Want to Start Antiquing, but Don't Know Where to Begin? We Asked Collecting Experts to Share Their 7 Best Tips - By Blythe Copeland

If you're new to the thrill of the secondhand hunt, keep these helpful reminders in your pocket as you navigate local shops, flea markets, and tag sales.

Furnishing and decorating your space with a curated collection of antique or secondhand items has major benefits: You can skip the long wait for big-box pieces delayed by the supply chain, create a truly unique space that expresses your personality, and trim your environmental impact by reusing items instead of buying new.

But making your first forays into the world of antiques and collectibles can feel more than a little overwhelming, with multiple options for where to shop—an antique shop, thrift store, or online?—and thousands of types of items on display, from 1970s salad server sets to Victorian-era furniture.

"Most people are looking for something practical, useful, but also beautiful," says Sean Scherer of Kabinett and Kammer in Franklin, N.Y. Sometimes, you'll pay less than you would for new items at a high-end store—sometimes you might pay more—but you'll always be choosing something that's more sustainable, more durable, and often more attractive. "You're getting something authentic, and something you can't get from a new object—the beauty of wear."
But every collector, whether a beginner or a near-pro, should work around one simple question: What do you love? "Before you even head out to the flea market, you have to ask, 'What brings me joy, what do I like, and what do I want around me in my space?'" says Bena Raia, an auctioneer and appraiser based outside of Boston. Once you can answer that, the rest of the pieces—where to shop, what to look for, and how much to pay—will fall into place. "You should really buy things you love," says Scherer. "If you love it, you'll find a place for it." 

1. Begin Browsing

Whether you have a general interest in the concept of antiquing or a passion for one specific type of item, scouting thrift stores, antique malls, field shows, and social media can help you define your aesthetic and vision—and your shopping list. "What I always tell people is to really just start looking everywhere and anywhere," says Scherer. "If you're just starting, the best way to educate yourself is by just looking in as many places as possible." 
2. Be Specific

It's easy to get overwhelmed by the quantity and variety of secondhand goods available, whether you're at your town's weekend flea market or a major antiques show. Raia recommends getting "very, very specific" when you're just starting out: If you love vintage Pyrex, for example, hone in on a certain color and type of product to begin your collection, like pink bowls or red casserole dishes. "The more specific you get, the better your start," she says. "You now have something so specific, that you know it when you see it. You will be like a hunter."

3. Or Embrace Variety

Another technique that helps newbies ease into collecting, says Scherer, is to choose a broad category and begin watching for a variety of items that fit inside it. Choose a color, texture, or material (like ceramic or glass) and build your collection around disparate pieces with that quality in common.

"You can have a 19th-century red lacquer box next to a 1960s mid-century red ceramic vase, next to something else that's red, and that way you can really mix the eras," he says. "That's an easy way to have objects fit together more easily, when they have something that links them together." 

4. Start Small—Literally

You may envision a home full of antique furniture, but replacing all your current pieces at once requires a serious investment of money and time (plus, extra square footage where you can store the pieces you're waiting to donate or sell). Instead, plan to focus on one piece at a time—a side table to go next to your bed, a bench for your entryway, or a reading nook-friendly armchair. "When you're just starting out, you're looking for things in your home that you can really use," says Scherer.

If transporting, shipping, and reorganizing to accommodate new furniture feels overwhelming, look for smaller items that speak to you that you can use to personalize your décor: Think vintage postcards from your favorite beach town, beautifully worn-in antique cutting boards, tiny cut-glass candy dishes, beaded handbags, or concert t-shirts. "Even if you have only have $2, there's something you can collect," says Raia.

5. Prepare to Overpay at First

Many amateurs dream of stumbling across a priceless find—a 400-year-old bowl at the thrift store or a missing Rembrandt at the antiques mall—but don't get your hopes up. "That would be a one-in-a-million kind of happy occurrence," says Scherer. Especially as a beginner, you're far more likely to overpay. "This happens to all of us, myself included. The first time I see something, I've often paid too much for it," says Scherer.
When you regularly visit multiple venues, from thrift store to the antiques mall to Etsy to your favorite antique-focused Instagram feeds, you get a better sense of price points. "It's not as complicated as you might think, but you do have to take the time to look," says Scherer. Sellers also may not have priced an item correctly, says Raia, so it's critical to trust your own gut instinct. "You have to know what you're looking at and trust your judgement," she says. "Don't believe everything you're told."

