There
are four criteria for evaluating the authenticity
of an antique. The first consideration should
be design and style.
Does a piece have the style characteristics of
the 17th, 18th or 19th centuries? Add to that
whether the style period had a later revival that
could be confused with the original period.
If the piece is a later reproduction, does any
part of it appear to be uncharacteristic? Craftsmen
will often include almost unconsciously, stylistic
elements of the period they are working in when
copying a piece.
The second criteria in evaluating a piece is construction.
Methods of construction are associated with specific
historical periods. All of these methods can be
found in modern hand-made furniture, but almost
never in mass produced furniture -not even in
expensive furniture. It is possible for a person
to copy a historic style using all the correct
methods of construction. However, it is unlikely
that he will not incorporate some modern labour
saving devices.
The third criteria to be applied is that of age,
wear and type of hardware properly associated
with the period of construction.
This
type of hardware includes the nails, brasses,
pulls and hinges employed in a piece of furniture.
When you incorporate in your examination the telltale
signs of age, wear and type of hardware added
to the style and construction, you have the basic
method of antique authentication.
This is the basic method, but no method is foolproof.
Museums have been fooled and experts have been
fooled but there are few expert fakers of this
quality. The cost of
their forgery limits it to a very small part of
the antique market. The constant and practiced
use of authentication will result in the detection
of most forgeries.
The fourth and last criteria is a sixth sense
which comes from years of experience in dealing
with antiques. This intuition, or whatever you
choose to call it, is a sense that tells you when
a piece meets the style, construction and wear
tests, but still leaves you with the uneasy feeling
that something is wrong, if this is the case,
then perhaps it is best to decide against it.
The
application of all or any of these criteria must
be directed by logic and common sense.
Common sense is the best tool in the arsenal of
the antique collector. This is especially true
with regard to questions of age and wear. If there
is an upholstered armchair in the living room,
the most likely part to wear-out first, is the
forward part of the arm where people rest their
hand, and then proceed to rub and fidget with
that area as they sit there, usually unconscious
of what they are doing.
If the chair is wooden and has arms, and is over
100 years old, the arms will he worn satin smooth
by friction and hand oils. If they are wooden
kitchen chairs with leg stretchers, the front
stretcher will be worn in the center from feet
resting on it. If you take the drawers out of
an old chest of drawers and examine the bottom
of the drawers, you will see wear grooves from
constant use.
Of course, many people rely on the reputation
and expertise of a reputable antique dealer when
making a purchase. This is not a bad idea if you
are not that experienced and unsure of your ability,
particularly when it comes to a major investment
- even if it appears to be just a 5 cent cigar
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