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When Premiums on Antiques Collapse

When Premiums on Antiques Collapse

If you are a frequent visitor to the Antique Sage website, you know that I talk a lot about premiums in relation to the vintage jewelry, sterling silverware and rare coin markets.  Premiums are simply the price charged on an item above and beyond its intrinsic value, usually expressed as a percentage.  Only pieces composed of precious materials (gold, silver, gemstones, etc.) have intrinsic value, but these are exactly the kinds of antiques that I’m interested in.

In one sense, a premium is the imputed artistic value of an antique item – the price people are willing to pay to acquire a historically or aesthetically interesting piece in excess of its raw material value.  As such, premiums can vary widely across both time and geographic distant.  When a certain item is “hot” in the antiques marketplace, premiums will be high.  Likewise, when an object is out of favor and few people want it, premiums will be correspondingly low.

This is pretty straightforward stuff, right?

Well, there has been an interesting trend developing in the antiques space over the past year or so.  I’ve noticed that the premiums on a broad range of intrinsically-valuable antiques have compressed considerably over that time.  In fact, it wouldn’t be a stretch to say that in some instances antique premiums have outright collapsed.

The poster child for this phenomenon is semi-numismatic gold coins.  These are coins struck before the 1930s Great Depression, when most national monetary systems were still on the classical gold standard.  Because these coins were intended for circulation, they were struck in large quantities.  Therefore, they are fairly common today (although scarcity varies by denomination, date, mint and condition) and have relatively modest premiums over their melt value.

Now, when I say that premiums for semi-numismatic gold coins are modest, I mean that even the cheapest examples (from a premium perspective) traditionally traded for 15%, 20% or 25% over melt.  There is persistent collector/investor demand for these treasures that means they pretty much never trade right at the value of their gold content, but always a bit over.

At least, that used to be the case.  Now I’m finding it increasingly easy to find pre-1933 semi-numismatic U.S. gold coins (which consistently sport higher premiums than similar foreign gold coins) retailing for 5% to 10% over melt.

This used to be unheard of.

For the better part of a century, old U.S. gold coins drew robust bids because of strong collector interest in their historical importance.  For example, in the late 1990s/early 2000s a circulated $2.5 quarter eagle gold coin might have gone for a premium of 300% or 400%.  A common-date U.S. $20 double eagle may have sold for 40% or 50% over spot.  These coins just didn’t trade close to their bullion value, unless they were heavily worn or damaged in some way.  Collectors would snap them up if their premiums dipped even a little bit.

But no longer.

A couple months ago I discovered a lightly-circulated U.S. $10 Liberty Head gold coin listed on eBay by a major bullion dealer for just 4% over melt.  And that’s not the only deal I’ve found lately either.  It is commonplace to find old British gold sovereigns selling for 3% to 5% over spot on eBay (Editor’s note: this article was written before the precious metals shortage of March 2020, so you might not be able to find the same sorts of deals today).  I even stumbled across a 1931 Austrian gold 25 Schilling coin during Black Friday (2019) selling for 2% under spot on Etsy.

This is crazy stuff.  After all, bullion dealers don’t receive the full proceeds from their sales.  They have to pay the online listing platform (eBay, Etsy, etc.) and the credit card processor their respective cuts.  They also generally have to pick up the tab for free shipping.

By the time all these fees get paid, the bullion dealer can’t be clearing more than the melt value of these coins in many instances.

But the madness doesn’t end with semi-numismatic gold coins.

Antique sterling silverware has also seen a dramatic fall in premiums.  In many instances it is possible to buy full or partial sets of vintage sterling flatware by venerable U.S. manufacturers like Gorham, Reed & Barton and Towle for very little above melt value.  Even pieces that would normally be considered high-end can sell for improbably low premiums.

For example, I recently purchased an elegant set of 1920s French teaspoons in 1st standard (.950 fine) silver on eBay (pictured in the hero image at the top of this article).  The workmanship on these demitasse spoons was absolutely exquisite.  Their classic thread, fiddle and shell pattern had been double-struck (patterned on both the front and back) in very heavy-gauge silver – a good indicator of quality.