6. Maximize Your Funds

Once you understand the general price range of the items you're collecting, set a budget—and stick to it, says Raia. "The best advice I got was, 'Buy the best your budget allows,'" she shares. When she started collecting jadeite, that meant she sometimes purchased pieces with chips or small flaws. "They were inexpensive, but as I learned more, I would only buy the perfect ones," she says (and selling the cheaper ones helped her fund the upgrades to her collection).

Sometimes, you'll find an item that's so valuable to you, you're willing to pay a price you know is too steep. "I always try to get a deal, but sometimes you don't get a deal," she says, mentioning a doll she added to her extensive collection without knocking down the cost. "You will at some point pay too much for something. But you always regret what you don't buy."

7. Enjoy the Process

Building a collection can take months—or years—of research and shopping; it's possible that you may never feel like it's finished. But that's part of the beauty of antiques, says Scherer. "It should be a really fun process," he says. "The joy of finding that item or discovering something you never knew existed that you're drawn to, that you love—that's the appeal of buying vintage versus brand new. A lot of times you won't see it again, and that's something to remember and enjoy."

Raia agrees: "There's this feeling when you're a new collector—passion is too simplistic," she says. "There's an adrenaline rush, a drive. You're so motivated, because it's something within you that you're looking for."

The Right Way to Organize Your China Collection, According to the Experts - By Martha Stewart

Keep your pieces safe, while still ensuring they're in an easily accessible space.

For as fun and rewarding as collecting chinaware can be, keeping a large trove organized is no easy feat. Along with making space to carefully store fragile pieces of chinaware, collectors have the added task of also making sure their china is easy to access. Although the pieces are delicate, half the point of china is to use it—so storing it somewhere near the kitchen or dining room increases frequency of use.
"Storage space can always create a challenge when collecting china," says Claire Perry of M. Lavender Interiors. "Also, the delicate nature of china means that certain precautions must be taken to prevent damage."

Although it may seem like a daunting task, there are plenty of ways to organize your china collection in a way that looks elevated, while still ensuring it's safe and accessible.
Take Out Your Collection

Start any organizational project by assessing what you have. Remove your china from its current spot and see if there's any opportunities for downsizing (a broken plate, a set that's outgrown your current style, or a scratched dish, for example). Once know you what pieces are in your arsenal, you can find an organizing solution that works for you.

Organize By Pattern

Most chinaware comes in a set, so storing by pattern is a natural option. This makes it easy if you're planning to use a certain design for a dinner party or need to access your holiday china. "Place heavy stacks of plates on lower shelves, followed by lighter glassware up top, and medium-sized serving pieces and beverage servers in the middle," says Maggie Griffin of Maggie Griffin Design. "A little organization can make pulling together your tabletop quick and fun."

Organize by Function

Instead of separating your china by set or pattern, conserve space by displaying all of your dinner plates together—no matter the pattern. "Do the same with salad plates, cups and saucers, et cetera," says Roger Higgins of R. Higgins Interiors. "When it comes time to host, you can analyze your options for the size and pieces you need rather than choosing by set or pattern. It makes for a fun mix-and-match setting instead of one that's overly match-y." 

Keep Servingware Separate

When organizing the servingware in your collection, such as beverage pots, gravy boats, and serving platters, it's smartest to store these pieces together in a designated area. Many servingware items will only be needed for special occasions—like during the holidays—so you don't want them cluttering up a space you visit frequently to grab a plate here or a cup there.

Stack Your China

Stacking china is hard to avoid, especially for collectors who have a lot of it. "If you have the space, stacking china loose in a hutch is great to remind you to start using it," says Ben Soreff, professional organizer at House to Home Organizing. "Dust can be an issue, so either make sure the cabinet or hutch is clean, plus make a habit of dusting every so often." If you do choose to stack your china, place a china-safe paper or thin foam in between each piece to avoid scratches.

