To Refinish or Not to Refinish

To Refinish or Not to Refinish

By Martin Willis

There has always been controversy on when someone should refinish on old piece of furniture and when they should leave it be.

I did antique restoration and the refinishing of mostly oak back in the “golden oak“ days. My opinion always was, if it is not a period piece, and it is machine made, then it does not matter if it is refinished or not. That was many years ago and I have not touched sandpaper to wood for a long time. In hindsight my thoughts about refinishing were rather narrow-minded.  Just because something is machine made does not mean it cannot be or cannot become important. A hundred years from now, someone may be cursing me for all the refinishing I have done, so I will apologize now in advance.

Luckily, no one ever asked me to refinish a nice arts & crafts piece, however it does seem like the majority of these pieces are not in original finish.

I had a restoration shop when I was in my early 20s for about ten years. I bought a plain oak lamp table at my father’s auction for $10 for display purposes. It had a horrible water stained top and the finish was flaking off. I sawed it in half, refinished one side of it and braced it back together. I put this piece in my showroom so I could display the before an after of my work which was night and day. Not long after the table appeared a crusty old New Englander came in my showroom and started yelling at me for sawing the beautiful table in half. I simply pointed at the original condition side and asked him what he would pay for the table if it looked like that.

Original surface is a big deal on period furniture and I would strongly suggest to my clients that they not refinish period pieces. My best friend’s wife asked me to refinish a period Boston Chippendale desk they inherited in original finish. She was complaining that the finish was dry and crusty (just like the purists like it). I refused to touch it and told her there were other options, unfortunately she went to the phone book and someone else did the deed to my dismay. It was a horrible polyurethane job, shiny as can be and rough to the touch. There were orbital sander marks covering the whole piece.

If you just cannot live with a finish the way it is on a period piece, then you can have it French polished. French polishing is done with a finish amalgamator that is basically blending the finish into itself and then finally rubbed down with pumice. It creates a beautiful luster finish out of the original that is soft to the touch.  It takes a lot of time and patience to do the job correctly. A person who is skilled at this procedure can be in high demand. For instance, I was in a home of a collector with beautiful period pieces, all of which were wonderfully French polished. I had a piece in mind that I wanted to have done and I asked her who did her polishing. She thought for a minute and said that she was sorry, she could not tell me. When I asked her why, she said that she did not want him to have too much work otherwise, she would have to wait too long to get her work done. As you can guess, she is a hardcore collector. While I am on this subject, I have an upcoming podcast with a very skilled restorer so named Tony Cardona. We will touch on that subject among other facets of restoration.

I still say there is a time when to refinish something and here are my humble opinions. 1. If a piece is painted that was originally finished. 2. If the finish is flaking off down to bare wood. 3. If there is water damage and the finish is totally destroyed.

Contemporary durable finishes seem tempting, but you should only use the type of finish that was originally used on the piece when it was made. That can easily be researched online these days. You can use orange shellac for 18th century pieces, just remember, it does not hold up to water.

Now let’s touch on painted surfaces of period pieces. Nothing is more desirable to a collector then an untouched original painted surface. I saw a situation at auction with a pair of fine chest on chests, one in original mustard color paint and the other stripped and refinished. The mustard color one sold in the six figures because of the remarkable surface. The twin that had been refinished sold for under $20,000. I ask of anyone reading this, if it is period pieces in original painted surface do not touch it with anything. If you think it is dark, or you would rather see it refinished and shiny, do the collecting world a favor and sell it to someone that appreciates it just the way it is.

If you are going to have a piece worked on, I would suggest taking it to someone that has a great reputation among antique dealers. You do not want a period Boston desk refinished in polyurethane.

As a former refinisher, I can tell you that there is nothing like a nice original finish on a great piece.  Now I am finished talking about finishes, thank you for reading!

How to Discern Period Furniture vs Centennial or Later

How to Discern Period Furniture vs Centennial or Later

by Martin Willis

This editorial is about American furniture, I may write at a later time explaining how to tell the difference between Period American and English Georgian furniture of the same era. When I speak of period furniture, I am referring to pieces that are considered traditional styles of design constructed in the Colonial through Federal era, between 1730-1810 such as Queen Anne, Chippendale, Sheraton, Hepplewhite, Duncan Phyfe and Federal furniture. Following this era was American Empire 1815-1835 , then Victorian 1837-1901 of which machine made furniture began in 1840.

