A Visit with Bill Jackson and Alex Przygoda at Jackson Galleries
by Karl Kilguss
Originally Published Spring, 2006
Arrowheads.com Off-Line Magazine #2 (republished with permission)
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I flew into Lexington on a Wednesday. Just a one-day visit to get the whole story on Jackson Galleries and their authentication process. Realistic? Not really, but I was given more information over the following 8 hours than I had previously thought would be possible. Of course, there have been several follow-up phone conversations since to augment the visit as well. I learned a few things along the way, and I hope the readers will too.
For starters, Bill and Alex are two very different personalities, which somehow seem to blend together surprisingly well. Not once during my visit was there any hint of friction between the two, which if you consider the amount of time they spend together would seem impossible.
When Alex was 10, Bill married his mother, Donna, who was also Bill’s high school sweetheart. Both had been married before, perhaps Bill a few extra times as I believe 6 was a best guess by Alex. But that is all ancient history now.
With Bill, the first thing you notice is a magnetic charisma. The kind that makes whatever someone like that is doing seem like something you would like to be doing too. It draws you in effortlessly and you genuinely enjoy his company. Bill has been active in this hobby since the 1960’s. Spanning 5 decades, his enthusiasm remains undiminished. That’s an incredible thing.
This may help explain how it was Alex grew into a fascination with artifacts, but his contributions to the work they do are original on several fronts. It was Alex who computerized Jackson Galleries beginning when he was 12 years old. He designed all the web pages and COA forms and created the all the internal tracking programs for the entire business. He is not merely integrated into the process, but is a driving force in its evolution. That is the first thing you realize about their process of authentication.
It is ever evolving into new arenas. Alex equates it to a tool box in which tools are constantly being added when found to be applicable and of significant value. The basic approach is like a framework within which experience, research innovation and technology are constantly pushing the thresholds of authentication itself.
This has always been their style. It was Bill Jackson who first introduced using microscopes in examining artifacts in the early 1990s. Today, I cannot think of a major authenticator who does not use one. Using magnification, he was able to discover characteristics on the surface of artifacts, which seemed to fit into classification patterns that were generally recognizable. By 1995 he had developed what is called the analysis of “Post Depositional Surface Modification,” or the PDSM Method.
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PDSM recognizes that artifacts are always found in 3 basic environments: Shelter, Water, and Field. An artifact from a sheltered environment could be one that remained buried or might have been found in a cave or rock shelter. The surface indications could include hinge fractures, caliche, root tracks or trowel strikes from excavation. These artifacts can still feel sharp and almost new to the touch. They are more like time capsules in that they have been protected from the elements that can modify the surface characteristics more dramatically.
Artifacts coming from water tend to exhibit certain characteristics relative to that environment such as dulling and river polish. Generally, no hinges are evident and surfaces are mini-pitted. Edges can exhibit damage from tumbling, which can be polished over as well. Tannic staining and organic residues can be evident.
Field found artifacts exhibit a variety of characteristics. Generally speaking, coming out of a field is a less violent environment than a river, but plows can do severe damage as well. Eighty percent of all field finds will exhibit oxidized iron on the surface from the soil or plow strikes. Iron oxide is commonly seen on the ridges of many artifacts where they grazed or rubbed the plow blades. About 20% of field finds will exhibit various other mineral deposits and may show signs of desert polish. Desert polish is not a pitting of the surface, but a more evenly smoothed or eroded look. Hinges on some of the higher-grade materials are possible.
PDSM looks for so-called “red flags” found most commonly in notches and on the flaking ridges. Notches having fresh crushing, loose lateral tears, color changes or texture changes are common characteristics of a reproduction or re-chipped artifact. Grinder marks and sanding striations are commonly seen on reproductions from the attempt to smooth the surface to make it feel old and worn. Flattened ridges are likewise out of place and are immediate red flags.
Bill points out that there is one Earth and one set of minerals. It matters not where in the world an artifact originates. Using PDSM we can determine its category and see the same kind of forces interacting with the surface of the stone from the moment it was exposed by the ancient maker. Start with the last thing that happened to the artifact and work backwards. Look below the plow strikes, mineral deposits, patina and wear. What is the characteristic of the underlying stone? If the underlying stone shows any of the red flags we have to ask if they are consistent with the nature of the environment category it exhibits. If a river point exhibits fresh crushing in the notches or still has a lot of hinges, those are strong red flags, while hinges on a sheltered artifact might be common. As Bill says, let the rock tell the story. When confronted with an artifact that lacks any mineral deposits, oxidations or other depositional characteristics of age, Bill points out there are just 2 possibilities left. Either the artifact is a reproduction and has never seen the ground at all, or it has been so rigorously cleaned so as to compromise its collectability.