But the real surprise was that they were created by the French silversmith and jeweler Robert Linzeler, whose mark was active in Paris between 1897 and 1926.  Robert Linzeler did top-notch work – so much so that he became a regular supplier to the French luxury firm of Cartier.  In fact, after Linzeler de-registered his maker’s mark in 1926, it is probable that he continued working chiefly as a Cartier contractor.  When Linzeler finally retired in the late 1930s, Cartier valued his firm so highly that they ended up purchasing it.

Now normally one would expect a treasure of this magnitude to sell for a very strong premium – perhaps something on the order of 200% to 400% over melt.  The value of the contained silver would typically be considered secondary to the artistic value and superlative workmanship of the teaspoons.  But in today’s tremendously undervalued antiques market I managed to pick up this gorgeous prize for a piddling 73% premium – a mere $67 above scrap value.

I paid more for the spoons’ value as silver bullion than I did for their superior craftsmanship!  This situation would have simply been inconceivable as little as a decade ago.

So what’s going on?

I suspect that many antique/bullion/collectible dealers are running into cashflow problems.  When this happens, one of the quickest and easiest ways for a business to raise more funds is to discount inventory in the hopes of drawing in bargain hunters.  Although it is too soon to tell, if my hunch proves correct we could eventually be looking at a full-blown liquidity crisis – probably sometime in 2020 to 2021 timeframe.  Under those circumstances, people with too much leverage and too few dollars will be forced to panic liquidate good antiques at great prices.

FYI, I originally wrote this article before the March 2020 market crash, so this turned out to be a pretty good prediction.

You can take advantage of this trend toward lower premiums by buying when everyone else is selling.  I would also encourage you to stack credit card rewards with eBay Bucks to maximize your purchasing power.  I have been following my own advice in this regard, and have been buying aggressively.  I am confident that my investments will appreciate briskly in due time.

 

Read more thought-provoking Antique Sage trend articles here.

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How to Buy Modern Jewelry with Return Potential

How to Buy Modern Jewelry with Return Potential
Photo Credit: Marietta Wülfing

I was surfing through Etsy listings the other day when I came across a masterpiece.  It was an opulent Modernist 18 karat gold and sterling silver pendant set with a massive rough peridot gemstone.  The artist who handcrafted this treasure is Marietta Wülfing, a jeweler who owns a boutique atelier called Sinnlích.   Wülfing’s retail operation is located in Buggingen, Germany, a small municipality just a couple miles from the French border that is sandwiched in between the picturesque Rhine River and the famous Black Forest.

But the truly shocking thing about this candy-colored treasure of a pendant was the price – only $876 on Etsy (note that the price fluctuates slightly based on the current dollar/euro exchange rate).

All this got me thinking.  Although I typically gravitate towards vintage or antique jewelry for investment purposes, I will certainly consider a piece of modern jewelry if it has the right attributes.  Much like a different handmade Etsy piece that I highlighted in a previous article, this scintillating peridot pendant hit all the right notes.

The contrast between this magnificent Modernist pendant and the nasty jewelry you’ll typically find in chain stores like Zales or Kay Jewelers couldn’t be more extreme.

First, this gorgeous pendant has a very high intrinsic value to price ratio, which is one of the primary things I look for when buying an investment grade piece of modern jewelry.  A really good piece of jewelry will have component elements – gold, silver, gemstones, etc. – that constitute a significant portion of its value.  Although it can take some searching, it is possible to find modern jewelry selling for no more than twice its intrinsic value.

In other words, for every dollar you invest in a good quality piece of modern jewelry you can expect to immediately “recover” 50 cents or more in melt/scrap value.  This means that if you were forced to panic liquidate your jewelry, it would be possible to literally rip it apart and sell the component metal and jewels for at least a 50% recovery rate.  Of course, we would never want to do this, as a fine piece of jewelry is always worth more than the sum of its parts.  Nonetheless, it is comforting to know that your downside risk is limited in a worst case scenario.

The second attribute I value when shopping for contemporary jewelry is whether the piece is one-of-kind.  We live in an age of mass production.  As a result, I believe that unique, handcrafted jewelry will tend to appreciate in value much more quickly than similar pieces that are factory made.  The handcrafting process really allows a jeweler’s creative artistry to shine through, producing jewelry that is often closer to a miniature work of art than merely a ring or a necklace.

