1) Assess condition first
Preparing antiques for auction starts with a slow visual survey. Place the object on a stable surface and examine it under diffuse light. Look for loose joints, lifting veneer, shrinkage cracks, frayed wiring on lamps, unstable glazing on ceramics, and evidence of old repairs. Photograph each point of concern. A notes-first approach keeps the process factual and prevents accidental damage during cleaning.
Record integrity details that buyers care about: original finish versus refinish, replaced hardware, patches in veneer, reglued stretchers, or non-original screws. Transparency creates credibility. An honest condition paragraph in the catalog may attract more bids than a vague superlative. The aim of antique preparation is not to hide age but to describe it well.
For clocks, mechanical toys and lighting, note whether mechanisms run. Do not force motion. Indicate “runs briefly,” “not tested,” or “requires service.” For textiles, check seams and edges; for paintings, gently view raking light to reveal craquelure patterns or inpainting. If you are unsure, stop and ask the auction house for guidance—better a pause than a costly misstep.
2) Clean gently and reversibly
Less is more. Dust with a soft brush or microfiber cloth before any contact cleaning. For glass and glazed ceramics, a cotton pad dampened with distilled water is usually safe; always dry with lint-free tissue. Avoid household sprays that contain silicone or ammonia—they can bloom finishes or streak gilding.
Furniture responds best to restraint. Use a barely damp cloth for stubborn dirt on sealed surfaces, then dry immediately. Skip heavy polishes. A thin layer of archival-quality microcrystalline wax applied sparingly by a conservator can revive a dull finish without altering tone. Silver may be brightened with non-abrasive paste, but preserve patina in recesses. Collectors read patina as time earned, not dirt ignored.
If the piece has flaking paint, lifting veneer, or a fragile surface, avoid all moisture. Photograph the issue and consult a professional. The goal of preparing antiques is to present them honestly, not to make them new. Buyers pay premiums for originality and responsible stewardship.
3) Gather provenance and paperwork
Provenance tells the story of ownership. Assemble any bills of sale, appraisals, correspondence, photographs of the object in situ, and prior catalog entries. Even if amounts are outdated, documentation shows the piece was studied and cared for. Label copies clearly and keep originals safe at home. A simple A4 folder with the lot title helps staff and bidders access information quickly.
Texas consignors should highlight local connections—work by a regional cabinetmaker, presentation silver from a Jasper fraternal lodge, or ranch equipment with family lore. A short paragraph that ties the object to place turns a good lot into a memorable one. In natural history and militaria, note any field records or service documents; these often anchor value.
4) Photograph like a catalog
Good photographs are clear, honest, and complete. Use daylight near a window or two lamps at 45 degrees. Neutral backgrounds (gray or off-white) keep attention on the antique. Set the camera parallel to the object for primary views to avoid distortion. Shoot front, back, sides, underside, and close-ups of maker’s marks, inscriptions, joints, and flaws.
Hold the phone with both hands or use a tripod. Disable “beauty” filters and auto-saturation. Capture true color and texture. For reflective silver or glass, move the lights to the sides to diffuse glare. File names should be short and informative: maker-mark-01.jpg, underside-02.jpg. Clean labeling helps the catalog team assemble a coherent lot quickly.
5) Estimates, reserves, and expectations
Preparing antiques for auction includes setting the right estimate. We compare recent results for similar makers and forms, consider condition and scale, and assess current demand. A persuasive estimate invites participation and often encourages bidders to compete past the high number. Overconfident estimates dampen interest. Let evidence lead.
A reserve is a safety net, not a target. If used, it should sit at or below the low estimate to avoid stalling. Discuss fee structure, photography, insurance, and timing in the consignment agreement. Ask whether your lot belongs in a general sale, a specialized session, or a single-owner event. Placement matters: the right audience turns interest into bids.
6) Pack for the road
Transport is the last place you want a surprise. Use double-walled cartons for fragile objects. Pad corners and high points with foam. Wrap ceramics and glass individually in tissue, then bubble wrap, and keep heavy items low in the box. Fill voids to prevent shifting. Mark orientation arrows and “FRAGILE” labels on multiple sides.
For framed works, protect glazing with a taped card shield. For furniture, remove loose shelves and secure keys. Photograph the packed box before sealing. If the item is large or delicate, consider a professional art handler. The cost is smaller than a repair that might follow a short drive on country roads.
7) Preview and sale day
Preview is where buyers connect with your object. Clean display, precise labels, and accessible paperwork reassure bidders. If someone asks for extra measurements or detail photos, that is a strong sign—answer quickly. The auction house can coordinate additional images or a short video to show movement or sound (clocks, music boxes, mechanical toys).
On sale day, well-prepared antiques read confidently from the rostrum and on the screen. Whether bidding is live, absentee, or online, clarity drives competition. After the hammer falls, the settlement statement will reflect hammer price, buyer’s premium, and agreed fees. Keep provenance copies in your records and update any personal inventories after payment.
Common mistakes to avoid
Over-cleaning. Removing patina or original finish erases character and value. If in doubt, stop.
Undisclosed repairs. Hidden glue lines or replaced parts damage trust. Note them plainly.
Newspaper packing. Ink can transfer to fabric, wood and ceramics. Use acid-free tissue.
Unrealistic reserves. A high floor chills bidding. Let the market find the price.
Missing paperwork. A missing bill of sale or photo can mean fewer bids. Gather documents early.
Texas notes and category tips
Regional furniture. East Texas walnut and pine pieces often carry charm in proportion and surface. Do not strip original shellac. Note county of origin if known. Simple repairs like reattaching a knob should match wood species and period style.
Silver. Light tarnish in crevices enhances depth. Avoid machine buffing. Photograph hallmarks square-on and at high resolution; include maker and city if identifiable.
Folk art and signage. Painted surfaces are sensitive. Dust only. Document where the sign hung, if known—gas stations, feed stores, or cafes tell a story bidders love.
Militaria. Retain ribbons, unit insignia, and any papers. Follow federal and state law for restricted items. Provenance across generations often makes the difference between two similar lots.
Rugs and textiles. Avoid vacuum beater bars. Roll, don’t fold, when transporting. Photograph selvedges, fringes, and any labels or dealer tags.
Mini glossary
Consignment. Agreement authorizing the auction house to sell on your behalf.
Estimate. Expected hammer price range derived from market evidence.
Reserve. Minimum price at which the lot may sell, if used.
Provenance. Documentary ownership history; letters, photos, bills of sale.
Patina. Surface character acquired through age and use.
Lot. One cataloged offering, which may be a single item or a group.
Checklist for sellers
- Inspect and note all condition points before cleaning.
- Clean lightly with reversible methods; avoid harsh chemicals.
- Assemble provenance copies in a labeled folder.
- Photograph front, back, sides, underside, marks and flaws.
- Agree estimates, reserves and fees in writing.
- Pack in double-walled cartons; pad corners; mark orientation.
- Respond quickly to preview questions and photo requests.
Conclusion
Preparing antiques for auction is respect in action. It respects the maker by keeping surfaces honest. It respects bidders by telling the full story. And it respects your own goals by giving the market everything it needs to compete. Follow these steps—assess, clean lightly, document, photograph, price realistically, and pack with care—and you will give your antiques the best possible stage at Jasper Auction House.