That is a very basic overview of the PDSM Method, and as he points out, it is not rocket science and can be taught to anyone with surprising ease. In addition to what we covered here; Bill says there are 17 basic facts he teaches people to apply within the method. All you have to do is apply those facts within the method to any artifact from anywhere is the world and it is possible to arrive at a conclusion very close to 100% of the time.
Bill teaches his method to collectors at his office in Mount Sterling, Kentucky. Classes are available for collectors wishing to spend a day with Bill learning first-hand the process and techniques he and Alex use every day. Instruction includes the proper use of microscopes and lighting and focuses on identifying the characteristics most commonly exhibited in the three categories we examined before. I was surprised to see just how much information he is able to cover in a relatively short time. His style is very well developed and effectively organized into a system everyone can easily understand. It is clear that any collector who takes the time to spend a day with Bill in one of his classes will emerge with the tools necessary to immediately be able to tell the difference between authentic, re-chipped and reproduction artifacts in nearly all cases. Notably, this is the only class of its kind to my knowledge. To date, Bill has trained well in excess of 300 collectors and dealers in the PDSM Method. Generally, he likes to limit classes to one or two collectors and he holds them about once a week. If you would like information about taking his course you can call him any time. Information for Jackson Galleries services is easily located online at Arrowheads.com and you may also refer to the inside back cover of this issue.
One of the reasons for my visit was to gain a perspective on the authentication process at Jackson Galleries. I have already covered the basics of the evaluation process as applied to any particular artifact, but it goes a lot farther than this. Alex has been instrumental in researching and applying many new avenues in both techniques and technologies into the authentication process.
While I was there, they were examining a pottery pipe, which was being prepared for examination at a lab in Massachusetts utilizing Thermoluminescence. This involved taking a tiny sample from the artifact, which will be subjected to analysis. That process involves heating the sample to a certain temperature at which it gives off a burst of light, which is then analyzed to determine when the pottery sample was originally fired. The lab requires photographs be taken of the sampling process and before and after shots of the sampled spot. The entire process must be performed before a Notary Public who then notarizes an affidavit signed by the person taking the sample (Alex in this case), which states the process used to take the sample, where it was removed from and pictures the artifact itself. The Notary Public affirms the signature of the sampler and confirms they witnessed the entire process themselves. This ensures for the lab they are, in fact, analyzing a sample from the subject artifact that has been prepared properly. The cost of this type of analysis is $375.00, which seems like a lot. But next to the cost of the pipe it is only a very small percentage of it value. Alex explains that Thermoluminescence confirms the material used in the pottery was fired in ancient times. There have been many instances where ancient pottery fragments have been reconstituted by grinding them up and adding water to create the workable clay. The clay is then molded back into a bowl or pipe and fired. Thermoluminescence will reveal when the firing originally took place. Ancient pottery material, which has been reconstituted and then re-fired, will fail this kind of analysis. Once the cost of the test comes down a bit more it will all but replace the need for authentication opinions on pottery items.
To date, there is no such analysis available for dating the surface of flint tools to tell when the worked surface was exposed which yields reliable and consistent results. While the firing of pottery begins a clock, which can be analyzed, testing the age of a rocks surface remains elusive. Perhaps in time, science will find a method. Alex keeps himself right up to date and researches new developments in other disciplines. In this way he is continually studying the possible applications of other scientific methods toward artifact authentication. Notably, there is a particular line of research he has been conducting for some time now that may well promise to revolutionize authentication of Bannerstones or other artifacts made from Slate. I have been asked not to go into details about this new development until he has completed his research relative to whether the natural process in question can be accelerated artificially. And if so, what these indications might be. I am hinting at a coming development for these Banner Stone artifacts, which could be as revolutionary in their authentication as the microscope was for flint tools in the early 1990s. Alex has done extensive legwork by studying several museum collections collected directly from archeological dig sites to determine if the characteristic degradation exists in 100% of all ancient Slate artifacts. We see here how the authentication process is not static, but is progressive in all aspects and in every component. There is no telling where Alex may take this profession into the future as technological advances push us closer to scientifically testing age in new ways. Stay tuned.
