Most people, many craftsmen and some refinishers are not aware of what is meant by cosmetic restoration. When asked what is meant with regard to furniture and cosmetic 'touch-up work,' the answers vary:

"Crayons and touch-up markers." "Putting some colored putty in a chip." "Primarily a superficial repair." "It's an evil word" or "Patching something over."

When an old or original finish is removed, the history as well as the patina and look of the piece are destroyed. The only time I would recommend removing the original finish is when the finish itself has separated from the wood. An unsightly, cross-grain scratch has obscured the aesthetic look to the point where a repair would be noticeable or there are unsightly marks that cannot be remedied, i.e. water marks, crazing or flaking. Only an informed, educated expert would be able to make a judgment call to alert the customer to his/her choices.

Furniture that is marred does not have to be refinished. Some of the basic information to make a professional judgment call is to first be familiar with the original products that were used. Antique pieces (items before the turn of the century) were finished with shellac, the only option other than oil or wax finishes. So once you have established an item as an antique period piece, and as long as it has not been refinished, then the existing finish was shellac. You will be considered a genius, when you inform your customer of the finish, and a true artisan when you choose the best option to bring it back to its original beauty and look.

Begin by asking the owner if there is a provenance (a documented history of the piece's origin). Then inspect the piece for identifying marks that would determine age. Information on dovetails, nail heads, screws, added accessories and hardware would inform you on how to tell its age, possibly the maker and from where it originated. Another deciding factor is the wood. Depending on the type, it can also identify the origin. For example, if it is maple, then it did not come from England.

Pieces can also be identified by look and style, but categorizing them based on a host of subtleties can prove challenging for even the most experienced restorer. There are many exceptions such as items that were copied (antique reproductions), a blend of a period and a style, a style blended with another style, influenced by other countries, and then changed slightly to suit a cabinetmaker's flare. Added to this is all the additional history of restoration, marriages (putting different tops on bottoms, a sideboard made into a breakfront, adding a new table top to an old base), plus replacements of decorative parts. To confuse things even more, there are current, high quality designers of classical furniture of today, such as David Linley, who specializes in creating fine furniture in a modern 'classical' idiom. Great pieces of workmanship! His items resemble the high quality and sophisticated inlay of the great cabinetmakers.

Here are some tips to help the restorer identify the characteristics and subtleties of antiques and/or reproductions:

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