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  • Fakes & Frauds - What to Look For

    Fakes and Frauds
    Don Gustafson, Cadillac, Michigan
    Originally published in the Central States Archaeological Journal, Volume 46, No. 1, pg.17


    Now that some of the emphasis on the subject of legislative concerns has died down, let's get back to the problem of fakes. While we have been busy worrying about these legislative situations on the state and federal levels, the problem of fake artifacts has continued to grow.

    A member of another archeological society recently informed me that they are no longer authenticating artifacts. With so many fakes out there, they are concerned that some might slip by them, and they do not want to take a chance of contribut*ing to the problem by unknowingly authenticating even one of the exceptionally good reproductions on the market today.

    While walking through one of the artifact shows I attended last year, I counted thirty-four artifacts I knew to be fake. I don't consider myself an expert, so doubting my own ability to pick them out, I had someone else check also. He returned, saying he had spotted in the neighborhood of thirty pieces that he felt were fakes.

    Another example of this problem showed up at my door in the form of a woman who wanted to sell some Indian artifacts. She said they were given to her by an uncle in Texas and that if she was ever in financial trouble she could sell them. She also said she had let the baby play with them. Being concerned about possible damage to these pieces, I informed her that I would be interested in buying them. She returned the next day with several polished celts, a butterfly banner stone and what she called a sword, approximately twenty inches long. I had to tell her that they were all reproductions and had no value. A week later, a friend who lives about 10 miles away called to tell me he had some Indian artifacts to sell. He thought he had gotten a great deal on them. By his description, I was certain they were the same pieces. I described her to him, and he agreed it was the same lady and the same relics. Naturally, he was upset that she had put one over on him. He later told me he had sold them to an old farmer who didn't care if they were authentic or not; he just liked and wanted them. A few months later, another collector I know who lives 50 miles away called to tell me about the great twenty-inch spear he bought from a local man whose grandfather had found it in a mound many years ago. You guessed it; it was the same piece mentioned above.

    Another twist to the problems I've come across involves fraudulent documentation to improve the monetary value of perfectly good artifacts. I have sold pieces I knew to be authentic. I provided the buyer with the information on where, when, and by whom it was found, only to see the same piece at a show with a completely different background displayed on it, I assume to warrant the inflated price. This practice also ruins the value of the piece by losing the real documentation forever. It also poses another potential problem. The party faking the history may not be knowledgeable about the area he is claiming it came from. The material it's made from and the point type itself may have no relationship to the false history. Someone that is knowledgeable about the artifacts of the area will naturally brand the perfectly good piece a fake. One person's greed can forever destroy an authentic artifact.

    It's bad enough to see so many fakes on display at the shows, but to see them for sale on dealers' tables is frightening. So many of these artifacts end up in the hands of novice collectors and sour them for life, not only on the dealers but also on the societies. Someone with a genuine interest in artifacts who could be an asset to our archeology society is lost before we ever learn of his potential. Once again the motive is greed. It is not just new collectors that are being fooled by the quality of the fakes out there. The sad part is that some of these dealers are supposed to be authenticators and are not only selling bad artifacts, but are not standing behind what they sell. This isn't true of all dealers, but the type I'm speaking of are present at the shows too.

    Not all is doom and gloom. There are a lot of good people and honest dealers out there. There are still good genuine artifacts to be bought. My advice is:

    - buyer beware
    - get more than one opinion before buying
    - ask for a written guarantee that if the piece is found to be fake it can be returned for a full refund
    - improve your knowledge of materials, flaking, form, and history of the different type of artifacts
    - use common sense
    - if in doubt, live without


    Used by permission of the publisher
    To learn more about or to join the Central States Archaeological Society, click here: http://www.csasi.org/

    [compiled by painshill]
    Last edited by painshill; 01-27-2016, 12:02 PM.
    Look to the ground for it holds the past!

  • #2
    Searching for evidence of authenticity
    John F. Berner, EIC
    Originally published in the Central States Archaeological Journal, Vol.53, No.2, pg.80


    Let's address this title in a little more depth. Several years ago a collector friend advised me that you could advertise artifacts as guaranteed "Authentic" and yet offer replicas! I queried his statement and he said all "authentic" means is just that! He went on to say that to correct the message should have said "authentic prehistoric North American artifacts!" But wouldn't that be much of a mouthful?

    So what to look for on "authentic ancient prehistoric North American artifacts" is what we will proceed to discuss and talk about right now.

    The flint biface below is a good example to start. It has "ferric oxide" deposits on the both faces. These minute deposits are result of minerals in the earth itself. After thousands of years having been buried in the soil, these particles which some experts describe as post depositional mineralization; subtly attach themselves to the host projectile.

    Real patination/mineralization cannot be easily removed. False patination which can simulate this chemical reaction can often be flicked off the host projectile with a fingernail. Modern agers have occasionally removed ferric oxide deposits and reglued them to the surface of replicas. And under strong magnification the glue residue will show prominently as little shiny areas surrounding the deposits.

    Who would have thought that someone would go to such extremes just to make a more convincing argument on the authenticity of an artifact? But such tactics are not limited to artifact preservation; coins, stamps, weapons and antique furniture have similar plagues.



    This close-up photo shows us an example of heavily patinated Crescent chert found in St.Clair County, Illinois. Notice that many particles of the deposit feature halo type stains.



    Not all forms of ferric oxide (oxide of iron, rust) result from the mineralization in the earth. Some deposits are from contact with farm tools. See the above example of Camden yellow/buff chert on this authentic Tennessee Clovis projectile.


    As with everything collectible, modern agers have sought ways to simulate nature's work. While it was seldom seen as part of the equation of replicas/ fakes prior to the early 1970's, purveyors of replicas realized quickly that serious collectors were talking about the difference of flint examples that revealed ferric oxide and mineralization that occurred on genuine/ authentic projectiles as opposed to modern lithics. Recognizing that without some trace evidence of antiquity, many investors turned down the modern items as respectable investments.

    Enter something that looks like it! Some learned that any reasonable example could be enhanced simply by rubbing a mild steel bar across the high points; then let it age with a little time and defy the experts to tell the difference. Lucky for us, some rubbed too much iron traces and we know it is fake! Do you ever wonder about those super fine projectiles that are explained as tools lost by ancient makers? Over eons of time, some might have been lost, out of the hundred million produced? But not very often! Hunters depended on their projectile points to provide food for their families, so they probably were not very careless.

    That raises another point. Every legitimate authentic projectile shows some use and resharpening until it was exhausted and discarded. Those areas of rework will show patination and mineralization too as those areas have undergone the same chemical and physical effects as the artifact itself. So without authentic ancient age and evidence of use and resharpening, we need to take a closer look at the vast offerings made available to the collecting fraternity.

