Tag Archives: furniture

Getting to the root of it – woods in furniture

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Wood is one of the greatest resources that mother nature has ever given us, from buildings, ships, cars, paper, its uses are pretty much universal. There is nothing involved in our everyday lives that doesn’t involve wood, and that may well be a unique quality.

In our world, and fairly low on the food chain in terms of global importance, is furniture. We all know that wood has been used since the dawn of time for making chairs, benches and many other items that make us more comfortable, but what woods have been used, and why?

Mahogany

Possibly the term that you will see the most when it comes to antique furniture, for the most part of the 18th and 19th centuries, it really was the most popular material for quality furniture. Mahogany is actually a term for three types of wood in the Swietenia variety of trees, comprising the San Domingo, Cuban, and Honduras, with a significant amount of this wood originally coming from Jamaica and the South Americas. Many of the pedigree woods are now covered by CITES regulations and subsequently modern items are made from crossbred trees that create very similar woods. Identifying mahogany is slightly tricky as there are so many variations, but the general appearance is that of a reddish brown material with fine grains, and next to no voids or pockets.

Walnut

Before mahogany and the ability to transport wood across the seas, walnut was one of the most valuable woods used for furniture construction. Elizabethan documents indicate that walnut wood, specifically from France, was regularly used in the construction of the most majestic pieces across the land. Following a particularly bad winter in 1709, the French actually blocked any exportation of the wood in order to protect it from foreign hands, which is where we start to see an influx of walnut veneers upon lesser quality wood bases, it is also where the very attractive polished burr varieties became popular. In some ways it is a similar wood to mahogany put with a more buttery colour, and with a swirling grain. The burr varieties can be found with an even more pronounced colouration, spots and pockets.

Oak

Possibly the most symbolically English tree in existence, the oak has been used since the middle ages in furniture making and one of the only woods on this list not originally used for its appearance, but its sheer practicality and useability. The wood itself was always considered more of a working wood with items made in the material known as ‘Country pieces’ with 18th century items often made in different woods, the oak being the cheapest. However, in the 20th century a resurgence in popularity in oak caused many reproduction pieces to be made, and also interesting pieces made by new designers such as Mouseman of Kilburn. Identifying oak is a lot easier than most woods, considering the nature of the wood, it is usually seen in more simple items with a heavy grain and uniform colour.

Rosewood

One of the true superstars of antique furniture, rosewood has been used for elaborate pieces of furniture for centuries and as such some of the most expensive pieces of furniture from certain periods, often seen as an upgrade from a standard mahogany piece, its rich deep brown hues really do capture the style of certain pieces. Also, some of the best Scandinavian mid-century pieces are made in rosewood, which leads to a certain problem that the industry has recently had to deal with. The Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) has declared certain type of rosewood as an ‘Endangered Species’, meaning that certification may be needed in order to sell, or even insure some pieces.

Exotic & other woods

Of course, there are as many different types of woods as there are trees – we see many pieces of 19th century continental furniture in fruitwoods, which generally are a lovely rich orangey colour, but with a lot of grain and inconstancies.

Pine, which is without any doubt the best material for a kitchen table ever thought of, with red wine stains and children’s pen marks always adding to the patina.

Ash, Beech, Maple, Yew, Teak, Elm… the list goes on with many woods being exclusive to certain types of furniture or locations, but with so many different types to explore.

While some furniture values in the last twenty years may not have proven to be an escalating asset, the top levels of antique furniture continue to soar in value to the right client.

 

Read more articles by Alastair Meiklejon.

Protecting the Cash in the Attic

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Frequently, for those whose homes are filled with antiques and art – particularly when they have been treasured family possessions for generations – potential replacement values for insurance can be overlooked.

Whilst jewellery and silver are often undervalued for insurance – recent costs having increased – there are certain types of objects which can be discounted completely.

With that in mind, Doerr Dallas Valuations would like to share a few examples where interesting history and excellent quality have led to growing value and this fact may lead to under insurance.

Georgian Costume Jewellery

The 18th and early 19th centuries were a time of great innovation and advances in technology. One of the fields in which this was obvious was jewellery design. With sumptuary laws being ignored, and with a growing middleclass keeping up with the latest trends, the desire to own the most fashionable jewellery became widespread. This demand was met by advances in artificial stone production – what would now be described as paste jewellery. Paste stones could be manufactured in a range of dazzling colours – mimicking – or even more vivid than their precious stone equivalents. It made jewellery more affordable to the fashionable of the day.

