A sandbar merely nine miles long, the island of Nantucket has had a
seemingly disproportionate impact for its size. Over a century ago,
the product of its whaling fleet lit the lamps around the nation. Today,
its name is often usurped by firms attempting to attach a certain cachet
to a new product. Nothing, however, is more unique and undeniably "born
of Nantucket" than the lovely Nantucket Lightship Basket which
continues to have an impact on the world of antiques today.
Quintessential folk art, the lightship basket evolved into its own distinct
form in the early part of the nineteenth century. Its development was
influenced by necessity, construction techniques peculiar to the island,
and available materials. The fully evolved form featured a slotted wooden
bottom into which hardwood staves were inserted, and was woven with
rattan weavers over a round or oval mold. The cooper's barrel –
so important to the whaling economy of the island – was probably
the greatest influence on the development of the tightly constructed
lightship basket.
Probably the most distinctive feature of this new form was its incorporation
of rattan as a weaver. This material, which was being brought to the
island in the holds of homeward bound whaling ships, replaced wooden
splints and was considered so unusual that the baskets began to be referred
to as "rattan baskets."
By the time the New South Shoal Lightship was placed in service in 1856,
Nantucket's "rattan basket" was a fully developed form. And
when the first crew of ten men boarded the lightship for duty, they
took with them the makings of these baskets. Within another two decades,
the designation had changed from "rattan" to "Nantucket
Lightship" baskets as dozens of these handsome pieces were created
by the lightship's crew.
The New South Shoal was a one hundred and three foot schooner whose
two masts carried whale oil beacon lights to warn mariners of the dangerous
Nantucket Shoals on which the ship was moored 23 miles southeast of
the island. The area experienced huge seas stirred up by wave action
on the shallow shoals and was frequently lashed by fierce storms during
the bitterly harsh winters. There are reports of periods when the ice
on the rigging was measured in feet, creating an eerie musical instrument
of sorts when the wind howled through it.
Life aboard the ship was not only dismal but dangerous. Ironically,
the very marine traffic the lightship was intended to aid posed a threat
to the ship. European bound vessels would use the lightship as a heading.
Although the New South Shoal was never rammed, the threat of collision
was continually present. In fact a twentieth century lightship moored
on the shoals was sunk after being hit by a liner heading to New York.
Another danger was the possibility of breaking free of the mooring in
heavy seas. The New South Shoal broke adrift twenty three times in her
thirty six years of service. In one October storm, she was blown 800
miles off station, ending up just off Bermuda.
The crew faced months of isolation when relief ships could not reach
them with supplies or letters. Their shipboard tasks, however, were
not sufficiently time-consuming to require the whole day to accomplish.
Fortunately for us, many crew members chose to fill the empty hours
with basketmaking.
The crew was not only prolific but talented. The baskets they produced
were designed for service – sewing baskets, storage baskets, berry
gathering baskets and other useful vessels. Shaped as either rounds
or ovals and ranging from about four to fourteen inches in size, they
encompassed shallow open designs, large covered baskets, and beautifully
designed "nests" – a grouping of baskets of gradually
decreasing sizes which fit perfectly inside each other. Despite their
utilitarian intent and sturdy construction, the baskets were incredibly
graceful and well-proportioned.
Although the majority of baskets was made for personal fulfillment and
family use, some were constructed specifically for commercial sale.
Often these pieces carried labels which identified not only the maker
but the island shopkeeper in whose store they were carried. Occasionally
a basket will turn up at auction today with such a label and will, of
course, command a higher price because of this augmentation.
1892 was the last year the New South Shoal served as lightship on the
Nantucket Shoals. Although a series of other ships replaced the New
South Shoal, no baskets were made aboard them, and the "lightship
period" of basketmaking had ended.
However, basketmaking continued on the island in the early decades of
the twentieth century – carried on by a few former crew members
and their pupils. These baskets were produced primarily for commercial
sale, unlike their predecessors made aboard the lightship. By the 1930s,
the craft was in danger of completely dying out. Mitchell Ray, a third
generation basketmaker, was the only islander producing the baskets
commercially. He was conscious of the threat to the basket's survival
and concerned that no one would continue the tradition so linked to
his island home.
Fortunately, the end of World War II brought a new resident to the island,
Joe Formoso Reyes. This Philippine native became engaged by the baskets
and, with the assistance of Mitchell Ray's molds and expertise, turned
to basketmaking as a fulltime occupation. Within a few years he had
brought his own style to the baskets and went on to develop a form of
his own – the Nantucket Lightship Basket purse. This new incarnation
not only kept the craft alive but also popularized it to such an extent
that a renewed appreciation of the old baskets sparked their rise in
popularity and price. The arrival of the purses marked a change in the
basket's purpose from that of a utilitarian to a decorative item.
While lightship baskets are still being created both on and off Nantucket,
it is their antique predecessors which command the interest and dollars
at auction today. To choose among the widest assortment of baskets,
Nantucket remains the destination of choice. However, fine baskets can
be located elsewhere – at off-island auctions, from specialized
dealers and some shops.
Many of us, however, optimistically hold onto that dream of finding
not only the perfect basket, but at a bargain price. While writing Lightship
Baskets of Nantucket, I was told numerous stories of lucky individuals
stumbling onto authentic lightship baskets for $5 at garage sales. Although
in general those times are long past, there are reports to this day
of undervalued baskets turning up at estate sales or other unexpected
venues.