Set Up a Decorative Display

If you have an empty hutch or wall with built-in storage, set aside a small assortment of china you love. Not only does this conserve storage space elsewhere, but it also allows you to show off some of your pieces.

Alternatively, go vertical. "You can create a decorative wall feature using plate hangers," Perry says. "Interesting china brings color and depth to an accent wall, and provides a great opportunity to incorporate the surrounding landscape or other themes that complement the interior or exterior environment."

Store China in Padded Bags

Store sentimental china or very fine pieces that are rarely used securely out of plain sight. "Look for padded storage bags that have space for labeling on the face," Kleiner says. "It's important to label them since these completely hide the china and you don't want to have to open each bag every time you set the table."



he rectangular white marble top inset with various semi-precious hardstones including amethyst, Sicilian and Corsican jasper, German agate, sardonyx agate, carnelian and lapis lazuli, arranged in a lozenge pattern around a central oval panel of German agate, within two narrow borders of Sicilian jasper and a gilt-bronze beaded outer rim, the frieze of the base inset with rectangular panels of red, green and rose jasper, supported by uprights in the form of male herms, two with beards, two without, each flanked by twinned female caryatids, each long frieze centered by flower and fruit-filled cornucopiae, the tapering herms terminating in hoof feet, with extensive numbering and lettering throughout, the iron stretcher under the top pounced with the letter S twice, the back of the male herms' loincloths on each leg with a pierced hole, originally intended to house connecting rods to attach internally the two main elements of the leg
33. 3/4 in. (86 cm.) high, 30 1/4 in. (77 cm.) wide, 23 in. (58.5 cm.) deep

Private Collection, Narbonne, France; sold Maître André Meyzen, Narbonne, 31 March, 2001, lot 14 (€975,673).
With Steinitz, Paris.
Private American Collection, Los Angeles.


W. Koeppe and A.M. Giusti, et al., Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe, New York, 2008, pp. 312-314, no. 122 (illustrated).
A. González-Palacios, The Londonderry Table Top, The Exceptional Sale; Christie's, London, 10 July 2014, p. 12, note 4.
A.M. Massinelli, Giacomo Raffaelli: Maestro di Stile e di Mosaico, Firenze, 2018, pp. 290-293, figs. 345, 348.

New York, The Metropolitan Museum of Art, 1 July-21 September 2008, Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe, no. 122.

A veritable tour de force of Italian craftsmanship of the early nineteenth century, every element of this splendid table is a magnificent piece of art in itself. It sumptuously combines a highly-sculptural base entirely conceived in gilt bronze with a rich combination of chased and burnished surfaces, supporting a marble top elaborately-inlaid with some of the most colorful semiprecious stones available to artists of the time of its creation. Works including an array of exceptional and rare semiprecious stone specimens were highly sought-after in the eighteenth and early nineteenth centuries and were sometimes accompanied by printed materials identifying each stone, as was the case with the luxurious snuff boxes of Johann Christian Neuber. Similarly, this table could have served as a microcosm encompassing ancient history, geology, science and geography, all united by exceptional design and superb craftsmanship in one magnificent work of art. It was this artistic environment in which Giacomo Raffaelli learned his craft and honed his artistic sensibilities, which made him one of the most successful mosaicists and marble-workers of his generation.

Anna Maria Massinelli
‘Giacomo Raffaelli whom I have already named,
and who I will name again as the one who combines
the possession of rare and precious stones
with sublime merit in the art of mosaic’ (Faustino Corsi, 1833 )
This pietra dura specimen top is a celebration of Giacomo Raffaelli’s fascination for the mineral world and his virtuosity as a lapidary artist. The stunning lapidary palette of the table features a rich specimen of semiprecious stones inlaid on a white Carrara statuary marble background. The geometrical pattern comprises one hundred and thirty stones, dominated by the large central slice of agate whose internal microcrystalline formation is brightened by a gold foil underneath. This specimen maintains the natural irregular pebble shape and is immersed in a large border constituted by slices of amethyst. The surrounding stones are arranged symmetrically around a lozenge formed by a sequence of rectangular panels (including Sicilian and Corsican jasper and other rare stones) and a row of round and oval cut agates that frame the central amethyst and agate.

