Care and cleaning

Treat your scrimshawed ivory as you would any fine jewelry. Do not get it wet unnecessarily, because the inks, especially colors, may fade. Keep your scrimshaw out of bright sun; this dries and cracks the ivory and may fade certain colored inks. Detergents, shampoo, heavily chlorinated water, and jewelry cleaning solutions should be avoided, as they turn the ivory surface dull and remove the etched lines. Dirt and oils may be removed with a cotton swab moistened in rubbing alcohol and wiped gently over the surface. Do not scrub, as this will remove some ink from the fine lines. I use a light coat of warm beeswax rubbed into the ivory to preserve the scrimshaw and keep the ivory from drying and aging too fast. Waxing should be repeated when the ivory is cleaned, because the alcohol removes it. If you treat your scrimshaw with care, it will give you many years of pleasure and may become a treasured heirloom.

What is scrimshaw?

Scrimshaw -- Painstaking etching on ivory or bone -- is one of only a few indigenous American crafts. Practiced for centuries by the Inuit and other native groups along the Northwest Coast, it was adopted by the Yankee whalemen of the early 1800's. Two- to five-year voyages quickly became monotonous, so the whalemen turned to working with baleen, whale teeth, and jawbones, all of which were in abundant supply -- in fact, on many ships, whale teeth were part of the pay, and were often traded to shopkeepers in port for goods or services. Common subjects included whaling scenes, ships, women, and scenes copied from magazines of the day. The origin of the word is obscure; one interesting etymology is a Dutch phrase meaning "to waste one's time!" The term "scrimshaw" also applies to carved or pierced bone or ivory, since much of the whalemen's work was carved rather than etched.

History & Materials

Scrimshaw is derived from the shipboard practice of sailors creating common tools, and on whaling ships 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 is ideally suited for the task, as it is easy to work and was very plentiful.

The development of scrimshaw took off after the market for whale teeth, which was sought by Chinese traders for use in the Pacific Islands (for example the Fijian market for tabua), was flooded with teeth after a narrative by an American sailor, Captain David Porter, revealed both the market and the source of the teeth. Around this time is the earliest authenticated pictorial piece of scrimshaw (1817). The tooth was inscribed with the following This is the tooth of a sperm whale that was caught near the Galapagos islands by the crew of the ship Adam [of London], and made 100 barrels of oil in the year 1817.[2]

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

Scrimshaw essentially was a leisure activity for whalers. Because the work of whaling was very dangerous at the best of times, whalers were unable to work at night. This gave them a great deal more free time than other sailors. A lot of scrimshaw was never signed and a great many of the pieces are anonymous. Early scrimshaw was done with crude sailing needles, and the movement of the ship, as well as the skill of the artist, produced drawings of varying levels of detail and artistry. Originally, candle black, soot or tobacco juice would have been used to bring the etched design into view. 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 initially plentiful only to be hunted to near collapse, scrimshaw no longer is an artform utilizing an easily renewable animal resource, but one that is susceptible to contraband. Now, the Endangered Species Act and international conventions restrict the harvest and sale of ivory to try to reverse the scarcity of ivory-bearing animals.

  • Though there are sources of ivory that are sanctioned and legal, poachers in Africa and other continents where elephants are an endangered species still kill for their ivory, Elephant ivory has been regulated since 1976 by the Convention on International Trade in Endangered Species and selling African ivory has been prohibited since 1989.
  • 19th and 20th century scrimshaw, scrimshaw crafted before 1989 (elephant) or before 1973 (sperm whale ivory, walrus ivory etc.) is legal. It is prohibited after that year for commercial import in the U.S. under the Marine Mammal Protection Act.
  • Additionally, walrus tusks bearing the Alaska State walrus ivory registration tag, and post-law walrus ivory that has been carved or scrimshawed by a native Alaskan Indian (Eskimo), is legally available.
  • Finally, any ivory considered ancient, such as 10,000 to 40,000 year old mammoth ivory, is completely unrestricted in its sale or possession.

Scrimshanders and collectors acquire legal whale teeth and marine tusks through estate sales, auctions and antiqure dealers. To avoid illegal ivory, collectors and artists check provenance and deal only with other 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 usually possible for experienced museums, auction houses or other experts to perceive a fake.

Tuesday 17 November 2009

Turtle tops at art show

Benjamin Harjo Jr., Seminole, received the Best of Show Award for his gouache painting titled, “The Thunder Bringer LOCV,” at the opening reception Saturday for the Masters Art Show at the Five Civilized Tribes Museum.


Often referred to as the Indian Picasso, Harjo enjoys a successful art career that spans more than 30 years. He became a Master Artist in 1988. He and his wife, Barbara, live in Oklahoma City.

The Indian Heritage Award was presented to Murv Jacob of Tahlequah for his painting titled, “The Booger Dance.” Jacob became a Master Artist in 2002.

He and his wife, Deborah Duvall, won numerous awards for their books featuring “Jistu” (Rabbit) and other forest creatures, when animals could talk.

Spirit of Oklahoma Awards were given to: Norma Howard for her painting, “The Snake Dance;” Troy Anderson for “Standing Water;” Joan Hill for “Milly (Malee) Francis;” Gwen Coleman Lester for “Indian School Days;” Murv Jacob for his sculpture, “Bear Canoe.”

Honorable mention winners were: Troy Anderson’s sculpture “Golden Raven,” Bill Rabbit’s “I Am Bird Clan,” Skip Rowell’s scrimshaw “Old Stories,” Dana Tiger’s painting “We All Belong,” Norma Howard’s work “Berry Pickers.”