    Used by Permission of the publisher
    To learn more about or to join the Central States Archaeological Society, click here: http://www.csasi.org/
    Last edited by painshill; 01-27-2016, 12:05 PM.
    I keep six honest serving-men (they taught me all I knew); Their names are What and Why and When and How and Where and Who.

    Comment


    • #3
      Artifact or Artifake?
      John F. Berner
      Originally published in the Central States Archaeological Journal, 50th Anniversary issue, Vol. 51, No.4, pg. 56


      May I begin by stating that I am not attempting to establish myself as an expert on the subject of American Indian artifacts. My past experiences as Editor-in-Chief of both the Redskin and the Artifacts magazines provided an excellent opportunity to personally examine thousands of genuine, ancient artifacts in private and museum collections. I also examined thousands of reproductions.

      Allow me to explain the newly coined word "artifake." This is my terminology for the current wave of incredible reproductions. Compared to most old fraudulent reproductions made during the past one hundred and fifty years, today's "artifakes," are difficult to detect. Old time fakes, antique by modern standards, often were absurdities because the fakers relied on pictures in books or pen and ink drawings that sometimes were merely figments of the artist's imagination.

      Today's "new wave" of serious reproductionists are a different breed. Since the 1940s a tremendous amount of valuable information and documentation has been published on American Indian artifacts. These valuable resources have provided the inspiration for many modern "artifakes." The clever fraud makers invest in genuine artifacts to copy and duplicate. Some are known to have visited leading museums, producing three-dimensional drawing and blueprints of choice specimens. Then the masters of deceit seek out fresh raw material to use when making these precise "artifakes." Let me share a few examples, "Great Pipes" of the ancient Southern cultures were made with brownish green Meig County steatite from Tennessee or greenish black steatite found in Virginia and North Carolina. To replicate modern copies of these expensive artifacts, the above-described material is again being quarried. Fresh material also carves easily and takes a nice polish. The "artifakers" sometimes even include a few marks. The final step in manufacturing is a chemical immersion-bath which produces a false patination. Now the product is ready for market and will be offered at a price much lower than current values attributed to the genuine article. The price and availability makes the "artifake" very appealing to bargain hunters and unsuspecting novices.

      Advancing collectors have always been attracted to pipes and consider them very desirable. Perhaps the most famous replication is the Hopewell effigy pipe. It is a fact that only several hundred genuine Hopewell effigies have been discovered. Compared to the number of comparable fakes that exist, chances of finding the real thing must be one out of five hundred! Until about ten years ago, these reproductions were easy to spot, because the fakers made too many mistakes. The new wave of super fakes are exact duplicates and are made of the proper raw material. Most Hopewell pipes come from burial association and often feature encrustations and calcium deposits on the surfaces. Modern ingenuity has overcome the problem. Newly made "artifakes" are taken to a crematorium and calcined with human remains. The fact that some of the modern replicas may crack or explode when subjected to such intense heat poses no problem. Broken fakes are sold as "killed" artifacts at slightly reduced prices.

      Pipes are not alone in the new wave of repro*ductions. Fifty years ago, the market was flood*ed with fake birdstones. Most are obviously incorrect. Others were good enough to pass and still grace cabinets of major collections. Thirty years ago, some super bannerstones migrated from upper Illinois. Since the supers were too good to sell, why not try the alternate approach. Enter the age of the ugly bannerstone. Covered with ferric oxide and artificially weathered to look old, these sold best, and almost any artifact meeting will feature a few of these monstrosities. You'll notice everyone looking in the hole to determine authenticity. What good is looking at the hole when the material and shape is wrong?

      Until recent times, pendants and gorgets were never reproduced in quantity. Today, choice artifacts may bring $500 or more, which gives the fakers plenty of good reasons for "artifaking. "

      Don't overlook the reworks and recently finished fresh off the buffer!

      No artifact escapes reproduction. Highly desirable shell masks and gorgets are acid etched from patterns by using the photo resist method. The non-design area is protected from etching by a wax covering. Then an application of decaying animal flesh will add the final touch to suggest prior burial association. Believe me, it's quite convincing!

      Discoidals are a current modern favorite of the reproductionist. Attractively patterned granites, quartzites, etc., are lathed by competent stone workers. After shaping, the product is judiciously pecked in a few spots and hand polished to provide a subtle "old-time" finish. Lowly celts are a prime target with any suitable river pebble being ground on lapidarist green wheels, polished with carborundum paper, then buried in manure piles to acquire a well-aged appearance. Grooved stone axes could be purchased for $50 to $100 until recently. Today, choice specimens are priced from $250 to $1000 and more. "Artifakers" have noticed the trend and plenty of well-made duplicates are now available. Miniature jack-hammers are employed to work the stone to the desired shape, then the form is sand-blasted to give a nice weathered look. Central Ohio has become a distribution center for some of the aforementioned "artifakes."

      I have purposely left my comments about flint artifakes until last. It has been said that for every single ornament, bannerstone, birdstone, pipe, axe or celt ever found, more than 10,000 flint projectiles have been discovered. Yet flint artifacts are the most popular form of ancient American Indian collectable. Relatively few actual reproductions, except the 7" to 20" monstrosities from the Southwest have been on the scene. Most noticeable in past times were reworks. Large blades or knives received added notches simply because notched points brought more revenue for dealers. Broken or damaged flints were repointed and shaped into perfect specimens. As the sheer number of demanding collectors multiplied, more flint artifacts became more nearly perfect. Enter the age of the professional flint knapper. Some of these people are better at plying their trade than were the ancient flint knappers. Until recently, size was the only major problem. Today, quality raw flint is quarried for such purposes, and with years of experience, modern knappers can turn out anything your heart desires. You can virtually choose the style of point and the material of your preference, including Indiana and Kentucky hornstones, Missouri color, Illinois white, Arkansas novaculite, and multicolor Flint Ridge chalcedony. In fact, 20" plus "Duck River" swords of Dover tan are also readily available if you are willing to pay the price. Let me share a typical example of costs. A fine quality St. Charles (Dovetail) can be reproduced in a matter of 30 to 60 minutes by a skilled knapper. For 4" to 5" specimens, the maker will charge the distributor approximately $100. By the time a dealer adds a markup, this piece will be priced somewhere from $750 to $1000 and sold to an unfortunate collector. A Southeastern family operation will have any type projectile made for you in any quantity desired for about one third of the price normally charged for ancient and genuine artifacts.

