The idea is to reward as many of the entrants as appropriate.
But how to judge? Some events simply trust that a conscientious judge will do his best and leave it at that. I think that is unfair to the judges. Human nature is competitive and suspicious. Some exhibitors pride in their bikes is immense and many put consider able effort into preparation. Leaving judging informal invites accusations of bias or incompetence.
More organized events give a scorecard so judges can arrive at a numeric score for all bikes. One approach, derived from auto concours, is to start at 100 points and deduct for any flaws in condition or specification. I have judged events where each component of each bike was scored for condition and "correctness". For example, in one system, the saddle is worth 5 points. When judging a seventies Cinelli, one would score 5 points for a new condition Unicanitor Model 3 in buffalo leather, as this was the catalog spec. If showing signs of wear, 4 points. If the bike is fitted with a new-condition Brooks Professional with the 1970's era nameplate, one might score it well, as the saddle was a "period" option that many riders might have chosen when the bike was purchased, perhaps a 4. A recent production Brooks perhaps 2 and saddle in poor condition or inappropriate, 1. I'm not comfortable with this system for several reasons. First, there are very few people who are confident of this level of detailed knowledge on whatever shows up on event day. In the auto world, such things are better documented, and required preregistration and tight categorization, often by brand, aids judging. For bicycles, at least at this stage of collector/event maturity, this system poses several problems. First, no authoritative documentation exists for vintage bicycles. Anyone in the trade can tell you that product literature or magazine articles are often incorrect. Further, unless carefully isolated into tiny categories, this system can cause unused, boring production bikes to beat rare, historic actual race winners! Bicycles are made to be ridden, and the emphasis here is too heavy on unused equipment. Finally, I want my events to be positive and the focus on fault finding here seems to work against that.
For the Concours d' CyclArt I've developed a system that seems to get the balances right:
All show bike entries are given an event pin and are eligible for door prize. Numbered cards are provided to write bike description and history. Entrants mark categories they wish to enter, as many as the bike seems to fit. This year's categories will include:
Selected by Judges: Best: antique, replica, vintage racer, Italian, British, French, American, custom, touring, commuter, prewar balloon, postwar balloon, original, restored, tandem, motorized, muscle bike, hot rod, low rider, pre-1900, pre-balloon, pre-W.W.II, 1950's, 1960's, 1970's, 1980's, The Braslow/CyclArt best of show award.
Voted by entrants: Most: historic, unusual, creative, beautiful, rare, cool, rusted. Best: Custom bike, lugs, paint, crash damage, new design, concept bike, bike art.
Voted by spectators: People's choice.
Sometimes not all categories are awarded and I have been known to make up awards for a deserving, but unexpected bike.
Over the years some have commented that the range of categories is too wide at my events that there should be a focus limiting the event to balloon classics or racers or whatever. Prestigious, long running & successful motorcycle & car events often include very diverse interests. Meanwhile, I see a bit of cross-pollination between otherwise isolated interest groups as a good thing. I think until the event outgrows our locations ability to handle it, there is no reason to split. Typically, we get about 100 entrants but could accommodate 200 or more. If we overflow that, it will be time to do more than an annual event and tighten the focus.
But how to judge? Some events simply trust that a conscientious judge will do his best and leave it at that. I think that is unfair to the judges. Human nature is competitive and suspicious. Some exhibitors pride in their bikes is immense and many put consider able effort into preparation. Leaving judging informal invites accusations of bias or incompetence.
More organized events give a scorecard so judges can arrive at a numeric score for all bikes. One approach, derived from auto concours, is to start at 100 points and deduct for any flaws in condition or specification. I have judged events where each component of each bike was scored for condition and "correctness". For example, in one system, the saddle is worth 5 points. When judging a seventies Cinelli, one would score 5 points for a new condition Unicanitor Model 3 in buffalo leather, as this was the catalog spec. If showing signs of wear, 4 points. If the bike is fitted with a new-condition Brooks Professional with the 1970's era nameplate, one might score it well, as the saddle was a "period" option that many riders might have chosen when the bike was purchased, perhaps a 4. A recent production Brooks perhaps 2 and saddle in poor condition or inappropriate, 1. I'm not comfortable with this system for several reasons. First, there are very few people who are confident of this level of detailed knowledge on whatever shows up on event day. In the auto world, such things are better documented, and required preregistration and tight categorization, often by brand, aids judging. For bicycles, at least at this stage of collector/event maturity, this system poses several problems. First, no authoritative documentation exists for vintage bicycles. Anyone in the trade can tell you that product literature or magazine articles are often incorrect. Further, unless carefully isolated into tiny categories, this system can cause unused, boring production bikes to beat rare, historic actual race winners! Bicycles are made to be ridden, and the emphasis here is too heavy on unused equipment. Finally, I want my events to be positive and the focus on fault finding here seems to work against that.
