The Eclectic Lapidary - Scrimshaw: An Important Facet of the Lapidary Hobby

Volume I, Number 10	Carol J. Bova, Editor. Web Publishing by Doppler FX.	09/01/97

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Scrimshaw: An Important Facet of the Lapidary Hobby

by Robert K. Smith, Ph.D

Scrimshaw is the label we use for the art form of scratched line drawings on ivory. It had its beginnings on the whaling ships of the mid-1700's. The sailors not only scratched line drawings on whale teeth and bone, but they also used that medium to carve items such as hairpieces, pie crimpers, and shoe horns. The carvings were limited in variety and number and were usually fashioned as gifts to wives or sweethearts when port was finally reached.

While carving ivory into objects of art has been practiced for centuries by the peoples of Asia, their source of ivory was primarily elephant tusks. These canny Asians also knew that walrus tusks were excellent carving bases; however these were difficult to obtain. It was the Eskimos of the frozen north who made good use of this material. The Eskimo also had access to the tusks of the mammoth and the mastodon which were frozen in glaciers and in excellent condition. While several ethnic groups were engaged in ivory carving, it was the sailors on whaling vessels who developed the art of scratching pictures on ivory and bone.

Now these sailors had much free time while their ships cruised the ocean in search of the elusive whale. Furthermore they were at sea for periods ranging up to 4 years between dockings. It was while searching for occupations to while away their time that they discovered the fascinating art of scrimshaw. They made use of the whale teeth as their source of ivory. When there were not enough teeth to go around they found ways to process whale bone to obtain their carving material.

The art form developed by scratching line drawings on polished ivory, using a net-mending needle or a sharpened pocket knife. When the scratches were completed, they were outlined by rubbing lampblack [soot] over the ivory. The whale tooth was then wiped clean but the soot remained in the scratched grooves to outline the drawing. In no time at all this practice evolved to produce sophisticated drawings of sailing scenes, portraits, and likeness drawings of famous sailing vessels. The activity aboard ship became so popular among the crew that whale teeth and jaw bone was distributed according to rank within the crew. When the ship finally made port, the artists found a ready market for their art work and it was soon much in demand. The art pieces never did reach their optimum in pricing until after the demise of the sailing vessels.

The origin of the word "scrimshaw" has never been accurately determined. The best explanation is that it might have come from an old English slang word "Scrimshanker" meaning a time waster. This term has also been modified to refer to people who practice the art form as Scrimshanders. There are numerous Lapidary Clubs or Societies that have small groups of members who do scrimshaw work as a hobby.

Since the ban on ivory trade, it is hard to find and once found is very expensive. Today's Scrimshander has found it necessary to change the source from ivory to some other acceptable material. In use today are bone, plastic, tagua nut [the seed of a South American palm tree], walrus teeth, or horn. Some enterprising artists in Michigan's Upper Peninsula make excellent scrimshaw using polished slabs of the mineral "Datolite". This is sometimes found in small nodules in the dumps of the old copper mines. My sources tell me that collecting in the old dumps is becoming increasingly difficult.

Figure 1 has a piece of Travertine in the upper left corner. Under it is Walrus Ivory and under that are two pieces of Datolite. To the right of the Datolite are two walrus teeth and above that is a tagua nut whole, and one cut in two and polished. The scrimshaw dates to 1832.

Any plastic with a high shiny surface is a handy material for the beginner. Since it is already polished it is ready for the scratch design to be applied. Animal bone requires more work because it must be boiled, scraped, treated to fill porous surfaces, sanded, and polished before it can be engraved. Make no mistake about it, the use of bone can produce some beautiful objects of scrimshaw because it takes on a very attractive golden yellow patina which lends itself well to the engraving process. Horn from a bovine animal is easy to prepare because it only requires polishing to be ready for engraving. Datolite, which has a Mohs hardness of 5.0 to 5.5 will polish to a good finish using standard lapidary techniques. Note: If bone or ivory are polished on a buffing wheel, an unstitched muslin wheel should be used to reduce the possibility of overheating. Both of these materials are sensitive to heat which can cause discoloration and ruin the project. The polishing compound us! ed with the muslin buff can be Tripoli, Zam, or Fabluster, all of which are available at your favorite lapidary supply house.


Figures 2 and 3 are original scrimshaw from the collection of Willard Humpal, Lynn Haven, Florida.

One word of caution! When you are sanding, grinding, or polishing ivory, bone, plastic, or horn it is wise to wear a good quality dust mask. If you are using power equipment it is best to have a complete dust and fume removal system in operation. The dust from these objects is toxic and can cause respiratory problems.

The tools for making scrimshaw are quite simple. Basic tools for doing the job entirely by hand can be purchased for less than $10.00. If the interested person can afford a few more dollars the job can be partially mechanized and much easier to perform. Gone forever are the net-mending needle and the specially sharpened pocket knife. In their place the modern Scrimshander uses a carbide- or diamond- tipped graver or stylus which is available from most lapidary supply stores. It is quite possible to make a graver from used drill bits, old dental tools, or a large needle. The necessity of keeping the point super sharp is so important that the cost of the commercial carbide or diamond tool is readily justified.

Now that brings us down to the material used to outline the scratched drawing. Lampblack is as obsolete as kerosene lamps which departed some 60 years ago. Today's choice is India ink or drafting ink. There is negligible difference between the two. Colored ink may be used to outline the drawing if color is a desired outcome. The modern Scrimshander often uses flower scenes as subject matter in place of the seascapes which were popular many years ago. Those old drawings were appropriate in black and white but today's artists are freer with their use of color.

Herein we have sketched the history and general details of a hobby that has endured for over 200 years. Through the use of power tools such as flex shaft machines and diamond burs, it is possible that the hobby will yet develop to a higher and more skilled level. Isn't it time that your Gem and Mineral Society had a Scrimshander group?

Robert K.Smith, Ph.D, was born in Cedar Rapids, and grew up in Hopkinton, Iowa. He enlisted in the U.S.Army Air Corps in 1941 and was discharged in 1966 from U.S. Air Force as CWO W-4. Bob started collecting rocks during the mid-1950's. His education includes Lenox College, Hopkinton, Iowa, Univ. of Iowa, Univ. of Maryland, Univ. of Omaha, Howard Payne College, Brownwood, Texas, Univ. of Arkansas, Western Mich Univ., Northern Mich Univ., Holy Cross College, Merrill, Wisconsin. He holds degrees from Univ of Arkansas and Holy Cross College.

He became active in lapidary in 1967, and joined the Dickinson-Iron Intermediate School District located in Iron Mountain, Mich. in August 1968 as School Psychologist. His active mineral collecting started about 1975. Bob retired in June 1986 and moved to Florida.

Currently Bob writes a column for the Panama City Gem and Mineral Society entitled "Short Lengths of a Rockhound's Tale." He notes, "Married 43 years to Ila J. Smith who instructs wirewrap classes and edits all of my writing."

You can contact Robert K. Smith at robertk@interoz.com

The Eclectic Lapidary is seeking helpful lapidary tips, tales of adventure, pictures of jewelry and commentary on lapidary issues. If you have an article or an idea for an article you'd like to see in the pages of EL, please contact us at eclectic@bovagems.com.