Rick Vogt

Woodworkers

F.C. Vogt Company, Inc.
Phone: (804) 358-1651
Website: www.vogtconservation.com
Email: fcvo@verizon.net

When Rick Vogt and his staff finish restoring and detailing an antique piece of furniture, an element of architectural woodwork, or the interior of an historic house, you can be assured that no group in the country could have done it better... and few could have done it as well. Whether he’s reconstructing a whole room, which he did for an important eighteenth century historic Virginia house, or a colonial desk and bookcase from the eighteenth century, Rick’s goal is the same: bringing the object to its full aesthetic and historic potential.

"I try to see it for what it was and determine, with the client, what the ideal state of the object should be" he says, adding that "ethical preservation standards and a love for the meticulous conservation of historic artifacts guide every aspect of our company."

The many restoration and reconstruction projects Rick has done over the years include reproducing, to the smallest detail, a chair that Thomas Jefferson bought from a well known Paris cabinet maker in 1785. He also preserved and installed the "Menokin Room," at the Virginia Historical Society. The room contains the woodwork from the parlor of the Menokin Plantation, built in the early eighteenth century by Francis Lightfoot Lee. Lee was a signer of the Declaration of Independence. Rick’s many clients include private collectors, museums, public and private institutions, architects and antique dealers across the U.S.

How did you get into this field?

I got hooked on woodworking in my 6th grade wood shop class. I had a little workshop in the basement of my home when I was in the seventh grade. During high school I worked in the summers as an apprentice in a furniture making and restoration studio. I started as a fine arts major in college but it was the decorative arts that really caught my attention. I soon apprenticed to another company that restored New England primitive furniture and then began taking courses through the Smithsonian’s furniture conservation programs.

In 1975 I opened my own restoration business. I joined the American Institute for Conservation in 1988 and availed myself to the many programs, seminars and symposia they offer for conservators and continue to do so every year. The field of historic preservation continues to grow in understanding and sophistication and one has to constantly study and learn to keep up with the latest developments.

What range of services do you offer?

For the better part of my career I have focused on furniture conservation and reproductions. Over the years, my staff and I have broadened our scope of expertise from furniture conservation to also include treatment of interior architectural woodwork, wooden artifacts, and other architectural elements such as entranceways, mantels, wainscoting, door friezes and other forms of interior detailing. Another important aspect of what we do is the research on each project in order to determine what’s historically appropriate and accurate.

What’s a typical job like?

All projects start by determining what would be considered the "ideal state" of the object. An object to me could be a piece of furniture, a sculpture, a room of woodwork, an architectural model or any historic artifact. Determination of this "ideal state" could include microscopic analysis of the finish surface as well as construction materials, research of the object’s history, ownership, maker, rarity as well as how the object is going to be interpreted and used in its current setting. Obviously, a museum would be a different environment than a private home where the item is used.

Once we understand what we are working with and the goal of the project, we begin the process of preservation. Using a piece of furniture as an example, typically the first thing we do is to stabilize the piece to make sure that it’s structurally sound. Then we determine if any decorative components are loose or missing and if so, what are they and what did they look like. This would apply to veneers, inlay, carvings and other decorative elements. For this part of the process we have an extensive library of books, journal articles and other resources that we consult.

After any restorations are completed we move on to dealing with the finish surface and determine the most appropriate finish for the piece. Hardware, any types of metal fixtures, glass components and upholstery are usually dealt with last. When all aspects are completed, a report is generated that includes documentation of all procedures, materials and relevant information. The standards adhered to by our company for reporting, documentation, professional conduct, examination and long term preservation are outlined in the American Institute for Conservation of Historic and Artistic Works (AIC) Guidlines for Practice.

Why does what you do matter?

The preservation of our material culture helps tell the story of who we are and how our taste, culture and priorities have evolved. Furniture and woodwork is not only enjoyed and appreciated when it is looked at, but also when it is used and when it is understood in its historical context The preservation of these objects matters because all of these aspects, especially aesthetic beauty, elevate us.