Live Show Authentications
Bill and Alex have always taken a proactive approach to participating in the hobby. Bill served on the board of the AACA for several years and Alex now serves as the organization’s Treasurer. Everything they do with authentication is right on the front lines. Being involved in the community has always been a high priority and this sentiment continues on into the future of Jackson Galleries.
Bill and Alex are currently attending many shows where they set up with their equipment. They offer services to all present for either a full authentication, with COA to follow after the show, or what is popularly referred to as the “thumbs up or down” evaluation. All services are offered at discounted rates for the events. This means if a show attendee is looking at a particular artifact out on the floor with a mind to make a purchase, then they enjoy the powerful resource of being able to have a professional evaluation completed on the spot. When an artifact is concluded to be authentic, the submitter can chose to have it photographed and the COA will be sent in the mail shortly following the show. Show rates for these services has historically been $5.00 for the thumbs up or down and $15.00 for a full COA. It is important to point out here that Jackson Galleries is no longer engaged in dealing artifacts. They are completely focused on authentication services, research and teaching.
A live authentication service is tremendously helpful to purchasers, and experienced dealers enjoy the benefits of the likelihood in making a few extra sales as well. The dealers know once a customer walks an artifact over to Bill and Alex for evaluation they are highly likely to follow that up with a purchase upon receiving the thumbs up. Conversely, anyone offering negligible artifacts and reproductions understands the prospect of making sales at that show is infinitely remote. Such a person probably wouldn’t book tables for the event at all. An automatic watchdog effect comes into play that is a very powerful deterrent to fraud. It just makes it a lot safer to purchase under these circumstances.
The following example is a simple exercise in the value of live authentication and gives a basic overview of the options generally open to collectors when purchasing artifacts at shows. Buyers are utilizing professional authentication at unprecedented levels in the hobby and new members need to have an understanding of its impact.
Example: You are attending a show in Kentucky hoping to find a suitable Clovis point to add to your collection. You search the floor and located several pieces that interest you. Finally, you decide you like a certain one the best (a Kentucky Hornstone Clovis), but it has never been professionally evaluated for authenticity while some of the others have. You do not personally know the seller, but he or she looks like they know what they are doing and has many other fine artifacts, some of which are being sold with accompanying certificates of authenticity. Jackson Galleries is in attendance and is offering on the spot evaluations.
Do you:
- Buy the Clovis and go home and place it in your frame.
- Buy the Clovis and hope you get a refund if it fails authentication after the show.
- Give the Seller your number and tell them you will purchase the piece once they have had it evaluated.
- Have the Clovis evaluated on the spot prior to paying for it.
- Chose to buy a different Clovis you like almost as much, which already carries a respected COA.
Option A is never a viable option in purchasing artifacts. It completely lacks the need for inquiry or review and leaves no protection for the day when you might wish to sell the artifact. The old saying, “An ounce of prevention is worth a pound of cure,” is a critical message for artifact collectors. According to Bill and Alex, the average distribution within most of the collections they are asked to evaluate consistently run l/3rd fully authentic, l/3rd modern re-chipped and l/3rd reproduction. Luckily, this scenario is entirely avoidable these days by utilizing some minor precautions.
Option B is the general approach taken at most shows, especially when there is not an opportunity for on-the-spot professional evaluations. This model places the risk on the buyer that the seller will come through with a refund if the point fails authentication. There is often no alternative to this approach. Be sure to know whom you are dealing with and ask around if you are unsure of their reputation for honoring refunds in a timely manner. The vast majority of dealers are good honest people who love this hobby, and refund policies are almost universal now. The biggest problem here is that many buyers don’t get the artifacts evaluated quickly enough to apply for a refund. Success under this model requires buyers to establish good habits in sending points out quickly. A potential down side of this model is that there are many shows where the guarantee is only required during the duration of the show.
Option C is not a good option because you, as the buyer, are no longer in control of the sale. The point could well be sold to another party and you might never hear back. Better to default to option B and get a firm commitment to refund if your chosen authenticator rejects the artifact.
Option E is potentially safer, but are you buying the rock or the paper? There are many collectors who only shop for artifacts carrying COA’s from certain authenticators. From that group they then chose which artifacts they like the best to purchase. While this is relatively safe, it is also self-limiting.