As an added bonus, handmade jewelry is invariably finished to a much higher standard than chain store jewelry.  The artisans who create these masterpieces usually go to incredible lengths to ensure their work is both flawless and visually appealing.  Unlike more pedestrian jewelry, you won’t find pitted metal, sloppily-cut gems or bulky prongs on fine handmade jewelry.

The final hallmark of investment quality modern jewelry is the presence of one or more large gemstones.  Gems are often the most expensive component in a piece of fine jewelry.  Indeed, it isn’t uncommon for a jewelry setting to serve primarily as a vehicle to display a particularly fine gemstone.  In fact, this is undoubtedly the case with the rough peridot pendant pictured above.

But decades of unrelenting consumer demand has steadily sucked up all the fine colored gems the world can produce and then some.  Every 10 to 20 years we discover new gemstone deposits (most recently Ilakaka, Madagascar in 1998 and Mahenge, Tanzania in 2007) that dribble out relatively small quantities of new stones into the gem starved jewelry market.  But in spite of this additional supply, colored gemstone prices have more than doubled over the past 15 years.

Large jewelry manufacturers have compensated for this gem drought by designing settings that use a multitude of small, melee stones instead of a few larger stones.  But make no mistake – this mass-produced jewelry, although impressive at a distance, is absolutely inferior to jewelry mounted with fewer, larger gems.  Modern jewelry set with small stones without a large, central gem is a cost cutting measure that the serious jewelry aficionado should avoid by any means necessary.

 

Hand-Crafted Marietta Wülfing Earrings for Sale on Etsy

(These are affiliate links for which I may be compensated)

 

So when I invest in modern jewelry I focus on artisan jewelers who set their pieces with larger gemstones.  Because of cost constraints, it is rather rare to find jewelry set with any of the big four gems (diamonds, rubies, emeralds and sapphires) at a reasonable price.  Therefore, many of the handmade pieces I gravitate towards use somewhat less expensive second-tier gemstones such as aquamarine, tourmaline, fancy garnet, peridot, spinel, tanzanite, etc.

These stones may not be as famous as the big four, but are nonetheless quite desirable in their own right.  As an added bonus, many of these lesser-known gemstones are all-natural, completely-untreated stones.  Nearly all rubies, sapphires and emeralds found in modern jewelry have been subjected to artificial treatments that can impact their durability and long-term color stability.  Even diamonds, which were largely untreated up until the end of the 20th century, are increasingly lasered or fracture filled to improve their clarity.  Treated stones, regardless of their type, are obviously worth less than comparable untreated gems.

So let’s put everything together that we’ve learned in order to analyze the Marietta Wülfing peridot pendant pictured at the top of this article.

The rough peridot used in the piece is a top gem quality specimen from Pakistan (a classic location for high grade peridot).  In addition, it is a huge stone, measuring 27 mm across by 18 mm high and weighing 28.3 carats.  As a result, I’m willing to assign a value of around $5 per carat to the gem – about $141.  If this peridot was given to a knowledgeable gem cutter, you could expect it to realistically yield two to three faceted stones totaling somewhere from 6 to 10 carats.

Although the item description doesn’t state how much gold was used in this fine piece of modern jewelry, I’m going to take a guess that it has perhaps 8 grams – just over 1/4 of a troy ounce – of 18 karat gold.  I’m guessing fairly high here because 18 karat gold is very high density stuff (about 15.5 gm/cm3), so it doesn’t take a lot of volume in order to have quite a bit of weight.

In any case, according to this estimate there is $284 worth of gold in the pendant (with spot gold trading at $1,470 an ounce).  I would also estimate the piece contains about $5 worth of sterling silver (which isn’t visible in the photo, as it is used to back the gemstone).  If you were really interested in purchasing this pendant, it would make sense to contact Marietta and ask her for the weight of the metals used in order to derive a more accurate intrinsic value calculation.

If we total all of these individual components together we get the following:

Peridot ($141) + 18K Gold ($284) + Sterling Silver ($5) = $430 Total Intrinsic Value

Our result gives us an estimated intrinsic value equal to almost 50% of the $876 cost of the piece.  This is an excellent result, especially considering that the typical piece of modern jewelry will have an intrinsic value of only 5% to 20% of its cost – even for diamond encrusted engagement rings!

Our handmade peridot pendant also eschews small accent stones in favor of a single, huge primary gem.  This is exactly what we want to see.  And while large peridot gemstones are rather common, it is still somewhat unusual to find such a gigantic specimen of such fine color and clarity.

