What Not to Do to an Antique Before Valuation or Sale

Last Updated: September 2026 · The Old Antiquarian

When people discover an old object, the first instinct is often to clean it, polish it, repair it or make it look more presentable before asking for an opinion. In many cases, that can be exactly the wrong approach.

Original surfaces, patina, maker’s marks, old labels, repairs, packaging and provenance can all provide important clues about an object’s age, authenticity, maker, use, condition and history.

Before valuation or sale, the safest first step is usually simple: document the antique carefully before changing it. Cleaning, restoration or replacement of parts should only be considered once the object’s materials, construction and condition are better understood.

Before Valuation: What to Avoid

Why Doing Less Can Sometimes Be Better

An antique is not simply an old object that needs to be made clean or shiny.

Its surface may preserve evidence of:

• manufacturing techniques;
• tool marks;
• original finishes;
• wear from genuine use;
• old repairs;
• maker’s marks;
• decoration;
• ageing;
• previous ownership.

Preventive-conservation guidance emphasises examining an object and understanding its weak areas before unnecessary handling. Dirty or porous surfaces deserve particular care because pressure can push contamination further into the material, while repeated handling can increase the risk of abrasion, cracking, breakage or other physical damage.

1. Do Not Polish Metal Antiques Automatically

One of the most common mistakes is trying to make an old metal object shine before it is identified.

Polishing is an abrasive process. Depending on the object, repeated or vigorous polishing may remove small amounts of original surface material and can be particularly damaging to thin plating, gilding, decorative finishes and fine details.

Be especially cautious with:

• antique silver;
• silver-plated objects;
• bronze;
• brass;
• medals and orders;
• militaria;
• decorative metalwork;
• antique jewellery.

2. Do Not Wash an Antique Just Because It Looks Dirty

Water may be relatively harmless for some stable materials but damaging to others.

Possible risks include:

• running textile dyes;
• swelling or distorting wood;
• damaging paper labels;
• softening old adhesives;
• staining porous ceramic bodies;
• disturbing painted decoration;
• introducing moisture into metal components.

Mixed-material objects require particular caution because a treatment that is safe for one component may be harmful to another.

3. Do Not Use Household Cleaning Products

Household cleaners are formulated for modern domestic surfaces, not for unidentified historic materials.

Do not automatically apply:

• bleach;
• strong detergents;
• metal polish;
• abrasive pastes;
• furniture sprays;
• solvents;
• stain removers;
• commercial rust removers.

A product can appear to improve an object immediately while simultaneously removing an original coating, altering a surface or leaving residues in recesses.

4. Do Not Sand or Refinish Antique Furniture Before Review

Old furniture can preserve valuable evidence in its surface and construction.

This may include:

• original finish;
• tool marks;
• construction details;
• old labels;
• historic hardware;
• old repairs;
• wear consistent with use and age.

Sanding, stripping or complete refinishing can permanently erase some of this evidence.

Document the furniture carefully before considering treatment.

5. Do Not Glue Broken Porcelain or Ceramics Immediately

A broken ceramic object can often be examined more clearly before modern adhesive is introduced.

Poorly applied household glue may:

• stain porous ceramic bodies;
• spread across decorated surfaces;
• misalign fragments;
• obscure fracture edges;
• make later conservation more difficult.

Instead, keep every fragment safely together in a labelled container and photograph the break before attempting repair.

6. Do Not Repaint Chips, Scratches or Missing Areas

Retouching may make an object appear more complete, but it can also make its actual condition more difficult to assess.

New paint may conceal:

• the extent of damage;
• older restoration;
• original decoration;
• the underlying material;
• evidence useful for identification.

This applies particularly to antique furniture, toys, sculpture, picture frames, militaria and decorative objects.

7. Do Not Replace Missing Parts Before Identifying the Object

Missing components are part of an object’s present condition and should be documented.

Do not automatically replace:

• handles;
• clasps;
• medal ribbons;
• toy components;
• furniture hardware;
• clock parts;
• jewellery stones;
• frames;
• stands or bases.

Replacement may sometimes be appropriate later, but first establish what was original and what has already been altered.

8. Do Not Remove Old Labels

A faded or damaged label may be far more informative than it first appears.

Labels can sometimes help identify:

• maker or manufacturer;
• retailer;
• previous owner;
• collection;
• exhibition;
• auction history;
• model or pattern;
• place of manufacture.

Photograph labels before handling them and preserve their relationship to the object.

9. Do Not Scrape Marks to Make Them Easier to Read

Maker’s marks, hallmarks, signatures, model numbers and serial numbers can be important identification clues.

Never use knives, wire brushes, sandpaper or aggressive abrasives simply to expose a mark.

Instead:

• use soft, indirect light;
• take several close photographs;
• change the angle of illumination;
• photograph the mark in context;
• record exactly where it appears on the object.

10. Do Not Separate an Antique from Its Original Box or Case

Original packaging can contribute useful information about identity, completeness and provenance.

Keep:

• presentation cases;
• jewellery boxes;
• toy boxes;
• watch boxes;
• porcelain packaging;
• manufacturer’s labels;
• instruction sheets;
• original protective material where appropriate.