Centennial furniture was born in the traditions mentioned above debuting at the 1876 International Centennial Exposition in Philadelphia. There was a nostalgia for the developing years of our country and the pieces became in high demand. This was in the midst of the Victorian Renaissance Revival styles mostly of walnut adorning the homes and parlors of the nation.

After the Centennial era, Colonial through Federal styles have had many revivals up to the present day.

Period American Sheraton 2 drawer work table

Let’s start out by talking about a side-by-side comparison of a Sheraton two drawer work table.

They made a vast amount of Federal Era Hepplewhite and Sheraton style side tables. Yet they made even more Centennial era and later pieces in the same styles. Side by side in a home, even after many years, I can sometimes not tell the difference until I closely examine the piece. Like most furniture, it is the underside that tells the truth. What you are looking for is handcrafting and age compared to machine made with less age.

Centennial Sheraton 2 drawer work table

Before you tip the table upside down, pull out one of the drawers and turn it over. On a period piece, you should see what is called a chamfered edge. It is a thick board planed to a wedge that fits in the bottom slots of the drawer. Now you want to look at the dovetail edge of the drawer. The best thing I can do is show you images of both machine dovetailing (which is uniform) and hand dovetailing.      Note: click any image to enlarge.

Hand dovetailing
Machine dovetailing

On hand dovetailing, often you see the marking scores that were used to lay the dovetailing out. Not only is construction a good way to tell a period piece, but also there should be age oxidation.  Over time wood develops a dark natural look, mostly where it is exposed to air. I have seen an early high chest that had poplar secondary wood with very little oxidation where the drawers had dust divider panels, so there are exceptions. It made me suspicious and keep in mind being suspicious is a good thing when examining pieces. I always think guilty until proven innocent.

Period oxidation (card table)

Now take the table, and turn it upside down, preferably on a carpet or blanket. You should see areas of oxidation. The inside the top should be attached by screws. Take a flashlight and look to see if the screw countersink holes appear to be made by hand with a chisel or machine drilled. Now look at the screw heads inside the holes, in particular the slots. If the slots are not perfect in the center, you have a good shot it may be a period piece.

Period screws

A Centennial piece (and later) will have machine drilled countersunk holes and screw that are slotted perfect on center.

If you have an early table with turned legs, grasp one and turn your hand slowly back and forth. You should be able to feel a slight oval shape. Wood shrinks over time across the grain. Centennial and later pieces have much rounder turnings than period pieces.

I always look at the bottoms of feet on pieces to look at age as well. It is hard to explain what I am looking for other then wear and age.

You will never see band saw work on a period piece and you will rarely see perfect uniformity of construction on the underside of a period piece.

I will offer another tip a little off track to this subject. If you are convinced you are looking at a period chest on chest, or any two-part piece, you want to make sure the two parts belong together and were not “married”. Two ways to tell are, make sure the backboards are matching (color and tooling) and then stand to the side of the piece.

Matching backboards

Pull a drawer from the top section and one from the lower section. Make a close examination to make sure the dovetail work matches on the two drawers.  If either the backs or drawers look suspiciously non-matching, you probably have a married piece.

If you are not a seasoned expert, there is no sure fired way while examining pieces for you to be certain, these are just helpful tips I have learned along the way.

We have been getting a lot of email these days and have enjoyed helping people identify antique objects & art. Feel free to send us images of your pieces.

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Happy hunting!

Trafficking of Cultural Property, Antiques, Art & Antiquities

Trafficking of Cultural Property, Antiques, Art & Antiquities

by Median1

There has always been a illicit market for looted and stolen antiques and history.

New York-based Conference of Jewish Material Claims Against Germany and the United States Holocaust Memorial Museum in Washington, D.C. recently released a joint press statement estimating that some 650,000 or more objects of art were believed looted by both the Nazi’s, the U.S. and allies from various museums and private collections throughout Europe. “Most people think or thought that most of these items were repatriated or restituted,” said Wesley A. Fisher, director of research at the Claims Conference. “It isn’t true. Over half of them were never repatriated.

That in itself is rather interesting historically speaking, however it only speaks to what obviously is merely a very small fraction of the items looted worldwide, a purported 6 billion dollar industry in just the last year.

