Compared with ceramics of the same date, much antique glass remains relatively inexpensive. You can still find sets of 19th century glasses for under £100 at antiques shops and general auctions, and incredibly, an antique decanter will often cost less than a modern one.

During the 18th century, large numbers of drinking glasses were made. The variety available means that there are many ways of collecting glass. You may decide to focus your collection on, say, air twists, Jacobite glass, cordials, or gilded glass, or you may prefer to simply collect single examples of each type. Simpler 18th century glasses may cost £50-100, but those with elaborate or unusual decoration can be very much more valuable.

Signs of Age

• a foot that is wider than the rim
• flaws in the glass indicating it was handmade
• a bumpy “pontil mark” under the foot
• a greenish or greyish tinge in the glass
• signs of wear on the foot — fine and irregular scratches.

Jacobite Glasses

Glasses engraved with roses, doves and oak leaves were made in the 18th century to show furtive allegiance to the Old Pretender (James Edward Stuart) and the Young Pretender (Charles Edward Stuart). Jacobite glasses are particularly collectable but can be expensive — an especially rare one was sold in 1992 for £66,000.

Colour Twists

Sterns with threads of coloured glass are keenly sought after; value depends on the number of colours. This one has blue and opaque white twists, and would be worth about £1,500.

Gilded Glass

Glasses with original, soft 18th century gilding, such as this one, are very desirable, but are rarely seen in perfect condition. £500+

Beware

You can spot less desirable later gilding, by its harder, brighter appearance.

This is a multiknopped stem, so called because of the series of projections with which it is decorated; some stems have only one knop, which may contain a tear drop of air, other stems are decorated with air twists.

This glass has a domed foot, characteristic of many early glasses; others have conical feet. Check the edge of the rim for unevenness, as this may mean a chip has been ground down.

Decanters

Decanters were often decorated with engraved or gilded labels describing their contents. This one is made from “Bristol” blue glass — an area associated with coloured decanters, although not all were made there. £250-850

COLLECTORS CATEGORIZE AND VALUE GLASSES ACCORDING TO THE SHAPE AND DECORATION OF THE BOWL, STEM AND FOOT. THIS ONE IS OF MEDIUM QUALITY - IT HAS A PLAIN BOWL AND A RELATIVELY SIMPLE STEM, BUT BECAUSE IT IS LARGER THAN MOST (MEASURING 23CM/9IN) IT IS WORTH ABOUT £500.

APOSTLE SPOONS

Apostle spoons (so-called because the handle is decorated with the figure of an Apostle), are among the most valuable of spoons. Sometimes they’re faked by reshaping ordinary 18th century spoons - you can spot these by the stiffness of the figure. £1,000+

PATTERNS

Different patterns are identifiable by their names; these are some of the most popular ones which have been repeated continually since they were first made. The date of flatwares can affect their price even more dramatically than other types of silver.

OLD ENGLISH PATTERN

The most desirable services contain a dozen tablespoons, table forks, dessert spoons, dessert forks and teaspoons. This 77-piece Old English pattern service has the added bonus of a basting spoon and other serving pieces and this will increase its value. £6,0008,000

BEWARE

Badly worn flatwares are virtually impossible to restore and are worth only scrap value. Only the fork on the left is in good condition. The one in the centre is badly worn, the other has been trimmed to disguise the damage.

Even though we no longer depend on candlelight for illumination, nothing graces a dining table more elegantly than a pair of silver candlesticks. Most candlesticks and candelabra were originally made in pairs or larger sets. Expect to pay more than double for a pair of candlesticks than for two single ones - even if they’re the same design and size! To be a true “pair” candlesticks must be made by the same maker at more or less the same date.

BASES

Sheet candlesticks are marked in a line above the base, cast ones are marked in the well, or under each corner.

NOZZLES

Nozzles should have the maker’s mark and lion passant.

SCONCES

If the seam on the stem and sconce is not in alignment, the candlestick has been heavily repaired. Here you can see the lion passant mark on the sconce.

STEMS

During the 18th century sterns became progressively taller; early candlesticks rarely measure more than 13cm/7in; this mid-18th century one is 25cm/10in.

CHAMBER CANDLESTICKS

These were used to light the way to bed, and unlike other candlesticks, are usually sold singly. This one was made in the 1780s and like many is fitted with a snuffer. £1,000-1,500

CANDELABRA

The separate parts are frequently replaced -four nozzles on this pair are replacements, but the candelabra were made by John Scofield, an eminent 18th century maker, so the price would still be £15,000+.

