A Colonial scrimshaw desk set comprising of two sperm whale…
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A Colonial scrimshaw desk set comprising of two sperm whale teeth engraved with tallships standing on a baleen and timber base inlaid with Mother of pearl and tortoiseshell and adorned with whale bone. The baleen back plate engraved with a fine architectural rendering of a late Georgian Mansion. Most likely Tasmanian origin, mid 19th century, 20 cm high, 34 cm wide, 14 cm deep

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  • Baleen - Baleen is the filter feeder system in a baleen whale, and these whales have several hundred plates of baleen with a hairy fringe on their upper jaw.

    Baleen refers to the solid plate, and it is historically important as it was sought by whalers as a by-product of the whaling industry, who called it whalebone, though it is not made of bone at all, and used it for scrimshaw.

    The earliest artefacts were made of baleen produced from Arctic whaling in the 17th century.

    In the 19th century baleen was an important raw material, comparable to present-day plastics. Its thermoplastic nature and strength meant it could be used to make a wide variety of functional and decorative objects.

    Sailors used baleen to make sewing boxes and other small containers and another common use was brush bristles; it was even used as runners on toboggans.

    Baleen basketry was developed into a craft, with examples of simple baskets to complex woven ones, which could take months to complete.

    Other shore-based uses included in corsets, buggy whips, umbrella ribs, canes, skirt hoops and especially as a cheaper substitute for ivory in carving.
  • Tortoiseshell - Tortoiseshell is a translucent material that comes from the horny carapace of a certain types of turtles, including the hawksbill turtle. It is often therefore mounted on a colour underground - often red - or inlaid with gold or silver thread, as seen in Boulle furniture.

    The texture and colour nuances of the material are extremely important. Heated tortoiseshell can easily be formed into various shapes. Like other natural materials, tortoiseshell becomes more beautiful with use. In a time before plastic, tortoiseshell was widely used for small objects such as combs and powder compacts.

    In 1973, the trade of tortoiseshell worldwide was banned under CITES (The Convention on International Trade in Endangered Species). Prior to importing or exporting items containing tortoiseshell a CITES permit must be obtained. Tortoiseshell items cannot be traded on Ebay.

    "Faux tortoiseshell", another case of man initiating nature, is made from old-style plastics such as celluloid and cellulos and is coloured with red, yellow and brown spots to imitate the genuine article. It is commonly used in glasses frames, musical instruments and costume jewellery.
  • Mother-Of-Pearl - Mother-of-pearl, technical name "nacre", is the inner layer of a sea shell. The iridescent colours and strength of this material were widely used in the nineteenth century as an inlay in jewellery, furniture, (especially papier mache furniture) and musical instruments.

    In the early 1900s it was used to make pearl buttons. Mother-of-pearl is a soft material that is easily cut or engraved.

    Nowadays it is a by-product of the oyster, freshwater pearl mussel and abalone industries.
  • Georgian - As an English stylistic period, Georgian is usually taken to cover the period from George I (1714) to the Regency of Prince George (1811-20), although the period from 1800 to 1830 is sometimes designated as the Regency period. During the Georgian period the great English cabinetmakers and designers such as Chippendale, Hepplewhite, Adam Sheraton etc., were all active.

    Therefore there isn't a single 'Georgian style' as such and to say something is 'Georgian', usually means it was made between 1714 and 1830. This assumes we discount George V and George VI, both being from the 20th century.

    The styles popular at the time of each reign were:

    George I (1714-1727) saw out the last years of the Baroque period.

    George II (1727-1760) reigned during the Rococo period.

    George III (1760-1820) saw the last gasp of the Rococo, all of the early Neo-Classic 'Adam style' and most of the later neo-Classic 'Regency style'.

    George IV (Prince Regent 1820-1830)encompassed the last of the 'Regency' style.

    William IV's reign (1830-1837) was something of a no man's land (stylistically) and he wasn't a 'George' anyway. He covered the last glimmerings of 'Regency' and the start of the 'Victorian' style.

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