Museums, dealers, collectors and auctioneers alike have long been aware of the underground black marketing of stolen and looted items. Traditionally wealthy collectors who were willing to pay a premium for unusual & rare pieces were blamed for the black market in stolen goods. Private treasures of the respected elite, to be hoarded, locked away and carefully guarded…for their eyes alone.Yet, in truth the modern looter, unscrupulous dealer and collector can no longer easily be categorized so simply. Shadowy dealing in dark alley ways is a thing of the past…In fact, archaeological theft apparently has gone corporate.

Here in America alone looters have long pilfered Native American sites in search of pottery, bones, jewelry, arrowheads and even carved pictographs. Newsweek recently stated that many archeologists when polled estimate currently that as high as 80 percent of former tribal lands have now been plundered in just the last decade. (Newsweek, Tony Dokupil July 19, 2010). In an era where an ancient sacred funeral pit can be simply dug up, pilfered and items sold for as high as fifty to sixty thousand dollars on the black market the temptation to loot a site, without regard is becoming unfortunately, common place.

Rarely do these Native thefts make news, for several reasons. Embarrassment is certainly one, tribal restitution another and certainly the exposure of the site. One of the recent few stories regarding this being in June were some two dozen people were indicted after a sweeping undercover investigation into ancient artifacts stolen from public and tribal lands in the Four Corners area.”According to the associated Press., there were around 300 federal agents that were involved in the arrest of both men and women ranging from ages twenty-seven to seventy-eight. They were all part of an underground network. (Associated Press, Mike Stark, June 11, 2009)

The problem has seen looters even paying rent on private property in order to dig without being caught. Unfortunately there is no law to prevent digging on private property.

The Las Vegas Sun Newspaper reported recently concerning a couple of men who were questioned and detained concerning the loading of artifacts into a car. An observant ranger witnessed what they were doing leading to the recovery of more than 11,000 relics.

Another recent recovery was in February when a man was briefly held and an ancient pre-columbian figure seized at the Oakland Airport. The item recently returned to the Mexican government, which made news.The passenger claimed he found the artifact in Ameca, a rural city in the state of Jalisco in western Mexico, but there were some “inconsistencies” in his story, U.S. Customs and Border Protection spokeswoman JoAnn Winks said.

She further went on to say that the man was not detained but agreed simply to sign a form relinquishing property rights to the item. Sure. And there it is…Inherently, that is the problem…large profit and a mere slap on the wrist…if your caught.

As mentioned previously, globaly, it has been estimated as high as 6 billion dollars annually trades hands in the illicit trafficking and dealing of illegal artifacts. That figure does not even factor into consideration the above mentioned stolen art, found relics , or those that were stolen and now on the market from previous years . That is an absolutely staggering figure!

In its 2005 publication, the National Crime Record Bureau (NCRB) went so far as to officially state that of the mere 1,012 reported theft cases; only 326 stolen antiques were recovered. Strangely enough, again, apparently when thefts do occur of antiquities they rarely are reported.

For example: the Archaeological Survey of India (ASI) which is responsible for archaeological studies and the preservation of archaeological heritage of the country in accordance with the various acts of the Indian Parliament. According to its website, the ASI’s function is to “explore, excavate, conserve, preserve and protect the monuments and sites of National & International Importance.” The ASI provided data for only 13 thefts from inside Centrally-protected monuments during 2004-2006. The difference in data between the NCRB and the ASI certainly strongly suggests that not only is no protocol being regularly followed for registering of art thefts but further that no interagency cooperation exists.

Of the many artifacts & items stolen yearly, most will eventually find their way onto the conventional antiques market…including auction houses and online internet sites.

Recently the former director of a Long Island museum was convicted of stealing Egyptian artifacts from the institution’s collection of which were later sold through Christie’s. Among those items furnished to Christie’s was a bronze
statuette depicting Apis believed to have dated 712 to 332 B.C. http://www.nypost.com/p/news/local/li_m … z13BuwWl00

With an ever expanding web presence, one has nothing more to do these days then go to ebay where some 300,000+ purported antiques, documents & antiquities flow freely weekly. Certainly of those listed online that are authentic, some experts claim 30% or higher are easily estimated at being illegally obtained. Ebay’s reaction to the problem was this release “The sale of stolen property is strictly forbidden on eBay” followed by this description…”Stolen property includes items taken from private individuals, as well as property taken without authorisation [sic] from companies or governments. :roll:

Obviously, ebay cared so greatly as to not even bother to proof their own formal press release. If that were not so appallingly pathetic a statement of fact, it would be simply humerousus [sic].

