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Designing of inlaid articles is a highly elaborate process. There are sometimes more than 400 pieces per square inch in a work of average quality. [2] Thin rods of different coloured woods, ivory, bone, brass, silver, etc. were glued together into long bunches that could have a round, rectangular, or polygonal cross-section. [3]
Today intarsia can be made from purchased patterns. To make intarsia from a pattern, first wood is chosen based on color and grain pattern. Next the pattern is transferred onto the wood and individual pieces are precisely cut out on the band saw or scroll saw. The pieces are then sanded individually or in groups to add depth to the piece.
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.
Ivory from Africa was widely sought after outside the continent by the 14th century due in part to the poorer quality of Asian ivory. [31] While Asian ivory is brittle, more difficult to polish, and tends to yellow with exposure to air, African ivory often comes in larger pieces, a more sought after cream colour, and is easier to carve. Ivory ...
This type of ivory was commonly made in the late 19th century and early 20th century. It looks like elephant ivory and can have intersecting line patterns but the pattern is more uniform and regular than natural ivory. This ivory will be occasionally marked synthetic while "French Ivory" or "India Ivory" are common marks.
Tortoiseshell, horn and ivory zarfs required special skill to make. In the first two cases, sheets of the material in question were softened in hot water and then clamped in a mold to create the required shape. Ivory was carved in the same way as wood; however, its greater value meant that more care was needed to avoid mistakes.
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Both ivory and bone were carved in relief panels, often with two or three strips forming a single inlay. Only ivory was used for openwork. [7] After carving the surfaces were smoothed and lightly polished. Traces of colour survive, showing the use of alternating red and blue pigments, and the highlighting of plain backgrounds with red or black.