Option D would appear to be the best option under the circumstances. Under the facts of the example, you are contemplating purchasing a Kentucky Hornstone Clovis. By market standards, a Jackson Galleries COA on such an artifact is among the best possibilities. And, if it already had such a COA the sale would likely have been completed quickly. If you would still like a second opinion, be sure to secure the appropriate guarantee for getting it evaluated again after the show.
An experienced collector reading this already knows what the point is here and may find the subject tedious. The bigger concern here is for the many new collectors who are less aware of the benefits professional authentication contributes to the hobby. Primarily, in how it can help people avoid certain costly errors while building collections. If you are going to really enjoy this hobby, you must understand the prominent role authentication has taken and learn how to utilize it effectively. It is a simple thing to do. Arriving years later with a collection under the 1/3rd, 1/3rd, 1/3rd scenario is undesirable and easily avoidable.
Notably, Bill and Alex were in attendance at the annual AACA Expo held in Fort Mitchell, Kentucky last July (2005). Their tables were a hot spot of activity, as both the attendees and dealers were frequently taking pieces over for evaluation. I also spoke with Tom Davis at the Expo concerning the live authentication service and he expressed a strongly favorable attitude. Tom likewise feels the live authentication service is an invaluable asset to any show. He was quick to point out many of the benefits for attendees, dealers and show hosts. Tom also stated that the 2005 AACA Expo was by far the best yet (congrats to Jim Fisher for all his hard work, and Off Line looks forward to attending in 2006).
It’s not surprising that many show organizers encourage Bill and Alex to attend their events. The truth is, it helps attract the kind of dealers a show host wants in attendance. It also potentially reduces the need for the host to wear the hat of authenticator, thus easing the pressure off his or her back for ensuring the show is clean of reproductions.
And, this leads into another facet of the authentication profession, which is seen in both Bill and Alex. To be a professional authenticator requires much more than simply the knowledge and experience to be able to discern between an authentic artifact and a reproduction. It also requires a thick skin.
Every authenticator will have experiences with people who truly believe their denied artifacts are indeed authentic. Bad-will can easily creep onto the scene. This effect is magnified in our hobby because no one wants to be labeled a seller of reproductions. Tempers can quickly flare and occasionally lead to misguided attacks on the authenticator’s honesty, character, knowledge and competence. In a hobby where reputation is everything, we should not underestimate the potential impact of a negative conclusion on authenticity. And, as the stakes increase, so does the potential for reputation attacks.
Any authenticator who would bend to political pressures in their evaluations would not be long for this hobby. Those who have survived are looked upon as authority figures for guidance and have earned such stature through trial be fire. Truly, an authenticator who travels through this hobby without accumulating enemies is merely a fable, and none such exist. Bill and Alex are never concerned with the impact their evaluations will have upon any underlying transaction or 3rd party reputations. They are only concerned with maintaining the highest degree of consistency within the evaluation process itself and in arriving upon the correct conclusion. This uncompromising attention to the truth adds a lot of value to an artifact on the market carrying their COA. And, this fact has not been lost on the dealers. Pre-sale authentication is a pro-active approach being utilized by the dealers more now than ever before. It is generally considered necessary on almost all high-end artifacts.
I would like to thank Bill Jackson and Alex Przygoda for opening up their office and giving me the royal tour. I was surprised by the willingness in which they share their information and trade secrets. They understand hoarding information is not conducive to educating the hobby and did not hesitate to agree to have the portions of their PDSM Method, as outlined here, included in this publication. l could not hope to fit a day with Bill and Alex into one story, so I strongly recommend to anyone tapping their well of knowledge. They are more than willing to teach their method and they are eminently qualified to do so. They also point out that with the advent of new technologies, we may one day arrive when professional authentication is a thing of the past. They welcome the day when technology might be able to definitively test the age of the entire spectrum of artifacts. And, if that should come during our lifetime, I rather suspect we would see the opening of the Jackson Galleries Lab.
This article is the second in a series focused on some of the most prominent authenticators in our hobby. We feel the hobby is currently gaining new members at an all-time record pace and believe it is important that the role authentication plays in collecting be explained in a straightforward manner. Learning to utilize professional authentication is critical for all new members of the collecting community. If there were no reproductions on the market, then there would be no need for authentication. The increased utilization of professional authentication has made it dramatically more difficult to sell reproductions within the authentic collecting community. Off Line salutes the authenticators for a job well done and supports them in their continuing efforts to protect this hobby we all love so much.