Costume jewellery, in terms of its financial value, has often been disregarded in comparison with fine jewellery equivalents. However, in recent years a strong market for costume jewellery as a whole is evident. Recently, the Georgian paste jewellery market has strengthened resulting in rocketing prices.

At auction, estimates have been smashed – in February 2023 a suite of blue paste jewellery (parure) comprised of a necklace (which would have been attached by a ribbon), a bracelet and a pair of earrings was offered in auction (Woolley & Wallis lot 148) with an estimate of £200 – £300. The eventual total selling price was over £25,000!

Domestic Metalware

Objects made from brass, copper and pewter may appear ordinary but again their values can be surprising. Lighting, fire grates, door furniture, mortars are all things to consider when arranging an insurance valuation.

Early pieces are highly prized by collectors and their replacement value can be in the thousands. In a recent auction, (The Chapman Pewter Collection – Bishop Miller; April 2023) a rare pewter candlestick manufactured during the reign of Elizabeth I/ James I achieved a selling price of over £30,000 (Lot 43). If you are uncertain as to the origin of your metalware, it is always best to consult a specialist valuer.

Furniture

In recent years the antique furniture market has been much maligned, with reports of the decrease in values being widespread. While the market may not be that of the 1980s, quality antique furniture continues to be esteemed and seeking replacements competitive.

Modest oak and antique country furniture should be closely looked at when considering insurance. Windsor chairs, mule chests, dressers and farmhouse tables are respected amongst collectors.

Treen

In a similar vein to country furniture and domestic metalware – treen – domestic objects made from wood may have been disregarded. In this fierce collecting field, prices can be surprising and some objects extremely rare.

 

 

Toys, Games and Juvenilia

When considering a valuation, looking at the playroom or nursery may not be the first area for attention but with the market for antique toys and games proving ever popular, replacing these treasured possessions can be costly.

Important and interesting 18th and 19th century dolls houses are collected not only by those interested in toys, but for those with a passion for architectural history. These microcosms of the family home often include complete furniture and decoration – showing how families lived and operated their homes. To replace good examples, the anticipated cost will be upwards of £10,000.

Rocking horses have a history which dates back thousands of years – the toy in the current form has existed since the 19th century. Rocking horses, both antique and modern, are a focal point for a playroom and as such should often be insured. When looking to acquire a good 19th or early 20th century example, one should budget over £2,000.

Playing cards, board games and games compendiums may be valuable depending upon age, manufacturer and scarcity. Toy specialists can offer guidance on teddies, dolls and antique toys and games.

Exploring the hidden treasures in your attic could be a delightful journey down memory lane. These items which hold dear memories close to your heart might even surprise you with their financial value.

Mouseman furniture

The Timeless Appeal of Mouseman Furniture

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One knows that a true sign of an endearing artist is that of the moniker – we have seen it recently with Banksy, and throughout the past few decades with musicians such as Ringo and Prince, but perhaps one of the trendsetters in this field was actually a Victorian woodworker from Yorkshire, called Robert Thompson.

Born in 1876 in the small town of Kilburn in North Yorkshire, he inherited his father passion and skills for working with wood and specifically oak, starting with the family business creating doors, gates and kitchen cabinets amongst many other run of the mill items, then in 1895 the range of furniture that he is best known for began to take shape.

The gothic style mixed with the very current Arts & Crafts movement gave Robert Thompson the artistic freedom to develop some of the most popular designs for furniture of the 20th Century. Encompassing traditional techniques of manufacture such as mortise and tenon joints, dovetailing and pegging, the unique quality fighting against what was a tide of massed produced utility style furniture.

Working initially with churches and schools, Thompson designed many pews and benches, and one day whilst almost playing an ‘in-joke’ upon himself, he carved a small rodent into one of the ecclesiastical pieces supports – in his mind the colloquial phrase “Poor as a Church mouse”.