      The problem of "artifakes" is not limited to spurious dealers and unsuspecting collectors. Many persons have entered into the business of buying, selling and trading American Indian artifacts within the last three or four years. The reason is profit and the growing demand by the collector community. Think to yourself, how few of these highly visible people were involved in serious collecting as recently as five years ago? You can't become an expert on anything, whether it be coins, stamps, firearms or antiques, in twenty-four months! Consequently, the new breed of "high rollers" are unwittingly being considered as today's experts. And the advancing collectors who recently entered the inner sanctum are being taken for a ride. Make no mistake about it. "Artifakes" is big business. Some of the new "experts" are enjoying earnings of six figures a year.

      I feel by now you are wondering how you can prevent yourself from falling victim to this profitable scheme? I don't have all the answers, but let me offer some valid suggestions. Knowledge is power! By becoming more informed on the subject of your interest, you can help prevent yourself from being victimized. There is a wealth of published material on American Indian artifacts available at public libraries and book sellers. Also, most modern collectors specialize in certain categories of artifacts, because large general collecting is too costly. Get to know those who specialize in areas similar to yours and ask plenty of questions. I've had many people ask, "How can you tell if it's fake?" but I've yet to have anyone want to take the time to learn. These are hurried times! Remember this fact, "artifakers" are in business to make a fast buck, no other reason. In order to do so, "artifakers" must take shortcuts by producing their wares quickly in order to profit. Should fakers ever decide to invest in strictly hand operations and allow natural aging for about fifty years in the soil, no expert will be able to tell the difference.

      Take time making your future decisions. Examine all possible acquisitions carefully. Ask yourself and qualified associates: Does the item in question appear to be made by hand, or does it have a certain mechanical character? Is the item too perfect? (Ancient man did not possess micrometers or calipers). Does the artifact appear to have been used? (A scant few artifacts were lost prior to some usage). Is the age natural in appearance, or is the artifact merely made to look old. If any of the above questions produces a negative response, forget it!

      I have enjoyed the good fortune of being able to examine tens of thousands of artifacts and "artifakes." Yet, occasionally I view items for which I remain undecided. If you can't be sure, it is best to pass and say nothing. Once again, we are reminded that we don't know it all.

      May I state in closing that hopefully these personal viewpoints will assist you in furthering your collecting interests. If this information prevents one person from making a costly mistake, it has served its purpose.

      Used by permission of the publisher
      To learn more about or to join the Central States Archaeological Society, click here: http://www.csasi.org/
      Last edited by painshill; 01-27-2016, 12:10 PM.
      I keep six honest serving-men (they taught me all I knew); Their names are What and Why and When and How and Where and Who.

      Comment


      • #4
        A never ending supply
        Pg.25, Vol. XXII, No.4, 1988, "Prehistoric Artifacts"

        I never cease to be amazed at the crassness of the dishonest purveyor of Fake material. We set up a display of spurious material at the 9th annual Owensboro show and we had a large number of persons who took special interest in the items shown, learning the difference between authentic and reproductions. Some supposedly knowledgeable persons asked if they could buy some of the fakes. Would they have displayed them as fraudulent? Would they have sold them as real? Then of course no is not always a good answer for some. We had a 5" Dovetail of Gray Hornstone on display that ruined the interest of a Kentucky collector and it was donated to the display. Mid afternoon, someone stole this reproduction while the host back was turned on Saturday afternoon!

        This show was also informative to another degree as one of the major Fake dealers visited the display and stated to the public that he and his factory had made and sold many of the more expensive frauds on display. He claimed that 8 full time stone workers were producing goods for the marketplace!

        One of the most devious entrapments today is the precise reproduction of well documented artifacts. Often times through death, a collection is removed from the market and put in storage while the estate is probated. Many times the heirs themselves have no knowledge of artifacts.

        Then later on the collection is consigned for sale and stored again. Often years pass before the collection is re-examined and sold. I have noted several times that someone produced duplicates of the originals and those were the items that became part of the public sale. These instances allowed for the removal of the original labels and information to be exactly duplicated and placed on the copies. Obviously, because these items are high dollar specimens, the very best reproductionists can be engaged to make very exacting copies. You say I have spent too much time in the sun? What would you say if I told you that several of these items previously resided in my personal collection and I have color photographs to prove my point?

        Everything is not always what it seems. Twenty or thirty years ago, I used to visit as many major collectors as I could. Being a novice, I assumed everything in the collection being displayed was genuine authentic artifacts. Oh, how wrong I was! While most of these collectors knew which were good, and which were bad, most shared a common display space in the cabinets. Why? If you showed interest in a particular piece and the owner thought less of it than its neighbor, you could probably take it home for a bargain price. In this way the collection was purged of spurious material and no one recognized the difference. A secret way for some was "Fakes for Sale" never were listed in a catalog!

        “Used by Permission of the Author” and originally published in American Indian Artifacts; Genuine or Reproduction by Col. John F. Berner. Copyright © 2000 by American Antiquities, Inc.
        Last edited by painshill; 01-27-2016, 12:12 PM.
        I keep six honest serving-men (they taught me all I knew); Their names are What and Why and When and How and Where and Who.

        Comment


        • #5
          How to tell a Fake
          Pg.109, Vol.VI, No.4, 1969 "The Redskin"

          Fakes come in two kinds, those that are sold; and those that sell them. And sometimes you can't tell the last kind anything. Experience is the best way to tell a fake from a fine genuine relic, but then not everyone has such experience with the relic in question.

          Is there much faking going on? You bet there is and it didn't start last week either! In fact, it started about 120 years ago when pioneer fanners began collecting those unusual stone items being brought to the surface by tilling the soil. Yes, the minute someone starts to treasure something that is not abundant, someone else will make a copy of the same. Contrary to what some people think "that the fake business has died down, the fake business is bigger and better than ever, its just that the fakes are better made and more people are fooled"!

          Right now, south of the border, hand craftsmen are manufacturing to specification reproductions of American Indian relics that would fool 99 out of 100 collectors. They are patterned from genuine relics now in museums or private collections. These reproductions are made by hand from the proper materials mined in this country and artificially aged and believe you me, you just can't tell at a glance!

          Fortunately, the good old fakers always slip up on a seemingly unimportant detail somewhere and this is where the genuine is separated from the fake. So far all you've read is about what is happening. The following is common sense judgement on Indian relics; first if you don't have experience in depth, secure a relic of the same kind and make a comparison, but of course make sure you choose one that has been authenticated and there is no doubt it is a genuine piece. Compare the workmanship, design, shape, material age and weight. Fakes never agree 100% with genuine relics, so somewhere there will be some differences. Don't be mislead by too perfect a piece; you know that genuine hand made stone relics of the ancient Indian were never truly perfect! History is not totally valid proof either; some of the fakes now on the scene were in collections 50 years or more ago. There are pieces that won't prove out that had labels back before the 1900's. Remember that today's new fakes will be pieces with history some 50 years from now. I sat in on an Indian Relic auction that had been owned by a collector who passed away in his 80's and the first 18 lots were labeled and sold as Fakes. Some dozen collectors bought and paid good money for these items and not one piece was donated to our (GIRS) fake table. Do you suppose they are starting their own fake collection? Telling a fake isn't easy, but if we take our time and learn what we are buying, we sure make it tough on the fakers and that's what it's all about anyway.