Giacomo, born in Rome in 1753, was a descendant of a family of glass makers. In 1775 he achieved renown with a successful mosaic exhibition held in his studio in Salita San Sebastianello, near the Spanish steps. Contemporary sources crowned Giacomo as the inventor of a new way to use glass mosaic in objets de vertu, such as boxes, small plaques and jewelry. Archival research shows that, while he achieved fame as a glass mosaicist, he was also very involved with a different range of productions, in particular lapidary works, which enchanted the Grand tourists during their stay in Rome.

In 1794, writing a letter to Friedrich Ludwig von Sckell, architect of the Elector of Mainz, Raffaelli announced the opening of his pietra dura workshop in Rome. He asked for some samples of German stones, and ‘pietre nicolate’ (sardonix agate) to carve cameos. He offered in exchange some of his mosaics. It is not known if he succeeded in this specific request, but we know that his lapidary collection was hugely increased at this time.

The celebrated Roman connoisseur and marble collector, Faustino Corsi (1711-1846), described the Raffaelli workshop as a special place where one could find a large assortment of rare stones and specimens, and pointed out that Raffaelli’s son Vincenzo was also a refined lapidary connoisseur. Corsi described an antique, huge specimen of spato-fluore, remarkable for its size, vivacity and variety of the colors and an enormous block of rock crystal, weighing eight hundred and seventy pounds.

Raffaelli’s fame as a lapidary artist quickly widespread and in 1784 he received an important commission from the Florence resident George Clavering-Cowper, 3rd Earl Cowper via the Scottish painter Jacob More, who resided in Rome, for a pair of marble and pietra dura table tops, to incorporate two Florentine Grand Ducal workshop panels already in the Earl’s collection, depicting an interior view of the Coliseum and the harbor in Leghorn. It is significant that Cowper, living in Florence, turned to Raffaelli, rather than the Grand Ducal workshop, for these tables, which included a variety of marmora romana, porphyry, granites, lapis lazuli and Sicilian jasper. 

As soon as he was settled, he began a close correspondence with his son Vincenzo who remained in Rome to organize the final move of the studio and of the rest of the family. The letters exchanged with his son between 1803-1804 are a precious source of information about his private life, his works, patrons and collaborators. He was immediately planning to open an ‘antique store’ in Milan to sell his own art works, jewelry and different objects imported from Rome. In one of the first letters to Vincenzo he wrote: ‘hopefully we can do some business, not with the mosaics, that they don’t know it here, but only with marbles and other genres’.

In fact, along with the organization of the mosaic school, Raffaelli focused his private production on the lapidary works. Writing to his wife in Rome, he described how ‘I am sitting here with Giuseppe [his assistant and stone cutters], night and day, trying to arrange stones on papers to make tables’.
His concentration on lapidary works at this time is testified by the lists of objects shipped by the sculptor Pietro Marchetti (1766-1846) from Carrara from 1805 to 1815. These included several pieces of marbles cut for table tops of different size, bases for ‘deserts’, frames for chimneys. Raffaelli was very demanding about the quality of the statuary marble. Marchetti sometime explained how difficult it was to find immaculate white marble as Raffaelli required, but he also remarked that he can easily hide some spots with the inlaid colored stones.
Although the canonical repertoire of marmora romana was adopted enthusiastically by Raffaelli, he was also fascinated by more exotic hard stones, of which he was a voracious researcher and buyer and was especially curious about the most recently mined minerals, including labradorite, which he often inserted in his lapidary works. While in Milan, Giacomo intensified his research of stones and traveled across the Alps in search of famous German jaspers and agates. In 1809 he was in touch with the Caesar Demeaux Gottlie Scriba & Comp workshop based in Idar-Oberstein for the purchasing of hardstone vases and rough stones. The business relationship did not last too long because the German workshop was unable to meet Raffaelli's demanding requests, but nevertheless Giacomo loved the translucent and unique palettes of the agates found there. An undated autograph notebook seems to be a kind of traveler diary where he listed various purchases of stones during one of his trips to Germany. From this we learn, for example, of the purchase of agates, of a red and crystalline stone, petrified wood, several small stones and ‘niccoli’ (sardonix agate), suitable materials for cameos; also a piece of jade from a Frankfurt dealer in exchange for various stones. The vast specimens collected exceeded two thousand samples, accurately described in the inventory drafted in 1821 when Giacomo relocated to Rome: by then, the vast assortment was equal to the most important contemporary lapidary collections. These remarkable jewel-like stones collected by Raffaelli, with their enchanting chromatic variations, added a touch of novelty and richness to his lapidary work.
Raffaelli’s concentration on hardstones during his time in Milan, and his days spent accommodating colorful stones on the papers, is evident in a distinctive group of table tops created during this period, of which the spectacular example examined here is a significant example.
One can certainly recognize his skill, derived from such tireless questing for rare hardstones, in the present table, composed exclusively of semiprecious stones, suggesting the important destination of this sophisticated specimen. The top can be compared for the geometrical pattern, size and use of similar stones, with a pair of Raffaelli tables at the Hermitage Museum (of which one is illustrated here) which together with agates, jaspers and carnelians also include a refined selection of marmora romana (unlike the table studied here which is composed exclusively of hardstones).

