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ОглавлениеChapter III
Restoration and Fakes Where the Fine Line is Drawn
Spurious specimens and fraudulent practices are by no means of epidemic proportions; no more so than in any other field of collecting where valuable items are offered for sale. The collector is cautioned to be aware that in the antique arms field there have been, and continue to be, a certain number of unscrupulous individuals eager and willing to dupe the unwitting, the unsuspecting and the careless. Buyer ignorance and avarice are both dangerous where high values are concerned. Nefarious individuals have been active since the beginnings of the hobby, and new crops do come along. One of the earliest American periodicals devoted to this hobby, the Magazine of Antique Firearms, in its August, 1911 issue, discussed the widespread practice of making bogus antiques of all types, arms included, and looking “...upon the people of the U.S. as their best customers.” True, such fakery was in all likelihood confined to European firearms, not becoming a cottage industry on U.S. shores until years later concurrent with the increased interest and value of American antique guns. If studies were made and graphs plotted, the lines reflecting the increase in values, the increase in collector numbers and the increase in forgers would merge. Fortunately it may be said that the good guys outnumber the bad guys by far, but forewarned is forearmed.
Gun clubs and organizations over the years have drawn codes of ethics and conduct applicable to both collectors and dealers. The most widely known is that of the National Rifle Association, reproduced in full at the end of this chapter. These codes generally identify practices relating to gun collecting that are considered unethical as well as general practices of unethical business behavior; the latter are for the most part relevant to any type of business transaction and not necessarily peculiar to arms collecting. These codes are both well intentioned and indisputable for their moral tenets. Although they function as guideposts and are observed (often in varying degrees) by most of the collecting world, a certain element exists who is either unaware of these codes—or would like to be. An honorable person would conduct himself according to the code while someone with larceny in his heart would ignore the rules whenever possible. A few comments should be made regarding codes in the light of reality; in other words, not what people should do, but what they in fact do! The reader should be aware that some recommended ethical practices are infrequently followed. Two especially flagrant examples are: (A) A marking under the stocks or elsewhere to indicate both date and nature of work performed when antique guns are either refinished or modern engraved; (B) Indication by a seller to a buyer that a piece has had “legitimate” restoration or completion of missing parts. In item A, it is rare to have a piece so marked, and the removal of such markings at some future date is a simple matter. In item B, a seller often advises a buyer that a piece has been restored, and to what extent; however, that story is usually watered down in the course of trades and sales down the line to the point where it is completely forgotten, overlooked or omitted in time. Thus, although the ethical practices of codes are worth following and often are, in the reality of gun trading certain rules are subject to abuse. Gradually or quickly as a piece changes hands, no one will remember exactly what happened, and it is very much up to the eyesight and judgment of the buyer to spot any inconsistencies on his own.
Following a code of ethics is a most worthy objective, but the buyer should always remember that he may be traveling in perilous waters. He should take nothing for granted, and rely on his own basic instincts, common sense and better judgment.
An absorbing book by a highly respected arms authority and one heartily recommended to all collectors interested in detecting fakes is How Do You Know It’s Old? by Harold L. Peterson. Covering a wide range of interests, with a wealth of material on antique arms, it lays to rest many of the oft-quoted conundrums of collecting circles when trying to justify a questionable piece, e.g., “...it couldn’t be a fake; nobody could spend all that time necessary to produce that and make any money,” or “...I know this has to be old because of the circumstances under which I acquired it.” The collector would do well to familiarize himself with the Peterson book, and may save considerable grief and money by absorbing a number of the finer points discussed.
Also worthy of the collector’s attention, as it covers not only the foregoing subject but much of what follows here as well, is 331 + Essential Tips and Tricks; a How-To Guide for the Gun Collector by S.C. Mowbray (see Biblio.)
What constitutes an ethical or “legitimate” restoration and differentiates it from an unethical or “illegitimate” one is quite debatable indeed. The subject begs for accurate definitions, yet constantly evades them. Not a few attempts have been made. Many of the definitions of “legitimate” restorations have apparent validity, but all seem to be the reflections of personal tastes of the interpreter. To further complicate matters, what is “legitimate” and what is not has had some change over the years. In current day practice certain restorations formerly thought “illegitimate” have acquired an air quite the opposite. An evolutionary process is at work as far as acceptability is concerned.
Bear in mind that almost anything man has made, another can reproduce or duplicate. Our intent here is not to philosophize about such practices nor suggest more codes condemning them, but rather to advise the reader what to expect by pointing out a few of the more obvious violations and how they might be detected.
