Our work involves sourcing high quality antique and vintage items to sell to the trade and public , I use this blog to show you the interesting and stunning pieces that I source along with writing informative, useful guides hints and tips. Find our shop here https://www.ebay.co.uk/str/empireantiquesandvintage
The depth of color, intricate designs, and exquisite quality are simply captivating. But don’t be fooled, modern cloisonné is worth very little compared to antique examples. Can you tell the difference?
From the French word cloison, meaning to separate, the techniques of cloisonné involve using wire or metal dividers to separate the various colors of enamel that lie on a metal base. Thought to have originated in the Middle East, the technique spread though the Byzantine Empire and then into Asia. The metal base of a cloisonné piece is layered with compartments that originally held either a powder of crushed gemstone or crushed glass to create the enamel. The piece is then kiln-fired several times in order to force the powder to melt and spread into the cloisons, although divisions between enamel colors are not always marked by metal. The pieces are then highly polished.
During the Ming dynasty in China (though some argue it was earlier), artisans began using cloisonné techniques in their own creations. It became popular in Japan around the 16th century. In both countries new techniques were developed to refine the techniques and create a finer finished product. Common items would have been found in a temple or as palace decorations, but eventually they were used in a wide variety of decorative metal items such as vases, boxes, jewelry, sword handles and scabbards, and figurines to name a few. Often focusing on natural subjects, the pieces usually depict birds, animals, or natural elements like wind.
Some of the most famous and sought after cloisonné pieces are from Tzarist Russia and the famous House of Fabergé. The older a piece of cloisonné is, usually, the more money it is worth. Cheaply-produced pieces of cloisonné started being produced in the 19th century, though they possess far more value in most cases than 20th century examples.
Consider a modern cloisonné piece: it may have an uneven or pale surface color or may have raised, bumpy, or detached cloisons. Compare that to an 18th century piece that has a smooth texture (though probably aged) and vivid colors. Modern examples may have inferior metal or alloy bases and may even be decorated with resin. So definitely feel the weight of a piece to help ascertain its age. The craftsmanship is far better on the older pieces and that is one way to tell the difference. High-quality modern examples certainly are in production, but the value for those pieces will be based on design and maker, not age. Ming dynasty examples can be worth tens of thousands of dollars, while many antique examples that have less provenance sell for $200-$500. The same general price range also applies for antique Japanese cloisonné. Byzantine era cloisonné is in a very different price class, as is Fabergé. However, even if you have an older piece it will most likely have been made in the last 300 years in Japan, China, or Europe.
Be aware of pieces that are lightweight or appear to be made from less-sturdy materials. Poor craftsmanship is a telltale sign that a piece is relatively modern and mass-produced. Items like these in many cases have no more monetary value than equivalent-sized pottery pieces produced during the same years. Some modern pieces are attempting to look old. Many pieces, however, are simply products of extensive artisan traditions that stretch back centuries.
They’re under 30, successful and social-media savvy. We meet three up-and-coming young antiques dealers who are making waves in a traditional trade
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When we hear the term ‘antiques dealer’, the image that commonly springs to mind might be that of a gentleman siting at the back of a dusty shop. In truth, antiques dealers are a far more eclectic lot and, thanks to an exciting new breed of tech-savvy youngsters who are using the internet to build up their knowledge and access new clients around the world, the trade is changing.
The three dealers we’ve profiled here are all inspirational newcomers to the industry and they’re living proof that, with a lot of hard work, determination and shrewd use of technology, it’s possible to build up a thriving antiques business despite financial, geographical or personal hurdles. Matt Dixon trades from rural Yorkshire and started out buying a rug for just £20. Mathew Holder has grown a successful London business from a small £500 loan, while Lily Johnston impressively balances antiques dealing with being a mother and a student in Sussex.
One thing they all have in common is their clever use of social media as a selling tool. For many young dealers, it’s their main source of income. In fact, some say that as much as three-quarters of their sales now come via Instagram. Once a simple online platform where people would share inspirational photos of their immaculate home, holidays abroad and fashion sense, Instagram has evolved in the past few years into a frenzied marketplace where serious buyers and sellers do business.
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Matt Dixon, 23, York
‘I’ve always been creative. I studied History, Photography and Design at school and watched a lot of Bargain Hunt. When I was nine or 10, I started going to car boot sales and flea markets. At 18, I bought a vintage rug for £20 then sold it on for £200.
‘To get started I had to beg and borrow. Once you get going it gets easier because, as long as you buy the right stuff, you have money to buy more stock. The main hurdle has been getting respect. I find well-established dealers or designers don’t warm to young people in the same way they do to people who have been in the trade for longer. Granted, older dealers have more experience. But young dealers can bring interesting ideas and unusual pieces to the market. If you sell good stuff at good prices people soon learn that you can be trusted. They get to know you and age becomes irrelevant.
