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<object xmlns:xs="//www.w3.org/2001/XMLSchema"><field label="Title" name="title"><value>Bittern</value></field><field label="Date" name="displayDate"><value>1880–1900</value></field><field label="Dimensions" name="dimensions"><value>7 1/2 × 5 1/2 × 26 3/4"</value></field><field label="Medium" name="medium"><value>Paint on wood</value></field><field label="Credit Line" name="creditline"><value>Gift of Mr. &amp; Mrs. George F. Wick</value></field><field label="Accession number" name="invno"><value>1985.29.1</value></field><field label="On View" name="onview"><value>0</value></field><field label="Description" name="description"><value>(including construction) Graceful and abstract silhouette carving of bird constructed of flat piece of wood with small head curving to sweep of neck, swell of underbody tapering to pointed tail. Two flat wings curved outside with sharply angled ends, applied to sides with two nails , front. Chisel marks on wings. The whole stained seinna with rough white painting underside of bird and black markings on face, back and wings. Decoy</value></field><field label="Classifications" name="classification"/><field label="Id" name="id"><value>152876</value></field><field label="Source ID" name="sourceId"><value>953</value></field><field label="Width" name="width"/><field label="Exhibitions" name="exhibitions"><value exhibitionDisplayDate="Wednesday, November 24, 1965 - Sunday, January 9, 1966" exhibitionEndISODate="1966-01-09" exhibitionEndDate="1966" exhibitionISOBeginDate="1965-11-24" exhibitionBeginDate="1965" exhibitionTitle="The Art of the Decoy" exhibitionID="23"/></field><field label="Height" name="height"/><field label="Alternative Numbers" name="altNums"/><field label="Depth" name="depth"/><field label="Primary Maker" name="primaryMaker"/><field label="Artist / Maker" name="people"><value displayOrder="1" personRole="Artist" personID="103">Artist unidentified</value></field><field label="Classification(s)" name="classifications"><value>Tools and Equipment</value></field><field label="Copyright" name="copyright"><value>The American Folk Art Museum believes this work to be in the public domain. </value></field><field label="Object Type" name="thesconceptsObjecttype"/><field label="Title (descriptive)" name="titlesDescriptive"/><field label="Title (popular)" name="titlesPopular"/><field label="Title (translated)" name="titlesTranslation"/><field label="Place/Region" name="geographyPlaceregion"><value/><value/></field><field name="geographyCity"><value/><value/></field><field name="geographyCountry"><value>United States</value><value>United States</value></field><field name="geographyState"><value>New York</value><value>New Jersey</value></field><field label="Bibliography" name="bibliography"><value/></field><field label="Collections" name="collections"><value>Wildfowl Decoys</value></field><field label="Curatorial Remarks" name="curatorialRemarks"><value></value></field><field label="Department" name="department"/><field label="Flex Fields" name="flexFields"/><field label="Geography" name="geography"><value/><value/></field><field label="Object Names" name="names"/><field label="Last Updated" name="recordLastUpdated"/><field label="Text Entries" name="textEntries"><value>
Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　

To help improve this record, please email photoservices@folkartmuseum.org</value><value>Keep, could be working or ornamental.</value><value>The bittern decoys belong to that group known as "plumage decoys" and were primarily by feather hunters. The exotic plumes of birds such as the bittern, egret, heron, etc. were dyed and used in ladies fashions from the 1870's to the turn of the century. Occasionally these birds were taken for food. After a ban on the wholesale slaughter of these birds for their feathers, hunters used them as "confidence" birds, set among a group of more common birds to lend an air of naturalness to the scene, thereby creating a false sense of security.</value><value>Decoy</value></field><field label="Terms" name="thesconcepts"/><field label="Titles" name="titles"/><field label="Title (artist's/given)" name="titlesArtists"/><field label="Title (former)" name="titlesFormer"/><field label="Title (inscribed)" name="titlesInscribed"/><field label="Type" name="type"/><field label="Materials" name="thesconceptsMaterials"/><field label="Technique" name="thesconceptsTechnique"/><field label="ArchiveSpace" name="altNumsArchivespace"/><field label="Media" name="media"><value mediaDepartment="Object Photographs" mediaType="Image" mediaURL="https://collection.folkartmuseum.org/internal/media/dispatcher/1700/full" mediaId="1700"/></field><field label="Begin Date" name="beginDate"><value>1880</value></field><field label="End Date" name="endDate"><value>1900</value></field><field label="Sort Number" name="sortNumber"><value>  1985    29    1                                                               </value></field><field name="textEntriesWebsitedisplaytext"><value>
Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　

To help improve this record, please email photoservices@folkartmuseum.org</value><value>Keep, could be working or ornamental.</value><value>The bittern decoys belong to that group known as "plumage decoys" and were primarily by feather hunters. The exotic plumes of birds such as the bittern, egret, heron, etc. were dyed and used in ladies fashions from the 1870's to the turn of the century. Occasionally these birds were taken for food. After a ban on the wholesale slaughter of these birds for their feathers, hunters used them as "confidence" birds, set among a group of more common birds to lend an air of naturalness to the scene, thereby creating a false sense of security.</value><value>Decoy</value></field></object>