For those dealers/collectors that are not already aware of stolen art and related online data bases, here are a few sites that may hopefully help prevent the accidental marketing or purchasing of such items (including Nazi plundered art and antiques).

If any other members have links to add, please do feel free.

http://www.interpol.int/Public/WorkOfArt/Default.asp

http://www.museum-security.org/

http://www.artloss.com/

Holocaust survivors and their relatives, as well as art collectors and museums, can now go online to search a free historical database of more than 20,000 art objects stolen in Germany-occupied France and Belgium from 1940 to 1944, including paintings by Claude Monet and Marc Chagall.
Database of Art Objects at the Jeu de Paume: http://www.errproject. org/jeudepaume http://www.worldjewishcongress.org/en/news/9624

Country Auctioneer in the City

Country Auctioneer in the City

by Martin Willis

Back around 1983, I was working with my father at his auction gallery in Eliot, Maine. It was a small, regional auction house called Seaboard Auction Gallery. We had auctions every few weeks on Thursday evenings. There was always a huge crowd of buyers and it was a nice social event. We were one of the few auction galleries operating in the area at that time, and our consignments came from local estates and homes. The phone always rang and we had our hands full. Now, the seacoast area is inundated with auctioneers and the pie is sliced rather thin these days.

Click here to read the rest of the story.

Denying History…Taboo Antiques & Collectibles in a Steadily Growing PC World

Denying History…Taboo Antiques & Collectibles in a Steadily Growing PC World

by Ron Lawson

Recently, I was given Mark Twain’s autobiography which was followed that same week by the news that a newly-released version of “The Adventures of Huckleberry Finn” will substitute the word “slave” for the original N-WORD. All of which lead me to an early recollection…and as is my nature…a debate.

I was raised in the Southwest within a reasonably good, religious, upstanding & moral family. A family that prided itself on its kindness, generosity and understanding. While not being a Leave it to Beaver home, it is what some would consider a fairly typical middle class American upbringing.

My grandparents had a large home with a library, my grandfather a physician who maintained an extensive collection of medical books going back to the Civil War, my grandmother being deeply religious with an extensive collection of innumerable gospels and related books.

I can remember being about 6 years old one day while skimming books in the library and finding a small, somewhat out of place little book wedged between an odd John & Peter or Syphilis book. It was an old children’s book (obviously far out of it’s element) so I picked it up. It was about a small boy named Sambo.

For those too young to recall the book, it finds a young Tamal boy who encounters four hungry tigers, and must surrender his bright new clothes, shoes, and his umbrella so the tigers will not eat him up. The tigers proceed to chase each other around a tree until they are all reduced to a mere pool of melted butter (okay, “War & Peace” it is not).

The book, published in 1899 by Helen Bannerman, was titled “Little Black Sambo”. The boy eventually recovers his clothes and his mother makes pancakes of the butter. The story was a children’s favorite for over half a century until the word Sambo was deemed a racial slur by many, the illustrations considered stereotypical, this after Langston Hughes criticized the book as depicting a “pickaninny” which was considered hurtful to black children, and gradually the book disappeared and was banned from lists of recommended stories for children. The book still on several banned books lists.

At the time I read the book “Little Black Sambo” I obviously had no comprehension of the controversial nature or collectibles that would latter be coined as Racial, Black Americana or Jim Crow Memorabilia. It did not bear on my mind or corrupt my soul, however it apparently embarrassed my grand parents who promptly snatched it away and hid the small cloth bound book.

There had been other previously written racially related taboo books, yes…such as 1939’s Agatha Christie mystery novel originally titled “Ten Little N-WORD”. Okay…yes, (let’s get it over with) the dreaded “N-WORD”….you should by now however be very familiar with it’s commonly applied Politically Correct use.

