Autre

The pieces that do not fit a category, and are often the more interesting for it.

Every good collection accumulates forms that were made for a purpose the modern house no longer has: canterburys, davenports, whatnots, washstands, torchères, stands and cases built for one specific job. These are frequently the best value in antique furniture, since demand follows familiar forms, and they tend to suit contemporary rooms in ways their original owners never imagined. The Antique Guild assesses construction, originality and condition before any piece enters the collection. We deliver throughout Australia. Explore the current selection below.

Why collect necklaces through The Antique Guild

Every antique necklace authenticated for period, metal, clasp integrity and stone or material accuracy
Specialist knowledge across antique pearl necklaces, Victorian chains, Edwardian lavalières and Art Deco sautoirs
Sourced from private estates and specialist collections, with particular depth in pearl, garnet and diamond necklaces
Pieces selected to be worn — bringing history and craftsmanship into everyday life

Care Guide

What to Look For When Buying

Smaller and more specialised furniture was made in enormous variety, and quality varies with it. The same principles apply as to any case piece: hand cut joints, unfinished surfaces that have oxidised evenly, timber that has shrunk across the grain, and wear in the places the piece would genuinely have been handled. Because many of these forms are light and portable, they have led harder lives than larger furniture, so look carefully at feet, castors, stretchers and any slender turned element, which are where breaks and replacements occur.

Original function is worth understanding before you buy, because it often determines structure. A canterbury was made to hold sheet music, not books, and a whatnot was made for light display rather than weight. Pieces adapted from one purpose to another are common, as are pieces reduced in height or fitted with later tops. Check that fittings, hinges and any original lining or leather are consistent with the piece and with each other. We document form, originality and condition in every listing, and our team is happy to explain what a particular piece was made to do.

Caring for Your Piece

Treat these pieces according to their structure rather than their size. Slender turned legs, thin stretchers and small castors were not made for weight, so keep loading modest and lift rather than drag, taking the weight at the strongest horizontal member. Check castors periodically, since seized castors are a common cause of broken legs when a piece is moved.

The general rules hold: stable conditions, no direct sunlight, no proximity to heating or cooling outlets, dusting with a soft dry cloth, and paste wax two or three times a year rather than any aerosol or silicone product. Leather writing surfaces should be kept dry, dusted only, and treated occasionally with an appropriate leather dressing if they are dry rather than worn. Where a piece has an original interior fitting, lining or paper, leave it alone, since these survive rarely and are easily destroyed by cleaning.

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Jewellery & Watch Care, Provenance & Purchase Support

What is a davenport, a canterbury or a whatnot?

A davenport is a small writing desk with a sloped top and drawers to one side, made from the late eighteenth century onwards. A canterbury is a low stand with divisions, originally for sheet music and now most often used for magazines or folios. A whatnot is a set of open tiered shelves for displaying small objects. All three are nineteenth century domestic forms that adapt readily to modern use.
Are these pieces a good way to start collecting?

They are among the most sensible entry points, because quality of making in a lesser known form is usually more affordable than the same quality in a familiar one. A well made Victorian davenport or canterbury offers genuine cabinet making at a fraction of what a comparable chest or bureau would cost, and it teaches you to read construction rather than to follow names.
Can pieces made for an obsolete purpose be adapted?

They can be used differently without being altered, which is the distinction worth holding. Using a washstand as a hall table or a canterbury for folios changes nothing about the object. Cutting, drilling or refitting a piece to suit a new function permanently reduces its value and its interest, and is rarely necessary.
Are castors original, and does it matter?

Often they are not, since castors wear out and were replaced routinely. Original castors in good order are a small point in a piece's favour, and brass ones are worth keeping and freeing rather than replacing. What matters more is that whatever is fitted turns freely, because a seized castor puts sideways force through a leg every time the piece is moved.
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