Usually the further you travel from the island, the greater the chance
a basket may not be fully appreciated and priced accordingly. However,
the zeal of bargain hunting must be tempered by awareness of the potential
for outright fraud. Often, "antique" baskets are actually
contemporary productions stained to appear old.
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Contemporary basket with floral handle
made by the author.
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These early splint baskets have bottoms
woven in a checkerboard pattern. Collection of the Nantucket Historical
Association.
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These seven baskets by Captain James
Wyer, ranging in size from 5 1/2' to 12 3/8', well demonstrate the
space-saving attributes of nesting. Collection of the Nantucket
Historical Association.
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My own axiom that the further you get from the island the more likely
the chance of discovering an undervalued piece was proven wrong when I
excitedly spied a basket in a shop in Washington's San Juan Island. As
I approached the case, it became depressingly clear that my find was obviously
a stained contemporary, poorly made, and overpriced for even a modern
piece. I was smugly informed by the shop's owner that the exorbitant price
was due to the fact that this was an "antique Nantucket Lightship
Basket", with the clear implication that I was not sophisticated
enough to be aware of its value. Whether by ignorance on the part of the
dealer or outright fraudulent intent, baskets are often misrepresented.
I have yet to learn how to break the news to a delighted owner that her
"Nantucket Lightship Basket" purse, found for "only $450"
in a Greenwich antique shop, is indeed a poorly-made imitation imported
into this country for about $12, stained to look old, and topped with
a piece of polymer "scrimshaw." Unfortunately such experiences
are common.
Values of fine antique lightship baskets have risen considerably in the
last few years. According to Rafael Osona of Rafael Osona Auctions of
Nantucket, baskets are now commanding "folk art prices" rather
than those of "decorative accessories" in which category they
were formerly priced. This translates to figures of a few thousand dollars
for a nineteenth century ten-inch basket to tens of thousands for the
highly prized nests of baskets. An Osona auction recently realized $75,000
for a small nest of five oval baskets made around 1910.
The purses of Jose Reyes, though not technically "antique",
are highly prized. Examples of the work of this orginator of the form
are bringing $3000-$4000 for ones in good condition. More unusual baskets
command even higher prices. A unique, rectangular-shaped Reyes, fashioned
with an ivory top and clasp recently brought $11,000.
When analyzing an antique basket, the first consideration, as in any work
of art, is whether the piece is aesthetically pleasing. Visually, the
basket is determined by the shaping of the mold on which it was made.
Did the basketmaker fashion a mold with an attractive shape, a pleasing
curve? Are the widths of his staves in proportion to the size of the basket?
Are they placed closely together, far apart? Were his staves held straight
as he wove? Did he take pride in a well-carved set of narrow, graceful
rims and an attractively carved and proportioned handle? A myriad of details
go into what makes us see one basket as a beauty and another as an albeit
charming but less perfect vessel.
A warm rich patina adds beauty and value to an old basket. One signed
by its maker is indeed a find, but is also a rare occurrence. Most nineteenth
century baskets made aboard the lightship were not signed. If a name is
present, it is more often that of the basket's owner rather than its maker.
After the turn of the century, however, signing the baskets became a more
common practice.
Several books can assist you in learning more about lightship baskets.
Katherine and Edgar Seeler's Nantucket Lightship Baskets was the first
of its kind. Interestingly, the nest of baskets illustrated on its cover
sold a few years ago at an Osona auction for $50,000 – an unheard
of figure at the time. Another source is Lightship Baskets of Nantucket
– A Continuing Tradition by David Wood. This beautifully illustrated
little volume was written to accompany a Nantucket Historical Association
exhibition of baskets a few years ago. In addition, my Lightship Baskets
of Nantucket describes in detail the history of the baskets and –
if you are in the mood – gives detailed instructions on the construction
of your own lightship baskets. All three volumes are illustrated with
a variety of photographs which enable you to become familiar with the
look of an authentic piece.
Additionally, for those wanting to learn more about this unique form,
a new museum will open its doors on Nantucket in July. For the past few
years, a coterie of islanders has worked to raise hundreds of thousands
of dollars to establish The Nantucket Lightship Basket Museum. Concerned
that this important part of Nantucket's heritage had no comprehensive
exhibit on the island, the group has purchased an old home on the corner
of Francis and Union streets to house their display.
One of the prime movers behind the museum and the current president of
its Board of Directors is Rafael Osona. He describes the effort as a grass-roots
endeavor that has galvanized the efforts of a wide variety of residents
and associations on the island. For example, not only has the house itself
been completely renovated for its new purpose, but the Nantucket Garden
Club is planning a garden true to the layout and floral varieties of an
early nineteenth century island garden. The family of Jose Reyes plans
to lend many of the lovely molds on which he wove his baskets, as well
as two, one-of-a-kind pieces which he created for his wife and which have
never been seen by the general public.
In addition to a wonderful assortment of antique baskets, contemporary
baskets will be displayed as well. A highlight of the exhibit will be
a demonstration corner where one of a rotating series of basketmakers
will always be working on an ongoing project.
As Nantucket's "rattan basket" enters the third century of its
existence, it continues to be increasingly appreciated for its beauty
and its island legacy.
Martha Lawrence is the author of Lightship Baskets of Nantucket available
from Schiffer Publishing, Atglen, PA. She crafted all of the contemporary
baskets depicted in this article.
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