Scrimshaw

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American whaling ships, scrimshaw on whale tooth, c. 1800 Whale Tooth Scrimshaw State Library of New South Wales SAFE DR 40.jpg
American whaling ships, scrimshaw on whale tooth, c. 1800

Scrimshaw is scrollwork, engravings, and carvings done in bone or ivory. Typically it refers to the artwork created by whalers, engraved on the byproducts of whales, such as bones or cartilage. It is most commonly made out of the bones and teeth of sperm whales, the baleen of other whales, and the tusks of walruses.

Contents

It takes the form of elaborate engravings in the form of pictures and lettering on the surface of the bone or tooth, with the engraving highlighted using a pigment, or, less often, small sculptures made from the same material. However, the latter really fall into the categories of ivory carving, for all carved teeth and tusks, or bone carving. The making of scrimshaw probably began on whaling ships in the late 18th century and survived until the ban on commercial whaling. The practice survives as a hobby and as a trade for commercial artisans. A maker of scrimshaw is known as a scrimshander. [1] The word first appeared in the logbook of the brig By Chance in 1826, [2] but the etymology is uncertain. [3]

History and materials

Carved whale bone whistle dated 1821. 8 centimetres (3.1 in) long. Belonged to a 'Peeler' in the Metropolitan Police Service in London. Carved whalebone whistle dated 1821. London. 8 cm long.jpg
Carved whale bone whistle dated 1821. 8 centimetres (3.1 in) long. Belonged to a 'Peeler' in the Metropolitan Police Service in London.
Pair of walrus tusks depicting a sailor and a woman. Rhode Island or Connecticut, circa 1900 Walrus scrimshaw.jpg
Pair of walrus tusks depicting a sailor and a woman. Rhode Island or Connecticut, circa 1900
Closeup of a sailor Scrimshaw Walrus Tusks Closeup1.jpg
Closeup of a sailor
Closeup of a woman Scrimshaw Walrus Tusks Closeup2.jpg
Closeup of a woman
Scrimshaw cribbage board. Museum of Anthropology, Vancouver. 2010 Scrimshaw cribbage board. Museum of Anthropology. Vancouver. 2010.jpg
Scrimshaw cribbage board. Museum of Anthropology, Vancouver. 2010

Scrimshaw developed from the practice of sailors on whaling ships creating common tools, where the byproducts of whales were readily available. The term originally referred to the making of these tools, only later referring to works of art created by whalers in their spare time. Whale bone was ideally suited for the task, as it is easy to work and was plentiful.

The widespread carving of scrimshaw was enabled when the 1815 publication of the journal of U.S. Navy Captain David Porter disclosed both the market and the source of the whale teeth, causing a surplus of whale teeth that greatly diminished their value and made them available as a material for ordinary seamen. [4] Around this time is the earliest authenticated pictorial piece of sperm whale scrimshaw (1817). The tooth was inscribed: "This is the tooth of a sperm whale that was caught near the Galápagos Islands by the crew of the ship Adam [of London], and made 100 barrels of oil in the year 1817." [5]

Other sea animal ivories were used as alternatives to the rarer whale teeth. Walrus tusks, for example, may have been acquired in trade from indigenous walrus hunters.

Scrimshaw was a leisure activity for creative whalers. Life aboard a whaling ship often included long stretches of time between whale sightings, which gave those onboard a great deal of free time for creative pursuits.

Early scrimshaw was done with sailing needles or other sharp implements, and the movement of the ship, as well as the skill of the artist, produced drawings of varying levels of detail and artistry. Typically, readily available pigments onboard a whaleship like candle black, soot, or tobacco juice were used to bring the etched design into view. Ink, while used in some cases, was a more expensive and rarer option for this purpose. Many surviving examples of scrimshaw are unsigned, and a great many of the pieces are anonymous.

Today's artists use finer tools in various sizes, mostly borrowed from the dental industry. Some scrimshanders ink their work with more than one color, and restrained polychromed examples of this art are now popular.

Originating in an era when sperm whales were plentiful, only to be hunted to near collapse, scrimshaw is no longer an artform utilizing an easily renewable animal resource, but one that is susceptible to contraband. The Endangered Species Act and international conventions restricted the harvest and sale of ivory in an effort to bolster populations of ivory-bearing animals.

Scrimshanders and collectors acquire legal whale teeth and marine tusks through estate sales, auctions and antique dealers. To avoid illegal ivory, collectors and artists check provenance and deal only with established and reputable dealers. Scrimshaw that is found to have been illegally sourced may be seized by customs officials worldwide, dramatically loses value and is very hard to re-sell, as the limited channels through which collectible scrimshaw passes serves as a check on unscrupulous persons. As with any other fine art form, it is possible for experienced museums, auction houses or other experts to detect a fake.

Scrimshaw can also be practical tools that are hand carved by the scrimshander. They carved useful tools such as the jagging wheel. which is a multi-purpose tool used to pierce and trim a pie crust. Corset busks were carved from bone or ivory.

