GOLDEN RULES FOR COLLECTING ANTIQUES

TOP TEN GOLDEN RULES FOR BUYING AND
COLLECTING ANTIQUES.
(Part 2)

6. My sixth rule is to do with the condition of an item and the likely cost implications of any repair or restoration necessary to bring it up to an acceptable standard. Try to buy objects that are in as good a condition as possible and be very careful of the wording in the catalogue description if the item is an auction lot. Lookout for words in the description such as, 'after' so-and-so in design, or 'in the style of...', or 'similar to...'. These distractions confirm any suspicions that the item is a fake, possibly a forgery and at the very least, not original. These are areas of the Trades Description Act that are not open to interpretation and the way an item is described must be real and true. Nevertheless, note that unless you build into your own price estimate the likely cost of restoration, you could easily end up spending more for the item than it is worth, even at resale. This is why the research you do on an item will never be wasted time. The old saying "Caveat Emptor" - let the Buyer Beware, is never more true than in the antiques world!

7. As a side note to rule six, while Caveat Emptor has a long history in common law, I quite like the new Consumer Rights version, Caveat Venditor. Literally meaning Seller Beware, the saying purports that the Seller is much more knowledgeable about an item (after-all he/she did buy it with the likely prospect of making a profit and so it may be assumed knows more about it than the prospective purchaser) and therefore must bear responsibility for protecting an unwary purchaser. Whilst there may be a certain poetry about the idea, don't rely on it when you realize you've bought a dud.
So rule seven can quite legitimately recommend that you buy items that are well made, have a fairly easily proven provenance, and are representative of the time in which they were made.

8. It's always tempting to 'go with the flow' and buy things that are in vogue at the moment. The trouble is that that is the trouble. A vogue is now, not yesterday and certainly not tomorrow. Rule eight is about not following a fashion, paying the inflated price of that fashion and watching the price fall as the next fashion takes over.
I've lost track of the number of times you see an item on a TV program, such as The Antiques Roadshow, or see a glossy picture of a fine piece of pottery in the Millers Annual Antiques Guides, only to come across it, or something similar, at an antiques fair and with a price tag twice its actual value, just because it's 'in vogue'. Some even have the audacity to advertise the item, "As seen on Antiques Roadshow", as if that justifies the exorbitant price. The fact is, some unlucky person will be suckered in and regret it in fairly short order.
Self preservation and instinct will serve you better if you stick to your own area of expertise.

9. Rule nine? Always, always, always ask and obtain a proper receipt. This is not only useful to establish ownership, it may be necessary for probate, the tax office, your insurance company or the police may want it should, heaven forbid, the item ever get stolen. Your receipt will need to contain the following information: (a) The date. (b) The complete name, address and telephone number of the seller. (c) A full and complete description of the item ('a pair of candlesticks' isn't good enough!) (d) Whenever it's important, make sure any damaged or worn areas are also noted and also the date estimate of its origins (i.e. circa 1895). (e) And finally the price you paid. You should also note for yourself the method of payment, credit card, cash, or cheque.
Mostly, an auction house or antique shop owner will give you most of this information without asking. Your main problem will be at 'car boot sales' or 'antique fairs' where stall owners all to often turn up without a proper receipt book or even a piece of paper to write any sales on. Take your own paper and get them to write it out, or you write it out and get them to sign it. At car boots sales, I even surreptitiously write down the registration number of the car driven by that table owner. Believe me, you'll be glad you took the trouble one day!!

10. My last rule is simple; Only ever buy something you really, really like!

Author: Phil Chave
URL: www.antiquecollector.uk.com

Assessing Furniture Quality

Is it worth saving?
With any piece of furniture, the practicality of refinishing eventually comes down to one question: is it worth saving? Once you've found a piece you like, and decided what it is, look at it again to see what kind of shape it's in. Most old furniture is fairly sturdy, or it wouldn't have survived; but chances are it's also taken a beating over the years. Are the legs even? Is the piece sturdy? Does it wobble? Do doors and drawers work properly? Are the joints well made, and have they separated?

Assess the amount of work you'll have to do to restore the piece. Is hardware complete and tight? Are hinges adequate? Are drawer guides or dust panels missing? Is the wood covered with many coats of paint? If the piece of furniture is in fairly good condition, or if it's definitely an antique, it will be worth your time and effort to refinish. If the wood is broken or badly damaged, there are parts missing, or the joinery is inferior, don't waste your time unless the piece is an antique.

