Dan Salk

What's so great about antiques anyway? Let me tell you, briefly.

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How do you determine if a mirror is antique?

There are three points to consider when determining the age of antique glass in a mirror.  Although there may be exceptions, understanding these rules can help you determine if it's an antique, a new glass plate or a fake.

I placed a white business card up to both an antique glass plate (left) and a new modern glass plate (right).

1. Thickness: Antique glass is typically thinner then new glass.  You can place a business card, as in the photo above, or the tip of a pen right up to the mirror and look at the depth of the glass. Antique glass is usually very thin while new modern glass is not.  You can see a very small space between the card and its reflection on the antique glass (left) and a much larger space in the new mirror plate to the right.  This shows the depth or thickness of the glass.

2. Color: Antique glass tends to have a yellow or grayish tone to it. New glass has a sharp and bright reflection that better matches the color of the object in the reflection.

3. Consistency: Old glass was typically poured into molds and will show differences in its thickness.  New glass is crisp and consistent. Likewise, the beveled edges of antique glass were shaped by hand and are not as consistent as modern bevels cut by machine.  

Replacing the glass in an antique mirror will not necessarily hurt its value. I wouldn't consider a mirror more valuable if you want to use it but can't see yourself. Each instance is different and each owner determines the success of any replacement.

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What do Interior Designers know that you don't?

One constant in our industry throughout the 20th and now 21st century is that Interior Designers seem to know something about our antique furniture that others do not.  What is it that designers 'see' or 'get' that so many others don't?  Most people aren't lazy, it takes just as much time to find furniture in Crate and Barrel as it would from an antique dealer. 

There is no denying the fact that Interior Designers are an important part of our trade.  So I thought it would be interesting to start to compile a list of why Interior Designers so often chose fine antiques and why they take the time to educate their clients about them.  Feel free to comment and I will add to the list, which is in no particular order.

What do Interior Designers know that you don't?

Antiques look better than most reproduction copies

Many copies are mass produced and of very poor quality

Antiques do not necessarily cost more money

Antiques have a warmth and patina that is virtually impossible to replicate

The right Antique can complete a room and add interest and even intrigue

Antiques can retain value over time 

Antiques offer a piece of history and a story

Cabinet makers of the 18th and 19th century were, by law, 'Master Craftsman' and held to a very, very high standard

What else should we add to the list?... 

Next time you need to buy furnishings, have a look at and compare fine antiques to other alternatives.  Call a local designer or antique dealer and see how they can help improve both your surroundings as well as your investment.

Take a look at a wonderful French 18th century mahogany cabinet selected by Alex Papachristidis, who is a well known Interior Designer mixing fine traditional antiques in modern settings.  This cabinet is typical of French antiques.  The wood and finish can not easily be replicated today.

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Antiques, Guilty Until Proven Innocent!

When evaluating antiques, assume the worst.  Assume everything has been replaced and/or restored.  Assume it's Guilty, Until Proven Innocent!

Has an antique been restored or faked?  

Restored:  Keep in mind that you wouldn't want a pair of 18th century chairs unless they had been restored.  Original condition is for a select few and when original condition might add to the value.  (I guess I can address that at a later time...) The trick is to know what restorations belong, which are done properly or authentically and which are done well. 

Faked:  There are endless ways that antiques can and have been faked. There are many cabinet makers that take antique components and build something that might be more desirable, i.e., sellable.  They may try to fake and manipulate the finish of the wood to appear much older than it is. As time progresses, this becomes more and more difficult as changes begin to develop their own patina.  Cabinet makers have been rebuilding, restoring and "reconstructing" furniture for a very, very long time.

Here is an example I recently had to address; Someone offered me a flat top writing table to buy. These tables have been more desirable in recent years for use with computers and its peripherals with less need for storage. It was a recent convert.  I have seen many large pedestal base desks converted with new legs added. (see picture below for the type of desks I am referring to)  A trained eye can spot this reconstruction.

Here are a few things you can look for: 

1 - You might notice underneath the drawers - slots or sockets where the pedestal cabinet base would connect to the top. A flat top writing table would not need this.  But the original marks may be there.

2 - You can look at the depth of the frieze holding the drawers, usually large pedestal desks are much thicker.  Does the flat top look proportional?  

3 - You may notice that the new legs do not fit well with the top; the legs may not look right or the legs may be offset or off centered.

While I believe that the overwhelming majority of fine antiques should be restored, you need to know what restorations are appropriate.  You need to understand why something may have been adjusted and you need to understand how it may affect a pieces value.  You may not even care about the alterations.  I did buy the desk.