Care and preservation

Ivory is a fragile medium; many 19th-century pieces were preserved because they were kept in a barrel of oil on board ship. Gary Kiracofe, a scrimshander in Nantucket, Massachusetts, advises collectors that if a piece looks dry, one should fill the center of the tooth with unscented baby oil and allow it to remain until as much oil as possible is soaked into the microscopic pores of the ivory.[ citation needed ] Clear paste wax or high-end car wax will seal the surface after oiling. Bone items are even more fragile (more fibrous and porous) and may be treated the same way: with a light clear mineral oil. Organic oils are inadvisable, as they will eventually hasten discoloration, as on old piano keys subjected to the natural oils in one's hands.

Professional conservators of art and historic artifacts generally recommend against applying any type of dressing (like oil or wax) to organic objects such as whale ivory. Sensible choices regarding storage and display preserve whale ivory best: keep out of direct sunlight, handle with cotton gloves or freshly washed hands, and avoid keeping in places with shifting humidity and temperature. Coating organic objects can induce eventual cracking.

Design

Whale teeth and bones were a highly variable medium, used to produce both practical pieces, such as hand tools, toys and kitchen utensils, and highly decorative pieces, which were purely ornamental. The designs on the pieces varied greatly as well, though they often had whaling scenes on them. For example, Herman Melville, in Moby-Dick , refers to "lively sketches of whales and whaling-scenes, graven by the fishermen themselves on Sperm Whale-teeth, or ladies' busks wrought out of the Right Whale-bone, and other skrimshander articles". [6] Most engravings were adapted from books and papers.[ citation needed ]

Collections

A significant amount of the original scrimshaw created by whalers is currently held by museums.[ citation needed ] Museums with significant collections include:

Other images of scrimshaw can be found at:

Modern scrimshaw

Example of modern scrimshaw by artist Edmund Davidson in his "African Big Five" integral knife. Scrimshaw by Linda Karst Stone. Art Knives by Edmund Davidson.jpg
Example of modern scrimshaw by artist Edmund Davidson in his “African Big Five” integral knife. Scrimshaw by Linda Karst Stone.

While scrimshaw artists rarely use whale bone anymore, it is still employed by a few. Common modern materials are micarta, ivory (elephant, fossil, walrus), hippo tusk, warthog ivory, buffalo horn, giraffe bone, mother of pearl, and camel bone. Modern scrimshaw typically retains the nautical themes of historical scrimshaw, but can also extend well beyond the traditional motifs.

Contemporary trade and carving techniques have led to more advanced, but fewer unique scrimshaw carvings. Collectors are advised to be aware of fakes. [8]

See also

Related Research Articles

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Ivory is a hard, white material from the tusks and teeth of animals, that consists mainly of dentine, one of the physical structures of teeth and tusks. The chemical structure of the teeth and tusks of mammals is the same, regardless of the species of origin, but ivory contains structures of mineralised collagen. The trade in certain teeth and tusks other than elephant is well established and widespread; therefore, "ivory" can correctly be used to describe any mammalian teeth or tusks of commercial interest which are large enough to be carved or scrimshawed.

<span class="mw-page-title-main">Walrus ivory</span> Material from the tusks of a walrus

Walrus ivory, also known as morse, comes from two modified upper canines of a walrus. The tusks grow throughout life and may, in the Pacific walrus, attain a length of one metre. Walrus teeth are commercially carved and traded; the average walrus tooth has a rounded, irregular peg shape and is approximately 5 cm in length.

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The conservation and restoration of ivory objects is the process of maintaining and preserving objects that are ivory or include ivory material. Conservation and restoration are aimed at preserving the ivory material and physical form along with the objects condition and treatment documentation. Activities dedicated to the preservation of ivory objects include preventing agents of deterioration that specifically connect with ivory as a material, preventative conservation, and treatment of ivory objects. Conservators, curators, collections managers, and other museum personnel are in charge of taking the necessary measurements to ensure that ivory objects are well maintained and will make the decision for any conservation and restoration of the objects.

Tom Akeya is an Inuit ivory carver. His work has been sold in multiple places.

References

Notes

  1. "scrimshander". Merriam-Webster.com. 2015. Archived from the original on 2007-09-30. Retrieved 2015-08-26.
  2. Logbook of the brig By Chance, held at the New Bedford Whaling Museum (call number KWM #35A, Reel 3)
  3. Morris, Evan (April 19, 2010). "Scrimshaw, A long time to be gone". The Word Detective. Retrieved 2015-08-26. And see Stephen Goranson's 2009 post to the American Dialect Society, "scrimshaw: proposed etymology".
  4. Wertkin, Gerard C. (2004). Encyclopedia of American Folk Art . Routledge. p.  530. ISBN   978-1-135-95615-8.
  5. Perrin, William F.; Wursig, Bernd; Thewissen, J.G.M. 'Hans', eds. (2009). Encyclopedia of Marine Mammals. Academic Press. p. 995. ISBN   978-0-08-091993-5.
  6. Melville, Herman. "57: Of Whales in Paint; in Teeth; in Wood; in Sheet-Iron; in Stone; in Mountains; in Stars". Moby Dick; or, The Whale. Retrieved 2015-08-26 via American Literature, Classic Books and Short Stories.
  7. "Scrimshaw Collection at the Scott Polar Research Institute". University of Cambridge. Retrieved 2015-08-26.
  8. Ronald C. Reece, PhD, "Ron's Ivory Coast"

Further reading