Collection: Tous les arts décoratifs

What to Look For Across Materials

Different materials fail in different ways, but the questions worth asking are consistent. Is the piece complete, with its original lids, liners, stoppers, mounts and fittings? Is the decoration original to the object, or has it been added later to a plain piece to increase its appeal, which is common in silver and in porcelain alike? Has the surface been over-restored, over-polished or refinished in a way that removes the evidence of age? And do the marks agree with the object, meaning does a mark that claims a particular maker and date sit on a piece whose construction, weight and finish are consistent with that claim? Marks are the most frequently faked element in decorative arts, because they are the easiest part to copy, so they should always be read alongside the object rather than trusted on their own.

Restoration deserves particular attention in this category, since it is far more common than in jewellery and far better disguised. Modern materials allow repairs that are close to invisible under normal lighting. This does not make a restored piece a poor purchase, and many significant objects have been restored at some point in a long life, but it should be known and disclosed rather than discovered later. We assess and document condition, including restoration where we identify it, in every listing, and our team is available to discuss any individual object before a purchase is made.

Caring for a Mixed Collection

The single most useful habit is to handle objects less and to handle them properly when you do. Lift with two hands supporting the body and the base, never by a handle, spout, rim or projecting element, which are the parts that break. Keep display surfaces stable and away from doorways, speakers and anything that vibrates. Direct sunlight fades enamel, gilding and glass colour, and heat sources dry out any organic component, so a position away from windows and heating is worth more than any cleaning routine.

Dust regularly with a soft, dry brush rather than a cloth, which snags on raised decoration, damaged gilding and loose mounts. Resist the impulse to clean beyond dusting until you know what a piece is made of and whether it has been restored, because most damage in this category is done by well intentioned cleaning. Water, heat and household chemicals are the usual culprits, and none of them can be undone. Where an object needs more than dusting, or where a repair is needed, use a conservator experienced with the specific material rather than a general repairer.