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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.
The very small wood pieces were difficult to brace (hold in place) during carving. They were probably positioned on a bench, between two posts, so that they could be turned around. Domed spaces, intended to evoke church architecture, were drilled or carved, and these were divided using compasses and a straightedge into pie-shaped segments.
Shaped rods and slivers of wood were first carefully glued together, then cut into many thin slices of identical pictorial veneer with a fine saw. Elaborately striped and feathered bandings for framing were pre-formed in a similar fashion. There is a collection of Tunbridge ware in the Tunbridge Wells Museum and Art Gallery in Tunbridge Wells. [1]
Bowls are also challenging, with group figurines, boxes, poles and plates considered easier to do. The black finish of argillite is usually not natural. In its natural state, argillite is often a grey-black or green-black color. The jet-black finish is created by the carver rubbing the carving with the oils or polish as it is being created.
Whatever the form of the container, the fastener which secured the cord at the top of the sash was a carved, button-like toggle called a netsuke. Netsuke , like inrō and ojime , evolved over time from being strictly utilitarian into objects of great artistic merit and an expression of extraordinary craftsmanship.
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