scrimshaw

2010-05-23T15:58:00.000-07:00

Scrimshaw Gallery 1

New York Dock scene on an 11-ounce,
5.3-inch whale tooth by John Miethner.

Scrimshaw on small tooth by D. Cronan

The Look-Outs by Jim Pauls on a 5.13-inch, 7.2-ounce tooth.

Scrimshaw of Humpback whales by Gretchen Linberg.

Front & backside scrimwork by Catherine Young.

Both of these scrimworks are signed by Ray Underwood. Bob Engnath mentions Underwood as a scrimshander on page 237 of The Second Scrimshaw Connection. The Leopard scrim is 5-inches tall, and the ship scrim is 5.25 inches tall. The ship tooth has holes drilled in the tip and the skirt, so it may have been a Tabua.

Scrimshaw Work from Whaling Days

2010-01-30T22:51:00.000-08:00

Antique Decorated Whale Teeth and Walrus Tusks

Mar 23, 2008 John Blatchford

In the past whalers often scratched designs onto the teeth of Sperm Whales. Modern scrimshanders now use a variety of other materials to continue this tradition.

In the eighteenth century whalers often filled their spare time by carving or scratching designs on the unwanted teeth of the whales they had caught. The final product (decorated whale teeth) is known as scrimshaw.

History of Scrimshaw

In the early part of the eighteenth century whaling was a slow business, and since the sailors could not work at night they had a lot of spare time on their hands. Many passed the time by using a sharp object to scratch designs on whale teeth. Once the design was finished soot or tobacco juice was rubbed in to give contrast. Since this was done onboard a rolling ship most of this early work is poorly executed, and this is often helpful when trying to decide if a piece is old or modern.

Modern Scrimshanders

The tradition of carving onto whale teeth (and other ivory) continues to this day, and the people who do it are known as ‘scrimshanders’. Modern scrimshaw work is much more detailed than the antique stuff – the scrimshanders have a stable platform, good lighting and a range of specialist tools. Modern work is also often highly coloured, with more than the sooty blacks and tobacco-browns of the past. (Of course it is possible to do modern work that looks old, and this can become a kind of forgery if there is an attempt to pass off modern work as – valuable – antique pieces!).

Materials Used Originally

Sperm Whale teeth were abundant, conveniently sized and shaped, and easy to work. These were probably the most widely used vehicles.
Walrus tusks were sometimes obtained from trappers, and while they are rarer that Sperm Whale teeth many examples are known
Narwhal tusks are also found occasionally, either whole (very long!) or cut into sections.
Other whale bones (not ‘whalebone’) and teeth were used much more rarely.

Modern Materials

The supply of fresh whale teeth has dried up, as has the supply of other forms of ivory, but there are still stocks of older materials legally available to modern scrimshanders. Unlikely as it might seem fossil woolly mammoth tusks are sometimes used, as is the ivory stripped off old piano keys.

Prehistoric Work

As soon as mankind began to use bone and ivory tools we find examples of scratched designs and carving, but the term ‘scrimshaw’ refers only to much more recent work. Originally the term referred to any tool made (by sailors) from bones or teeth, later being restricted to decorative pieces.

