted 4. The crowd inhaled sharply—the Spectacled Eiders had garnered 24 out of a maximum 25 points, a score none of the subsequent entries would surpass.
After remaining anonymous through the competition, the creator of the Spectacled Eiders was revealed to be Adam Grimm, marking his third victory in this arena. His previous winning works included depictions of a Mottled Duck and Canvasbacks, both currently exhibited in a gallery above the contest venue as part of “Conservation Through the Arts: Celebrating the Federal Duck Stamp,” available until February 9, 2025.
Duck Stamp Art on Exhibit
Reflecting on my immersion into the Duck Stamp world, I thought back to 2021 when I first met Richie Prager, a conservationist and former Duck Stamp judge. Over the years, Prager had compiled an impressive collection of 61 original Duck Stamp artworks, along with preliminary sketches and prints, before donating them to the Bruce Museum. This collection formed the backbone of our current exhibition, which I had the privilege to curate as the museum’s science curator.
The exhibition starts with a grim timeline: By 1900, U.S. duck populations were being decimated by market hunting, facilitated by advances like refrigeration and rail transport, as well as habitat loss from drought and agricultural expansion. Cartoonist and conservation advocate Jay Norwood “Ding” Darling played a crucial role in reversing these trends by championing the Migratory Bird Hunting Stamp Act of 1934, which President Franklin D. Roosevelt signed into law. This act, requiring hunters to purchase a Duck Stamp for conservation funding, marked a pivotal turn in waterfowl conservation.
Darling, rushing to meet a deadline, sketched the first Duck Stamp designs on cardboard stiffeners from his laundered shirts. These sketches, mistakenly sent to the Bureau of Engraving and Printing, began the production of the first stamp. The exhibition showcases these developments and continues through the exclusive early years when designs were solicited from a select group of male artists who were scholars and professionals in natural history.
The narrative progresses to include artists like Walter E. Bohl, who began drawing while recovering from an illness and went on to design the 1943 Duck Stamp featuring Wood Ducks. Bohl’s preliminary sketch is displayed alongside his other works, now housed in prestigious collections including the Smithsonian American Art Museum.
The Super Bowl of Wildlife Art
The Duck Stamp contest has evolved significantly since its inception due to the vision of artists like Robert Warren Hines. In 1950, the competition was opened to all, following established guidelines. This inclusivity brought forth a variety of artistic styles, from the black and white submissions of the early years to the vivid color paintings allowed starting in 1970. The exhibition highlights the transition with David Maass’s vibrant 1974 Wood Ducks painting, capturing a dynamic moment in a fog-laced autumn setting.
As the display approaches modern times, it showcases acrylic paintings that nearly mirror photographs in their realism. Notable among recent winners is Nancy Howe, the first woman to win the competition in 1991 with her depiction of King Eiders. The exhibit also pays homage to the Hautman brothers, who have collectively won the contest 15 times, capturing the essence of their subjects with exceptional detail.
The exhibition concludes with a look at the pop-cultural impact of the Duck Stamp, featuring humorous artwork from a charity auction by John Oliver that raised over $70,000 for wetland conservation. As visitors leave, they are invited to purchase their own Duck Stamp, contributing to the conservation of over six million acres of habitat—an enduring legacy of this small yet impactful program.
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Cameron Aldridge combines a scientific mind with a knack for storytelling. Passionate about discoveries and breakthroughs, Cameron unravels complex scientific advancements in a way that’s both informative and entertaining.