Two other larger tables are related to this distinctive production by Raffaelli. One belongs to the Spanish Royal collection and was purchased in Rome shortly before 1800 by the watchmaker François-Louis Godon, whose widow would later sell it to Charles IV of Spain in 1803 (Madrid, Palacio Real, see A. González-Palacios, Las Colecciones Reales Españolas de Mosaicos y Piedras Duras, Madrid, 2001. pp.240-3, illustrated here fig.3). The other was acquired by Charles William Vane, 3rd Marquis of Londonderry (1778-1854) when British ambassador at the Habsburg court in Vienna between 1814 and 1822. According to documents which I discovered, Giacomo was coincidentally in the same city between 1818 and 1819, after an adventurous trip with a caravan of more than one hundred wagons to bring the monumental mosaic of the Last Supper, after the celebrated fresco of Leonardo da Vinci, the mosaic masterpiece that Giacomo produced during his stay in Milan (Wien MinoritenKirche). From the correspondence exchanged with Vincenzo, who remained in Milan, we know that Giacomo opened a small gallery in his Viennese house and he sent to his son a list of mosaics and tables to ship soon in order to display it and try to make good business in the Imperial city. Possibly during his stay in Vienna he had the opportunity to meet Lord Londonderry who bought his outstanding table (see Massinelli op.cit.,pp. 287-293).

In 1821 after relocating to Rome in October 1820, Giacomo shipped 195 boxes filled with finished and unfinished objects, tools, etc. and more than 2000 different stones carefully listed. He went back to his native town as a wealthy artist and merchant, and he bought a building in Via del Babuino where he lived until his death in 1836. Giuseppe Valadier, the celebrated bronzier and designer, remodeled the house for Raffaelli, providing him with a design for the house inscribed to ‘Sig. Giacomo Raffaelli Consigliere di S.M. Imperatore dellle Russie’, emphasizing his connections to the Russian Imperial Court.

Here, in his old age, he was finally able to make his dream true and he founded a 'grande opificio', running it with his son Vincenzo, whose production was very much oriented toward lapidary works. 

In the early 19th century, Raffaelli renewed the technique and style of his lapidary works. In a letter to Vincenzo Mora, who was traveling in the south of Italy trying to sell luxury objects to the Bourbon court, Raffaelli described a chimney piece and a pair of tables from his workshop, in statuary marble inlaid in rare stones. The chimney piece was eventually acquired by Pope Pius VII and in 1803 he sent it as a present to Napoleon, who had it installed in the Salon Doré at Malmaison. In the letter which accompanied the chimney Raffaelli listed 126 rare stones in the frieze including agate, carnelians, lapis lazuli, jasper, 177 stones in the pilasters, 151 amethyst stones around the light of the chimney, everything framed in gilt bronze. The frieze included also three micromosaic plaques with Herculaneum subjects (these and most of the stone decoration were removed and dispersed during the Franco-Prussian war in 1870). Giacomo sent to Napoleon the descriptions of the two inlaid tables that matched the chimney and he attached the design showing the top and the stand of one of them (Paris, Bibliothèque Nationale), although the tables were never sent.