During the Art Nouveau period the surfaces of plates and vases were covered with Floral and organic shapes, or languid, scantily clad maidens, synonymous with the style of the movement. In stark contrast, the clean bright motifs and avant-garde shapes which evolved in Art Deco pottery of the 20s and 30s, evoke equally effectively the spirit of their age.

WILLIAM MOORCROFT

If you see a piece of pottery decorated with raised lines, which look as if they’ve been applied with an icing nozzle, the chances arc it was made by William Moorcroft, at the famous Macintyre Pottery in Staffordshire. This “Iris” vase illustrates the distinctive technique, known as “tube- line”, which was made with hand-applied fine lines of slip. £700

DOULTON & CO

This factory produced such a wide variety of wares that many buyers collect nothing else! You’ll have to pay more if a piece of Doulton was made by a famous designer. This vase was decorated by the prominent designer Mark V. Marshall, and would be worth over £5,000; a piece by a less prestigious designer might be worth 10% of that price.

ROYAL COPENHAGEN

The serpentine movement of this group, and the soft pastel shades in which it’s decorated, identify this as a typical piece of Royal Copenhagen porcelain. The group, known as “The Rock and the Wave”, is so popular it’s still reproduced today. Dating can be tricky but different marks were used and these can give a clue as to when the piece was made. £700-900

CLARICE CLIFF

The most famous British Art Deco potter, Clarice Cliff, produced such a plethora of diverse shapes and designs that whole sales are now devoted entirely to her wares. Value is largely determined by the rarity of the design. Small objects, or anything in the “Crocus” pattern are usually the most affordable.

Condition is of paramount importance to value and restoration can be difficult to spot. Check spouts and handles for signs of chipping and run a finger around rims and bases to see if they’re intact.

Most pieces are marked with a printed mark and facsimile signature.

Decoration is often outlined in black.

The warm yellow “honey glaze” gives the background an ivory colour seen on many Clarice Cliff wares.

Although produced in large quantities, all genuine Clarice Cliff, was hand-painted and you should be able to see brush strokes in the coloured enamels.

FUTURISTIC SHAPES, EXEMPLIFIED BY THIS UNUSUAL c.I935 TEAPOT WITH ITS BIZARRELY CURVING LID, ARE A KEYNOTE OF CLARICE CLIFF‘S ADVENTUROUS POTTERY. £300-500

FAKES

The many reproductions and fakes can usually be distinguished by their inferior colour and design. This jug looks washed out compared with the vibrant colours in the teapot, and the handle is too thin.

DESIRABLE DESIGNS

• Age of Jazz figures
• Wall masks
• Inspiration design pieces
• Circus series — designed by Dame Laura Knight
• Graham Sutherland designs
• Frank Brangwyn circular plaques.

What to look for:

• Silver boxes

• Check the hinge isn’t damaged.

• Make sure the marks on the base are the same as those on the lid - if they don’t match, the box may have been altered.

Beware

Sometimes snuff boxes are turned into vinaigrettes by adding grilles - and vinaigrettes are turned into pill boxes by removing the grilles! £200

Snuff Boxes

The decoration of small boxes has a huge bearing on their price; hunting scenes are particularly sought after - this silver gilt snuff box, made in 1828, would be worth over £1,500+.

Vinaigrettes

Vinaigrettes such as these were used to contain aromatic salts, vinegar, or perfume and are smaller than snuff boxes, although equally in demand. £1,000-1,500

Decoration

A piece of silver decorated with a recognizable scene is especially desirable. This Victorian pin tray shows Windsor Castle - one of the most popular views; St Paul’s Cathedral or scenes of Edinburgh are also keenly collected. £700-1,000

Mirrors

Like most silver- framed mirrors, this one is part of a set of dressing table silver. Its unusually fine quality is reflected in the price - over £100,000 for the set! During the late 19th/ early 20th century less expensive mirrors were made from wooden frames covered with velvet and decorated with die stamped silver. These are often badly worn and difficult to IC clean but still highly sought after.

Art NouveauSilver

Silver items reflecting the Art Nouveau style, marked by well known makers or retailers, are becoming increasingly collectable. This box, with its typical Art Nouveau motif on the lid, was made for Liberty & Co. and would be worth £700-1, 000.