Scrimshaw

2010-01-26T00:03:00.001-08:00

by Elly Kendall
American scrimshaw dates back to at least 100-200 AD in North America, practiced for centuries by native groups along the Northwest Coast. Not wanting to simply discard the teeth and bones of animals hunted for food, native cultures invented a new style of art that would later be known as Scrimshaw, one of only a few indigenous American crafts.
While other cultures around the world, such as the Orient artists, certainly worked in ivory and bone, the style of North American cultures and that of the Yankee sailors who followed were uniquely their own, making scrimshaw a traditionally American art form. It was adopted by the Yankee whale men of the early 1800's. Two- to five-year voyages quickly became monotonous, so the whale men 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 in port for goods or services. 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 whale men’s work was carved rather than etched.
Scrimshaw art is a slow and tedious process where one mistake can ruin an entire piece. Creating ivory sculpture or carving is equally unforgiving work. Scrimshaw is not an art form for the impatient. Each piece can take from 30 to over 900 hours to complete. Scrimshaw is usually defined as carving or embellishment of ivory or bone. Today's definition would more likely be thought of as the intricate incising of ivory to produce images of unbelievable detail. Incising and engraving could both describe the scrimshaw method. Extremely sharp scribes scratch the surface of the ivory, and then paint or ink is rubbed into the incisions. Stippling is a technique of employing thousands of tiny holes that are then carefully filled with pigment to reveal a beautiful work of art and to create the fine shading.
Today, Scrimshaw is still practiced by master scrimshanders (the scrimshaw artist) and their work is highly sought after and collected. Perhaps the most noted collector was President John F. Kennedy, who even displayed many of his most cherished pieces of ivory scrimshaw in the Oval Office of the White House. The greatest masters of the craft to have ever picked up a scribe are working today. Their techniques and the modern-day masterpieces they create have contributed greatly to the increasing collector’s value of this significant and historical American art form. This is the era of the finest masterpieces ever produced in scrimshaw.
No animals are harmed as the result of work by responsible scrimshanders. Most srimshaw is done on shed antler, bone, horn, legal elephant, antique piano keys and fossil ivories. The fossil ivory is from the ice age giant, the Wooly Mammoth, or ancient fossil mastodon or walrus tusk, making it ecologically ideal for the traditional 14th wedding anniversary gift of ivory. Horn scrimshaw is most often seen on black powder hunting horns. The rare and beautiful woods used by the artist are primarily black Ebony from harvest farms near Makassar on the island of Sulawesi Selatan, Indonesia, and equally magnificent Ironwoods from the African continent.
Scrimshaw combines the allure of history, fine art, and heritage making it not only a potentially valuable investment but an investment in our heritage. It links us with cave art to modern pieces and with extinct creatures. Maybe the value scrimshaw collectors see far surpasses the dollar.