The title Ten Little N*****s was promptly changed because of the last word of the title obviously being a derogatory term for a black person, and in the United States by Dodd, Mead and Company in January 1940 was re-released under the title “And Then There Were None”. In the novel, ten people, who have previously been complicit in the deaths of others but have escaped notice or punishment, are tricked into coming onto an island. Even though the guests are the only people on the island, they are all mysteriously murdered one by one, in a manner paralleling, inexorably and sometimes grotesquely, the old nursery rhyme, “Ten Little Indians”.

It is Christie’s best-selling novel with 100 million sales to date, making it the world’s best-selling mystery ever, and one of the most-printed books of all time (Publications International lists it as 7th most-printed). It has since been adapted into several plays, films, and even a video game. Ref. Wikipedia®

In 1996, illustrator Fred Marcellino produced a re-illustrated version, The Story of Little Babaji, which changed the characters’ names but otherwise left the text unmodified. This version interestingly also became a best-seller.

Outside of books, numerous items such as slave collars, shackles, sale tags, sale/ownership documents, cast iron banks, cookie jars, advertising, photography and innumerable other items can and often do evoke a very powerful experience of the great extent to which such racist items permeated white society. Just about anything imaginable was mass produced, often embellished with a wide eyed black face having exaggerated features, or a catering overweight woman wearing a head scarf.

Example: Many of us are familiar with the classic cast iron mechanical bank depicting the stereotypical black gentleman raising his hand to his mouth. The oft and ill titled “Jolly N-WORD” or the “N-WORD Hair Tobacco” tins or the many Aunt Jamima collectibles.

That being said, most collectors of black Americana are in fact African-American. Most notably recognized celebrities such as Bill Cosby, Whoopi Goldberg and Oprah Winfrey, have all stated that they draw strength from such items because the antiques are symbolic of the struggles of their ancestors. It’s necessary to see that and to know we were once that kind of society.

So, that begs the question…if it is appropriate to not deny the history of an item (regardless of the obvious emotional affect), is it then not appropriate to use the correct title of that item? What is allowable and by whom?

Certainly, merely changing a title or calling an item by another name does not take away from what it is or that era’s use of such stereotypes. It is what it is…bit’s of our history and regardless of the amount of modifying it, can or should it ever be so easily disarmed and changed?

Who’s allowed to propagate or use these terms in regard to collectibles, when therefor is it acceptable or inappropriate? Do you or should you have to be of a certain demographic or race to use the correct title?

Native Americans have equally & as long been negatively depicted and associated with such products & items of a derogatory nature. There oddly however is a hubris to the sensitivity, a lack of refrain. Such items as cigar store Indians, squaw items, mannequins and products with such names as “Red Indian Oil”, “Running Indian” “Savage Arms”, “Red Man Tobacco” many of these items are still freely marketed including those for more then one sports team.

WWII items…A French judge back in 2001 ordered Yahoo to block French users from seeing listings of Nazi merchandise on its auction pages and said he would fine the company 13,000 (£9,000) each day it failed to comply. (Associated Press May 2001)

Does that make an item less relevant, sought out or historically unimportant?

No. The divide between each of us regarding these relics can be dramatic and certainly emotionally heated. This article does not presume to give advice on appropriateness or lack thereof. I have profound compassion of those feelings which these items do evoke. There is however a certain blindness, an inequity and yes even ambiguity prevalent in our society. The suppression of an item does not mean it does not exist, no more then the myth of an ostrich burying it’s head in the sand will prevent it’s being attacked.

As with any collectible, racial and military items all have and impart something that recalls a moment in time, a place or even tragic events. It is our history, we as a people created it and regardless of how ugly some of that history may be, it cannot be denied or devoid of it.

Identfying The Borden Limner Fire Buckets

Identfying The Borden Limner Fire Buckets

A story about a Portsmouth, New Hampshire artist,  John S. Blunt (1798-1835)

by Martin Willis

I came from a town right outside of a small New Hampshire historical harbor city, Portsmouth. It was first settled in 1630 and has wonderful early brick architecture and early wooden homes and structures. It is a treasure trove of regional antiques of all sorts. There are many renowned pieces originating from Portsmouth, including exceptional furniture in the Colonial & Federal era. My father was lucky enough to buy a historical waterfront home that was built in 1672. When he bought the property, it was loaded full of period antiques, which he sold at auction for the owners for a whopping $40,000 in the early 1970s. That was a very big auction then. To compare the scale of it, my father bought the real estate for $30,000.

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