Where to Start with Vintage Furniture: The Pieces Worth Buying First
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A vintage collection rarely begins with a dining table. It begins with a lamp, a mirror, a chair: pieces that change a room without taking it over, and that will follow you from one home to the next.
People often speak of investment pieces. We use the term in its simplest sense: objects made well enough to last, which keep their value far better than something bought new. No piece is guaranteed to gain value, and none should be bought for that reason alone. Buy what you love, made to last.
1. Start with lighting
Light changes a room more than any other object, takes up little space and moves easily. Italian lighting from the 1950s to the 1970s, by makers such as Stilnovo, Fontana Arte or Carlo Nason, is also one of the most established markets in 20th century design, which makes it a reliable place to begin.
Check whether the wiring is original or has been replaced, and whether the lamp has been tested. Original cable can be beautiful but is often brittle after sixty years. Ask which bulb it takes. Most European lamps use standard sockets that are easy to fit, but some designs were built around a specific bulb or diffuser that is no longer made, and replacing it can be complicated. Check that shades and diffusers are original: a replaced shade lowers the value of a piece.
2. A mirror, then a ceramic piece
For decorative objects, a mirror is the first piece we would recommend. It brings light into a room, works in almost any space and moves with you. A little ageing in the glass, a few spots or a soft clouding at the edges, is normal and part of its character. Heavy desilvering across the centre is another matter if you want to use it every day. Check the frame, the backing and the fixing.
Then a ceramic piece: a vase, a bowl, a lamp base. French and Italian ceramics of the period range from accessible studio pieces to collected names such as Georges Jouve. Run a finger along the rim for chips, look for fine cracks in the glaze, and ask whether the piece has been restored, since a good repair can be almost invisible. Turn it over: a signature or studio mark makes a real difference.
3. One chair or armchair
A single sculptural chair is enough to set the tone of a room. Pairs are rarer, cost more and generally hold their value better, so if you find a true pair you love, it is worth considering.
If you are buying seating, ask about the upholstery. Has it been redone? Is the foam new? Foam from the 1960s and 1970s breaks down over time, and new padding is usually better for comfort and longevity. Original fabric in good condition is rare and valued; a well executed reupholstery is perfectly acceptable, as long as it is described as such. Sit in it if you can, and check the frame for movement at the joints.
4. A side or coffee table
The piece you use and touch every day, so this is where material matters most.
Learn to read the wood. Solid wood shows the same grain on the top, the edge and the end. Veneer is a thin sheet of wood laid over a base: you will often see a fine line along the edge, or a pattern on top that does not continue down the side. Veneer is not a weakness. Much of the finest mid century furniture is veneered, rosewood and teak especially, and it allows grain patterns solid wood cannot. What matters is its condition: lifting corners, bubbles or chipped edges. Rosewood pieces may also need paperwork to be shipped to some countries.
For marble or glass tops, look for cracks, chipped edges and stains. Marble marks easily with acids such as lemon or wine; light etching can be polished, deep stains rarely disappear.
5. Then the larger pieces
Sideboards, dining tables, sofas and bookcases are the pieces to buy once you know your space, ideally the home you will stay in. They are harder to move, and harder to resell if they no longer fit.
When you get there, open every drawer and door. Drawers should slide smoothly without sticking or dropping; look at how they are assembled, and at the runners and bottoms. Check that doors close properly, that hinges and locks work, and that the piece stands level.
Chrome, stainless steel, brass
Chrome is a thin, highly reflective plating over steel or brass. It catches light beautifully and suits the 1960s and 1970s, especially alongside glass and leather. Chrome itself does not rust, but where the plating is chipped or pitted, the steel underneath can. Light surface marks usually clean up with a soft cloth and chrome polish; deep pitting can only be fixed by replating, which is costly.
Stainless steel is different: its resistance runs through the metal rather than sitting on the surface, so there is nothing to peel. It has a softer, greyer sheen than chrome, often brushed, and stands up very well to daily use and humid or coastal air. In the 1970s, designers such as Maria Pergay made it a luxurious material in its own right.
Brass develops a warm patina over time. Polishing it or letting it age is a matter of taste, but watch for old lacquer peeling unevenly.
What holds its value
An identified designer or maker, original materials and finishes, good condition, honest and well executed restoration, documentation, and true pairs or sets. A piece that ticks most of these will usually hold its value. A piece that ticks none is decoration, which is fine too, as long as the price reflects it.
Start small, start with what moves with you, and choose pieces made well enough to outlive any trend. For what to check before you buy, read our guide to buying vintage furniture in Morocco.