For the Concours d' CyclArt I've developed a system that seems to get the balances right:
All show bike entries are given an event pin and are eligible for door prize. Numbered cards are provided to write bike description and history. Entrants mark categories they wish to enter, as many as the bike seems to fit. This year's categories will include:
Selected by Judges: Best: antique, replica, vintage racer, Italian, British, French, American, custom, touring, commuter, prewar balloon, postwar balloon, original, restored, tandem, motorized, muscle bike, hot rod, low rider, pre-1900, pre-balloon, pre-W.W.II, 1950's, 1960's, 1970's, 1980's, The Braslow/CyclArt best of show award.
Voted by entrants: Most: historic, unusual, creative, beautiful, rare, cool, rusted. Best: Custom bike, lugs, paint, crash damage, new design, concept bike, bike art.
Voted by spectators: People's choice.
Sometimes not all categories are awarded and I have been known to make up awards for a deserving, but unexpected bike.
Over the years some have commented that the range of categories is too wide at my events that there should be a focus limiting the event to balloon classics or racers or whatever. Prestigious, long running & successful motorcycle & car events often include very diverse interests. Meanwhile, I see a bit of cross-pollination between otherwise isolated interest groups as a good thing. I think until the event outgrows our locations ability to handle it, there is no reason to split. Typically, we get about 100 entrants but could accommodate 200 or more. If we overflow that, it will be time to do more than an annual event and tighten the focus.
By
Jim Cunningham, CyclArtist
Now class... Who has done their homework and can list the three "R's"? Jimmie? "Refurbish, Renovate and Restore". Very good! What are their simple definitions? Anybody? Eduardo? "Refurbish... To clean and polish, preserving all existing finish and parts. Renovate...To make new, updating components, making modifications such as changing paint design or adding braze-ons. Restore...To rebuild, refinish and replace as necessary to return the bicycle to it's original new condition." Very, very good!
Now, presuming that all present have fulfilled the pre-requisite... ownership of a vintage race bike, I'd like to preview the semantics, economics and ethics chapters of your Vintage Racing Bicycles Textbook, as relates to the Three R's:
In refurbishing, the aim is to preserve the bike, and whatever resale value it may have, while providing maximum miles for the dollar. Careful maintenance, cleaning and storage are paramount. (Even for Paramounts!) Ideally, the process should begin when the bike is new, although this is rare. With care, even bikes ridden extensively can age gracefully and develop "patina"... That is, aging and weathering which imparts character and authenticity.
To preserve resale value, parts should not be replaced unless necessary, and then, only with identical parts. In some cases, substitution of "period" parts, which could have been substituted at the time of original purchase, is acceptable. Special care should be taken to clean weathered surfaces gently and keep them clean and dry. Waxes may be used to seal the finish and slow further deterioration. When the bike has acquired a "patina", replacement parts, even of the same vintage, may look too fresh and out of place.
If the bike is ridden, spare parts should be stocked. Eventually all "soft" parts, rubber, leather, plastics, wood, may become fragile. Beware old tires and old sew-up glue! When putting away parts for the future, don't forget to store any documentation you may have. Original purchase papers, service records, catalogs, magazine road tests, race coverage in which the bike or it's brothers were used, all these things will become more interesting with age. They may be invaluable in documenting the bikes place in history. Records can show that the bike has been preserved in its "correct" configuration. A well cared-for bike can be kept in "like-new" condition indefinitely. The finest ones deserve to be.
CyclArt, has mastered a technique called "CyclTique". Starting with a damaged or neglected bike, missing parts are replaced with correct era used ones, then all parts are cleaned, polished and rebuilt. If decals & striping are visible, they are photographed, traced and reproduced. In some cases, we can save a portion of the original finish and match the new paint to the old. If rust has taken hold, or the frame has been refinished, it is stripped to clean metal, repaired as needed and a durable new finish is applied. In any case, since the components show their age, new paint is carefully "weathered" using airbrushes, and other techniques to artificially simulate the appearance of a well maintained original. When the finished result is in our showroom people often ask anxiously, "you're not going to repaint this are you?", mistaking the finished product for an original, which should be preserved "as is".
Renovation is often and appropriately performed on contemporary bicycles. Often called "upgrading", it can be used to change a bicycle's, fit, performance, appearance, or purpose. Making changes to your bike is a part of what keeps many of the more technically minded interested in the sport. Most riders will simply replace parts with whatever appeals to them, is currently available, and fits their budget. On older, or more valuable bikes, however, renovation becomes more problematic.
Now class... Who has done their homework and can list the three "R's"? Jimmie? "Refurbish, Renovate and Restore". Very good! What are their simple definitions? Anybody? Eduardo? "Refurbish... To clean and polish, preserving all existing finish and parts. Renovate...To make new, updating components, making modifications such as changing paint design or adding braze-ons. Restore...To rebuild, refinish and replace as necessary to return the bicycle to it's original new condition." Very, very good!