Following this moment of inspiration, the desire for his work and style moved on from just churches and schools to reach the homes of the fashion conscious furniture seekers of the 1920s and 1930s, and these without doubt are the pieces to look for when it comes to collecting. By this point ‘Mouseman’ or ‘Mousey’ had trademarked the cheeky chap whom now adorned all of his pieces, and not as a joke, but as a sign of quality.

mouseman furniture

The dresser detailed below is one of the many bigger pieces made by Mousey in the peak of his career, and whilst it made £35,000 at auction back in 2018, one would expect a retail price for it in 2024 to be over £50,000.

mouseman furniture

The Blanket box, with a fantastically 17th Century influence – even with a cheeky nod having the date of manufacture in a moulded plaque to the front, indicates that it was made in 1920, the start of the pinnacle of his career – commanded a price of £12,000 in 2022 at auction, which identifies it as being one of the most desirable medium sized pieces.

mouseman furniture

The last two items show the creative side of Mouseman, combining a mantel clock flanked by a pair of elephants, which without Thompsons influence would be virtually valueless, and perhaps one of my favourites, a sculpture of a mouse with apron and tools, even entitled ‘The Mouseman of Kilburn’. Funnily, this title indicates the humility of the artist that he could laugh at his own fortune. These items making £10,000 in 2023 and £13,000 in 2021 respectively indicates the rarity and demand for such individual pieces.

The Mouseman of Kilburn

The Mouseman legend has lived on for decades following Mousey’s death in the 1950s, with his family still at the helm of the business creating quality oak furniture in North Yorkshire to this day, with many of the original designs still available, and whilst it is not uncommon to see Mouseman pieces at auction, the rarer items are still a treat to see, and still make the kind of prices that befit a man of such character and celebrity. Call us today to enquire about an appointment on 01883 722736 or email enquiries@doerrvaluations.

Year of the Dragon

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In East Asian cultures, the Year of The Dragon in the Zodiac is marked with power, energy and fortune, with strength and intelligence assured of those born during this period.

Whilst every symbol holds a special place in East Asian cultures, the dragon has always held a significant place in the nations folklore and history, with emperors associating themselves with the dragon as a symbol of imperial authority and strength.

The dragon has often been used for many decorative items throughout history in the art world and even further afield. At Doerr Dallas we thought we would talk you through some of the most glorious examples of this most auspicious figure.

1. Vacheron Constantin Les Cabinotiers – Recits de Voyages collection

Vacheron Constantin, despite usually being a very conservative watch brand have recently introduced this impactful piece in a series of multicultural one-offs. Included in the stunning line-up is an ode to China, with a five-clawed dragon realised in grisaille enamel. The 16th century technique uses white enamel on a dark enamel base to emphasise the interplay of light and shadow without the use of vibrant colours.

2. An early 20th century Chinese Dragon carpet

The carpets of the far east have always been fascinating to many people and this example is no different.

Stunning golden dragons on a deep indigo blue background with a classical T pattern border design, it is supposed that the figures from which they were derived, once symbolised thunder and clouds.

3. A mid 19th century Tibetan painted chest of drawers

The number 12 figures prominently in Tibetan astrology, making this simple chest’s dozen drawers the perfect canvas to honour the year of the dragon. Tibetan astrology recognizes a 12-year cycle, characterized by 12 animals, including the dragons that wind their way on this expressively painted cabinet. The gessoed dragons symbolize ambition, dignity and success. Camouflaged by lush flowers and vines, each writhing dragon clutches in its claws a lotus flower, a symbol of purity and perfection, and a peach, a symbol of immortality.

4. A 20th century Chinese Jardiniere upon stand

This monumental cloisonné enamel jardinière is a superb example of 20th century Chinese design. The jardinière is of traditional form, rising from a narrow foot to a flared shoulder and culminating in a rolled rim. The body is profusely adorned with cloisonné enamel designs over the white enamel ground: dragons, waves, floral patterns, and other motifs abound. The piece is supported by a wooden stand, each of the stand’s four legs ornately carved and finished.

So whilst the images of other Zodiac figures such as the Rat, Dog, Rabbit and others all have their fans, it’s clear that the Dragon really does hold a special place in the heart of the Chinese people and judging by the popularity of the items relating to it, all over the world.