          “Used by Permission of the Author” and originally published in American Indian Artifacts; Genuine or Reproduction by Col. John F. Berner. Copyright © 2000 by American Antiquities, Inc.
          Last edited by painshill; 01-27-2016, 12:13 PM.
          I keep six honest serving-men (they taught me all I knew); Their names are What and Why and When and How and Where and Who.

          Comment


          • #6
            A preoccupation with Fakes?
            Pg.31,Vol.XXX, No.2, 1996, "Prehistoric American"


            I certainly hope not. But the fact remains that Fakes are an ever present problem. Late in 1988, I was politely informed by one of our illustrious members that there was just too much talk about fakes. I took heed and never wrote another article on the subject until 1994. Then my reinspiration came from many experienced and novice collectors who mentioned how much they enjoyed the more than fifty articles on the subject I had authored over the past 25 years. While contemplating this subject, I began to think about the commentary of others who stressed the very same subject. Allow me to share a few excerpts with you.

            "Nothing makes the collector so unhappy as to discover he had driven a long way, bargaining carefully, and spent a tidy sum of money only to bring home a fake." Earl Townsend, Jr.,"Birdstones", 1959.

            "It has been estimated by old-time collectors that about 1/2 of the bird-stones in the hands of collectors today are of questionable origin. It has been estimated also that the percentages of questionable objects among other types may be: Bannerstones, 30 to 40%; diminutive axes, 90%; hematite plummets, 30%; and hardstone plummets, 80%." Gregory Perim, "Central States Archaeological Journal", January 1962.

            "So many of today's questionable artifacts are so well made that perfect judgement by the naked eye alone is impossible". Gray LaDassor, "Central States Archaeological Journal", No.1, 1965.

            "When these objects are recognized by an expert as being fraudulent, the purchaser is sometimes resentful because he knows the piece in question was collected over fifty years ago. Because an object is known to have been collected many years ago is no guarantee it is genuine". Dr.Stanley J. Copeland, "Ohio Archaeologist", No.1,1969.

            "It is not possible for any one person to be skilled or gifted to the extent where he or she can be 100% perfect in recognizing Indian relic slate or stone frauds". Cameron Parks, "Ohio Archaeologist", No.2, 1976.

            "A reproduction is a fake when offered as a prehistoric implement at a collector's price". Scott Haskins, "Ohio Archaeologist", No.2,1978.

            "Years ago, I bought an artifact to be real but later learned the artifact was fake and the story behind it was a lie". Marvin Seeley, "Artifacts" Issue No.4, 1984.

            "The clever fraud makers invest in genuine artifacts to copy and duplcate . Some are known to visit muse*ums, producing 3-dimensional draw*ings and blueprints of choice specimens". John F .Berner,"Central States Archaeological Journal", No.4,1984.

            "Warning: More than any other collectible field, fake relics, all recently made and aged, are being offered to the public everywhere as genuine prehistoric artifacts". Robert Overstreet,"Indian Projectile Points price guide", 1989.

            The list of such experts could fill this journal to overflowing as perhaps no singular subject has become so prominent, time after time. Should I have elected not to quote the authors and date; this information could have been written yesterday. No, I don't think there is too much conversation on the subject of fakes. Sometimes I ask myself why is the proliferation of fakes so intense? I think primarily because so few bring dishonest makers or dealers to justice, probably for two reasons. Possible the fear of slander, and potentially being made a fool of publicly for having paid a "tidy" sum for a newly fashioned rock!

            No article could be considered complete without a few expose's. Currently an upper state Illinois faker who specialized in Ohio pipestone Hopewell pipe reproductions is now replicating famous Dr.Gordon Meuser slate artifacts. The only one's being marketed are those that appeared in the small auction pictures.

            The reason is that these are harder to identify. Each also is adorned with simulated Meuser type writing and date, taken directly from the late Doctor's original catalog!
            This past summer, I attended a knap-in. This is where those who experiment in reproduction of ancient flint types get together to trade raw material, tool technology and finished pieces. Here you could choose from Clovis to Lost Lake or Caddo knives for anywhere from $40 to $75 each, depending on the knapper skill.

            Not every faker works with flint. A southern Indiana stone cutter is making good use of the off fall of his trade. Now making one good bannerstone per day, either in hardstone or slate. After finished grinding, each receives shot blasting to simulate pecking and polish, then microwaved to produce age appearing cracks and lines. Isn't modern technology wonderful? The banners sell for $100 each, spot cash. (checks not accepted).

            It used to be tradition that the good southeastern pottery came through a distributor who bought everything that surfaced. Greedy dealers didn't like the mark-up so they make the pilgrimage to buy direct and save! The modern replicas are unlike anything genuine. The old adage is pay a lot, get the best. Not so, as the only thing for sure today, that you paid a high price. Think about it!

            “Used by Permission of the Author” and originally published in American Indian Artifacts; Genuine or Reproduction by Col. John F. Berner. Copyright © 2000 by American Antiquities, Inc.
            Last edited by painshill; 01-27-2016, 12:15 PM.
            I keep six honest serving-men (they taught me all I knew); Their names are What and Why and When and How and Where and Who.

            Comment


            • #7
              Artifact or Artifake?
              Pg.186,Vol.31, No.4 ,1984, "Central States Archaeological Journal"

              My past experiences as Editor-in*chief of both the Redskin and Artifacts magazines provided an excellent opportunity to personally examine thousands of genuine, ancient artifacts in private and museum collections. I also examined thousands of reproductions.

              Let explained the newly coined word "artifake". This is my terminology for the current wave of incredible reproductions. Compared to most old fraudulent reproductions made during the past one hundred and fifty years, today's "artifakes" are difficult to detect. Old time fakes, antique by modern standards often were absurdi*ties because the fakers relied on pic*tures in books or pen and ink drawings that sometimes were merely figments of the artist's imagination.

              Today's new wave of serious reproductionists are a different breed. Since the 1940's, a tremendous amount of valuable information & documentation has been published on American Indian artifacts. These valuable resources have provided the inspiration for many modern "artifakes". The clever fraud makers invest in genuine artifacts to copy and duplicate.