Silver and Glass

Glass and silver are often combined to produce some highly decorative objects, but before buying any silver and glass object remember to check that the glass is not broken as it can be costly to replace, especially if shaped. This 1911 Ramsden & Carr silver and enamel case contains its original glass bottle. £2,000+

Die Stamping

Die stamped silver is patterned by pressing solid metal moulds together on either side of sheet silver - the technique made it relatively inexpensive to mass-produce elaborate decoration and was much used in the 19th century.

Silver Decoration

Small silver is decorated in a wide variety of ways. Some of the most common terms used to describe the techniques are:

BRIGHT CUTTING: a type of faceted engraving.

CHASING OR EMBOSSING: patterns made by hammering or punching.

CUT-CARD DECORATION: flat shapes added to rims etc.

FILIGREE: open wire panels decorated with little silver beads.

BACCARAT

YOU CAN OFTEN IDENTIFY THE MAKER OF A PAPERWEIGHT BY THE TYPE OF

RODS IT CONTAINS AND THE WAY THEY ARE ARRANGED. THIS ONE INCLUDES SILHOUETTES OF A DOG, A HORSE AND A DEER, WHICH ARE TYPICAL OF THE BACCARAT FACTORY. £6,500-7,000

Beware

Reproductions of antique paperweights abound, but can be identified by their lighter weight.

Identifying Marks

Baccarat paper‑weights often include signed and dated canes - this one is marked B 1848. St Louis and Clichy paperweights are also sometimes marked with initials.

Millefiori

Millefiori (”thousand flower”) paperweights arc so- called because their canes resemble a carpet of flowers.

St Louis

Large single flower heads were much used by the St Louis factory. Sometimes flowers were laid on a criss-cross lattice, known as latticinio. £500-600.

Clichy

Clichy weights can often be identified by the characteristic rose they contain. This one would be worth over £2,000 but more common types fetch from £400.

Overlay Weights

Some rare weights, such as this one made by Baccarat, contain a layer of opaque glass through which windows are cut to reveal the design beneath. This one would be worth £3,000 or more.

Bracket clocks were made from c.1660, the earliest with square brass dials; by the beginning of the 18th century, arched dials became more common. Among the most often seen English bracket clocks are those with mahogany veneered cases. Large numbers were produced from the late 18th and early 19th century, mainly in London, and you can still find clocks of this type for around £3,000-6,000. Also frequently seen arc French 19th century clocks, which were made in a wide variety of shapes. Many of these incorporate such lavish decoration that you may need to take a second look before you realize they’re clocks at all!

Early Bracket

Early (pre-1700) bracket clocks, such as this c.1695 one, are usually the most valuable. You can generally identify them by their ebony or walnut cases and elaborately decorated square dials.

Regency Clocks

You can recognize a bracket clock made in the Regency period, as it will usually have a convex dial signed by its maker, simple hands made from brass or blued steel, and a mahogany or rosewood case. £4,500

A French Bracket Clocks

Depending on the degree of elaboration, prices for French clocks start at around £500. This one is decorated with a bronze figure of a egress (representing Africa) and a gilt panther and tortoise and is worth £5,000 or more.

Makers

The value of a clock is greatly increased if it’s signed by a famous maker. The dial and backplate of this clock (above and right) arc signed by Thomas Tompion, one of the most famous English clockmakers known as the “father of English clockmaking,” and it would therefore be worth over £100,000!

Movements

Most mahogany brackets originally had a verge escapement: many of these were converted to an anchor escapement but this should not put you off buying.

Strikes/Silent Lever

The strike/silent lever controls the striking mechanism of the clock and can be used to turn it off without affecting its running.

Mahogany Brackets

MOST MAHOGANY CLOCKS ARE LARGER THAN EARLIER EBONY OR WALNUT ONES. THIS ONE, WHICH WAS MADE c.1785, IS OF STANDARD SIZE AND MEASURES 51CM/201N. £7,500

Clock Care

Carefully dust and wax wooden cases.

Never attempt to clean brass or silvered dials.

Ask an expert to oil and clean the clock’s mechanism.

Hold clocks upright if you’re moving them from one room to another.

Secure or remove the pendulum before a long journey.

Beware

Check finials all match. On many clocks some have been replaced - this is less desirable.

Cases

Both elaborate and simple cases were made from mahogany. This one is fairly simple, but the illustrations below show some of the more elaborate varieties found.

Like most types of clock, value is dependent on the quality of the case, movement and dial. If a clock has an unusual or attractively painted dial, or an elaborate marquetry or lacquered case, it will cost more than a run-of-the-mill version. Size can also have a bearing on price. Smaller longcases are usually more expensive than larger ones - and for good reason - taller ones were built to fit in rooms with higher ceilings than many homes of today - so before you buy a longcase remember to check it will fit!