Caring for your furniture and rugs

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Without doubt, one of the most common questions that we at Doerr Dallas Valuations get asked is “What is the best way to take care of… (insert as appropriate)” and the simple answer is that everyone has their own way and own interpretation for different items – some people swear by old wives tales, whilst some find new solutions and potions on Amazon and insist that their carpet has never looked cleaner. So as a rough guide I have compiled the following advice for certain groups of items.

Furniture

When people ask about furniture, it is generally whilst talking about wood items, such as mahogany, oak, walnut, rosewood, and many other weird and wonderful materials that we are privileged to work with.

The first thing to say is – look at where the item is kept; Is it in sunlight? Next to a radiator? In a damp shower room?

If any of these answers are ‘yes’ then seriously consider relocating the items, as ultimately, it’s not going to end well. Warping, fading and serious cracks may appear after time and that will result in a costly visit to the restorers.

Whilst we all remember the smell of the spray cans of furniture polish commonly seen in the 80s and the 90s, these really are not a good way of polishing or cleaning antique furniture, the artificial chemicals will gradually damage the finish and leave you with an item needing to be professionally restored – the general rule of thumb, is less is more.

A lint free cloth with natural beeswax is always the best route, applied until the wood is nourished (this might take a little while, but have patience) will gradually bring back a nice genuine shine and bring out the grain of the wood, as opposed to a silicone type shine that a spray can will bring – it also smells a lot better in my opinion.

Any metal work, such as handles or escutcheons, should be dealt with very carefully – personally I would leave them well alone and enjoy the patina that develops over time, especially with brass work. However if you have to clean them, a very fine wire wool, used sparingly is really your best option – never, ever use Brasso, or similar products as you will end up with a rather ugly rash around wherever you have used it.

Furniture and rug care

Ultimately, furniture is there to be used and a good tablecloth or coasters are one of the most simple ways of keeping the piece in tip top condition – you are more likely to damage it with a stray glass of red wine, rather than normal use over decades.

Rugs

Rugs and carpets are some of the most susceptible items in the household to damage, but how do we avoid the wear and tear?

Furniture and rug care

Again, much like furniture, one should always think about where a carpet is going to be positioned, direct sunlight and damp areas are of course a big no due to the impact that both factors can have on the material. Additionally, turning a rug is a really good idea – for example if in a drawing room, there will always be that one corner that is worn more frequently than the others, and turning the rug will spread the wear more evenly – why not try them in different parts of the household?

When it comes to spillages, again the glass of red wine seems to be the biggest culprit of terrible stains. The experts are unanimous in their recommendations – DO NOT SCRUB – always blot the stain with a kitchen towel and then flush with water, and repeat… this may take some time.

Furniture and rug care

If you are lucky enough to have a furry friend, then they present a slightly different problem and a slightly different method of attack; white vinegar diluted with water is generally considered to be the best option, as the chemicals in urine can attack the fibres and cause significant damage – the logic behind the vinegar is that it works against those chemicals.

The one area that I would strongly recommend not doing anything to, is silk rugs. Whilst there are options out there, the risk for things going horribly wrong are so great, and ultimately a good carpet cleaner or restorer will be able to advise you as to what action to take.

So whilst furniture and rugs are both somewhat daunting in terms of maintenance, it really is a case of keeping on top of little things regularly and they will continue to give you years, if not decades of reliable service.

Brown and out – The confusing world of antique furniture

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In the world of antique furniture, there is nothing that raises temperatures, or gives a better reason for an argument than the rather broad term of brown furniture, but what does it actually mean and is the market for such items truly as doomed as many people would want you to believe?

Firstly, lets back track about 23 years. The 1990s were coming to a close, Lovejoy had been cancelled, Ikea was becoming a love/hate word in the English vocabulary and traditional antique furniture that had been the mainstay of the collectible and usable market had started to hit hard times. The re-discovery of mid-century modern furniture had started to fit with people’s lifestyles and the necessity for a Victorian gentleman’s compac tum had waned.

At this stage, demand had simply dropped and by the 2010s one c ould buy a Victorian chest of drawers, built by a craftsman, from a fine imported mahogany for pretty much the same as a cardboard box full of Swedish chipboard that you would have to spent hours putting together yourself – it just doesn’t seem right, does it?

However ‘Brown furniture’ isn’t simply the row of beaten-up Edwardian sideboards in a local auction house, it includes some of the most glorious items ever made as functional pieces – and to place all items of furniture into a single category, just because they are made from wood seems a little absurd.