Finally, it is obvious that Marietta Wülfing is a master jeweler who has taken great pains to ensure that this handcrafted pendant is immaculately finished.  Seriously, this thing is utterly superb in terms of its workmanship.  In addition, this piece is a breathtaking example of Modernist design, which has been the dominant style used in fine handmade jewelry (as opposed to mass-produced factory jewelry) since the 1960s.

All in all, this peridot pendant is a great example of investable modern jewelry.  It is the kind of piece that you can feel good about spending hundreds of dollars on because you know it is worth hundreds of dollars.  In another 50 to 100 years, jewelry like this will find a ready market among vintage jewelry aficionados as superlative antiques.

 

Hand-Crafted Marietta Wülfing Rings for Sale on Etsy

(These are affiliate links for which I may be compensated)

 

Read more thought-provoking Antique Sage gems & jewelry articles here.

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Read in-depth Antique Sage vintage jewelry investment guides here.

Antique Silver in a Post-Antibiotic Era

Antique Silver in a Post-Antibiotic Era
Photo Credit: Grannies Kitchen

One of the questions I’m asked again and again by antique enthusiasts is why I believe that antique silver is a good buy.  Some people think it is too formal for today’s households.  Other people simply view it as an anachronism in a world dominated by smart phones and social media.  And to a limited extent, I sympathize with these opinions.

Antique silver will certainly never be used the way it was during the late 19th century, when prim and proper upper-crust Victorians used frilly silver utensils – sugar tongs, fish servers, citrus spoons, etc. – for every conceivable purpose.  But that doesn’t mean that I believe silver flatware is dead in the modern world, either.  Instead, I think there will be a powerful trend toward the adoption of sterling silverware for a very important practical attribute – antibiotic resistance.

Ever since they were first developed in the late 1930s, antibiotics have been a wonder-drug without equal.  They have allowed mankind to nearly eradicate bacterial infections that were deadly in prior eras, including killers such as tuberculosis, cholera, diphtheria and typhoid fever.  Many of us have never even heard of these dread diseases and, as a result, we largely take their continued medical insignificance for granted.

This is a grave mistake.

You see, we are rapidly entering a post-antibiotic world.  It was a good run, having lasted about 80 years, but many of the antibiotics that served us so well for so many decades are now losing their effectiveness.

Antibiotics kill bacteria in two primary ways: by preventing them from building cell walls or disrupting their DNA or RNA replication.  But bacteria have a way to fight back against this pharmacological onslaught: evolution.  Although nearly all of a bacterial colony may be destroyed by a given antibiotic, there will always be a few naturally resistant germs.  These resistant bacteria are then able to replicate unimpeded.  Eventually, after a long enough period of time, the world comes to be dominated by these drug-resistant super-bugs.

This is the new, frightening world we are now on the cusp of entering – the post-antibiotic age.

Medical science has gone to great lengths to delay this day of reckoning.  In most developed countries antibiotics are only available via a doctor’s prescription.  This tightly controlled distribution system is meant to ensure they aren’t taken casually, thus leading to drug-resistant strains.  But this tactic only serves to slow the evolution of antibiotic resistant infections – a strategy that has largely run its course by this time.

Medical researchers have also worked hard to develop new strains of antibiotics that bacteria aren’t immune to.  Even so, the golden age of antibiotic discovery was in the 1950s and 1960s, when fully 50% of the antibiotic drugs in use today were introduced.  Not coincidentally, the mid-20th century saw U.S. life expectancy increase by nearly 10 years.

But as we’ve recently begun to enter the post-antibiotic era, the  medical pickings have become increasingly slim.  New antibiotics are still being developed at tremendous monetary cost, but they often have dangerous side effects or limited applicability.  And it can easily take a decade or longer to bring a new antibiotic drug to market.

As a result, antibiotic resistant bacterial infections are on the rise worldwide.  The Centers for Disease Control (CDC) estimate that 2 million people in the United States contract an antibiotic resistant infection every year.  Over 23,000 of those people end up dying.  These numbers might seem manageable today, but they will undoubtedly rise in the future – possibly dramatically.

This is a situation custom-built for the resurgence of antique silver.