              Some are known to have visited leading museums, producing three-dimensional drawings and blueprints of choice specimens. Then the masters of deceit seek out fresh raw material to use when making these precise "artifakes". Let me share a few examples. "Great" pipes of the ancient Southern cultures were made with brownish green Meigs county steatite from Tennessee or blackish green steatite found in Virginia and North Carolina. To replicate modern copies of these expensive artifacts, the described material is again being quarried. Fresh material carves easily and takes a nice polish. The "artifakers" sometimes include a few damage marks. The final step in manufacturing is chemical immersion-bath which produces a false patination. Now the product is ready for market and will be offered at a price slightly lower than current values attributed to a genuine article. The price and availability makes the "artifake" very appealing to bargain hunters and unsuspecting novices.

              Advancing collectors have always been attracted to pipes and consider them very desirable. Perhaps the most famous replication is the Hopewell Effigy pipe. It is a fact that only several hundred genuine Hopewell effigy types have ever been discovered. Compared to the number of comparable fakes that exist, chances of finding the real thing must be one of five hundred! Until about ten years ago, these reproductions were easy to spot, because the fakers made too many mistakes. The new wave of super fakes are exact duplicates and are made of the proper raw material. Most Hopewell pipes come from a burial association and often feature encrustations and calcium deposits on the surface. Modern ingenuity has overcome the problem. Newly made "artifakes" are taken to a crematorium and calcined with human remains. The fact that some of the modern replicas may crack or explode when subjected to such intense heat poses no problem. Broken fakes are sold as "ceremonially killed" artifacts at slightly reduced prices.

              Pipes are not alone in the new wave of reproductions. Fifty years ago, the market was flooded with fake bird-stones. Most are obviously incorrect. Others were good enough to pass and still grace cabinets of major collections. Thirty years ago, some super bannerstones migrated from upper Illinois. Since the supers were too good to sell, why not try the alternate approach. Enter the age of the "ugly bannerstones". Covered with ferric oxide and artificially weathered to look old, these sold best, and almost any artifact meeting will feature a few of these monstrosities. You'll often notice everyone looking in the hole to determine authenticity. What good is looking at the hole when the material and shape is wrong?

              Until recent times, pendants and gorgets were never reproduced in quantity. Today, choice artifacts may bring $500 or more, which gives the fakers plenty of good reasons for "artifaking." Don't overlook the reworks and recent finished examples fresh off the buffer!

              No artifact escapes reproduction. Highly desirable shell masks and gorgets are acid etched from patterns by using the photo resist method. The non-design area is protected from etching by a wax covering. Then an application of decaying animal flesh will add the final touch to suggest burial association. Believe me, it's quite convincing!

              Discoidals are a current modern favorite of the reproductionist. Attractively patterned granites, quartzites, etc. are lathed by competent stone workers. After shaping, the product is judiciously pecked in a few spots and hand polished to provide a subtle "old time" finish. Lowly celts are a prime target with any suitable river pebble being ground on lapidarist green wheels, polished with carborundum paper, then buried in manure piles to acquire a well-aged appearance. Grooved stone axes could be purchased for $50 to $100 until recently. Today, choice specimens are priced from $250 to $1000 and more. "Artifakers" have noticed the trend and plenty of well-made duplicates are now available. Miniature jack-hammers are used to work the stone to the desired shape, then the form is sand-blasted to give a nice weathered look. Central Ohio has become a distribution center for some of the aforementioned "artifakes".

              I have purposely left my comments about flint artifakes until last. It has been said that for every single ornament, bannerstone, birdstone, pipe, axe or celt ever found, more than 10,000 flint projectiles have been discovered. Yet, flint artifacts are the most popular form of ancient American Indian collectible. Relatively few actual reproductions, except the 7" to 20" monsters that have shown up on the scene, Most noticeable in the past time were reworks. Large blades or knives received added notches simply because notched points brought more revenue from dealers. Broken or damaged points were repointed and shaped into perfect specimens. As the sheer number of demanding collectors multiplied, more flint artifacts became perfect.

              Enter the age of the professional flint knapper. Some of these people are better at plying their trade than were the ancient flint knappers. Until recently, size was the only major problem. Today, quality raw flint is quarried for such purposes, and with years of experience, modern knappers can turn out anything your heart desires. You can virtually choose the style of point and material of your preference, including Indiana and Kentucky hornstones, Missouri color, Illinois white, Arkansas novaculite, and multicolor Flint Ridge chalcedony. In fact, 20" plus "Duck River" swords of Dover tan are also readily available if you are willing to share the price. Let me share a typical example of costs. A fine quality St.Charles/Dovetail can be reproduced in a matter of 30 to 60 minutes by a skilled knapper. For 4" to 5" specimens, the maker will charge a dealer approximately $100. By the time the dealer adds a markup, this piece will be priced somewhere from $750 to $1000 and sold to an unfortunate collector. A well known family operation will have any type projectile made for you in any quantity for about one third of the price normally charged for ancient and genuine artifacts. The problem of "artifakes" is not limited to spurious dealers and unsuspecting collectors. Many persons have entered the business of buying, selling and trading American Indian artifacts within the last three or four years. The reason is profit and the growing demand by the collector community. Think to yourself, how few of these highly visible people were involved in serious collecting as recent as five years ago? You can't become an expert in anything, whether it be coins, stamps, firearms or antiques in twenty-four months! Consequently, the new breed of "high rollers" are unwittingly being considered as today's experts. And the advanced collectors who recently entered the inner sanctum are being taken for a ride. Make no mistake about it, "Artifakes" are big business. Some of the new experts are enjoying earnings of six figures a year.

              I feel by now you're wondering how you can prevent yourself from falling victim to this profitable scheme? I don't have all the answers but let me offer some valid suggestions. Knowledge is power! By becoming more informed on the subject through good books and published material. I have enjoyed the good fortune of examining tens of thousands of artifacts and "artifakes". Occasionally, I view items for which I remain undecided. If I can help one person from being wronged by a mistake, this has served its purpose. Thank you.

              “Used by Permission of the Author” and originally published in American Indian Artifacts; Genuine or Reproduction by Col. John F. Berner. Copyright © 2000 by American Antiquities, Inc.
              Last edited by painshill; 01-27-2016, 12:18 PM.
              I keep six honest serving-men (they taught me all I knew); Their names are What and Why and When and How and Where and Who.

              Comment


              • #8
                Reproduction or Replica?
                Unpublished 12/31/99


                What is the difference? A reproduction is a copy of any artifact which simulates or resembles the original, or may vary slightly from it; but to the ordinary person may or may not be recognizable as some form of copy. A replica is an exact duplicate of a real artifact in which the flaking patterns, styles and materials used by ancient people are carefully copied as to size and appearance. Many modern craftsmen make reproductions and replicas. It's only when the reproduction or replica is altered by some means after completion to make it appear ancient and authentic that the artifact becomes a "fake".