2010-01-17T19:15:00.000-08:00

Scrimshaw Art in Bequia
By Norma Faria

Scrimshaw is the traditional seaman's art of etching seafaring scenes on whale's teeth, bones and other hard materials like oak wood. A maker of scrimshaw is called a scrimshander.
In its heyday during the 1800s, scrimshaw was a true maritime art. Seamen, especially those working on whale-hunting square riggers, had plenty of time on their hands as they journeyed to and from the whale grounds.
On the whale's teeth they had collected on previous voyages, they etched in with sail needles those scenes with which they were intimately involved: whale hunts, other sailing vessels, the mythical mermaid.
Later, they would give their work away to their loved ones, barter with the local tavern owner for a few drinks, trade to a woman of the night for a few moments of companionship or generally try to sell them.
Now, with the decline of the whaling industry and with modern-day fishermen and merchant mariners passing their free time watching videos, scrimshaw is almost all done ashore. The bucking, cramped musty seamen's quarters in the fo'c'sle (scrimshaw was also sometimes done on deck) have been replaced with well-lit and airy studios.
Some of the modern day practitioners of the art have little connection with the sea. Others, such as Sam McDowell, do.
McDowell, one of the world's top scrimshaw artists, who maintains a winter home and studio at Paget Farm on Bequia's south coast, first came to the Caribbean on board the charter schooner Ramona during the 1960s. He was interested in the maritime tradition of the area. In the early 1970s, he built a house above a pebble beach overlooking Isle a Quatre (pronounced "Oily Cot" by the islanders) and other Grenadine islands to the south. It was to nearby Petit Nevis that the Bequia whalers would tow the whale carcasses to be cut up.
McDowell paints as well; some of his canvasses (the scene of the Port Elizabeth, Bequia, jetty with the then-ferry schoonerFriendship Rose offloading, for example) show his maritime interest.
Scrimshaw is painstaking work. That's why a big magnifying glass and light hang over McDowell's working table. As with the seamen's work of yesterday, most of his scrimshaw is set on or around the seashore.
It's not politically correct now to talk of whale killing, but where does he get his whale teeth? People are going after whale watching now, although the International Whaling Commission allows an annual quota of two whales for Bequia's indigenous whale fishery. McDowell replies: "Micarta". That's an imitation ivory. It's made of a high-tech plastic. It's a good substitute. Camel bone (they seem to be quite plentiful despite the new rigours of camel racing these days) may also be used. India ink is put into the scratches to highlight the etching.
Some of the art is utilitarian. He has a line of knife handles made from micarta which cruising yachtspeople buy.
Prices vary. You pay for the labour and name of the artist. Many pieces end up as displays on the cabin bulkhead or over the fireplace back home. A US$500 to $600 knife is not something you would drop into your pocket as you climb the mast to free a jammed halyard.
Certain original scrimshaw pieces made by seafarers during the last century are now collector's items. "The price from the whalerSusan will go $90,000 per item," says McDowell. "Value increases with the artist's name and that of the ship."
Sam and his Bermuda-born wife Donna also recreate another form of 19th century sailor's art: "Sailor's Valentines". These were gifts made of seashells inlaid in a small box.
Some of the seafarers bought their valentines from handicraft shops on Caribbean islands before they hoisted sail for their homeport. This wasn't done to pull a fast one and pass off the handiwork as their own work, but simply to save time. Some just didn't have the talent or the patience.
McDowell mentioned the example from the B.H. Belgrave store in Barbados whose label identified it as a "Dealer in Marine Specialties and Native Manufacturer in Fancy Work." As with scrimshaw, antique sailor's valentines are now sold for prices hardly imagined by the invariably anonymous sailors and island craftpeople who made them long ago.
An art teacher at Princeton High School in New Jersey at one time, McDowell has formal training as an artist. He's originally from Carmel, California.
He feels the Caribbean needs art from its own people as well. He reasons: "I feel there is a hunger for works by local artists. The example of Canute Caliste of Carriacou shows that people worldwide are interested."
The McDowells would like to expand the sharing of their skills to local aspiring artists. They've taken on apprentices and will continue to do so as circumstances allow.

How to Polish Bull Horns

2010-01-06T17:04:00.000-08:00

Contributor

By J. Edward Casteele
eHow Contributing Writer

Article Rating: (0 Ratings)

Bull horns can be used for decoration and also function as a powder horn or other container. A smooth, luxurious finish on the horn is desired regardless of what it is being used for. The method by which you polish a bull horn depends largely on whether the horn is fresh or old; older bull horns have developed a patina, a thin film caused by oxidation from exposure to the air. As the patina protects the horn from more severe oxidation and gives it an antiqued beauty, you must take care not to remove the patina from older horns when trying to restore a beautiful polish.

New Horn

Step1
Scrape the bull horn lightly with a razor blade to remove any rough spots from the horn. Do not apply downward force while doing this; lay the blade on its side, and allow it to move lightly over the surface of the horn.
Step2
Rub the horn down lightly with a steel wool pad to buff any rough areas that the razor blade missed. Do not apply excess pressure to the horn with the steel wool.
Step3
Begin buffing the horn with sandpaper. Start with a rough grade, move to a medium grade and finish with a fine grade. Do not apply excess pressure to the horn, but increase the pressure slightly with each change in grade. Wet the bull horn, and wipe it dry with a clean cotton or canvas cloth in between grades.
Step4
Apply a paste floor, surfboard, or automotive wax to polish the bull horn, using a clean cotton cloth to buff the wax to a shine.

Antique Horn

Step1
Mix a mild detergent or soap with warm water. Using a sponge, use the water to lightly wet the bull horn. Make sure that the horn is thoroughly damp but is not exceedingly wet.
Step2
Wipe the horn with the sponge to remove any excess dirt that may be clinging to the bull horn. Place the sponge back into the water, and wring it out to clean it; then re-wet the sponge, and wipe the horn down again.
Step3
Place toothpaste on a cloth, and wipe down the horn. Toothpaste contains a very mild abrasive that is gentle enough to not damage teeth, so it can remove additional dirt or oils while lightly buffing the surface of the horn.
Step4
Use the sponge and water once again to clean the bull horn and remove any toothpaste that might remain on its surface. Wet and wring the sponge again, then re-wet it to complete one last cleaning of the horn.
Step5
Wipe the horn dry with a clean cotton or canvas cloth. Apply moderate force when wiping so as to further buff the natural shine of the horn and its patina.
Step6
Use lanolin or a paste floor wax to add additional shine to the horn if desired, making sure that you rub the horn well to remove any excess wax or lanolin after you have applied it.