The market today for fine antique furniture is perhaps not as s trong as it was in those days when anyone would pay at least a £1000 for something that start ed with “Georgian” but looking at retail markets now, there are fine and rare pieces a vailable for well in excess of what many people would give them credit for.

So what does the future hold for the ‘Brown Furniture’ market?

Let us not kid ourselves, do we really think that the modern, almost disposable lifestyles that people live in 2022 are going to ever need a chest of drawers w ith a brushing slide? Do we think that suddenly every house will need a drop leaf bureau and that writing letters will suddenly become popular again?

Of course, the answer to both of these questions is no, but – the market for customers that actually do desire these items will only go up as the collectors market still strives to own the best, and only the best.

So when your clients say “we have some brown furniture, but it’s not really worth anything anymore” it might be worth getting it looked at…

William and Mary Burr Elm Chest on Stand 25,000

Regency Mahogony dressing mirror £8,000 Regency Ebonised and Brass desk chair - £15,000

Collection care: how to protect your investment

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Collections are usually amassed over years and great love and care often goes into the acquisition of each piece. Whether your motivation behind the collection is financial or whether it is to leave a legacy, it is vital to make the right choices on the display and care of the artwork or object as these factors will impact the condition of the artwork, not only in the short term, but also in the long term. Condition plays a crucial factor when determining the value on the open market. Many owners are surprisingly casual with their artwork, particularly owners who have inherited the works rather than bought them and, therefore, see them more emotionally rather than in terms of their commercial value.

As with all assets, it’s essential to ensure that works of art are cared for properly and that their condition is maintained since good condition is one of the key factors in their financial value.

Working with clients and their collections over the years, I’ve seen certain recurring issues that can be detrimental to the condition of an artwork, so I’d like to share some of the key things to consider when looking after the items in your collection:

Cleaning

When an object stays in a set position, the risk of damage is minimal, however, when it is moved it is instantly put into a precarious position. Broken items are a frequent casualty in the hands of an over enthusiastic cleaner. If an item is broken, it’s vital to pick up every fragment as this will make repairs more successful and, in most cases, less costly. It’s best to avoid gluing things back together yourself, judging from the attempts I have seen, it’s never quite as easy as you might think!

If you have a valuable and vulnerable collection, it may be worthwhile to take the precautionary measure of employing a Conservation Cleaner. A specialist in this area will have the expertise to handle the object with sensitivity, knowing how and where to lift an object. They will account for weak or fragile areas or surfaces to prevent damage from occurring during the process.

Of course, not everyone has the budget for a Conservation Cleaner and speaking from my own experience, I like to clean the fragile items in my own collection. I treat these items differently to someone who doesn’t have the same emotional attachment, however careful they might be.

If cleaning a shelf which displays many objects, find a safe location and transfer the items to this position. Trying to dust around objects, can result in knocking over adjacent items. If you have something with a handle like a jug, it will be safer to hold it in two hands and hold it from the main body of the object. Hairline cracks which can be invisible to the naked eye can be present and therefore breaks can occur at vulnerable points.

Surface dirt and dust can affect an object as it absorbs moisture from the air, into the surface so it is important to clean an item regularly. A cleaner may adopt a method
that isn’t appropriate and can cause more damage to an object than the dirt itself; a duster may have fibres which can snag and cause damage to an item, for example a delicate gilded picture frame. A good solution for this is to use a soft brush, like an artist’s paint brush, if used gently, these can help remove dust without catching on or abrading vulnerable areas.

Specialist firms offer in-house training to domestic staff charged with the day-to-day maintenance of properties and their contents. Bespoke sessions are put together around the individual requirements of the house and collection, identifying those pieces which are safe to handle and how best to approach them, and to identify which pieces require attention from a conservator.

Display/Installation

If an item is very delicate, it is worth considering a bespoke mount or display case to help support it and perhaps to prevent it getting too dusty or from being accidentally knocked over.

Weak picture hangings and mounts are common and are an easily preventable cause of damage. I have seen many an insurance claim following the snapping of a hanging wire. Not only do the pictures themselves become damaged, but they can break items beneath them.