                The making of a "Fake" can go through a series of processes. Subjecting the reproduction to acids, oils, tumbling and/or sandblasting can mask the distinctive appearance of new work. The most common method is to coat the new surface with a deposit of soil or chemical stain. One must always be suspect of high spots that show wear through coatings. Patination is difficult, but not impossible to duplicate. Acid can be used to etch the surface and oil can be used to darken the etched surface.

                Knapped surfaces always have retain remnants of the work called hinge flakes which can if ancient; trap dirt and stains beneath those which remain in position. Few artifacts pass through time in a pristine condition. The use and wear from the original maker plus the forces of erosion, shifting of the earth and other physical changes cause varying degrees of wear on prehistoric tools. Artificial wear is different from natural wear. Signs of use such as cutting, scraping, polish, impact and so forth leave their mark on ancient artifact. Reworking the tool by primitive man was a necessary part of everyday life. Most modern reproductions represent items lost without having been in service. Metal tool marks are characteristic on modern works and typically found in notches. Many modern knappers utilize most of the raw material by slabbing with a diamond saw. Flakes removed on flat slabs tend to ripple heavily and terminate by diving into the blade. This is often prevelant on modern fluted reproductions.

                The amount of retouch on a tool is a measure of tool use and rejuvenation. Ancient people rarely allowed a tool to be discarded without it having been used and altered many times. That's the reason that many replicas and reproductions are obvious as they show no sign of use. The perfection of a given artifact is what is most appealing to the majority of investors.

                Ancient heat treating of stone was designed to make it workable without harm to its planned function. Improving flaking quality by modern heat treating of stone often produces colors too gaudy to be accepted as genuine.

                Heat treating while enhancing the color of the flint material, often make it too glassy, and knapable but weakens the stone beyond necessity.

                Alterations sometimes appear out of place like ground off areas or sawn faces. Obviously the maker was careless or in a hurry. A reproduction is simply using eye-catching materials and mere similarities to the original pattern with noticeable discrepancies. Whereas when re-creating the original process, the product becomes a replica. The accuracy of the craftsman in matching the original pattern determines the skill of the knapper.

                Artifacts out of place within collections should be a warning to the viewer that something is incorrect. A particular artifact from a given area should look like similar artifacts from that same area in terms of material, shape, style and most importantly; the appearance of age of the artifact. All tools of a given assemblage will age in similar degrees as they have been subject to the same environmental conditions.

                Of course, there are instances where due to unusual circumstances, a strange find is possible. For instance, Obsidian is native to the Rockies of the far west; but we know from scientific excavations that the Hopewell culture of the Ohio valley did in fact import some of this material and used it for special ceremonial items. A farmer some 7 miles south of Mound City ; Chillicothe, Ohio found the remnant of a Hopewell core of obsidian in his garden plot next to his house. Located within the adjacent twenty acres there were thirteen "Core" patches (places where cores were knapped for bladelets). Also within these confines were also found remnants of the blade working of crystal quartz. But this is the exception, rather than the rule.

                Persons who buy stone artifacts without knowing how to evaluate them are more likely to make a bad investment than a good one for there are far more replicas and reproductions on the market than one might suppose. Many of them are difficult to distinguish from the ancient and genuine originals.

                To understand ancient workmanship a systematic approach is perhaps the best way. Although such methodology may seem a pain, it sure beats being a victim. A first consideration should be style or typology. Be cautious with extremely large or small examples of any given type. Ask yourself whether the type is local to the region in which you are collecting. Then pay particular notice to the material from which the item is made. Is the source within reasonable distance of the find. Then scrutinize the usage patterns (few are lost without some use). Are there signs of age that compare with similar pieces and types? Positive answers should be obvious. Consider if the price is appropriate for the quality of the artifact. Let the facts speak for themselves!

                “Used by Permission of the Author” and originally published in American Indian Artifacts; Genuine or Reproduction by Col. John F. Berner. Copyright © 2000 by American Antiquities, Inc.
                Last edited by painshill; 01-27-2016, 12:21 PM.
                I keep six honest serving-men (they taught me all I knew); Their names are What and Why and When and How and Where and Who.

                Comment


                • #9
                  False patina; an illusion of age
                  Pg.31, Vol. XXX, No.1, 1996, "Prehistoric American"

                  What is patina? Webster's dictionary(2) says: "the sheen on antique surface produced by use and age". If that is patina, what is false patina? I would describe it as any attempt by modern man to give a false illusion of use and age. But then if the finish is modern, should it be too difficult to recognize it for what it is? The Chinese have been reproducing and ageing copies of ancient works for centuries; and the closer an item appears to the original, the more valuable it is perceived. However, this is not the case with prehistoric American artifact reproductions.

                  Nearly everything made by ancient man in North America has been copied and reproduced over the past 150 years. Some of the copies were made to fill voids in museum displays. Some reproductions were made as experiments. Most were made for profit and deceit! Those are the ones we'll talk about. There were attempts to age copies around 1900, bury them in mounds and dig them up in the presence of a witness.

                  Because Flint objects have been the most widely reproduced item in the past 30 years, emphasis of ageing methods will be assigned to those items with false patina. Discarded motor oil and grease have always been a favorite ager for flint items, it original use being to cover up damage or rechipping. By soaking in the substance, some dirt and grime will penetrate loose hinge fractures, providing the look of antiquity. Some have been tossed into a wood fire to bake on the coating. Southeastern agers have a ready made supply of materials, the most popular is the loblolly pine needles which are renewed on the forest floor each spring and fall. Being highly acid, a few months buried with the pine needles imparts an unusual stain on rock. Not limited to the south, the use of decaying animal flesh and lime produces a deposit that resembles burial deposit. Modern fertilizers also react with stone and other items quickly.

                  Often flint collectors look for minute deposits of ferric oxide on surfaces which are a direct result of the object being buried for long periods of time in the soil. In order to satisfy the requirements of buyers, agers will rub the surfaces with mild steel or coarse steel wool, which when oxidized will turn to rust overnight. Some will remove carefully such spots from real artifacts then with a weak solution of elmer's glue, then redeposit the substance on new items. Old English furniture polish rubbed in and torched with a flame leaves a non removable coating. On new work, thrusting in a bucket of sand removes many loose flakes. Speed polishing with a belt sander works wonders to make a new piece look old and worn. Various acid and lime baths do their part to give a whitish haze over many parts of new flints. Even horse liniment rubbed into the surface gives age. Knowledge is power and don't forget it!

                  “Used by Permission of the Author” and originally published in American Indian Artifacts; Genuine or Reproduction by Col. John F. Berner. Copyright © 2000 by American Antiquities, Inc.
                  Last edited by painshill; 01-27-2016, 12:22 PM.
                  I keep six honest serving-men (they taught me all I knew); Their names are What and Why and When and How and Where and Who.

