Every great piece of furniture has two “parents”.

One is the designer who translates inspired ideas into sketches and then finished perspectives and working drawings.

The other is the furniture maker who takes the drawings and makes them a reality by forming, shaping and assembling the various materials to create the designer’s vision.

Of course, the “parents” are always equally important. But it is only as a result of the maker’s workmanship that the finished piece will be a true object of beauty and function, like our 1930’s, 40’s French bleached centre table.

That’s why insisting on top quality workmanship is my fourth rule when buying antiques.

What I consider makes for top quality workmanship

A good cabinet maker starts with various marking instruments that are not really tools – pencils, marking knives, set squares, rulers, straight edges and gauges. These are used to “set out” the furniture, to mark the materials and to show where they should be cut. This is the thoughtful part of the job, especially difficult when the form in complicated.

Then each part needs to be skilfully worked and finished before being gracefully brought together to realise the designer’s original concept. Beautifully turned legs, artistic carving, fine veneering, perfect dovetailing, well crafted hinges, locks and catches, fine leather for upholstery. The original leather on our 1950’s sofa illustrates the point.

All will help make a piece special. But the finished furniture must do more than look good. It must also be capable of doing its job efficiently, and the strength and quality of the joining will be vital, as in our 19th century bleached oak bookcase.

Interesting history about “antique” quality workmanship

Interestingly, all the methods used in Europe to make furniture by hand from the ninth century onwards were known to the ancient Romans, Greeks, Egyptians and Chinese, but lost for centuries before being rediscovered.

Half-mortice, tenon and mortice, scarf joints, tongue and groove and wooden pegging are among the inventions which provide robustness alongside elegance.

Today these timeless techniques, perfectly executed, are still the hallmark of desirable furniture, whether simple country or sophisticated urban pieces, such as this late 18th century French marquetry commode in kingwood, rosewood and boxwood.

And good workmanship in harmony with pleasing design will always delight the eye.

Part of our Five Golden Rules series Click here for the full list

Natural Beauty

Much of the beauty of wonderful antique furniture lies simply in its wood.
Soft to the touch from a hundred and more years of appreciative use, gently faded due to a lifetime in a sunny country or glowing after years of loving attention, it might be a commode, a bookcase, chairs or even a mirror or picture frame. Whichever it is, the allure of the wood is often what attracts me to it and why I make a great patina or colour the third priority in my list of golden rules for buying an antique.

It makes antique furniture look fabulous in any setting

And the exciting fusion of very old, vintage and contemporary pieces in current interiors means that a spellbinding patina will look fabulous not only in a traditional setting but equally alongside the most modern of architectural materials.

Imagine 18th century Italian walnut juxtaposed with white concrete or brushed steel. It’s a challenging look that succeeds through a contrast which stresses the specific beauty of each of the materials.

What to look for, then?

All the fruitwoods age beautifully. Don’t worry about a bit of old woodworm. It’s not a cliche to say that it adds character. Cherrywood, especially the wild cherry merisier, almond, lemon, mulberry, pear, apple, plum and walnut. All have distinctive and exceptional characters as you can see from this 19th century French commode in cherry and this outstanding French Louis XV walnut serpentine commode.

Of the hard woods, oak can be stunning either darkly polished, bleached or in the honey colour of the 1930s. Check out this lovely, simple, bleached oak bookcase.

Pine furniture comes into its own when it has the translucently soft hue of the Regency period; marvellous, for example, in a bookcase or cupboard with those classic Georgian handles and escutcheons.

Mahogancy also looks amazing when it has faded to a light colour which makes it seem almost like a special variety of fruitwood. Our mahogany English estate cupboard illustrates how good mahogany can look.

Pieces from the 1950s and 60s can also offer visually delightful wood and patinas, especially the extravagantly grained rosewood and walnut furniture from Scandinavia, like this Danish centre or dining table.

Don’t forget that painted furniture, too, will take on a patina after time, often benefiting from wear which has taken off some of the top coat of paint to reveal mellow undercoats, often in different yet complementary colours. The overall effect can shimmer like a pointilliste painting!

What are the correct proportions for a chest of drawers or a bookcase?

I believe the answer should be that there are no hard and fast rules. Over the years certain shapes and sizes have become established for various pieces, and they will help confirm their age and country of origin.

A matter of scale, in the matter of antiques

For example, the classic Louis Philippe French commode is typically not much different from 50 inches wide, 22 inches deep and 35 inches high, and has a marble top slightly larger than that of the commode. Any bigger and the commode would look oddly overscaled. My perfect example can bee seen by clicking here

But you can scale up if you change the proportions, as in this early 19th century French walnut buffet, where the balance of the two doors and the single drawer above is complemented by the extra chunky moonlight marble top.

Yet in country pieces a quirky shape can provide a special charm, or a chest with an unusual configuration of drawers can have an appeal all its own. View here this 19th century bank of drawers.

Searching for “antique furniture” visual perfection

The search for visual perfection has always been fascinating. Many designers have believed that ideal proportions could be mathematically calculated and the world’s greatest architects have often led the quest.

The hugely influential 16th century Italian architect Palladio devoted himself to studies of classical ancient Roman architectural proportions, as did the English architect Sir John Soane (1753-1837), who collected countless examples of antique design so that he could demonstrate to his students the elusive elements of perfect proportion and balance.