The box does not necessarily have to remain in direct physical contact with the object, but their association should be recorded and preserved.

11. Do Not Throw Away Receipts and Old Paperwork

Documentation can preserve historical information that is no longer visible on the object itself.

Keep:

• receipts;
• old valuations;
• certificates;
• letters;
• family notes;
• historic photographs;
• auction records;
• previous ownership information.

Even when the information cannot immediately be verified, preserve it separately and label which object it relates to.

12. Do Not Break Up a Collection Before Documenting It

A group of objects can preserve relationships that disappear once the pieces are separated.

This is especially important for:

• military medal groups;
• family archives;
• coin collections;
• libraries;
• matching porcelain services;
• toy collections;
• jewellery suites;
• photograph albums;
• collections assembled by one known owner.

Photograph the group as found before removing objects from boxes, albums, drawers, cabinets or original arrangements.

13. Do Not Assume an Old Repair Is Worthless

Repairs affect condition, but they can also form part of an object’s history.

An old repair may provide evidence of:

• historic use;
• an earlier repair technique;
• long-term ownership;
• a previous restoration campaign;
• the importance once attached to the object.

Document an existing repair before deciding whether anything should be changed.

14. Do Not Test Mechanical Objects by Force

Old watches, clocks, mechanical toys and other mechanisms can contain worn or fragile springs, gears, pivots and connections.

Do not force:

• keys;
• crowns;
• winders;
• stiff hinges;
• locked lids;
• mechanical movements.

If resistance is encountered, stop rather than using additional force simply to demonstrate that the mechanism works.

15. Do Not Force Drawers, Doors or Compartments

Wood movement, corrosion, dirt or old repairs can make components difficult to open.

Forcing them may damage:

• handles;
• locks;
• hinges;
• veneers;
• thin wooden panels;
• internal fittings.

Resistance can itself be a warning that the object requires closer examination.

16. Do Not Handle Fragile Objects More Than Necessary

Heritage objects are particularly vulnerable while they are being handled. Impact can result in dents, scratches, cracks and breaks, while touching certain metal, gilded and photographic surfaces can also transfer salts and oils from the hands.

Dirty objects require additional caution. Pressure on dusty or soiled porous surfaces can push contamination deeper into the material and make later cleaning more difficult.

Before moving an object:

• inspect it for weak areas;
• check for loose components;
• clear the route;
• prepare a safe destination;
• use suitable support;
• avoid lifting from handles or projecting decoration unless they are structurally sound.

17. Do Not Pack an Antique Before Checking Its Condition

Packing should begin with the object, not with the box.

Before packing, examine:

• dimensions and weight;
• materials;
• structural weaknesses;
• loose handles;
• cracks;
• unstable paint;
• detached components;
• weak frames;
• loose stones;
• fragile bases;
• existing repairs.

During transport, fragile objects can be damaged by shock, vibration, collision, abrasion, compression and environmental hazards. Appropriate restraint, cushioning and support should therefore be selected according to the individual object rather than using the same packing method for everything.

18. Do Not Use Newspaper as Universal Packing Material

Newspaper may be convenient for short-term household packing, but it should not be treated as a universal material for valuable antiques or long-term storage.

Potential problems include:

• ink transfer;
• abrasion;
• poor long-term stability;
• direct contact with porous or pale surfaces.

For important objects, use clean, stable packing materials selected for the object’s material, weight, shape and fragility.

19. Do Not Hide Damage in Photographs

Condition photographs are useful precisely because they show the object as it actually is.

Include clear photographs of:

• chips;
• cracks;
• repairs;
• missing parts;
• corrosion;
• stains;
• wear;
• damaged packaging.

An initial review is more useful when both strengths and condition issues can be seen clearly.

20. Do Not Send Only One Photograph

One photograph of the front of an antique is rarely enough for a useful initial review.

A better set usually includes:

• the complete object;
• front and reverse;
• sides where relevant;
• base or underside;
• maker’s marks and signatures;
• construction details;
• visible damage;
• important decorative details;
• original boxes;
• associated documents.

See

How to Photograph Antiques for an Initial Review

for a more detailed photography guide.

What Should You Do Instead?

Common Mistakes by Type of Antique

Extra Care with Inherited Antiques

Inherited objects often arrive with information that can easily be lost during sorting.

Before dividing an inheritance:

• photograph rooms, cabinets, drawers and groups as found;
• keep related objects together;
• retain handwritten notes;
• preserve family photographs;
• keep receipts and old valuations;
• record known owners, places and dates;
• do not discard boxes or apparently unrelated documents until the collection is understood.

Read

How to Sell Inherited Antiques and Collections

before dispersing a family collection.

Thinking About Selling an Antique?

Preparing an antique for sale does not mean making it look new.

A better preparation process is to:

• document the object;
• identify visible marks;
• record its present condition;
• preserve provenance;
• take clear photographs;
• keep related objects together;
• compare appropriate selling routes.

See

Where Can I Sell Antiques?

for an overview of antique dealers, auction houses, collectors and online marketplaces.