There doesn't seem to be a general consensus among Coke collectors regarding restoration. Some feel very strongly against having any restored pieces in their collection. Others seem to have more of an open mind about it. Traditionally, certain areas of collecting have an almost complete acceptance for restoration — vending machines are a perfect example. Personally, I have very strong feelings about restoration, and I would like to share them with you. Keep in mind that this acceptance level that I have is my own, and does vary from other collectors you may talk with. My feelings on restoration, what is acceptable and what is not acceptable, are based on years of selling this memorabilia and realizing what the majority of the collecting community finds tolerable with restorations.
I am very much opposed to any restoration other than cleaning and polishing on metal or porcelain, signs, trays, etc. I do not have a single piece of metal in my collection that has been touched up or restored in any way. Some find these restorations perfectly acceptable, but I find it very difficult to sell trays, or metal or porcelain signs that have been touched up. Of course, every rule has its exceptions, and this exception is the rare or super rare pieces. For example, I would have no problem owning a “Victorian Girl” tray that had been touched up. But for most collectors, including me, metal, tin, and porcelain restoration is not acceptable.
On the other hand, I find it perfectly acceptable to have major cleaning, buffing, touchup, and restoration, and in some cases re-creation of parts of cardboard and paper pieces, especially rare cardboard cutouts. I have many paper signs, cardboard cutouts, and early calendars in my collection that have had work done to them. Of course, I am talking about moderately rare to rare pieces and better. I would not consider restoration on common cardboard signs. Because of the cost of restoration, there has to be a threshold for what is worth restoring and what is not. I do not recommend using a particular date as a guideline. Rather, decide if the piece is rare or very rare. If it is, restore it. If it is common, do not restore it, but rather wait to find a better example, then sell off the first.
Restoration of clocks is also acceptable, but only on certain areas of the clock. Regulator clocks and other wood framed clocks can and should be refinished (if necessary). Have the wood case stripped and refinished. Of course, the proper procedure of removing movement, glass, face, and hinges prior to stripping and refinishing is important. Repair and reconditioning of clock movements should also be done on non-working examples. Movements that cannot be repaired should be replaced, mainly because a working clock is more desirable and valuable than a non-working clock. But replace the movement with the same or similar movement from another clock if possible. New movements are acceptable, but it is important to keep the old movement with the clock, as well as any repair bill or any other information regarding work that has been performed on the clock. The ability to show this information in the future to a potential buyer is certainly an advantage. A number of things should not be done to clocks, such as repainting or using reproduction bottom glass, or replacing pendulums or ornate woodwork. But the worst possible thing you can do to a clock is to repaint, touchup, or replace the face (dial) with a reproduction. This is certainly the “kiss of death” to the value of a clock.
Bottles can have minor restoration work done, but only on very rare examples. The tops of Hutchinson bottles have been successfully repaired or replaced to improve their “displayability,” but their value is certainly lower.
There are two other areas of restoration that I personally find acceptable. First is restoration of the base of pedestal signs or police crossing guard signs. These cast bases and poles can and should be repainted to enhance the overall look of the sign. Strip down old paint and spray with silver paint. The Coca-Cola logo in relief should be painted red. The second area concerns gold wood frames for litho inserts. These gold wood frames and metal trim work can and should be repainted. Use a high quality gold spray paint. Remove the cardboard insert sign, and tin bottle emblem on the front (if it has one) and give only the front two coats. Be sure to turn the metal rods on each side between coats. Spray the tin emblem separately. Do not repaint the back of the frame. Most frames are stamped with the “Kay Display” information, and you do not want to cover this up.
When buying a piece for resale or for your collection, it is important to know if it has been restored. Ask the seller what has been done, and examine the piece carefully, looking for uneven color or breaks in the paper. If the piece is framed, ask if you can take it out to be examined. Do not forget that framing and matting can hide a multitude of sins. If the dealer will not let you take it out of the frame, be very skeptical. Also be sure when buying a piece that it can be returned if you discover it has been restored if you were told otherwise. From a collector's standpoint, you would like everything in your collection to be in mint, original condition, but this is just not realistic, especially with something as delicate and rare as early paper. Most collectors want to display their collection, especially rare pieces, in the best possible way, and restoration certainly is an option to improve the “displayability” of the piece.
If you decide on restoration, keep a few things in mind. Make sure that you find someone you feel comfortable with. Get recommendations or see samples of his or her work. Sometimes calling museums in your area and asking if they can make recommendations can be helpful. Also, photograph the piece prior to any restoration, and attach an envelope to the back of the frame when it is done to hold these photos and receipts, dates, and the name of the person who restored it. It is always helpful to show a future buyer of a piece a “before” photo, as well as any other restoration information you have. Most importantly, realize that a piece of restored advertising, no matter how rare or how well that restoration was done, cannot be called mint and should always be identified as restored. A restored piece will never have the value of a non-restored piece, even if they both appear to be of equal condition.
Restoration is a personal issue, so you must decide if it is acceptable to you and how limited or extensive that restoration will be. Restoration standards will always fluctuate among collectors, and setting standards for your collection is your choice, not mine or any other collector's. When determining your acceptance level, keep in mind potential future value and salability, but don't forget that some of the greatest works of art have been restored.