Now, presuming that all present have fulfilled the pre-requisite... ownership of a vintage race bike, I'd like to preview the semantics, economics and ethics chapters of your Vintage Racing Bicycles Textbook, as relates to the Three R's:
In refurbishing, the aim is to preserve the bike, and whatever resale value it may have, while providing maximum miles for the dollar. Careful maintenance, cleaning and storage are paramount. (Even for Paramounts!) Ideally, the process should begin when the bike is new, although this is rare. With care, even bikes ridden extensively can age gracefully and develop "patina"... That is, aging and weathering which imparts character and authenticity.
To preserve resale value, parts should not be replaced unless necessary, and then, only with identical parts. In some cases, substitution of "period" parts, which could have been substituted at the time of original purchase, is acceptable. Special care should be taken to clean weathered surfaces gently and keep them clean and dry. Waxes may be used to seal the finish and slow further deterioration. When the bike has acquired a "patina", replacement parts, even of the same vintage, may look too fresh and out of place.
If the bike is ridden, spare parts should be stocked. Eventually all "soft" parts, rubber, leather, plastics, wood, may become fragile. Beware old tires and old sew-up glue! When putting away parts for the future, don't forget to store any documentation you may have. Original purchase papers, service records, catalogs, magazine road tests, race coverage in which the bike or it's brothers were used, all these things will become more interesting with age. They may be invaluable in documenting the bikes place in history. Records can show that the bike has been preserved in its "correct" configuration. A well cared-for bike can be kept in "like-new" condition indefinitely. The finest ones deserve to be.
CyclArt, has mastered a technique called "CyclTique". Starting with a damaged or neglected bike, missing parts are replaced with correct era used ones, then all parts are cleaned, polished and rebuilt. If decals & striping are visible, they are photographed, traced and reproduced. In some cases, we can save a portion of the original finish and match the new paint to the old. If rust has taken hold, or the frame has been refinished, it is stripped to clean metal, repaired as needed and a durable new finish is applied. In any case, since the components show their age, new paint is carefully "weathered" using airbrushes, and other techniques to artificially simulate the appearance of a well maintained original. When the finished result is in our showroom people often ask anxiously, "you're not going to repaint this are you?", mistaking the finished product for an original, which should be preserved "as is".
Renovation is often and appropriately performed on contemporary bicycles. Often called "upgrading", it can be used to change a bicycle's, fit, performance, appearance, or purpose. Making changes to your bike is a part of what keeps many of the more technically minded interested in the sport. Most riders will simply replace parts with whatever appeals to them, is currently available, and fits their budget. On older, or more valuable bikes, however, renovation becomes more problematic.
All bikes eventually get old, and a few become more valuable with
age. Even if a bike is carefully maintained and "refurbished"
as outlined above, eventually, due to difficulty in acquiring
parts, damage, or desire to adapt to currently fashionable technology,
there will be great temptation to renovate. Renovating devalues
collectible bicycles. An otherwise full Campy Super Record DeRosa
is somehow compromised (some would say bastardized) with a set
of current Shimano 105 brakes, no matter how well they work.
So if changes are to made to a current or potentially collectible
bike, it is wise to store original parts for possible reinstallation
or inclusion at time of future resale.
Never renovate with resale in mind. If, however, you intend to keep the bike indefinitely, if it is not exceptionally rare or valuable and if visions of your renovated bike keep fogging your Oakleys... do it. If you are ambitious, or creative, you can push renovation into "customizing", turning ordinary bikes into sublime, personalized, tasteful exotics. Bicycle "hot rods", can be just as exciting as their gas-guzzling brethren. As with the auto hot rods, there can be a certain charm to a tasteful mix of old style and new performance. As much as I love the classics, I'll admit, that some of my best moments at CyclArt have been in helping a rider define and realize his dream bike. Sometimes, the client has worked out the design and we execute it carefully to the letter, other times, we brainstorm with the client to extract his sleeping dream bike. When they're "right", such bikes can be very seductive!
To "Restore" a bicycle, the goal is to return it to it's original state. Through use, accident, renovation or neglect, most high quality bicycles become candidates for restoration.
As with classic autos, the most valuable are usually super-low-mile-like-new-originals. A near-perfect original will not increase in value if restored. In fact, I discourage such work. However, flawed, rusty or damaged bikes can become highly desirable if properly restored. At CyclArt, we have always discouraged restoration as investment, but given the recent surge of interest in vintage race bikes... who knows?
There is great satisfaction in returning a sad, battered and rusting old campaigner to "better than new" former glory. This year's super-bike is next year's old news and carries a guarantee of immediate depreciation. On the other hand, nice vintage bikes are appreciating in value, and become increasingly interesting with age. Then, of course, there's that special satisfaction in dropping the guy on the high tech bike.