                  Comment


                  • #10
                    Collecting Beginning
                    In the beginning...


                    As the early pioneer farmers began to turn the sod and cultivate the fields of rural North America, stone age artifacts of long past civilizations began to emerge from their hiding places. Most were merely looked upon as unusual curiosities and of little worth; some were viewed with amazement and became mantle piece decorations, and a few made their way into china closets and places of repose.

                    In the beginning, there were no known frauds, reproductions or fakes. But eventually, reproductions of these curiosities began to find their way into private collections, and into public museums and institutions. Very early reproductions were sometimes the work of a neighboring farmer who also wanted an example of these stone age artifacts to show his friends and relatives. Many museums quickly recognized the artistic value of these ancient items, placing them on display for public view. Some institutions were not so fortunate, finding their meager displays did not measure up with the larger and more aggressive institutions. This opened up a market for manufactured replicas of the originals. And as we might suspect, some of those early pioneer replicas found their way into collections of major institutions where they remain today on display as heralded works of ancient art. But, some are not.

                    Had the business of manufacturing replicas of North America's ancient past survived only for the purpose of producing museum reproductions; there would be no need to continue this treatise. Museums seldom deaccession their collected material, unless to raise capital for more desirable artifacts. So, after nearly 100 years of collecting stone age items, little worth was attached to those things of stone as most people believed that modern Indians made them. The Twentieth century saw the organization of a scant few collector societies and archaeological groups. Major excavations by early archaeologists provided displays for World Fairs and Centennials; and this peaked the imagination of the masses.

                    The reproduction of antique and ancient artifacts is not unique to the new world. Ancient Romans reproduced art of their predecessors, Etruscans and Greeks as imitated artworks were highly desirable. The Chinese are well known for imitations of art from previous dynasties. They were manufactured for those who could not afford real antiquities.

                    Reproduction of North American Prehistoric artifacts did not necessarily have the same theme. In almost every instance the attraction of money strongly overwhelmed any other reason for imitating past artworks. With the majority of the American work force out of work following the financial depression of 1928, many persons sought any means to make a living. Enter the era of Birdstone fakers and repro artists. No other form of prehistoric North American artifact illicited such an impact and produced higher dollars than the enigmatic Birdstones. In Kentucky and Michigan entrepreneurs set up fully mechanized shop fully turning out thousands of replicas. They were exposed in the late 1930's. One maker was found guilty and fined a $500 for his deceit. That did little to stem the tide. Serious reproduction efforts went almost unnoticed until the 1950's when spendable income returned to the American public. Enter the age of reproduction Bannerstones, Gorgets, Pendants, Discoidals, Axes and so forth. And on the horizon were spurious pipes and smoking instruments. Many collectors believed that a pipe or two would improve their collection. Bad Pipes slipped into the cabinets of top collectors and museums with the greatest of ease; simply because there were too many different styles and manufacturing techniques to be understood. Unless one is expert, it is easy to be fooled by questionable pipes especially displayed among other genuine artifacts.

                    The late 1940's, early 1950's and then 1960's saw the advent of major flint reproduction. Called the "Gray Ghosts" because most were manufactured of gray Edwards flint obtained from the Texas plateau. These monstrosities sold by the inch. Most were slabbed with a diamond blade saw, then knapped by pressure flaking using a common drill press. Some collectors recognized the awkwardness of these "too good to be true" replicas, but many collectors fell prey. For the tourist and casual collector, these bargains were enticing and literally thousands of these grotesque replicas found their way into collections. On the heels of the "Gray Ghost" epic; lacey eccentric effigy forms were made. Fish hooks, turtles, thunderbirds, alligators and more became par excellence in almost every antique and gift store throughout this country. The inexpensive price and attractive appearance of these imaginative ideas by modern flint knappers found their way into many collector's display.

                    In the late 70's, archaeological experiments with ancient flint knapping techniques entered the scene. Originally studied for the purpose of reviving an ancient art; these techniques were taught as college courses to help students recognize artifact remnants left by ancient man. Soon some began to experiment, and found it was easier to knap than hold a day to day job. Today, it is estimated that more than 5,000 knappers engage in replicating and reproducing ancient flint tools. Heralded by some archaeologists as a deterrent to illegal looting, many reproductionists have become illegal "fakers" as they produce up to several thousand replicas each year selling them at flea markets, curio stores and through artifact dealers as genuine (especially if their wares are good enough to pass the test of credibility). That's why this treatise is entitled "Is it real, or reproduction"? By 1980, reproductionists improved their work with more attention to style, finish, size and native material. This is an era when many pipes, bannerstones, birdstones and other forms were produced by the thousands.

                    Throughout this work, excerpts from previous writings are introduced where they augment a thought, circumstance or relate to the next subject. Pay particular attention to the date of the excerpted subject matter (as published). This information has been taken quite literally from various publications; many which are almost antique themselves. Also of particular note is the emphasis on Flint projectiles, Knives, etc. There are millions of artifacts yet to be found in streams, river banks and plowed farm land. All items illustrated in this book were obtained legally by their owners; and may be displayed confidently.

                    “Used by Permission of the Author” and originally published in American Indian Artifacts; Genuine or Reproduction by Col. John F. Berner. Copyright © 2000 by American Antiquities, Inc.
                    Last edited by painshill; 01-27-2016, 12:25 PM.
                    I keep six honest serving-men (they taught me all I knew); Their names are What and Why and When and How and Where and Who.

                    Comment


                    • #11
                      Ageing flint is counterfeiting
                      Unpublished 5/15/2000

                      Make no mistake, if a person ages flint or any other artifact, they are simply a first class counterfeiter. With all the controversy between the archaeologists, investors, collectors, flint knappers etc., as to whether flint knapping if a good thing, one subject stands alone and that is concerning the artificial ageing of Flint replicas or other stone artifacts.

                      Arguments have been presented by a number of archaeologists who believe that the replication and marketing of Flint items reduces the desire for "looting" while providing an adequate supply of authentic looking items for the marketplace. There are those who also suggest that learning the craft helps one understand how such artifacts were created in ancient times. Then there are the investors and collectors who think that there is too much flint knapping going on and that the temptation for a shady dealer to pawn off a replica at a handsome profit is wrong. It is! Last, the lithic reproductionists as they prefer to be identified say that they are producing works of art and that they serve an important need!

                      This scenario must be judged on a case by case situation. If the purpose is only to replicate ancient copies and the knapper identifies his work, selling it as such; there is benefit to all. But if the knapper refuses to identify his work by some permanent mark with the excuse that the market for the work is minimal when signed, then the replicator is feeding a market that is less than honest. If the knapped specimen is fine enough to warrant it being identified as artwork, then the maker should be proud to sign it for all to see! Unfortunately, with the suggestion that some 5,000 persons are engaged in replication to some degree, it should be obvious to most that the art market alone cannot support all the makers!