During the evening ceremonies three new Master Artists were inducted into the program. Jeanne Rorex Bridges, Anita Caldwell Jackson and Victoria McKinney were recipients of the award for 2009.

Bridges interest in art began at an early when she would study woodcarvings by her uncle, Willard Stone, noting their flow and design. Her formal training at Bacone College as a student under Master Cheyenne Artist Dick West began the development of her award-winning painting style. Bridges’ distinctive use of color creates works, which are strikingly bold, yet peacefully soft, according to a media release. She and her husband, J.R., live in Oktaha.

Jackson is a retired art teacher at the Kiowa Public Schools. After retirement, she turned her full attention to her artwork. Jackson’s award winning career began in the 1980s. Her home is in McAlester.Victoria McKinney uses the Mound Builder motifs in her artwork. By incorporating theseprehistoric motifs into her paintings and pottery, she has increased the awareness and understanding of the Mound Builders civilization and their contributions to the Indian art world. She and Tom live in West Fork, Ark.

June Lee and Wisey Narcomey, Seminoles, were honored with the Master of Heritage awards. This award is given to tribal people who have continued to preserve the culture, traditions and heritage for their tribe.

Lee is credited as the patchwork artist that cultivated, influenced, directed, taught, and sold patchwork shirts, vests, skirts, and dresses throughout the Seminole Nation. Her designs come from Oklahoma and Seminole motifs; intricate clan designs, such as the bird, alligator, sweet potato and deer. Lee continues to teach tribal members this craft.

As a young girl, Narcomey was taught to finger weave sashes from an elder of her tribe. She is one of the few traditional finger weavers still practicing her craft. Narcomey travels to historic events in the Southeast to demonstrate her various techniques.

The Masters Art Show will be on display through November.

Information: 683-1701, fivetribes.org or e-mail 5civilizedtribes@sbcglobal.net.

Wednesday 11 November 2009

Art show draws crowd for 39th year

Alice Campbell Havre Daily News acampbell@havredailynews.com

Artists sat by booths, at times talking animatedly with visitors, and people meandered from wall to wall, munching on home-baked cookies, during the 39th annual Havre Art Association Show and Sale. Pottery, photography, sculpture, pencil, calligraphy, handmade papers, watercolor, oil, acrylic and many other mediums constituted a colorful array of things to see Saturday and Sunday at the Van Orsdel Methodist Church. A theme board titled "Reach for the Sky!" Greeted visitors as they came in the door. After the votes were tallied for the favorite piece of art depicting the theme, Don Greytak was declared the winner Sunday evening. The event, with 22 area artists displaying work, saw normal turnout, said Vince Woodwick, an art association member who helped with the show. Four hundred programs were distributed and 350 people signed the guest book. "We've seen a real solid, solid Stream of people," he said. Those people bought pieces of art and commissioned artists, but not as much as in years past, Woodwick said. "I'm thinking things are just a little slower around here," he said. It wasn't solely about the sales, though. Visitors picked up a few tips from the show, too, with a pinch bowl pottery demonstration Saturday and a mosaic demonstration Sunday by f e a t u r e d a r t i s t Tom Marinkovich. Marinkovich said he keeps a busy schedule. But when he was approached by the art association to be the featured artist — the show has featured an area artist since its inception — he accepted because he considers it an honor to be asked by his peers, he said. "I'm very humbled about it," he said, thanking the art association. The art teacher for Box Elder Schools uses various mediums, including airbrush, antler art and scrimshaw, batik, blown glass, bronze art, jewelry, mosaics, painting, pottery, sandblast art, stained glass and tie dying, among others. What his favorite one is depends on his mood, he said. What he would demonstrate during the show was unknown until just before the show, because he was waiting for his mood to dictate what he wanted to show people, he said. Even so, he said, he's worked with pottery the longest. Some people knew a bit a b o u t p o t t e r y d u r i n g Saturday's demonstrat ion, Marinkovich said, but after the demonstration Sunday, more people who might have known nothing about creating a mosaic, learned something. Mosaic art has been around fo r tho u s and s o f ye a r s, Marinkovich, who has worked with mosaics for about 10 years, told the gathering. He uses it on pottery, flower pots, table tops, boxes, light fixtures and many other surfaces, he said. His stained glass projects left him with large amounts of scrap glass that he puts to good use on his mosaics, he said. He thought that would solve the problem of his mounting heaps of scraps. "It has created more scraps, smaller ones," he said jokingly. On the lid of a small wooden box, Marinkovich started a pattern with white and pink glass pieces. Then he handed the lid to an audience member and told them to add to it with green and yellow pieces. "This is your chance to be creative," he told the group about the process he said is about colors and shapes. Everyone in attendance added a piece, some cutting the shape themselves with a glass nipper. Then Marinkovich mixed grout with water, recommending that gloves be used because of lye content in the substance. He globbed it on top of a lid made previously so the glue would have ample time to dry, gently massaging it down between the pieces. He used a sponge's damp edges to wipe excess grout from the top and reveal the glass pieces. To finish, he used a rag to wipe each glass piece dry and ensure that no grout was left on any of them. In addition to the regular show and the demonstrations, a silent auction took place both days, with different items each day. Ten percent of the total sales went back to the art association to use for educational programs throughout the year, various events like the Art in the Garden tour and an annual scholarship to a Havre High School graduate. Seventeen art pieces were sold. A fall driedfoliage arrangement, by local artist Becky Ross, was given as a do o r pr i z e to Sue Widdekind.