The sun. [volume] (New York [N.Y.]) 1833-1916, 1883-02-18

IN WOO0, or perhaps oAoCSrOJyp0 reprOuuc-
lions Of old metal work fastened on. There |
are electrotypers who can hapdle their bat
tories and baths so skilfully that they can
copy almost any object in metal with such
perfection that all ordinary tests will fail In
detecting the fraud. Not only the form and
color Of the object, but It's specific gravity,
It's density, Its hardness, the ring which 1t
gives when struck, can all DO faithfully
copied. Luckily. those men are few, and
their services are In demand for more hon
orable work.
The greater number Of the artistic frauds
that are practised In this country are not
difficult OF detection. Their object generally
Is to pass machine work of for hand
work at high figure. Thus machine-mado
embroideries, copied from good Eastern de-
signs, are sometimes taken up with littlo
hand work. are frayed and carefully darned
in places. or arspurposely soiled to give them
a look Of age. Japanese antiques are likewise
manufactured here on considerable scale.
Small ornamental pieces Of metal work or
carvings in wood or ivory. lacquer plaques,
and 30 forth. are imported from japan In
quantities, and fastened on to cabinets made
In this country OF common woods, the whole
being then sold as Japanese. Even respect
able dealers keep these wares, but acknOwl-
edge their true character when questioned. In
Japan itself the more famous old wares OF the
country are regularly counterfeited for the
American market. Thus tho cream-cOlored
pottery commonly sold under the name OF
Satsuma ware Is all false, and there is no
famous ware OF any part OF Japan that is
not counterfcited In some other province.
or late, too certain dealers have got into the
habit Of bringing American or European ma
torials into Japan, there to be worked up
into tho articles that the natives best know
how to fabricate. Those are then imported
and find sale here. Tobacco pouches, medi-
cine cases. knife sheaths. will often BIO found
OF old Dutch or Cordovan stamped leather,
toorotten, perhaps, for other use. Ornamented
with gilt and silvered figures In Japan and
attached to some real Japanese article.
On the other hand. articles of undoubted
authenticity are not uncommonly broken up
and destroyed to enrich some modern piece
OF work with their ruins. The furnished sill
yer galloon ripped from old Spanish or
Italian vestments has added to the splen-
| doris Of the hangings that are displayed by
more than one Of our millionaircs. Daghes-
| tan and Persian rugs. which in another gen.
| eIullOu VI UWO WOulu ut uIlCelcSS, uIe Iulu-
lessly cut up for chair backs and sofa covers.
This is result of the mania for old things
which genuine collectors are the first to con-
| denim.
Perhaps, after oil, moro harm Is wrought
| by confessed limitations than by fraudulent
ones, which to be successful must be pretty
good. The wretchcd machine work in faded
colors In imitation OF antique embroidery
which Is imported from France and Germany
Is more exasperating than the American
| Cretan and Americana Persian work we
have been describing There are imi-
tations OF stamped leather which have
none OF the qualities that make the real
thing valuable. There has even just begun
to be made an imitation Of stained glass in
cellulod paper which is more abominable, II
possible, than the worst that our unartistic
glass stainers can produce.
People who buy such work have, OF course
only themselves to blame; but in many
cases 1t Is difficult for one not acquainted
| with the facts to distinguish the genuine
from the initiative work, II the dealer does
not take the trouble To point out tho differ
ence. In the matter OF rehabilitatcd an.
tiques, 1t Is very hard to draw the line
at which the renovating process shoulC
stop. 1t would perhaps be safe to lay
down the rule that only so much should b.
done to piece of furniture. or the like as /.
necessary to keep it in q useful condition
and that the patches or the new portions
should show distinctly. Nothing should bt
added as ornament. nor should any attempt
be made at artistic restoration" It is yer!
seldom allowable to make over old material
tad. -t.o IL,
speaking, the best thing to do with old worl
past usefulness Is to preserve it, for what
ever artistic qualities 1t may have, exactly Ii
the state in which 1t is.
In regard to the counterfeits prepared II
other countries and sold here In large mum
Der. buyers cannot BIO too wary. Even deal
ers who have all their lives made specially
OF some one thing arc sometimes taken in
or course. when an article Is so nearly lik'
tho original as this, 1t is also OF nearl,
equal artistic value But tho archaeology
cal value Of an object Is often much NOR,
than its artistic value. The best rule TO
those who are not experts is to buy onl!
what is beautiful and only from dealers o
reputation. They will then run as little risl
as possible, and even II thoy DO mistaken n
to the authenticity OF their purchase the.
will be consoed by It's intrinsic merit
large number OF counterfeits are, however
known and classified. There arc marks b.
which experts may tell the real old Sevre
ware from the limitations OF the last century
tho presence of certain metallic colors an
tho use Of certain processes OF Furnishing
the gliding arc often sufficient to point out tn
false ware. But manufacturers OF to-da
know these marks as well az any cOnnois
seur, and against them all such signs woul
be useless. In the case Of Japanes
! product 1t is next to impossible, eve
! when the piece Is marked and n
fraud Is intended to place 1t eithe
1 as to age or locality OF manufacture
The same man may change his trade mar
three or four times in his life; each time h
t may sell or give his old trade name I