I always think that the 19th century French gueridon table is a great instance of design that transcends the centuries. The design is geometrically simple. A round top, usually with a circular piece of marble on it; a single, tapered central stem and three legs, sometimes plain, sometimes claw-footed. But always the diameter of the circular top is slightly greater than that of the feet and the stem is sized to achieve a harmonious overall balance. This gueridon illustrates the point magnificently.

You can also see elegant proportions in this 19th century pine breakfront bookcase, where the central sections steps out, almost architecturally, from the sides in a way that lightens the large piece of furniture and even gives a sense of movement…

…by comparison, the 1930s French bookcase is potentially heavier with its neoclassical styling, but thanks to the use of large sections of glass, subtly brass framed, is pleasingly balanced in appearance.

What of scale and visual perfection! – does the furniture look good where you want to put it?

Finally, what about the best proportions of furniture to use in a room? This is really what it’s all about, and my advice is, don’t be frightened to use large, strong pieces.

Imposing mirrors, in particular, are never risky to use. When you step back you will always be pleased by the way strong mirroring will reflect the room and the pieces in it.

At the end of the day, maybe, probably? – beauty and proportions are in the eye of the beholder!

Investing in antiques is easy!

You can’t go far wrong. Unlike most new furniture, antiques will hold their value in both the short and long terms and will give you the added bonus of visual pleasure if you keep them at home.

But investing successfully in antiques is not so simple. And you can go badly wrong if you don’t follow some basic guidelines.

1. Do your homework. Talk to successul antiques dealers and read appropriate magazines and publications. You will start to become aware of patterns in supply and demand, as well as refining your own taste.

2. Trust your instincts. An antique can pack an emotional punch and if it connects with you it probably has something special about it. But don’t be afraid to get a second opinion.

3. Consider the relationships between the pieces you buy. For example, highly successful investment properties have been created in the past by enthusiasts for 17th century English oak and walnut. There’s no need to be so specialist, but a cohesive grouping will have more value than an overly eclectic combination, and a good collection sale can yield higher returns than a series of individual sales.

4. Age confers value, and the oldest pieces will always be the most sought after. In the 1920s people could still buy William and Mary or Queen Anne English pieces. Now they are almost out of reach. The supply of antiques is finite, so buy early antiques if you can.

5. Quality is a key factor. Outstanding craftsmanship and fine materials like beautifully aged walnut, oak and elm will enhance value. Signature pieces by renowned 18th and 19th century French and English cabinetmakers are few and far between, but never stop looking for them.

6. Think simple. Classic lines tend to avoid the vagaries of fashion more successfully than exotic creations.

7. But remember, eccentric rarities can occasionally have an unexpectedly high value. Again, trust your instincts and don’t be afraid of antiques with unusual character.

8. Don’t make low price a determining factor. Always buy the best you can afford. It will pay off in the end.

9. Buy from people whose taste and judgement you respect.

10. Keep your investments at home. Sit on them, eat off them, look at them. The pleasure is an immediate and ongoing reward. And if you have too many investments, just keep rotating them!

“Author” Robin Ruddy is a journalist, public relations consultant and now an antiques dealer who writes on antiques and French biodynamic wine. His French Provincial Furniture is the best selling book on the subject.

In France they call it a “coup de coeur”. In English I guess it’s “love at first sight.”

In either language it means the favourable impact a great piece of furniture, mirror or object make when you first see them, and it constitutes rule one in my list of five tips for good antiques buying.

If you’re new to buying antiques I hope this will help, if you’re a seasoned buyer, I hope you’ll enjoy my view of our world.

First impressions, whether antique furniture, paintings, mirrors or statues…

Always remember your first impression because it will remain true and that unique aura or personality of a piece will communicate itself just as strongly to others who see it.

There are the five rules I like to consider when buying antiques, but for now, I’m focussing on my number one “impact” – that initial feeling and the key aspects that should immediately strike you.

If furniture is made of solid or veneered wood

Are the colour and figuring pleasing? Take into consideration the light you are in. Remember a piece will look quite different in broad daylight or a candlelit room.

Does it have old or new gilding of a good tone?

Is the metalwork, such as handles, hinges or escutcheons, good looking and original?

One of my favourite examples of excellent workmanship is this 18th century French serpentine commode= – stunning wood and metalware.

If it’s an antique mirror

Is the glass plate original or replaced and does it have a good colour? (Old is best but these days you can get excellent replacements.) This late 18th century English mirror illustrates the striking effect of an original mirror plate. Although you may find it easier to see the effect by popping in to our showroom!

Does the size and angle you view at matter?

Is the piece the right kind of size and proportions for the place it will go into?

How does it look from different angles? Sometimes a piece will be positioned so that it can be seen mainly from a three-quarters angle.

Or it may need a good back if that will be visible. This French desk is double sided, so it looks great from both aspects.

If it’s a dining table, desk or coffee table does it seem the right height? You can always measure later to be sure. Also, are the legs good looking and sound when you focus on them alone?

Upholstery, joy or despair for your antiques

For upholstered furniture, are there any off-putting blemishes, is the piping straight and any buttoning correctly positioned? But don’t be put off a good frame by poor upholstery. It can always be changed, as you can see with this recently re-upholstered 19th Century English Chesterfield Sofa, perfect in a beautiful neutral linen, hopefully you agree.

The moment of truth

Lastly, stand back, close your eyes then look again. With all the above points in the back of your mind, if you still love it, then you will probably end up buying it!