Many owners are so keen to display a new piece, they use the existing fixings without considering whether they are suitably strong. Engaging a specialist to carry out the installation of an artwork can be money well spent.

Pictures should be framed to conservation standards, using non-reactive materials. Works on paper can become foxed – the mottled brown staining which is caused by acids from the backboards or mounts leaching into the surface of the paper. Over time this will cause the paper to degrade.

It also is worth considering changing the glazing for acrylic or glass with a UV filter, this will help retain the colours of the artwork. If acrylic is used, this will prevent damage from occurring in the event of an accident; it will not splinter and break as glass does. However, if you have a pastel artwork, acrylic should not be used as the static charge can draw the pastel to the glazing itself. A good conservation framer can offer recommendations on what will be the best solution for your picture.

Marble and bronze items should be handled and installed by professional handlers, not by general movers who can lift heavy items. People think marble is robust as it is heavy, but in fact its natural veins cause the material to be very weak and prone to damage if handled incorrectly.

The same can be said for bronze as there may inherent weaknesses in the casting. A specialist will know how best to move the item taking weak areas into account.

Environment

Consideration should be given as to where you choose to display artwork, and environmental factors such as temperature and humidity should be assessed when choosing a suitable location.

Air conditioning, central heating, artificial lighting and direct sun light all potentially have a detrimental effect on the composition of an artwork, both structurally and in terms of the surface finishes. Certain walls within rooms can provide a more challenging environment than others due to the way the sunlight falls within the room or if they are an external wall which can increase issues with damp.

There is technology available for monitoring environmental conditions and is one of the most effective means of protecting works of art from short-and-long-term environmental damage. However, the information needs to be looked at and analysed and whilst helpful it cannot replace regular inspection of pieces to monitor their condition. I once saw an Andy Warhol ink sketch of which had completely faded, and this apparently had happened in a few months. The owners of the house had been at one of their other properties and this was missed by the house keeping staff.

Condition Report

A report carried out by a specialist to assess the condition of an object can be vital in some situations. It is often a requirement if lending or borrowing a work of art. If carried out by an independent third party, it acts as a neutral account and helps to protect all parties involved in the transaction.

It is also a useful precautionary measure to prevent a costly mistake when purchasing a work of art (a condition report may reveal areas of damage, details of restoration or materials or processes that aren’t inconsistent with the provided date of a piece), and in situations where there is an increased risk of damage, for example during transit.

Items damaged during shipping are a rarity, but accidents do unfortunately happen, which is why so many collectors are keen to explore solutions that allow them to reduce the number of times they need to ship valuables. Christie’s recently used hologram technology to take a Degas Bronze Sculpture of a Dancer on tour, although can this really be a satisfactory substitute for seeing the real item in the flesh?

Insurers may like to engage a professional condition report following a loss, a conservator can potentially point out factors such as an inherent weakness in an object such as a manufacturing fault, like a vein in a piece of marble or an area of previous repair which has caused an area of stress elsewhere in the object.

Outdoor

Outdoor sculpture or furniture is an area that is often overlooked, designed in heavy materials, it is easy to assume that materials such as stone and metal are resilient, however this is not the case and pieces do require care and attention to prevent the objects from deterioration.

There has been an increase in rainfall in the UK, so it is now more important than ever to protect garden statuary from excessive water ingress. Weather extremes are also more commonplace, and this can profoundly affect marble or stone as it absorbs moisture, followed by freezing temperatures which can cause the stone to crack due to the fluctuations.

A wax coating can be applied to bronzes to help protect the surface from the elements. Sculptures of stone or metal should be covered during winter; the purpose of a cover is to help maintain a steady condition to help mitigate damaging fluctuations. The covers must be lightweight so as not to damage the sculpture, but robust enough to protect the object. In interest of sustainability and to minimise cost to the client, there are covers available which can be stored during more temperament months and then reused when necessary.

So, you have taken precautionary measures, but accidents can happen and when they do the following steps may just help:

Gather up all of the broken pieces, no matter how small – restoration can often be more successful if all of the original pieces have been saved and this will also help lessen any loss in value.