The basic tenet which follows has proven itself valuable on countless occasions and is one which the author personally subscribes to and recommends: If in doubt, if a piece looks wrong or has something about it that you cannot put your finger on, if it just does not add up in your mind, the chances are the gun is wrong—pass it by. Very likely a few good pieces may be missed this way, but the law of averages will prove the practice a sound one. The mere fact that in looking at a gun one has an uneasy feeling is usually sufficient to indicate something is wrong. Whether or not one can put his finger on these vibrations is unimportant; the worst one can do at that point is try to rationalize something that is bad into being good, and here’s where those old wives tales come into play like “...it’s got to be good because of where it came from” or “...no one would take the time to make that kind of fake” or “...the price is so reasonable it couldn’t be wrong.” Emotions may cause an otherwise astute buyer to become carried away, making excuses to rationalize very obvious telltale clues such as color changes, patina, signs of pitting, etc. If time permits and other known examples are available for comparison, there is certainly a good basis for verifying the piece thoroughly. Often when confronted with the challenge of a possible fake, one’s hopes of what one would like the gun to be takes precedence over good judgment. In other words, the buyer becomes his own worst enemy.
THE GREAT AMERICAN GUN SCAM
The story of the now infamous experimental Walker Colts may be found of interest, not merely as the author played a key role in their unmasking, but as an example of gullibility and poor judgement.
In 1931 a set of four unique, so-called experimental-transitional Colt Paterson-Walkers were featured in the catalog of a prominent arms dealer then offering a famous Colt collection. The revolvers, outrageous fakes fabricated by parties unknown, were subsequently sold for values equal then to what four fine Walkers would fetch on today’s market. By 1937 they were the subject of a small book devoted solely to their fabricated and supposed rarity (The Revolving Cylinder Colt Pistol Story 1839-1847 by J.H. Edgerly; see Biblio. Chap. V-B). They had become so well-accepted by the collecting world of the day that a respected arms historian illustrated and discussed them at length in his book Whitney Firearms (1946). In the 50s they reappeared on the cover of a well-known antique arms journal. The author acquired them when the owner’s collection was dispersed in 1972, and in his catalog that same year exposed them as fakes; the entire page of that catalog later reproduced in the widely quoted How Do You Know It’s Old. A few years following their sale as fakes and curiosities, the author was approached at an arms show by one of those characters that operates on the fringe of the collecting world. To his amusement he was given a tongue-lashing for ruining a swindle the fellow was about to close for those fakes, when his mark had somehow been shown the reprint of the exposé! The four revolvers had come full circle ...or almost.
The paths down which the expert restorer and forger have traveled are many. The subject is one which has been treated in print frequently over the years and is certainly worth a major study one day. Following are some points which the author has found to be the most pertinent in the matter of alterations. Some other factors involving restorations and fakes are beyond the realm of our coverage here, but are worth bearing in mind. These include such intriguing subjects as welding, brazing and barrel stretching (that is, restoring shortened barrels to their original length), altering guns from one model to another and reworking centerfire revolvers to rimfire models (as in a very few types of Colts and Smith & Wessons). The reader will often hear mention of using X-rays to detect certain types of fakes. This is an excellent method, but due to general inaccessibility and time limitations it is not utilized with any degree of frequency.
A note to bear in mind on polishing and refinishing: When confronted with a gun that has been heavily polished or has been entirely refinished, a danger signal should flash in one’s mind. Both of these features, although not indicating the item has necessarily been tampered with, should call for a closer inspection. Polishing and refinishing can conceal a multitude of sins. By removing the normal patina and aging of the gun, the faker can obscure various areas that might have been worked over and such arms should be closely inspected.
A. REFINISHING
Refinishing antique guns is generally frowned upon; in quite a few instances it actually detracts from value, resulting in a less desirable and less valuable item (even though good money has been spent for the refinish). The practice of making a relatively worn gun, or one that has been heavily used, look like new is rather incongruous, and the effect on the gun is quite the same. Any antique item, especially a gun, used, and no longer new, should look its age and stand on its own merits. Refinishing is akin to taking an 80-year-old man and dressing him in the clothes of a teenager. Such a gun is, of course, simply detected and, for the most part, has the same value refinished as unrefinished. However, the restored status has changed the weapon’s demand and desirability on the collectors’ market. Where a very fine conditioned piece has been clearly refinished in an attempt to fool a collector, the question of intent may be raised. Careful inspection should be given original finishes in all cases to ascertain their originality.