How bad does the damage have to be before it makes refinishing impractical? This depends on how much work you're willing to do, but there are a few guidelines for decision-making.

First, look for dry rot or insect damage. Dry rot cannot be repaired; the rotted component must be replaced, and this is a custom job. Insect damage, if the entire piece of wood is not affected, can sometimes be repaired; if this is the problem, restoration may be worth the effort. To check for dry rot and insect damage, push an ice pick or a knife blade into the wood. If there's little or no resistance, the wood is damaged.

Broken parts are sometimes repairable, but not always. If a part is split or wobbly, it can probably be repaired quickly. If it's broken off flush at the joint, the job is more difficult, because a replacement part must usually be custom-made to match the rest of the piece. This can involve expensive equipment or a professional woodworker, and the piece of furniture may not be worth the cost or the effort.

On veneered pieces, the condition of the veneer is very important. Has the veneer separated from the base, or is it damaged? Are there big pieces missing? Separated veneer is easy to reglue if it's intact, but replacing damaged or missing veneer can be expensive. If a large section of veneer must be replaced, the cost may be prohibitive.

If the piece is structurally sound, don't be discouraged by repairable problems. Wobbly joints can be re-glued; missing hardware can be replaced. Coats and coats of old paint, lacquer, or shellac may be concealing beautiful wood -- walnut, cherry, oak, birch, maple. If you like the piece, if it's worth saving, and especially if it's an antique, refinishing is worth all the time and patience you'll put into it.

So do your homework and learn what is and isn't an antique, what are the basics of style, and finally, whether your antique is worth even saving before you invest the time, money and energy to get the job done.

Older Furniture Styles

Older Furniture Styles

Most old wooden furniture you will encounter, most likely, will be either traditional English or American Colonial styles. Let's review the special characteristics of both popular types.

Basic English Furniture Styles
The following criteria will help you determine if your old furniture is an English-made antique.

Queen Anne
Early 18th century
Woods used: Walnut, also, cherry, mahogany, maple and oak.
Description: Graceful curves, curved (cabriole) leg, with no rungs or stretchers; minimal decoration, very simple; scallop-shell mount.

Georgian Chippendale
Late 18th century
Woods used: Mahogany
Description: Elaboration of Queen Anne; ornate carvings, either delicate or bold; many themes, including rococo, English, Chinese, Greek classic; intricate chair backs.

Georgian Adam
Late 18th century
Woods used: Mahogany
Description: Straight, slender lines; heavy Greek classic influence; fluted columns; delicate low-relief carvings, especially draped garlands.

Georgian Hepplewhite
Late 18th century
Woods used: Mahogany; satinwood inlay/veneer
Desscription: Based on Adam; straight tapered legs; shield- oval-, or heart-shaped chair backs; less decoration; delicate carvings.

Georgian Sheraton
Late 18th century
Woods used: Mahogany
Description: Similar to Hepplewhite and other Georgian styles; straighter, more upright lines; Greek classic influence; lyre-shaped chair backs; inlays and thick veneers.

Regency
Early 19th century
Woods used: Mahogany
Description: Simple, bold curves; smaller scale; more functional, more intimate; colors used.

Victorian
Late 19th century
Woods used: Mahogany, walnut, rosewood
Description: heavy, massive, substantial; dark finish; clumsy dessign; ornate carvings and decorations; marble tops used.

Basic American Furniture Styles

The following criteria will help you determine if your old furniture is an American-made antique.

Early Colonial
17th century
Woods used: Pine; birch, maple, walnut
Description: Hybrid of English styles; square lines; solid construction; heavy decoration and carving.

Late Colonial
18th century
Woods used: Pine; mahogany
Description: Imported wood; interpretations of Queen Anne and Georgian styles; formal. Windsor chair.

Federal
Early 19th century
Woods used: Mahogany, cherry
Description: Interpretations of Georgian styles; Duncan Phyfe variations of Sheraton style; some French influence; heavier versions of English styles. Boston rocker, Hitchcock chair.

Pennsylvania Dutch
Late 17th to mid-19th century
Woods used: Maple, pine, walnut, fruitwoods
Description: Solid, plain; Germanic style; colorful painted Germanic decorations.

Shaker
Late 18th to mid-19th century
Woods used: Pine; maple
Description: Severely functional; no decoration; superior craftsmanship; excellent design.