Customer Reviews

Scrimshaw, the Whaler's Legacy

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This book covers it all! With over 400 beautiful color photographs, meticulous research, and chapters covering a broad spectrum of topics, Martha Lawrence's book makes fascinating reading. Every aspect of the art of scrimshaw is covered: whaling ships (with wonderful photos onboard the Charles W. Morgan), the process of scrimming, the tools used, whale's teeth, scrimshaw in the home, themes and techniques, and modern day artists. Highly recommended!

This book is beautiful. The quality of the printing, paper, photos, etc., are all outstanding. There are fine pictures of an old whaling ship. Then there are some nice pictures of some buildings in New England. There are lots of pictures of carvings, inlays and tools made of ivory and bone. And finally there are some pictures of scrimshaw.

Most of the scrimshaw represented is that of whalers, sailors or folks scrimshanding in the era when whaling was a major industry. Then there are a few pictures of some beautiful work done in modern times. There is a scanty and almost passing glance at the tools and technique of the various scrimshanders.

The photos of scrimshaw in the book show something of a history or evolution of the art form. For instance, the sailor who indulged in scrimshaw used the tools and materials available to him. The actual etching of the image was typically done by making scratches or even cutting in lines. The use of stippling was not unknown as a technique, but was apparently not used extensively. I run the risk of being considered a bit sniffy when I show my preference for works done almost exclusively by stippling. I just think it looks better. But I am willing to consider other techniques, and a sampling of a range of techniques is what I had hoped for, but did not find, in this book.

Maybe the author is among the 'purists' who feel the art must be done on ivory or bone to qualify as scrimshaw. Since the use of those materials has become illegal (and some think immoral) there has been a lot of fine work done on alternative ivory-like substances and I think it a shame not to represent it as scrimshaw. I ask why the 'purist' does not make the same distinction when it comes to the pigments used which range from lamp black, rust, ink, paint and even shoe polish.

Although the author does not claim that the subject must be nautical to qualify as being scrimshaw, the array of examples given do convey that impression. I for one will roll up my sleeves, spit on my hands, and prepare to do battle with anyone suggesting that my deer, elk, eagle and portrait of Napoleon are not legitimate scrimshaw.

I am not a collector and I do not sell my work. What I had hoped for in this book was a broader representation of styles and techniques of a variety of scrimshanders. I could care less about what collectors want or are willing to pay for.

It's a very nice book to decorate a coffee table.