  1. Collectors should be mindful of the fact that the way an object is restored may play a key part in mitigating any loss of value following damage.
  2. One should always approach a reputable company to undertake treatment. Once an accident has been discovered, or damaged has been identified, contact this company as soon as possible.
  3. Finally, if making a related insurance claim, do remember to photograph and preserve all the evidence. If the claim is due to damage during transit, it’s important to keep hold of shipping documentation, condition reports and packing materials and make sure photographs are taken as a piece is unpacked.

For more information contact Sarah Giles on 07876 147230 or visit www.sarahgilescc.com

Antique Furniture Valuation

A Chair is a Chair is a Chair; Adventures in Antique Furniture Valuation

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‘…an extremely fine specimen of design, craftsmanship and preservation. The carving … is of very high quality and the chair is exceptional in that it has survived since about 1750 with the patina of age unspoilt by restoration’


This chair was exhibited at the Grosvenor House Antique Fair (which has now essentially been replaced by Masterpiece) in 1954 and described as such then. Tastes have changed little since then. It is currently for sale at the very top end of the London trade for £39,000 having changed hands several times intervening sixty five years.

What makes it Valuable?

The chair does not conform to the usual obvious or traditional categories which define valuable furniture – such as having a famous designer, illustrious maker, or interesting provenance. However, one interesting current trend, illustrated in this instance, is that reputable antique dealers are increasingly quoted as ‘provenance’ for works of art. Historically this was taken to mean the original patron or location for which something was made. The chair is nevertheless clearly a fine example of an exceptional object by virtue of the quality of its manufacture and its original and obviously very attractive patina, or finish, which justifies its price.
But a lesser example of a superficially similar chair might easily be bought for a fraction of the price – hundreds of pounds, rather than thousands. Whether of the same date or a later reproduction this could be £3,900, £390 or even £39 on a bad day for the auctioneer.

When looking at antique furniture, what is important?

Certainly, the designer, maker, provenance, condition but also the form can be relevant, the latter more so with furniture than most other antiques. People can collect paintings or silver or ceramics to a certain extent without having to worry what to do with their purchases but few homes have rooms for limitless amounts of furniture. Its function and size nearly almost plays a part in its value. For instance, someone may buy a set of dining chairs but this is likely to entail selling their existing set. And the way people live has had a significant effect on demand for, and therefore values of, antique furniture – the dining room being a particular victim of increasingly informal lifestyles.
Some types have undoubtedly suffered more than others. Pieces with sloping or folding or hinged tops which do not lend themselves to having things placed on them, such as bureaus, davenports, pembroke tables, card tables; or very large items such as wardrobes, sideboards, dining tables and some bookcases. Even longcase clocks have found themselves out of fashion. Of course, there are always exceptions to this, as with the chair above, but the trend is undeniable.

Brown Furniture

The phrase one hears as a valuer time and again at the moment is that antique furniture (or ‘brown’ furniture) is worthless today. Of course, this is not true, and I can guarantee that if you want to buy something invariably someone else will. But it is true that some items, if they fall into the above categories and are unattractive do have very depressed values (to the point of being almost valueless). And undoubtedly values of many pieces have fallen from the heady days of the early 1980s, often even without allowing for inflation.
By illustration, this modest Georgian mahogany table was purchased from an extremely high quality antique shop in Edinburgh in 1983 for £1,640.

A Georgian mahogany table purchased in Edinburgh in 1983 for £1,640


The table sold at auction recently for about £450. A poor return by any standard. But it was bought by a dealer, who once it has been restored, may sell it for a similar amount to its 1980s figure. That does, however, leave us with the reality that a 1980s insurance valuation, and this is for a fairly useful and attractive little thing, is likely to have parity with a valuation today.
Other items will not have fared as well.

Insurance Valuations may vary

This also illustrates the importance of understanding where items have been purchased and how a client may replace them. That table may have sold for £450 (which means the vendor probably received about £300) at auction and then be offered, restored, for £1500 in a shop. Neither figure is wrong, it is just the context which has changed. This means that if someone shops at local auctions, replacement valuations will be quite different to those of their neighbour who buys similar pieces from London dealers and valuations for insurance purposes should reflect this.
To summarise, when valuing antique furniture there are numerous forces at play. Not only is the piece beautiful but is it useful? Will it fit and be functional in most peoples’ houses? Is it in good condition, is its finish attractive? Does it have history in terms of designer, maker, provenance? And finally where was it bought and would the owner replace it from a similar source?