Examine the gun in a good, strong light (daylight preferably); should the finish be suspect, a few other areas require close study with a magnifying glass: (1) Look for scratch marks or especially light rust pitting underneath the finish. If either is present, in all likelihood the gun has been refinished. Prior to putting on original factory finish most metal parts are polished clean and smooth and are free of any rust pitting or tiny pockmarks. In almost every instance scratches and pits are acquired after the gun has had its original factory finish. (2) Look very closely at all edges and markings. In order to realize a quality refinish, the metal must be cleaned and polished thoroughly. In so doing some sharpness will usually leave the edges (most noticeable on octagon barrels), and the markings are often lightened or even partially worn away. With markings once sharp and deep, the edges of the die struck impression are quite often rounded and smoothed over. (3) On revolvers standard with roll engraved scenes on the cylinder, a very careful inspection of this feature should be made for sharpness and clarity. Any wear, especially if uneven, beneath a blue finish would clearly indicate the piece was tampered with and very likely refinished.
B. MARKINGS AND NUMBERS
Markings are critical features in judging rarity and value of an antique gun and should be carefully scrutinized. Numbers are equally critical, but only on specific makes of guns—not all. Room for wrong-doing exists in each area, and it may be generally said that the alteration or “improvement” of markings is usually done with the intent to deceive and possibly even defraud. The matter becomes rather hazy though, once the gun leaves the original wrong-doer’s hands and is traded down the line. Whether the original party who made and sold the piece told the next buyer what had been done is very much a moot point by the time the piece has been in general circulation and passed through a few hands. At that juncture the importance for the purposes of this book is not to comment on the gun’s unethical manufacture, but how the unsuspecting purchaser may detect those incorrect marks or numbers which considerably detract from value and rarity. An inexpensive pocket magnifying glass is an indispensable aid and should be part of every collector’s tool kit. Inspect all markings thoroughly; the more important they are for the gun, the closer they should be studied. Check for sharpness, depth and clarity. If the gun is heavily worn but the markings are sharp and clear, this obvious inconsistency indicates that some work has likely been performed. Markings should show the same even wear or rust pitting and corrosion found on the rest of the gun. Restamping or “freshening” the markings is not normally considered an asset or an improvement and most often will detract from the value. Worse still, any altering of markings to ones that never appeared on the gun is completely fraudulent.
Where remarking has been done with die stamps it will easily show up under a magnifying glass as inconsistent. In most cases where die stamps are used by forgers to re-mark or fraudulently mark a piece, they are single or individual dies, and the letters will appear quite uneven when magnified. The original manufacturers normally had stamps or rolls made on complete single dies which had a very even, regular appearance. It should be remembered, though, that the rarer and more valuable the piece, the more effort the expert forger will expend to fake it; thus, in some cases entire dies simulating those of the manufacturer have been made. Fortunately the use of these sophisticated dies is rare in comparison to the single stamp method. If the forger has freshened or re-marked the piece by hand engraving in a similar style to the original die stamp, this will quite easily show up under a magnifying glass; the consistency of the hand engraved markings are quite obviously different than those of the stamped markings. If well done, the hand engraved marks might fool the naked eye when not viewed closely, but are impossible to stand up under magnification.
Another investigatory avenue for the verification of authentic markings is any sign of age appearing within them, a detail seen best with magnification. If a gun has wear of any type, its markings should show the exact same percentage of wear and normal rust, pitting or corrosion, dents, scratch marks or mars of any form found on that same area of the gun proper.
The collecting world has been consistently warned about a few specific types of American arms which have been forged and regularly appear on the market. This book will call such pieces to the readers’ attention wherever possible. A few of the most notorious types are worth discussion here. Most often seen and most often written about is the Model 1842 percussion U.S. martial pistol bearing “Palmetto Armory-Columbia, S.C.” markings. Counterfeit dies were made by some unnamed forger to resemble the original markings for this model; the forger took the standard Model 1842 U.S. pistol with either Johnson or Aston markings; ground them off on both barrel and lock and then restamped these parts with the false Palmetto markings, afterwards aging the gun. Armed with foreknowledge and awareness, these arms are quite easy to spot. The dies do not match the original Palmetto markings exactly and, as is the case with most fakes, the faker cannot perfectly achieve the aged patina on the metal. To detect this latter feature, though, does take some experience in distinguishing between false and genuine patinas.