You see, silver is one of nature’s great antimicrobial agents.  It is effective in killing not only drug-resistant bacteria, but many viruses as well.  Better yet, there is little indication that germs develop widespread resistance to silver-based medicines like they do with conventional antibiotics.

Mankind has a long history of using the bactericidal qualities of silver to ward off disease.  The crews of sailing ships used to put silver coins in their stowed barrels of fresh water before embarking on long voyages.  This helped keep the water from growing unwelcome microbes.  Similarly, early North American pioneers placed silver coins into jugs of milk in order to keep them fresh longer.

The phrase “born with a silver spoon in one’s mouth” means that a person has been born into a wealthy family.  But the origins of the saying are quite literal.  In medieval times, only the aristocracy could afford silver utensils.  The peasants and common folk had to make do with wooden bowls and spoons.  However, only real silverware gave newborns (and anyone else who used it) protection against the common infectious diseases of the age.

Silver was a common fixture in the medical profession as recently as the 1940s.  Hospitals used to regularly give newborn babies silver nitrate eye drops.  This was done to prevent blindness from sexually transmitted diseases like chlamydia and gonorrhea, which can be passed from mother to baby during childbirth.  Alas, this cheap and effective method of disease-control was abandoned with the rise of antibiotics.

But as we fully enter the post-antibiotic era, the advantages of solid silver flatware will become increasingly obvious.  The more you use silver in your everyday life, the more protection you gain against infectious diseases.  Eating with real silver place settings is a start.  Adding other solid silver items, such as cups, bowls and pitchers offers additional benefits.  Big spenders can splurge on luxurious silver coffee or tea sets in the pursuit of a healthier, germ-free lifestyle.

But where does one find sterling silver utensils in a post-antibiotic world?  Our economy no longer produces non-stainless steel silverware in large quantities.  And what little real silverware is still being made today is only offered at premium prices.  So if you want to inoculate yourself against the rise of the super-bugs, you’ve got one realistic alternative: buying antique solid silver flatware and hollowware.

And that’s why I think owning antique silver is a trend for the 2020s and beyond.  Yes, I concede that it may take a decade or two for average people to figure out that science isn’t going to bail them out with some improbable miracle drug.  But they will figure it out; their health (and that of their family) depends on it!

In my opinion, those who have the financial means will buy antique silverware by the bucket load.  Those without the means will settle for old silver-plated utensils (which I consider a poor substitute for the real thing).  The poorest of the poor will be relegated to using cheap, but plentiful stainless steel.

I don’t know about you, but I’m buying antique sterling silver before the rush, while prices are still ridiculously low.  The post-antibiotic world has finally arrived, and it is just a matter of time until everyone else figures it out.

 

Read more thought-provoking Antique Sage trend articles here.

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Read in-depth Antique Sage antique silver investment guides here.

Is 2020 Finally the Year to Buy Antique Furniture?

Is 2020 Finally the Year to Buy Antique Furniture?

Antique furniture has had a tough couple of decades.  After reaching dizzying heights in the late 1990s, the market for high end antique furniture peaked out around the year 2002 according to the ACC Antique Furniture Index.  Since then, the old furniture market has gone nowhere but down, down and then down some more.

At this point, prices for many high end pieces are off by as much as 50% to 80%.  Low-end and mid-range furniture is doing even worse, if that’s possible.  It can be difficult to give away some Victorian and Edwardian pieces these days.

I’m not going to delve into the many reasons why antique furniture has trended down for the past 15 plus years.  Instead, I’m going to posit a simple, but radical idea: maybe 2020 is finally the year to buy antique furniture.

Now I’m going to restrict my analysis to the lower-to-mid range of the market here.  I’m not talking about gilt-walnut French Louis XVI chairs or English George III mahogany breakfronts that (still) get auctioned at Christie’s and Sotheby’s for tens of thousands of dollars.  Yes, those pieces might be good (or even great) buys at today’s depressed prices, but they are outside the scope of this article.

Instead I want to discuss the other end of the vintage furniture market – the old dressers and slightly banged up end tables that you might find at a thrift shop or antiques mall.  These pieces have almost universally been neglected in today’s uncompromising trend towards ultra-modern interior decorating.

What has happened is that young people have largely been buying what is cheap and on-point, stylistically speaking.  And nothing epitomizes this trend better than IKEA flat-pack furniture.