Scrimshaw at The Desmond Honored with AAA Four Diamond Award

2009-12-22T19:08:00.001-08:00

Thu Dec 10, 7:00 am ET

Scrimshaw at The Desmond Hotel in Albany, New York has been officially recognized by North America's premier restaurant rating program, AAA as 2010 Four Diamond Award® recipients.

Albany, NY (PRWEB) December 10, 2009 -- Scrimshaw at The Desmond has been awarded the prestigious AAA Four Diamond Rating for the year 2010. Restaurants at this level offer a distinctive fine-dining experience marked by high-quality ingredients, creative presentation, and attentive service.

Scrimshaw is the only fine dining restaurant in New York State's Capital Region to be honored with this prestigious award. "What a well deserved honor for our hotel, restaurant and culinary staff to be recognized as a AAA Four Diamond restaurant," said Michael St. John, Executive Chef.

A ceremony was held on December 1, 2009 in Scrimshaw Restaurant for members of the culinary and service teams to recognize their accomplishment. John D'Adamo, General Manager at The Desmond, awarded each member of the team, a AAA Four Diamond lapel pin. Scrimshaw went through a strict evaluation of 12 essential requirements based on member expectations. The Diamond ratings indicate the extensiveness of food, décor, and personal service.

With its abundant collection of scrimshaw, ship models, and paintings of sailing ships, Scrimshaw Restaurant evokes the grandeur of a sea captain's home. Fine crystal, elegant flatware, crisp linen and fresh-cut flowers set the stage for a memorable evening. Scrimshaw's award-winning cuisine features entrees such as Cedar Plank Salmon, Veal Oscar and Steak au Poivre and offers an extensive American and international wine list.

"We are proud of the commitment to excellence from our accomplished staff. Their desire to exceed guest expectations has been recognized and we will continue to provide the levels of service and quality that provide a distinctive fine-dining experience", said Mr. D'Adamo. Scrimshaw at The Desmond was also honored in 2008 with the presentation of the Achievement of Excellence award from The American Culinary Federation in the category of fine dining.

Scrimshaw Restaurant is open for dinner Tuesday through Saturday at 5:30PM. Listen to the sounds of the historical 1897 Steinway piano on Friday and Saturday nights. Reservations are suggested. Menus can be found at http://www.desmondhotelsalbany.com/wine-and-dine/

AAA's Diamond Rating System is the only ratings system that covers all of North America and one of only two that conducts physical, on-site evaluations. Information about AAA Diamond Ratings and the complete 2010 Four Diamond Award winners list are accessible at AAA.com/Diamonds

About The Desmond:

The Desmond Hotel is located in Albany, NY; this luxurious hotel offers colonial charm and contemporary comfort combined with a business friendly environment featuring state of the art conferencing facilities. For hotel information or to make a reservation, call 1-800-448-3500 or visit http://www.desmondhotelsalbany.com/

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Scrimshaw at The Desmond Honored with AAA Four Diamond Award

2009-12-22T19:08:00.000-08:00

Thu Dec 10, 7:00 am ET

Scrimshaw at The Desmond Hotel in Albany, New York has been officially recognized by North America's premier restaurant rating program, AAA as 2010 Four Diamond Award® recipients.

About The Desmond:

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Fat Man cries, Lucifer smiles, Marx plays Santa and Hershel saves Hanukkah. Here are four choices for seasonal entertainment.

2009-12-04T01:30:00.000-08:00

By GRAYDON ROYCE, Star Tribune
Last update: December 3, 2009 - 5:32 PM.