A second gun known to have had its marks counterfeited is the Model 1842 boxlock U.S. Navy percussion pistol bearing “Deringer - Philadelphia” markings. Here too the faker has had dies similar to the original made. By taking the more often encountered Ames marked 1842 pistols, removing the lockplate markings, and restriking them with the Deringer die, he has made a more valuable (if undetected) piece. Again, the key features to study are the sharpness of the markings, their consistency with the pistol’s overall condition and the patina of the metal. Of course, the very best method is to have a genuine specimen for comparison since spurious markings would not match the original when closely viewed.
A type of gun not infrequently seen with fake markings are the various sized Henry Deringer, Philadelphia, percussion pistols featuring agent/dealer barrel stampings. On these the lock and breech markings (of the maker) are usually genuine. Further discussion appears in the section pertaining to deringer pistols; the fake markings are normally detected in the same manner as on the foregoing Palmetto and Deringer types.
Serial numbers are critical with certain models and makes of guns while on others they bear very little importance. The most noteworthy make where serials play a prominent role is the Colt. Where serial numbers are required to match one another and are part of the valuation process, the stampings should be looked at very carefully. Numbers are subject to deceptive practices and alterations to improve value; a few fine points about them are worth noting. The subject has been discussed at length in the textual material accompanying the Colt section of this book, to which the reader is referred. This same discussion as it pertains to Colt is applicable to all other guns in which numbers are important.
C. ENGRAVING AND INSCRIPTIONS
In the areas of engraving and inscriptions the forgers have worked with considerable success for quite a few years. They have been especially prolific with fancy engraved guns while the inscribed presentation pieces have become more frequent only in recent years as historical specimens have acquired a greater degree of demand and significance. The presence of either fancy engraving or historic inscriptions (or both) adds considerably to the value of any gun, and hence, it is in both these areas that special care should be given in judging originality. It does take experience and practice to distinguish good from bad, and fortunately the majority of fakers leave telltale clues and are inept enough to allow for quick and easy spotting of their handiwork. As in any group of craftsmen (the word is used here loosely), there are degrees of talent; it is with the few clever, artistic workers that one must rely on the most expert eye to differentiate a bad piece.
A few basic details to check are: (1) The style of engraving. Some styles were not used in the period of manufacture while others are purely modern in form, shape and design and even appear incongruous on antique guns. The word style applies to both decorated and engraved guns as well as to the presentation or historical inscriptions on them. Several styles of lettering are purely modern in form and appearance and therefore could not be contemporary on antique guns. The study of known original specimens as well as considerable literature on the subject is helpful in determining background. (2) The wear and aging on either the engraving or the inscription should be consistent with the rest of the gun. Some engraved or inscribed specimens have been refinished, many of them in gold and silver plating. Remember, refinishes often cover a multitude of sins beneath, some of which can no longer be seen. When these refinishes appear on deluxe specimens, they should serve as a warning to inspect the gun closer.
D. RECONVERSIONS
The subject of reconversions often creates heated, emotional discussions. One such topic of debate is that of restoring flintlock guns that were converted (c. 1830s-1840s) to the percussion ignition system and have been returned to their original flintlock condition by gunsmiths in this modern era. The practice has its protagonists and its antagonists. Although reconversions are by no means thought unethical, it is strongly suggested and recommended that the fact of reconversion be made known by the seller. Ethical codes suggest an internal lock marking by the restorer to indicate such work. Only with considerable rarity has the author encountered a specific instance of such markings being made. As for disclosure to the buyer, that can be likened to the other repair and restoration work previously mentioned in which the whole matter becomes a moot point once the gun is in general circulation and has passed through three or four hands. By then whatever work was performed has either been accidentally or purposely forgotten, and the piece must stand on its own outward appearance. As with other restorative work— there are good workmen and bad workmen. A hack’s handiwork is quite obvious; and the majority of the pieces encountered are amateurish. It is with the work of experts that the buyer must be especially careful; quite proper it is to say that all flintlocks should be inspected closely.
There is no firm formula for pricing a gun that has been converted from flintlock to percussion. On U.S. martial handguns or longarms percussion conversions can vary from 40 percent to 70 percent of the price of the piece for the same model in flintlock; it is dependent on the relative rarity and demand for each individual model. With other types of arms such as very fine Kentucky rifles or guns of exceptional quality or possessing unique features, the fact of a conversion may affect value to a much lesser degree; each piece must be evaluated on its own merits, importance and special attributes.