I feel compelled to use quotation marks around the word “furniture” in this context.  In reality, these self-assembled, wood-like constructions hardly qualify as furniture.  In order to keep price points low, IKEA furniture is made from the very cheapest materials – usually wood-chip pressboard or MDF with a thin wood (or plastic!) veneer applied overtop.

The result is a piece of furniture that looks alright as long as you don’t inspect it from any closer than the other side of the room.  And, after a year or two of regular use, you can expect the veneer to start peeling off and the pressboard to sag.  In short, the entire thing will begin to gradually melt back into the pile of wood dust and glue that it came from.

And then it will invariably end up sitting out at the street corner waiting for the trash collectors.

This is a problem.  Many people, particularly younger people, are increasingly environmentally conscious.  But flat-pack furniture flies in the face of this ethical obligation.  It is everything that is wrong with our modern, consumption-oriented lifestyle.  Do you really want to be the person that buys a piece of flat-pack “furniture”, only to throw it out after a few years when it ceases to be structurally sound or good looking?

Enter low-end antique furniture.

Vintage furniture has some major advantages over your average IKEA flat-pack furniture.  First, it has green credentials.  The stuff is generally at least 50 years old, and often 100 or even 150 years old.  This is the ultimate reuse opportunity.  Nobody is cutting down any virgin forests to put these pieces in your local thrift shop.  No noxious industrial chemicals are being used to bind plantation-harvested wood-chips together here.  Old furniture made a century ago from good, solid wood represents the pinnacle of sustainability.

And that leads to antique furniture’s next advantage.  It lasts forever and looks good doing it.  You don’t have to worry about your circa 1900 oak dining table falling apart because your drunk friend thought it would be funny to dance on top of it.  Your 1930s Art Deco dresser is going to be just fine even if you slam the drawers shut every morning in a pre-coffee rage.  Old furniture will survive serious amounts of abuse and last for centuries (provided you don’t try to kill it with fire).

You can also pick whatever look or style strikes your fancy.  Anything from Victorian excess to Mid-Century minimalism is available in the marketplace.  In fact, there is no reason why you can’t mix and match styles.  A growing trend in interior decorating is eclecticism, combining pieces of wildly varying appearances in the same space.  Even if most of your apartment, loft or townhouse is decorated in purely modern themes, there is no reason you can’t incorporate an antique statement piece for a truly stunning contrast.

But perhaps the best reason to choose antique furniture over pre-fab, flat-pack junk is the price.  The antique furniture market has been hit so hard by the Great Recession that prices for some pieces are hardly any more expensive than their IKEA flat-pack equivalents.  In other words, for the same price as a dumpy, self-assembled glue and particleboard nightmare, you might be able to afford a real piece of vintage furniture constructed from oak, cherry, walnut or even mahogany.

 

20th Century Vintage & Antique Furniture for Sale on eBay

(This is an affiliate link for which I may be compensated)

 

Don’t believe me?

Cruise on over to IKEA’s website and take a look.  One of their dining tables will run you somewhere between $150 and $400.  A living room entertainment stand goes for between $100 and $400.  Even a simple end table will cost you $40 to $150.  Of course, IKEA does sell even cheaper furniture, but it is the nastiest of the nasty – the kind of stuff more befitting dumpster divers than young bohemians.

In contrast, a quick perusal of eBay reveals a set of 4 matching solid walnut Mid-Century end tables for only $299.  An antique  quarter-sawn oak storage chest is available for $290.  A sleek 1960s oak dresser is a measly $80.  Any of these pieces would fit beautifully in a modern living space.

And if the thought of buying old furniture on eBay puts you off, there is every probability that similar treasures reside at your nearest flea market, yard sale or local antique shop.  Craigslist is another possibility if you’re looking to source vintage furniture locally.

The quality of old furniture is far nicer than anything you can get in a flat-pack.  Better yet, the prices are right where you’d hope they’d be: rock bottom.  If antique furniture gets any cheaper, people will resort to turning it into firewood rather than selling it.

So is 2020 finally the year to buy antique furniture?  I think the answer to that is a resounding “Yes”!  The future is trending towards good quality, environmentally-friendly vintage furniture at affordable prices – something flat-pack IKEA junk can’t hope to match.

 

Read more thought-provoking Antique Sage trend articles here.

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Read in-depth Antique Sage investment guides here.