If you are unsure, this is when you need to talk with an antique dealer that you trust.  If you don't have someone local, email me or find me on twitter @dansalk for help.  It is very common for people to consult with dealers or interior designers to assist them with purchases. Lastly, the most important point, if you like an antique, regardless of its authenticity or alterations, you should own it and enjoy it!

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What's the difference between marquetry and parquetry?

There are many types of inlays.  The most commonly used materials are (different colored) woods.

Here are a few slides illustrating the difference between marquetry and parquetry inlays.

Learn about antiques - Marquetry vs Parquetry from Dan Salk

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Is your furniture worthless?

Would you consider buying a car that became worthless in a few years or worse, would you even consider buying a house with no residual value?  It pains me, but why do most people throw away money on furnishings that become worthless as soon as it leaves the store? 

I am not suggesting that antiques are an investment vehicle, but would you buy stock in Apple or a Fidelity mutual fund knowing it will be worthless? 

Antiques must be thought of as an asset class to, at the minimum, park equity. Most fine furniture is sellable.  Just try to sell the bedroom set you bought in Paramus.  Trust me, no one wants it and you will either give it to your children, donate it to charity or toss it to the curb.

You don't see low quality, made in China or Indonesia furniture consistently showing up at auctions and in dealers showrooms, but you will always see fine quality antiques and vintage items.  

Take a look at the furniture in your home, does it have any value? Would you have been better off owning items with some intrinsic value? Not all antiques are expensive and there is always something for every budget. You can't assume you can't afford it.  You can however, make a better decision not to throw away your money.

Which would you rather own?

or

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A look at the Different Styles of Antiques

Having the ability to recognize what style an antique is does not come naturally. There are many overlapping aspects to almost all styles and being able to determine which is which is a skill acquired over time.  

Let's look at an historical timeline and match it with a couple of examples from each period.  While there are many characteristics of each style, we can start by viewing and visualizing each.  Note, the images represent some of the finest forms in the different styles.

These represent not only the most popular styles, but the more important ones (to me at least) as they are the styles I both admire and handle for my clients.  Although there are earlier styles, I begin in the late 1600's.

Louis XIV, France (1643...)

William and Mary, England (1688...)

Queen Anne, England (1702...)

George I, England (1714...) The start of the "Georgian" periods.

Regence, France (1715...)

George II, England (1727...)

Louis XV, France (1723...)

George III, England (1760...)

Louis XVI, France (1774...)

Regency, England (1780...)

Empire, France (1799...)

Federal, America (1790...)

Victorian, England (1837...)

Art Nouveau, America (1901...)

Art Deco, France (1900 - 1925... The start date is in question)

Over time we can look at each a little closer and i'll illustrate the distinct characteristics of each style and show how you can recognize each yourself.

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The most recognizable cabinet maker ever, Thomas Chippendale.

Thomas Chippendale, born in Otley, England (200 miles north of London) was the 18th centuries most celebrated cabinet maker and even today is the most widely recognized cabinet maker in history.  Chippendale was the first name ever used to describe a style of furniture other than a monarch, such as George I or Queen Anne.

His furniture designs ranged from the simple George III plain mahogany case pieces to the most elaborate Rococo styles often incorporating gold leaf and chinoiserie motifs.  In 1754, at the age of 36, he published the first edition of "The Gentleman and Cabinet Maker's Director".  Intended as a reference and guide for his clients, the Director evolved into a reference for other cabinet makers and it has influenced designs both in Europe and the US.  

Chippendale had a large workshop and it is virtually impossible to attribute furniture directly to him instead of his employees.  He died in 1779 and his son, Thomas Chippendale III, continued the business until his death in 1822.

Here are a few images indicating his elaborate styles as well as some links to additional resources.

Chippendale Society http://bit.ly/1ftsTcB

Victoria and Albert Museum  http://bit.ly/1gNtp8K

Thomas Chippendale Wiki http://bit.ly/1eIR6ud

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The Lost Art of Antiques

I have spent the last decade watching the level of interest in fine antiques wane.  Everyone in the industry discusses it and wonders what can be done. I've since realized most people that are unfamiliar and lack interest in it, simply don't know anything about it.  They may have heard of Thomas Chippendale, but not why he was so important.  

I've often said that my opportunity in the antiques business was that there is no place to go and learn about it.  As it turns out... that's also the problem.  So this is my small contribution as I try to show another generation what their parents and grandparents knew that they didn't about fine furniture (not just antique furniture).  Consider it your inside scoop on antiques and the antique business.

Feel free to send emails with questions, post images of antique furniture to discuss and get the real skinny.  You can learn more about me and what I do in the trade by clicking on the about page.  

Here is a just a small glimpse into my NYC shop and world of antique furniture, lighting and decorative objects.