The price differential between an original flintlock and a restored flintlock is often considerable, no matter how fine the job of restoration. But a reasonable and accurate reflection of the general feeling of the collectors’ market is that a fine restoration to a flintlock enhances both the appearance as well as the value of the gun. Collectors and dealers in general, though, are quite emphatic in stating that no matter how good the restoration to flintlock, that piece is never worth the same as the original flintlock specimen. Generally its value should be that of the percussion conversion plus whatever charges are involved in restoring it to flintlock, plus possibly a small premium or percentage above that if the work is of excellent quality. Thus, if a flintlock U.S. musket is worth $1,500 and that same piece as a percussion conversion is worth $400, the specimen that has been reconverted probably would be worth anywhere from $450 to $700 depending on the quality and cost of the restoration. When a restored piece is being offered and priced as an original flintlock, the questionable practices and intent of the seller arise. A few basic procedures helpful in distinguishing reconversions are: (1) Always remove the lock completely. (2) Closely examine the type of flashpan and method of attachment to the lock. That part presents the most difficulty to the restorer, and it is there where the most obvious telltale signs and defects will appear. The primary step would be to ascertain what type of flashpan was on the gun originally; with martial flintlocks a simple matter to check from several illustrated books and articles. The method of attaching the pan and its general appearance and fit are clues which suggest how long it has been on the gun. Remember that the flashpan is one part liable to much wear and to black powder corrosion; the latter should be consistent and even on both the pan and the surrounding lock parts, all details quite evident when the lock is removed. Other telltale clues are the false aging or acid aging colors on the inside of the lock (if a new pan has been fitted), and possibly the absence of any pitting or rust corrosion on the inside of the lock, particularly when such signs are visible on the exterior of the pan itself. (3) Other lock parts should be closely inspected for aging consistent with the rest of the lock. However, such signs in themselves do not preclude that the piece is original as some of these parts could merely be replacements. (4) A key factor in establishing originality of a flintlock is the touchhole, an area where the restorers often fail miserably. Normally on converting to percussion, the flintlock touchhole was enlarged considerably in order to affix a large metal part (drum or bolster) to hold the percussion nipple. To restore this back to flintlock, the large aperture or hole left by the nipple and drum has to be closed and a new touchhole bored. Often one can easily detect signs of the larger hole having been bushed with telltale signs where the new metal has been fitted. In other cases clever welding and aging can conceal such clues. The best way to verify the touchhole is to remove the breech plug and tang from the barrel and examine the area from the inside. This, though, is quite difficult to accomplish and sometimes is not worth pursuing. Another method is the X-ray, a rarely used technique because of its inaccessibility as well as time and cost factors. The touchhole itself must be looked at closely, and if the gun shows considerable use and wear from firing and the touchhole is tiny with sharp edges, there is a decided inconsistency; normally the touchhole wears and enlarges with the greater use of the gun. (5) Verification of the fit of the lock should be carefully studied. Some reconversions have been cleverly made by merely installing a completely new and original flintlock to the gun. Besides checking the area of the touchhole as previously discussed, the entire aperture or mortise in the gun stock that holds the lock should be carefully scrutinized for new cuts or filled in areas.
All the foregoing are but the most obvious check points; no single detail is in itself conclusive evidence of restoration work. As an example, consider the matter of touchhole; on original flintlocks the touchhole was enlarged from very heavy wear and use to the point where rebushing was necessary during the period of its original use. Thus, it is necessary to take all factors into account when passing judgment on flintlocks.
E. BORES: RERIFLING AND SLEEVING
Bores are an important evaluating detail of some types of arms. When this feature plays such a role, it is important to watch for inconsistencies which would indicate alterations have been made. With many of the later single shot breech-loading target rifles or lever-action repeating rifles, calibers are often marked (but not always) on the barrel by the factory. A primary check would consist of verifying that the gun is in its original marked caliber and chambers a round for which it was originally intended. If not, there are clear indications that the bore was either shot out, rerifled and rechambered to something else close to the original caliber, or possibly changed at the whim of the original owner during its period of use. In either event, price is seriously affected in terms of the weapon’s collectibility. The piece certainly continues to have value, but the figure is considerably less than if in the original “as made” caliber.