In 1804 Raffaelli moved to Milan, capital of the Napoleonic Italian Kingdom, invited by the viceroy Eugenio de Beauharnais to open a mosaic school, at which time the two still unfinished tables were shipped with the rest of his properties. He was able to complete them, with some changes, only ten years later when they were exhibited, in 1814, at the annual exhibition in Brera. They are described in a printed brochure and only about three decades later when Vincenzo inherited them they were sent to St. Petersburg and are now in the Hermitage Museum. The tops are profusely inlaid with rare marbles, hardstones and with micromosaic panels of allegories of the arts and Cupids, while the remarkable stands are similarly inlaid with hardstones in white marble.

The interest of Giacomo for vases, clocks and many other different kind of decorative objects in marble and semiprecious stones is very well documented. He referred to different stonecutters in Rome, one of them was "Domenico scalpellino" who supplied marble vases, in different sizes and stones, and sculptures in "rosso antico". A repertoire of designs for vases, remained between Giacomo papers, it shows some common shapes: urns, craters, amphorae, columns vases. Raffaelli was able to transform these traditional vases into something completely new: he inset the white curved surface of the vases with pietra dura and micromosaic plaques, a very sophisticated technique invented and perfected by Giacomo himself.

In 1803, the year before he moved to Milan, Giacomo met the Duke Francesco Melzi d'Eril and he showed him the design of a monumental centerpiece, or dessert, a triumph of the Roman style with retour d'Egypte accents. The Duke was enchanted and he soon ordered it, following with a second commission of a larger centerpiece for the Royal Palace in Milan to set the table in honour of Napoleon for his coronation as king of Italy on May 26 1805 (Palazzo Reale, Milan). This masterwork, together with his marble pieces donated by the Pope to Napoleon, established his reputation at the Napoleonic court and guaranteed him a very good commitment and compensation during his time in Milan.

Joan Van Gogh - South African artist

Joan Van Gogh is a South African artist whose grandfather was the cousin of Vincent Van Gogh. Her art is available at Ghorbany Benmore.

Boris Chezar (1913-2008)

Boris Chezar (1913-2008) is a listed and highly acclaimed artist who developed a unique sand textured oil painting technique. Born in New York - the son of Russian immigrants, Chezar began painting in his teens and continued until his death completing water colors, oils on canvass, acrylics on wood, still life paintings, landscapes, abstracts and mixed media. His sand paintings are some of his most sought after works.two of his original works are available at Ghorbany Benmore.

Léon Messagé (1842-1901)

Léon Messagé (1842-1901) was a French sculptor, best known for his sculptural collaboration with François Linke for the 1900 Paris Exposition Universelle. Messagé was also responsible for much of the design and creative work for Roux et Brunet and Joseph-Emmanuel Zwiener.

Silver cross Wilson Silvershadow coachbuild prams

Their story starts in 1877 when the founder, William Wilson, invented the world’s first baby carriage.

William developed an innovative spring system – the now-famous bouncing Silver Cross suspension – and combined this with a reversible hood to create the first-ever modern pram. They are called the Rolls-Royce of the Prams. The name Silver Cross has long been associated with royalty, first supplying a pram for King George VI.

The tradition continued with Princess Grace of Monaco and HRH Queen Elizabeth, Prince Philip and a young Prince Charles. Ghorbany Benmore is delighted to showcase a 1960s model ! Either for a lucky baby or for staging a posh baby photography studio!


Christofle is a French manufacturer and retailer of high-end tableware, jewelry and home accessories.

Founded in Paris by Charles Christofle in 1830, the company is known for making fine silverware. Christofle was acquired in 2012 by one of its shareholders, the Chalhoub family.Ghorbany is proud to be a place to find christofle silver from time to time in South Africa. Artists and designers such as the Parisian silversmith Antoine Perrin, Man Ray, Jean Cocteau, Gio Ponti, Andrée Putman, Martin Szekely, Ito Morabito (Ora-Ïto), Xiao Hui Wang and Richard Hutten are among those whose creations have been made by Christofle.