‘It’s fascinating to delve into the history of antiques – that’s a big part of the appeal for me. I buy a lot of armchairs and religious artworks down in the south of France. I’m always learning – that’s what keeps me hooked. There’s no easy way of getting the stock and there’s no easy way of selling the stock, so I’m always attached to my phone but I enjoy my job, so I don’t feel it’s work.
‘I’m not afraid to be different. I’ve got a thing for antique lay figures, which are old wooden artist’s mannequins. I’ve had some small ones but I’d like to find a larger one – they can be worth over £10,000.
‘Social media has been a huge help in getting my business going. Without it I wouldn’t be where I am now. You can do fairs, but they’re quite expensive, and getting a shop is impossible at the beginning, so social media has been really important. Around 75 per cent of my sales come through Instagram and I sell mostly to commercial customers. Interior designers use it as a quick way of finding pieces for clients. There are very few things in the world that are free and can generate money.’
Matt Dixon, TallBoy Interiors (by appointment only). 07725 414743; tallboyinteriors.co.uk
“My favourite item that I have just sold is a huge 20th-century leather elephant, 5ft by 6ft in size. It’s just one of those pieces that you will never see again and is a bit of fun to try and sell. I like a challenge.”
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Matthew Holder, 26, London
‘I stumbled into the antiques trade. I did Photography at college and was at a bit of a loss as to what to do next. In 2011, my dad lent me £500 and I started buying on Portobello Road and selling online. I showed at Olympia, then took a stand at Portobello in October 2011. I moved to London from Essex in November that year. I owe a lot to the Portobello community. I’m surrounded by knowledgeable, caring people.
‘When I first started I had to get the train everywhere. I was going through two suitcases a month because the wheels would buckle and break. I’d have sweat pouring of me – a rucksack on my back, a suitcase in one hand and a bag in the other. I once bought 50 perfume bottles at auction and they were spilling out everywhere on the journey home. It was a good way to learn how not to do business.
‘I get to go on buying trips all over Europe. I go to museums, see beautiful architecture and learn about the surroundings from which the objects I deal in originate. At one fair I walked 38km in two days. Shoes don’t last me six months and my average bedtime is 1am. I daren’t work out my hourly rate.
‘I recently found a 15th-century English processional cross that is almost identical to the one found at the Battle of Bosworth Field. There are only two on the market and I have one.
‘When you’re young it can be harder to build up trust. Being a member of LAPADA and BADA helps. I think one advantage of being a young dealer is that I’ve got the energy to run around and I’m adaptable.
‘Instagram is my main source of income and I owe three-quarters of my business and my knowledge to the internet. I’ve found lots of American clients via Instagram, so that means no VAT when I export. At the start, if I saw something at a market I’d never seen before I would look it up on my phone. I could become an expert in 20 seconds flat and find its worth.
‘Some older dealers like to regale you with stories of old when business was great. I like to focus on the positives. It’s never been so hard to buy a house, but this business has allowed me to save up and buy one.’
Matthew Holder European Works of Art & Sculpture. 07906 300197; mh-works-of-art.com
“This gilt bronze processional cross is extremely rare because it’s English, possibly made in London and dates to the 15th century. There are only a handful known and one of them is the Bosworth Cross found in 1778, reportedly on the site where Richard III fell. That particular example has the York family crest.”
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Lily Johnston, 22, Sussex
‘My mum, Jack, has been a dealer for the past decade so I grew up around antiques. She used to renovate houses, which I found fascinating. I like interiors and I love shopping, so my interest grew from there. When I was younger I enjoyed going on buying trips as her sidekick then, from the age of 17, I started working with her full time.
‘Dealing works for me because it’s so flexible. I’m studying Law and I have a little boy, so I need a job that fits in around my other commitments. I’d like to carry on dealing after university but, if it doesn’t work out, I’ll have a degree to fall back on.
‘Our look is very decorative. I buy with my eye. If I don’t like something, I just don’t buy it, even if there’s likely to be a good profit in it. I think because I’m young and a woman people sometimes underestimate me a bit when I’m buying, but that often works in my favour. I suppose I’m not a typical dealer.
‘I’m always driving a van! We mostly buy in France. We’re planning a trip to Sweden soon, too. We also buy at Kempton and Ardingly. My mum and I are really close. I tend to do more of the social media and the website, but we often buy together. We mostly agree on what to buy – on the whole we have the same taste.
‘Social media is really important for us. We don’t have a Facebook page because we found it didn’t work for us, but we do a lot on Instagram. Sometimes I post something on there and within 10 minutes it’s sold.
‘We sold two huge Irish stone heads to Shepperton Studios and they were used in the film The Mummy with Tom Cruise. We do a lot of heavy stone pieces. I’ve definitely got fitter since I started working with my mum – we always tend to buy things that are big and unmanageable'' ''Being a member of Antiques Young Guns (antiquesyoungguns.co.uk) has been really good for me and has broadened my horizons. I’m seeing more young dealers appearing on the scene each year. It’s nice to keep the trade going through generations.’ Lily and Jack Johnston, Bombe Antiques & Interiors. 07949 093778; bombeinteriors.co.uk