The most often encountered bore alteration is sleeving or relining. The original barrel is reamed or bored out, and a new liner is inserted and rifled to the desired size. Generally this sleeving or lining was done to suit the personal taste of the owner/shooter, whose concern was more with its functioning than its collector’s appeal. However, relining merely to better the appearance and quality of an antique or collector’s piece is not unknown. Only rarely is it possible to determine the reasons for reboring or relining on a gun, but usually this was to take the place of or cover up a barrel defect.
In many cases relining work is obvious and telltale signs indicate the nature of the work. Most noticeable are the marks seen at the muzzle or the breech of the barrel liner itself; the small seam visible between the two pieces of metal. Fine welding, though, can conceal this, and it is then a matter of verifying the rifling and the caliber. This may be difficult and is not always possible, but other signs may serve as tip-offs that something has happened. If one is familiar with the rifling of certain manufacturers, then looking down the bore is sufficient to give clues that the piece is suspect; liners rarely match original rifling. Kentucky rifles and other muzzleloaders are often found with smooth bores (as their rifling was shot out by use), and liners will sometimes be found. Besides the telltale clues of seam marks at the muzzle, a good tip-off is condition of the rifling, usually perfect and like new and thus inconsistent with the normal overall wear of the rest of a piece which likely had its bore shot out.
The more a gun’s value is dependent on bore, the more detrimental to price will be a lining or sleeving job. Relined breech-loading arms of modern vintage would have their value lessened considerably whereas the more antique or muzzle-loading pieces (of course, depending on the type) are less affected. Two cases in muzzle-loading arms where sleeving or relining alters the price drastically downward are with heavy percussion bench rest slug rifles or fine target rifles. With both types rifling and bores are critical and specimens are actively sought because of the quality of their rifling and the makers’ names that appear on them. Any alteration of bores affects price strongly.
F. AGING AND PATINA
One of the most often used words in antique collecting in general and guns in particular is “patina.” The dictionary defines it as “...any thin coating or color change resulting from age, as on old wood; a fine crust or film on bronze or copper; is usually green or greenish blue and is formed by natural oxidation.” For arms collecting purposes, patina is the color formed by natural aging on wood or metal. It is to collecting what aging is to whisky or wine. A collector’s practiced eye quickly learns to discern genuine patina formed only by genuine aging vs. a false or faked patina caused by chemical or other agents. The knack for knowing patina is acquired through experience and involves quite a few subtleties; none of them difficult to master. It may be likened to a jeweler with the acquired talent of discerning various shades of coloration to seeking the ultimate blue-white in a diamond. With practice and exposure, the art can be skillfully mastered.
All woods and all metals age differently. As they age, they acquire color changes. In woods this is usually by absorption of paints, dyes, stains, grease, dirt in the hand that has rubbed it and any other number of materials, changing humidities and temperatures, light, air and smoke, etc. With metals, patina is usually caused by oxidation; in iron, aging brings rust causing a turn to brown; in brass or copper, the turn is to a very dark greenish color. There is no single exact shade or coloration of various patinas; just general tones and ones to which the practiced eye very much responds!
The subject of aging and patination is covered in quite a few books on antiques in general and in the Harold L. Peterson work How Do You Know It’s Old? in particular; the reader is referred to those reference works. Our intention here is merely to advise of the importance of this feature and the fact that patinas are the source of highly important clues to both restorations and fakery.
Perfectly matching age patina is practically impossible; a few very expert workmen have come close (and those that might have done so are obviously so good that no one as yet has been able to tell!). In the process of restoration it may be necessary to clean metal or wood in the area repaired to the point where patina is altered or destroyed; the patina must then be restored. Thus, if a piece under careful inspection shows variances in patination, this is usually a good sign that alterations were made and further investigation is in order. A standard agent for artificial aging on iron is acid. In varying strengths and formulas acids create patterns of pitting which are generally incorrect, differing decidedly from the normal age patterns still present on the gun.
Again the warning is repeated here that the buyer should be extremely wary of pieces that have been polished bright or refinished. What very likely happened is that repairs were made where it was impossible to match patina and thus, the restorer merely destroyed all existing patina giving the piece a new and consistent finish to conceal the work.
Patina in itself is a very desirable finish, particularly on iron when it has turned a nice, smooth, even brownish color. Although caused strictly by rusting and aging over the years, those shades of brown are often very rich, and they lend the piece a very mellow pleasing appearance. There are no maxims on acceptable patina, very much a matter of personal preference, but a general consensus is that when a piece has a fine patina, it should certainly be left intact and in no way marred or destroyed.