Ghorbany recently received a fantastic set of 6 vintage Christofle Chinon silver plated fish knives and forks, in store.

The Schneiberg Museum

The Schneiberg Museum is located in the historical center of Turin, inside the Palazzo Provana di Collegno.

Within its marvelous rooms it houses an extraordinary collection of Chinese art: The Imperial Silk and Metal Carpets of the Qing Dynasty which ruled in China between 1644 and 1911.

The exhibition spreads across eight rooms in which 36 carpets of the permanent collection are presented according to a theme dear to the classical Chinese Taoist symbolism, also known as the alchemical journey in search of the elixir.

The eight stages of this journey, through masterpieces of silk and metal, allow the visitor to approach the universe of the Qing court in a completely new manner.

Alessandro Papetti

A great art of Italian artist Alessandro papetti is on display in Ghorbany antique gallery in Benmore.

In 1995 Papetti met the writer and biographer James Lord who wrote a significant critical essay on his work. James Lord wrote the following about Papetti: “The first, and perhaps the most illuminating thing to be said about the art of Alessandro Papetti is that it is profoundly Italian. No artist of course ever successfully conceals his national, traditional and psychological origins, though some are more prone to do so than others. One thinks of Van Gogh. But not Papetti. It is not his subject matter that evokes the homeland. In this he is truly international, and entirely his own era despite seeming reminiscences of styles of the past. These are resemblances only. What is Italian about Papetti is his masterly self-effacement in confrontation with the subject matter. As a person he never gets in the way of what the artist is doing. The art is there, and he is the innocent perpetrator of what his hand instructs him to do, he sees, to be sure, what he is doing, but when he is working none of what he sees is visible to the spectator. We see the art. He sees the creation. In this symbiosis dwells the joy – that is, the truth – of aesthetic gratification."

Paul Storr

Paul Storr was England's most celebrated silversmith during the first half of the nineteenth century and his legacy lives on today. His pieces historically and currently adorn royal palaces and the finest stately homes throughout Europe and the world. Storr's reputation rests on his mastery of the grandiose neo-Classical style developed in the Regency period.

He quickly became the most prominent silversmith of the nineteenth century, producing much of the silver purchased by King George III and King George IV. Storr entered his first mark in the first part of 1792, which reflects his short-lived partnership with William Frisbee. Soon after, he began to use his PS mark, which he maintained throughout his career with only minor changes. His first major work was a gold font commissioned by the Duke of Portland in 1797 and in 1799 he created the "Battle of the Nile Cup" for presentation to Lord Nelson. Much of Storr's success was due to the influence of Philip Rundell, of the popular silver retailing firm, Rundell, Bridge and Rundell. Rundell's firm nearly monopolized the early nineteenth-century market for superior silver and obtained the Royal Warrant in 1806. This shrewd businessman realized the talent of Paul Storr and began pursuing him in 1803, however it was not until 1807 that Storr finally joined the firm. After many years of working for Rundell, Storr realized he had lost much of his artistic freedom and by 1819 he left the firm to open his own shop, turning his attentions towards more naturalistic designs and soon began enjoying the patronage he desired. After only a few years of independence, Storr realized he needed a centralized retail location and partnered with John Mortimer, founding Storr and Mortimer in 1822 on New Bond Street.
Son of Thomas Storr of Westminster, first silver-chaser later innkeeper. Apprenticed c. 1785. Before his first partnership with William Frisbee in 1792 he worked in Church Street, Soho, which was the address of Andrew Fogelberg at which Storr's first separate mark is also entered.

Lino Tagliapietra

Lino Tagliapietra (born 1934) is a Venetian glass artist who has also worked extensively in the United States.

As a teacher and mentor, he has played a key role in the international exchange of glassblowing processes and techniques between the principal American centers and his native Murano, "but his influence is also apparent in China, Japan, and Australia.