Dials

Originally square, dials became arched in c.1720. Most longcases have brass dials, as here, or painted ones, like the clock opposite. Brass dials are usually 30cm/12in in diameter and have an applied chapter ring (the band showing the numbers) and applied spandrels (corners).

A walnut Longcases

Some of the earliest longcase clocks were covered with walnut veneers over an oak carcass. Cross-banded veneers .(a strip laid at right angles to the main veneer) add to value. £20,000+

Marquetry

Floral marquetry was a popular way of decorating longcases between 1680 and 1710. Earlier examples have small inset panels of marquetry decoration; on later ones, such as this, the design covers the entire surface. £12,000+

Finials are easily damaged and replacements, though acceptable, are less desirable.

The small dials measure the seconds and the calendar months.

The hands on most longcases are made from “blued” steel - the metal was heated to create the dark colour.

The trunk - centre section of the case - has a door which opens to allow you to adjust the pendulum and fit the weights. Longcascs were designed to stand against a wall, so the hacks are made from unpolished wood.

The style of the pediment can give an indication of the age of the clock; the broken pediment seen here was popular in the late 18th century.

The painted dial has attractive figures in the spandrels and a moon disc, showing the phases of the moon, in the arch. Look for crazing (a fine network of cracks) on painted dials as this is a sign of authenticity.

Mahogany Longcases

MAHOGANY WAS USED TO MAKE LONGCASES FROM THE MID-18TH CENTURY UNTIL THE 19TH CENTURY. BECAUSE THIS ONE (OF 1785) IS FAIRLY ELABORATE IT’S WORTH AROUND £2,000, BUT YOU CAN FIND SIMPLE 19TH CENTURY VERSIONS FROM ABOUT £1,000.

Names to Look Out for

This clock is signed by a Birmingham clock-maker named Edward White. London makers of long- cases are usually particularly sought after, especially: Thomas Mudge Sr, William Dutton and John Holmes.

The wood on the base and plinth should match the rest of the case. If it looks different parts may have been replaced and this will reduce value.

Checklist of Typical French Carriage Clock Features

• white enamel dial
• black numerals
• stamped mark or signature on the backplatc
• 8-day duration spring driven movement with going barrel
• bevelled glass panels
• blued steel hands.

Quality Features

• engraved case
• panelled cloisonné or porcelain case
• subsidiary dials.

Firms & Makers to Look Out For

• Auguste (active from 1840) French Abraham-Louis Breguet (1747-1823) French
• Achille and Louis Brocot (active 19thC) French
• Dejardin (active 19thC) French Pierre and Alfred Drocourt (1860-89) French
• Frodsham family (19/20thC) English Paul Gamier (b.1801-d.1869) French Japy (1772-early 20thC) French
• F.A. Margaine (c.1870-1912) French E. Maurice (active 1880s) French James McCabe (19thC) English Soldano (c.1855-80) French

Repeat Buttons

Some carriage clocks have a repeat button on the top of the case: when the button is pressed the clock repeats the last hour struck. This one was made by Henri Jacot c.1890. £900-1,800

Engrave Cases

Engraved-case carriages are more valuable than plain ones. Look for elaborate, detailed decoration which covers as much of the case as possible. This one was made by Le Roy & Fils c.1865. £2,000-3,000

Subsidiary Dials

Clocks with subsidiary dials are especially desirable. This English carriage has an alarm dial; some clocks also have dials showing seconds or the days of the week. £900

The value of a novelty clock is dependent on rarity, appearance and the complexity of moving features, rather than the clock mechanism. Condition is of particular importance, as broken novelty clocks can be extremely expensive to repair.

Mystery Clocks

This is one of the most common types of novelty clock. The movement, concealed in the base, rotates the figure slightly from left to right, and this motion makes the pendulum swing, even though the figure holding it seems unconnected to the mechanism. £2,500

Automaton Clocks

Automaton clocks are among the most varied and valuable of novelty clocks. This one is relatively simple — it contains a bird which every hour sings a melodic nightingale song, while flapping its wings, turning its head, and opening its beak. £4,000- 6,000

Skeleton Clocks

English-made skeleton clocks, in which as much of the working mechanism as possible is visible, are usually far more complex and elaborate than those Made in France. This typically elaborate one (with protective glass dome removed) dates from c.1870. It was made by J. Smith & Sons and is worth £6, 000-12, 000.