The creation of false patina is usually by means of a chemical. With iron the technique is most often some type of rusting or combination browning and rusting solution of which the formulas are numerous. Their purpose is to create in a few days or weeks an appearance equal to what would normally require years of honest use or aging. With woods, stains and varnishes are usually used to attempt the same thing. These processes are not necessarily detrimental to an antique gun, nor do they necessarily detract from value. They may be simply part of a very legitimate restoration or blending-over of a very minor and honest repair. Where they attempt to hide and conceal factors likely to significantly influence the value of that particular weapon, they are very much indicators to the buyer that he should proceed with caution.
G. REPRODUCTIONS
Quite a few faithfully copied, modern made reproductions of antique arms are on today’s market. The great majority are of antique Colt revolvers, but others are based on Remingtons, Sharps, Smith and Gallager carbines, Civil War 1861 muskets, the French Model 1763 Charleville musket, the famed British flintlock Brown Bess musket and many individually crafted Kentucky rifles and pistols. More will come as muzzle-loading shooting, the fast growing hobby in the firearms field, continues to mushroom. All these reproduction guns have been made with the most honorable intentions for the vast black powder market, including those groups specializing in battlefield skirmishes and reenactments. As to be expected, the temptation was great for the untalented faker to try his hand with these reproductions, and thus a small number of spurious examples have found their way to the antique gun market and are sold as originals. They are found with the modern makers’ markings removed and in a beat-up, battle-worn appearance with applied false patinas. Faked reproduction guns represent neither a threat to the collecting world nor to the forewarned collector, and in every case known to the author, the buyer exercised the most imprudent judgment in acquiring such a piece. As a majority of the reproductions are Colts, the subject is treated in greater detail in the text accompanying the Colt section of this book, to which the reader is referred.
BIBLIOGRAPHY
*Ackerman, R. O. Care and Repair of Muzzle Loaders. Albuquerque, New Mexico: Muzzle Loader’s Library, 1966. A small 24 page monograph directed to the person who can accomplish the job with but basic hand tools.
*Ackley, P. O. Home Gun Care and Repair. Harrisburg, Pennsylvania: The Stackpole Company, 1969. A manual that has gone through numerous printings. Contains some good material on repairs and maintenance of collector guns.
*Angier, R. H. Firearm Blueing and Browning. Harrisburg, Pennsylvania: The Stackpole Company, 1936. Practical manual on the chemical and heat coloring of all barrel steels and other gun metals from earliest soft carbon to the latest “rustless.”
Basic Gun Repair, Simple How-To Methods. Los Angeles: Petersen Publishing Company, 1973. Written for the beginner; shows some of the steps necessary in getting started. Some sections devoted to antique restoration.
Bish, T. L. Home Gunsmithing Digest, 3rd Edition. Northbrook, Illinois: DBI Books, Inc., 1984. Wide coverage from repairing, modifying, converting to maintaining and just “tinkering” with firearms.
*Brownell, R. Gunsmith Kinks. Montezuma, Iowa: F. Brownell & Son Publishers, 1969. Varied accumulation of shortcuts, techniques and comments by professional gunsmiths.
*Burch, M. Gun Care and Repair. New York: Winchester Press, 1978. Step-by-step “how-to” in words and photos on gunsmithing techniques.
*Carmichel, J. Do It Yourself Gunsmithing. New York: Harper & Row, 1977. 40 do-it-yourself installments by the respected shooting editor of Outdoor Life.
*Chapel, C. E. Complete Guide To Gunsmithing: Gun Care and Repair. Cranbury, New Jersey: A. S. Barnes & Co., Inc., 1962. Has gone through many printings. Wide coverage from the selection of tools to checkering and engraving.
*The Gun Digest Book of Exploded Handgun Drawings. Northbrook, Illinois: DBI Books, Inc., 1992. Isometric views and parts lists of 488 modern and collector’s handguns.
*The Gun Digest Book of Exploded Long Gun Drawings. Northbrook, Illinois: DBI Books, Inc., 1993. Isometric views and parts lists of 488 modern and collector’s rifles and shotguns.
Lister, R. Antique Firearms - Their Care, Repair and Restoration. New York: Crown Publishers, Inc., 1963. Describes and illustrates methods of stripping down, cleaning and reassembling the early firearms most commonly met with today; problems of rust, stubborn screws, damaged or missing parts, and general restorative work.
*Meek, J. B. The Art of Engraving. Montezuma, Iowa: F. Brownell and Son Publishers, 1973. Techniques of engraving and information on the subject in general to better judge the work of others.