I've written at length about the importance of accuracy in restoration. For now, suffice it to say that virtually any bike can be restored very accurately. If, as has happened in balloon tire bicycles and other collectibles, we are to witness increased collector activity in vintage race bikes, care in documentation and doing restorations right is important. CyclArt takes quality "before" and after photos as part of restoration projects.
Paint, chrome and decals should be as they were when the bike left the factory. Many difficult to find components can be polished, re-chromed and rebuilt. When possible, "new-old-stock" (NOS) parts are installed. NOS are unused parts stored since new. As in life, compromises may be necessary, at least until the elusive rare part turns up.
Some restoration work is very tedious. Given the economies of production, one often invests several times as much labor restoring a bike as was put into building it in the first place. Research and networking take time. Patience is the key. Often, because of parts availability, or rider preference, component substitutions are made. In some cases, this turns a restoration into a rejuvenation, but where care has been used in selecting parts from the same time period as when the a bike was new, it can more correctly be called a "period custom". That is, not as delivered new, but how the bike could have been created if custom orders were possible. This segment between restoration and rejuvenation is interesting and affords a balance of history and freedom of choice.
Tonight I want everyone to read the chapter on bicycle museums and prepare for a class trip.
Never renovate with resale in mind. If, however, you intend to keep the bike indefinitely, if it is not exceptionally rare or valuable and if visions of your renovated bike keep fogging your Oakleys... do it. If you are ambitious, or creative, you can push renovation into "customizing", turning ordinary bikes into sublime, personalized, tasteful exotics. Bicycle "hot rods", can be just as exciting as their gas-guzzling brethren. As with the auto hot rods, there can be a certain charm to a tasteful mix of old style and new performance. As much as I love the classics, I'll admit, that some of my best moments at CyclArt have been in helping a rider define and realize his dream bike. Sometimes, the client has worked out the design and we execute it carefully to the letter, other times, we brainstorm with the client to extract his sleeping dream bike. When they're "right", such bikes can be very seductive!
To "Restore" a bicycle, the goal is to return it to it's original state. Through use, accident, renovation or neglect, most high quality bicycles become candidates for restoration.
As with classic autos, the most valuable are usually super-low-mile-like-new-originals. A near-perfect original will not increase in value if restored. In fact, I discourage such work. However, flawed, rusty or damaged bikes can become highly desirable if properly restored. At CyclArt, we have always discouraged restoration as investment, but given the recent surge of interest in vintage race bikes... who knows?
There is great satisfaction in returning a sad, battered and rusting old campaigner to "better than new" former glory. This year's super-bike is next year's old news and carries a guarantee of immediate depreciation. On the other hand, nice vintage bikes are appreciating in value, and become increasingly interesting with age. Then, of course, there's that special satisfaction in dropping the guy on the high tech bike.
I've written at length about the importance of accuracy in restoration. For now, suffice it to say that virtually any bike can be restored very accurately. If, as has happened in balloon tire bicycles and other collectibles, we are to witness increased collector activity in vintage race bikes, care in documentation and doing restorations right is important. CyclArt takes quality "before" and after photos as part of restoration projects.
Paint, chrome and decals should be as they were when the bike left the factory. Many difficult to find components can be polished, re-chromed and rebuilt. When possible, "new-old-stock" (NOS) parts are installed. NOS are unused parts stored since new. As in life, compromises may be necessary, at least until the elusive rare part turns up.
Some restoration work is very tedious. Given the economies of production, one often invests several times as much labor restoring a bike as was put into building it in the first place. Research and networking take time. Patience is the key. Often, because of parts availability, or rider preference, component substitutions are made. In some cases, this turns a restoration into a rejuvenation, but where care has been used in selecting parts from the same time period as when the a bike was new, it can more correctly be called a "period custom". That is, not as delivered new, but how the bike could have been created if custom orders were possible. This segment between restoration and rejuvenation is interesting and affords a balance of history and freedom of choice.
Tonight I want everyone to read the chapter on bicycle museums and prepare for a class trip.
Class dismissed! ~ JFC
- "How accurate can you be?" ~ The limits & ethics of bicycle restoration.
- "A simple job" ~ Easy money, and it's only a bike…
- "Museum Piece" ~ Is it too precious to ride or is riding it too precious?
- "Judgment" ~ I learn at least one new thing every day. Some days I forget
two.
- "Your turn" ~ The 12th Annual Concours d' CyclArt, Swap Meet & Open House
were the best yet. It was also the last of it's kind.
- "The 3 'R's" ~ Refurbish, Renovate & Restore A lesson on the basics.
- "Looking Back" ~ Training camp perspective.
- "Money Exchange" ~ How much for rare parts in the window?
- "'Twas the Nightmare before Christmas" ~ Santa was working overtime in Vista