                      All kinds of excuses are heard such as "that's the only way I can support my family, or I am not hurting anyone"! How about getting a real job? Selling illegal substances or counterfeiting currency is in the same category. For your information, 99% of the unmarked replicas end up as fakes! That's right, because there is an underground movement of "ageing" the unmarked replicas and for some it is a full time business. Every trick in the book is used from rubbing grease and grime into the thin flakes to burying the items with animal feces to boiling the reproductions in lime and processing with other chemicals, then burnishing the surfaces to make the article appear old and used. This is nothing more than counterfeiting which is illegal in every one of the 50 states. If prosecuted and found guilty, serious time in a penal institution is a real possibility. If I didn't make it clear, selling fakes knowingly is a crime. Do it through the mail and wire and it is federal. Think about it!


                      How to recognize unnatural Flint Alteration.

                      In the beginning, the purveyors of reproduction flint made little effort to change the surface or the characteristics of the material. It wasn't deemed necessary. The majority of reproductions found their way into cabinets and displays of uninformed. Also the majority of reproductions were simply the imagination of the reproductionist and seldom followed patterns of ancient authentic artifacts. That would change quickly with the advent of replica knapping which began in the 1970's.

                      Experimental knapping courses began to be offered at the college level to assist budding archaeologists learn the basics of flint knapping. A number of scholarly books appeared on the subject and some of the best works were authored during this infancy of the skill. Many took up flint knapping and replication as a hobby, and within a few short years; many enthusiasts made it a full time avocation with a great zeal.

                      By the mid-eighties, lithic reproduction was in full swing and Knap-ins began to spring up throughout most parts of the country. This was truly the beginning of an era when more attention was paid to the exact-ness of ancient projectiles and the materials from which they were manufactured. Prior to this movement, many reproductions were correctly made but from wrong natural materials and made such identificationtion extremely simple as wrong material alone caused rejection. Further studies of typology revealed correct substances from which certain projectile points and tools were made. The toolstone of the ancients became the toolstone of the replicators and reproductions with correct size and material became the norm.

                      Not all toolstone substances avail-able within the marketplace are suitable for quality work and correct knapping. In order to compensate for the lack of available quality cherts and flints, many knappers reinvented the ancient art of heat treatment. This alters the physical structure of the material and causes it to knap with greater success and ease. The 1990's saw the entrance of professional knappers, many whom made this skill their full time vocation. A number of the proficiently skilled authored treatises on the subject, produced books and video cassettes with step by step instruction.

                      But something was lacking as most examples of skilled knapping have a new look. Those who produce their work for the purpose of education or those who consider it an artistic endeavor don't see the newness as a problem. But those who dispose of their wares to persons who dispense these modern articles as genuine, find the new looking specimens unsatisfactory for resale. This need fostered the advent of serious flint alteration described as follows.


                      Acid-etched Flint alteration


                      Fig. FA/AE: We employed photo micrographs with low side lighting to enhance this effect. This an example of chert which has been subjected to an acid bath; probably immersion into the solution at a temperature just below the boiling point. The use of heat hastens the process and allows observation to control the results. The results provide a product that has a weathered look and feel and also helps to break down tiny loose flakes that otherwise would appear to be new. This alteration technique has been used extensively during the past ten years.


                      Forced Algae-induced Flint alteration


                      Fig. FA/FA: This is an appearance that should be noted well as it is a simple treatment for ageing. Certain streams and lakes contain a high content of algae which attaches itself to rocks in a very short period of time. After cleaning the flint or chert product of any loose flakes, (generally by wire brush and light buffing) stock flints are merely stashed into the stream or lake bed and within a very brief time, the incredible results shown above (in extreme closeup) is evident. The interesting part is that once attached to the surface, brisk scrubbing will seldom remove much of the build-up. This technique is used extensively by some who claim to find artifacts by scuba diving.


                      Chemical induced Flint alteration


                      Fig. FA/CI: This closeup shows the effects of chemical immersion or induction. With immersion, the Flint or Chert artifact is subjected to a chemical bath which may or may not be heated or chilled depending upon the required result. If the chemical is merely induced, it may be spotted randomly on certain areas to give a desired effect. In this instance if the entire artifact has been subjected to immersion chemical bath, then unwanted excess surface artificial patination is removed via buffing or scrubbing. The benefit of the chemical treatment is that it is a dependable substitute for other more time consuming methods.


                      Sandblasting/machine buffing Flint alteration


                      Fig. FA/SB: This technique is very effective in producing an ancient looking , feeling artifact with a minimal of effort. The entire surface is lightly sandblasted similar to the treatment used by dentists to clean difficult stained teeth. After a lightly controlled blasting of the desired areas, the high points of the artifact are subjected to a variety of hard wheels which remove a slight bit of the flint surface. This technique highlights the surface area and renders a passable looking condition. This technique is especially effective on flints that have a translucent characteristics such as Knife River and Agates.


                      Excessive Heat Treating Flint alteration


                      Fig. FA/EH: This result is one which often shows up in altered flint reproductions. When the knapper does not control the right amount of heat treatment, sometimes the toolstone can be over-cooked to the point where it produces a near glass like quality. This appearance can often be identified by excess coloration, not normally seen in authentic flints. Also with this alteration areas seem as though they were almost to the point of melting. The conchoidal characteristic of good flint is nearly obscured with intensive application of too much treatment. Sometimes, as illustrated in the middle portion of the closeup, the material may experience excessive fracturing.


                      Fresh knapped flint


                      Fig. FA/FK: Although this is not necessarily a flint alteration per se, it is an alteration as it is a closeup of freshly knapped flint.This is what you would see if you enlarged the size of a normal point. The tops of the hills are extremely sharp, unlike that of an ancient point. Also the valleys are smoother than normal, resultant of recent flaking. Although these views are closer than one would expect via normal eyesight; it is similar to an examination of an artifact surface as seen through a 10X loupe. Ancient flint artifacts will have a much smoother surface with a decided dulling of the sharp edges and high points. Also keep in mind that the edges of the flint tool will be slightly dulled from usage, new flint work will be razor sharp to the touch.

                      “Used by Permission of the Author” and originally published in American Indian Artifacts; Genuine or Reproduction by Col. John F. Berner. Copyright © 2000 by American Antiquities, Inc.
                      Last edited by painshill; 01-27-2016, 12:29 PM.
                      I keep six honest serving-men (they taught me all I knew); Their names are What and Why and When and How and Where and Who.

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