*Mowbray, Stuart C. 331+ Essential Tips and Tricks; a How-To Guide for the Gun Collector. Woonsocket, RI; Mowbray Publishing, 2006. Broad coverage of all components of collecting; special attention devoted to restorations and fakes.
*Newell, A. D. Gunstock Finishing and Care. Harrisburg, Pennsylvania: The Stackpole Company, 1949. Emphasis on modern firearms but some excellent material on antique and early gun stock finishes and refinishing techniques.
*Peterson, Harold L. How Do You Know It’s Old? New York: Charles Scribner’s Sons, 1975. A practical handbook of fakes for the antique collector and curator.
*Smith, L. W. Home Gunsmithing the Colt Single Action Revolvers. Philadelphia: Ray Riling Arms Book Company, 1971. Detailed information on the operation and servicing of this famed handgun.
*Stelle, J. P. & Harrison, W. B. The Gunsmith’s Manual. New Jersey: Gun Room Press, 1972. An exact recreation of the original 1883 edition of this well known work. Much on making and repairing flintlock and percussion arms; the tools used for them.
Walker, R. T. Black Powder Gunsmithing. Northfield, Illinois: DBI Books, Inc., 1978. Wide coverage from replica building to the advanced, intricate art of restoration of antique muzzleloaders.
Walker, R. T. Hobby Gunsmithing. Northfield, Ill.: DBI Books, Inc. 1972. How to refinish repair, restore, restock, blue and accurize with simple tools.
Wood, J. B. The Gun Digest Book of Gun Care Cleaning & Refinishing: Book One—Handguns; Book Two—Long Guns. Northbrook, Illinois: DBI Books, Inc., 1984-85. Two-part series on how to care for, clean and refinish collector and modern firearms.
Wood, J. B. Gunsmithing: The Tricks of the Trade. Northbrook, Illinois: DBI Books, Inc., 1982. How to repair and replace broken gun parts.
*Wood, J. B. The Gun Digest Book of Firearms Assembly/Disassembly: Part 1: Automatic Pistols, Revised Edition; Part 2: Revolvers, Revised Edition; Part 3: Rimfire Rifles, Revised Edition; Part 4: Centerfire Rifles, Revised Edition; Part 5: Shotguns, Revised Edition; Part 6: Law Enforcement Weapons. Northbrook, Illinois: DBI Books, Inc., 1979-94. A six-part series of highly illustrated, step-by-step instructions for disassembling and reassembling all types of guns. Many collector guns are included.
National Rifle Association
CODE OF ETHICS FOR GUN COLLECTORS AND DEALERS
‘A listing of practices considered unethical and injurious to the best interests of the collecting fraternity.’
1. The manufacture or sale of a spurious copy of a valuable firearm. This shall include the production of full scale replicas of historic models and accessories, regardless of easily effaced modern markings, and it also shall include the rebuilding of any authentic weapon into a rarer and more valuable model. It shall not include the manufacture or sale of firearms or accessories which cannot be easily confused with the rare models of famous makers. Such items are: plastic or pottery products, miniatures, firearms of original design, or other examples of individual skill, plainly stamped with the maker’s name and date, made up as examples of utility and craftsmanship and not representative of the designs or models of any old-time arms maker.
2. The alteration of any marking or serial number, or the assembling and artificially aging of unrelated parts for the purpose of creating a more valuable or unique firearm, with or without immediate intent to defraud. This shall not include the legitimate restoration or completion of missing parts with those of original type, provided that such completions or restorations are indicated to a prospective buyer.
3. The refinishing (bluing, browning, or plating) or engraving of any collectors weapons, unless the weapons may be clearly marked under the stocks or elsewhere to indicate the date and nature of the work, and provided the seller unequivocally shall describe such non-original treatment to a buyer.
4. The direct or indirect efforts of a seller to attach a spurious historical association to a firearm in an effort to inflate its fair value; efforts to “plant” a firearm under circumstances which are designed to inflate the fair value.
5. The employment of unfair or shady practices in buying, selling, or trading at the expense of young and inexperienced collectors or anyone else; the devious use of false appraisals, collusion and other sharp practices for personal gain.
6. The use of inaccurate, misleading, or falsified representations in direct sales or in selling by sales list, catalog, periodical advertisement and other media; the failure to make prompt refunds, adjustments or other proper restitution on all just claims which may arise from arms sales, direct or by mail.
(*) Preceding a title indicates the book is currently in print.