Ah, that fat holiday Just slap together a show with "Magi" or "Carol" in the title and wait for the dollars to roll in.

Joseph Scrimshaw found out a while ago that it's not quite so easy. You need to have a gimmick to distinguish yourself from the other dozen or so shows in this elf-eat-elf world.

Scrimshaw's bet three years ago on "Fat Man Crying" has paid off. As of Friday night, the show is back for another run at the Minneapolis Theatre Garage.

The high jinks start when a depressed Santa breaks into the home of George and Skye Deal. As he talks out his issues, Santa reveals that he indeed knows who's naughty and who's nice -- to the consternation of his hosts.

While the show is a repeat, Scrimshaw and his wife, Sara Stevenson Scrimshaw, are trumpeting it as the kickoff of their new company, Joking Envelope. They envision it as a vehicle to produce new comedies and to promote scripts that Scrimshaw has written over the years.

He's been at this for nearly 15 years, perhaps best known initially as half of the Scrimshaw Brothers with his brother Joshua. He's also a prominent presence in the Minnesota Fringe Festival each year. Two of the shows he's promoting around the country had premieres in the festival: "Adventures in Mating" and "An Inconvenient Squirrel." Another script, "Worst Show in the Fringe" was done at the Indianapolis Festival this past summer.

"Producers around the country look to the Twin Cities for small-theater stuff," Scrimshaw said.

Sara, a dancer who was Zenon's business manager for a while, is handling the nuts and bolts of the organization.

Joseph will appear in "Fat Man" as The Dave, a mysterious fellow who fills Santa (Matt Erkel) with fear. Amy Schweickhardt and Matt Rein play the married couple.

Despite a melancholy Santa, "it's not cynical," Scrimshaw says, noting that patrons get cookies and an opportunity to have their photo taken with Santa.

Turtle tops at art show

2009-11-17T23:07:00.000-08:00

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.

Art show draws crowd for 39th year

2009-11-11T23:36:00.000-08:00

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.

Ivory

2009-03-03T20:34:00.000-08:00

Elephants are limited in number, and were decreasing rapidly due to their being killed for ivory tusks. The remnants of the ancient wooly mammoth, the predecessor to the modern elephant, have long since been used as a source for ivory of great beauty. Because the mammoth was commonly found in ancient times, people in the regions which the mammoth once walked have been discovering and trading mammoth ivory for many years. These days, with the recent illegality of elephant ivory, mammoth ivory provides an option which is equally as rare and beautiful, and less ethically dubious.

The woolly mammoth often grew to an impressive size, which is why the remains of the species give craftsmen enough ivory for ivory artworks to be produced continually. A mammoth's ivory tusk could grow to measure as much as five feet in length, and thus those that are still discovered to this day supply the ivory trade adequately. Not all mammoth ivory has the same coloration. The tones in which mammoth ivory naturally occurred range from light to dark, due to the specific parts of the tusk having individual coloration.

The cold, large region of Siberia has allowed the perfect climate for the preservation of mammoth remains, and thus ivory tusks are frequently discovered and are obtained by connoisseurs for sculpture and other artistic purposes. Collectors have even been known to pay large amounts for whole tusks for display amongst their private collections of historical artifacts and relics. People also purchase mammoth ivory in smaller quantities so as to embark on their own personal carving projects.

If you are interested in purchasing an ivory sculpture made out of mammoth ivory, or a piece of mammoth ivory jewelry, you can find a host of pre-made items on the internet, and some jewelers even offer to design a unique item specially to suit your requirements. Mammoth ivory jewelry presents a great alternative to jewelry which uses precious or semi-precious stones alone, as it allows the wearer to adorn the body with part of a rare extinct animal.

Ivory is so sought after that it is lucky that a legal and politically correct alternative to elephant ivory already existed. Aside from jewelry made from mammoth ivory, an art specialist supplier may be able to provide you with the most beautiful antique which you have ever seen. It is simple to browse online catalogues for the most exquisite items.