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    An Introduction to the Art of Basket-Making
    An Introduction to the Art of Basket-Making
    An Introduction to the Art of Basket-Making
    Ebook126 pages1 hour

    An Introduction to the Art of Basket-Making

    By Thomas Okey

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    About this ebook

    This vintage book contains an elementary guide to the art of basket-making, being a concise yet comprehensive introduction to the practice. Written in clear, plain language and full of useful information and invaluable tips, this text will be of considerable utility to novice basket-makers, and would make for a great addition to collections of allied literature. The chapters of this book include: Material and Its Preparation, Tools, Terminology, Common Slewed Work, Etched Work, Sub-Divisions of Randed Work, A Method of Making Round and Oval Work, etcetera. This antiquarian volume is being republished now in an affordable, modern edition complete with a specially commissioned new biography of the author.
    LanguageEnglish
    PublisherRead Books Ltd.
    Release dateOct 19, 2012
    ISBN9781447493365
    An Introduction to the Art of Basket-Making

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      Book preview

      An Introduction to the Art of Basket-Making - Thomas Okey

      BASKET-MAKING.

      —————

      CHAPTER I.

      INTRODUCTORY.

      BASKET-MAKING is the most primitive of the arts. In neolithic times, as surviving tribes of American Indians prove, the basket-maker met the chief requirements of daily life. With no other tools than a sharp flint and a pointed bone, the various materials to hand—rush, willow, sedge, grass, bark, fibre, roots—were prepared and wrought with the aid of teeth and hands, by early man, and especially by early woman, into utensils of daily use. From the cradle wherein the papoose was rocked to sleep in a home which was a great thatched basket, to the coffin wherein the brave, his warfare over, was laid to rest in mother earth’s bosom, the art of the basket-maker was the chief domestic industry. The toys of primitive man were of basket-work; he ate from a flat basket and drank from a round one; the grain which he fed on was winnowed and ground in a basket; his fish and game were trapped in baskets; his water was fetched and heated, and his food cooked, in a basket; he rattled his bone dice in a basket; his canoe was a basket, and when he wandered he carried his belongings in a basket. Until the advent of the white man, the American Indian had no other vessels, and the number and excellence of her baskets—often of most exquisite form and decoration—were the measure of the squaw’s status in her tribe.

      Nor have methods changed appreciably since historic times. The baskets made to-day by Nubian women at Wady Halfa are exactly matched by representations of baskets on Egyptian Pyramids, and baskets found in Egyptian tombs are constructed with exactly the same strokes as we use in European workshops to-day—fitch and pair, plait and track, rand and slew. When travelling in Galicia a few years ago the writer saw in general use among Spanish peasants primitive ox-wains with basket bodies, live axles and solid wheels such as are carved on Hadrian’s Column at Rome.

      Basket-work has been the begetter of all the textile arts; the basket mould was used by the potter before the invention of the potter’s wheel and the earlier designs in ceramic ware and in architecture are derived from basket originals. The venerable antiquity of the art in this country is emphasised by the old English words which survive in its quaint and expressive terminology. The Chaucerian wad, meaning a bundle, is used by the basket-maker to-day in exactly the same sense as it was used by the father of English poetry; the word bodkin is used, not in the modern sense, but in the Shakespearean sense of a sharp piercing instrument. The terms, Luke, Threepenny, Middleboro, and similar curious appellations, even the very word Basket itself, whose etymology is unknown, all point to the great antiquity of the art. All the learned lucubrations in encyclopædias, relating Basket to the Latin bascauda and supported by classic quotations from Martial and Juvenal, may be dismissed on the authority of the best lexicographers, such as Sir J. A. H. Murray and Professor Skeat.

      Roughly the art of basket-making may be reduced to two primitive types:—(1) A core of grass, sedge, fibre, rush, willow or cane, lapped round with a strip or skein of similar material, and coiled upon itself in spiral or elongated coils, each outer coil being laced on to the inner one as the work proceeds. Fig. 1 reproduces the bottom of a round basket of this type, found in an Egyptian tomb whose age is counted, not in centuries, but in milleniums.¹ (2) The textile type, in which a series of radiating or parallel rods of material, either entire or cleft into skeins, are filled in by working other rods or skeins alternately over and under, or before and behind them: it is with this second type that we shall be concerned.

      FIG. 1.

      Basket-making is essentially a handicraft: It has escaped the application of machinery, and requires for its practice few tools and appliances and small capital. The indigenous and traditional material used from time immemorial by the English basket-maker is the common osier or willow rod in its green, brown (dried) or peeled state. Rods of cane have been imported and used for centuries, and still are increasingly used in this country, and the old Fellowship of Basket-makers in the City of London included those who practised the art, trade or mystery of Kaine working. In the Far East this material and bamboo are predominantly used by the native basket-maker; there, where the material is indigenous, is the true home of cane work, and there, with its own traditional methods, it attains its highest artistic development. In Great Britain cane is an exotic material and is worked by the British basket-maker on the same methods as willow. In this Manual, therefore, I shall be chiefly concerned with the species of osier or willow—Salix viminalis, S. triandra and S. purpurea, with their many varieties and hybrids—cultivated by British and Continental growers in places known to us as osier beds, dealing with cane² as a subsidiary material. The learner who desires fully to master the craft should begin on willow: he will thereby become the better worker in cane, whereas if he be trained on cane the manipulation of willow will be beyond him.

      ¹ From the collection of R. Mond, Esq., J.P., of Sundridge, Kent.

      ² Where not otherwise specified, cane includes both whole and pith cane.

      CHAPTER II

      MATERIAL AND ITS PREPARATION.

      (1) OSIERS, or willows,¹ comprehensively known to him as rods, are roughly divided by the basket-maker into Osier and Fine; the former, consisting of the full-topped and coarser varieties, are chiefly used for common, heavy work; the latter, the lither, tougher, fine-topped sorts, are used for finer work. When cut from the heads in the bed the rods are known as Green whole-stuff, and when sorted into sizes and cured (dried) they are designated Brown; when peeled they are termed White, and when boiled before they are peeled, and thus dyed a rich golden brown from the tannin in the bark, they are called Buff. Normally the rods are of one year’s growth but

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