The antiques market has always rewarded an attentive eye. Genuinely valuable pieces can surface at any moment – at fairs, in unassuming second-hand shops or from homes where they have quietly sat for decades – and it pays to know how to spot them.
Understanding which details to look for – the markers of quality, age and authenticity that separate a valuable piece from a well-made one – can make all the difference.
Here are five clues that something you own, or something you're considering buying, may be worth considerably more than you think.
1. There's a maker's mark
Reproduction has always been part of the decorative arts trade – where there is desirability, imitation follows. The surest way to establish whether a piece is genuine is to look for a maker's mark.
These are most commonly found on silver, ceramics, glass and metalwork, but furniture and carved objects may also carry them – often concealed on the underside, inside a drawer or beneath upholstery.
“Look for maker's marks, logos, or artist-signed pieces, as well as those recorded as patents," recommends Marsha Dixey, consignment director at Heritage Auctions. "A bit of sleuthing on Google may be necessary."
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2. The condition is sound
At auction, condition is everything. A pristine example will consistently command a premium over one that has suffered damage, however sympathetically it has been used or displayed. "A perfect example will always sell for more," says Marsha. "One chip can, in some cases, reduce value by at least half."
That said, patina is not the same as damage. On painted or rustic country furniture – a farmhouse table, a pine chest, a painted dresser – honest wear is part of the appeal, and buyers in the market expect it.
Be wary too of an antique that has been too aggressively restored. “Anything that takes away original features or patina such as painting over quality wood, replacing original handles with shiny modern ones, or over-sanding so the crisp edges and fine details disappear, can devalue a piece,” says Matthew Crawford, co-founder of London-based furniture restorers, After Noah.
3. The construction rings true
The construction and patterns of ageing on an antique are useful indicators of provenance.
For paintings, the reverse of the canvas is often more revealing than the front. If the canvas is secured with nails rather than staples, it almost certainly predates 1930, when staples became standard practice. The presence of craquelure – the fine, complex network of cracks that develops in aged paint – is another reliable marker of genuine age.
For decorative metalwork and vintage signage, examine the hardware and surface closely. On pieces that have aged naturally, rust will appear dark or near-black – bright orange rust is typically a sign of artificial ageing.
And on woven fabrics such as tapestries, look at the selvedge and the reverse – the back of a genuinely aged fabric will often show a softer, more oxidised version of the face colour. A piece that looks equally fresh on both sides warrants closer scrutiny.
4. Comparable pieces are actually selling
When researching a piece, seek out comparable sold lots rather than current listings. Auction records – particularly from the major houses – are the most transparent guide to genuine market activity, and will give you a far clearer sense of both current demand and realistic value.
Marsha emphasises that you need to look at the sold price, not the asking price. The asking price is a starting point for negotiation, not a reliable guide to market value – and it is worth remembering that resale platforms carry commission, which dealers factor into their pricing.
5. It has a full back story
The history of an object – who owned it, where it was acquired, what was paid for it – constitutes its provenance, and provenance has a material effect on value. At the more rarefied end of the market, a well-documented ownership history can be the difference between a good price and an exceptional one.
Even at a more modest level, recorded history adds context and confidence. As Marsha notes: "Knowing some history can be helpful in nailing down a time period and perhaps a function." She adds that, with many antiques, their use isn’t necessarily obvious today, but that doesn’t diminish their value.
Ask questions, request any available paperwork, and treat whatever you can establish about a piece's past as part of its value.
Heather Bien is a Washington, DC-based writer covering home, design, entertaining, and travel for the likes of Martha Stewart, Southern Living, Virginia Living, and more. She is an avid antiquer and novice gardener who spends much of her free time tending to the rose garden and the ever-growing list of projects at her cottage, Rosehill Cottage, which is located on the Rappahannock River near Urbanna, Virginia.
Sarah Zlotnick is the Lifestyle Director at Country Living, where she has run point on travel, rural lifestyles, and all things vintage and antiques since 2021. Previously a lifestyle editor at Washingtonian and Philadelphia magazines, she has been championing small businesses and regional destinations for 15 years. She also holds a bachelor’s degree in American Studies from Georgetown University, a major her younger self would be quite surprised to learn has come so in handy. First and foremost a service journalism enthusiast, she loves an in-depth explainer on an everyday topic or a deep dive into the history of vintage objects. When she’s not editing and writing, you’ll find her needling her husband to pull off the highway so they can explore a new small town or cozying up with a juicy murder mystery.
Rachel Edwards is the Style & Interiors Editor for Country Living and House Beautiful, covering all things design and decoration, with a special interest in small space inspiration, vintage and antique shopping, and anything colour related. Her work has been extensively translated by Elle Japan and Elle Decor Spain. Rachel has spent over a decade in the furniture and homeware industry as a writer, FF&E designer, and for many years as Marketing Manager at cult design retailer, Skandium. She has a BA in French and Italian from Royal Holloway and an MA in Jounalism from Kingston University. Follow Rachel on Instagram @rachelaed