Vico Magistretti

Vico Magistretti (October 6, 1920 – September 19, 2006) was an Italian industrial designer, known as a furniture designer and architect.

A collaborator of humanist architect Ernesto Nathan Rogers, one of Magistretti's first projects was the "poetic" round church in the experimental Milan neighborhood of QT8.He later designed mass-produced appliances and furniture for companies such as Cassina S.p.A.,and won several awards, including the Gold Medal of the Chartered Society of Industrial Artists & Designers in 1986.

Pierre Paulin

Pierre Paulin (9 July 1927 – 13 June 2009) was a French furniture designer and interior designer. His uncle Georges Paulin was a part-time automobile designer and invented the mechanical retractable hardtop, who was later executed by the Nazis in 1941 as a hero of the French Resistance.

After failing his Baccalauréat, Pierre trained to become a ceramist in Vallaurius on the French Rivera and then as a stone-carver in Burgundy. Soon after, he injured his right arm in a fight, ending his dreams as a sculptor. He then went on to attend the Ecole Camondo in Paris. He had a stint with the Gascoin company in Le Havre where he gained an interest in Scandinavian and Japanese design. He was famed for his innovative work with Artifort in the 1960s and interior design in the 1970s.

Timeless Trends for 2022

After years of living in a beige disposable world”, the trend of re-decorating because you WANT to and not because the look has dated, is BACK! We are overjoyed that TIMELESS is the new TREND and Ghorbany has you covered!

In an article in The Glam Pad the trends for 2022 and years to come, according to interior decorators and style forecasters, are:

A new traditional aesthetic

This doesn’t mean a full-on return to the styles of 100 years ago, but definitely a mix of classic furniture silhouettes and contemporary art and lighting.

Bringing the sexy of History back

Design experts are calling for a return to retaining and restoring historical elements in homes, embracing original architecture and creating solutions to update spaces without mass-produced commercial items. With ongoing supply chain issues world-wide there is already a major return to purchasing antique and vintage pieces, rather than waiting for mass-produced furniture.

Since the start of the pandemic, people are craving connections and history, more now. There is NO GREENER CHOICE than going antique and vintage. Embracing vintage furniture pieces has so many benefits. It is sustainably responsible since you aren’t using any resources to build a new piece of furniture and from an aesthetic perspective, it is such a wonderful way to make your space feel timeless. Antiques and vintage is the ULTIMATE resource in furniture.

Lasting style

2022’s trend is a return to a lasting style and the end of “buying it and throwing it away” consumerism . Choosing quality over quantity will inspire design enthusiasts to educate themselves and be more willing to wait for those pieces that they can surround themselves with for decades to come.

Individual character

Highly personal spaces that reflect the lives and interests of the homeowner are the antidote to the “cookie-cutter” designs we have seen in recent years.

Imperfection will start to trend in 2022 and bring back a more soulful, natural environment with personalised interiors that reflect the character of the inhabitants, and not the pre-packaged one-dimensional white homes of before that was marketed as the “perfect homes”.

Focusing on lavishly detailed surfaces, plush textiles, heirloom accents, and fanciful artworks, this year’s report reflects the shift to the at-home lifestyle born during the pandemic. These days, designers are prioritizing comfort and clients’ personal style: Homes not only need to accommodate a number of different functions but also provide a sense of escape from the troubles of the outside world.

Maximalist colours

Bid adieu to boring and beige in 2022. Color is making a comeback and the world is ready for it! Classic colors and punchy paints can serve a great purpose in the right spaces and really make art and simple furniture pop. Pretty silhouettes and floral fabrics come to life with the right hue and can help to create a coordinated, proper space.


Designers previously wary of intricately patterned wallpapers and upholsteries may soon come around, thanks to a rising tide of nostalgic, flower-studded designs. Whether applied to wall-hangings, wallpaper, or even pillows, botanical imagery is ready to take over interiors.

Of course another fantastic floral addition to any interior are classic Persian rugs of which we have a wonderful collection in store.

The art of tablescaping: bring on the silver, crystal and china!

A newfound appreciation for the emotional qualities behind every piece will spark joy as we find space for lovingly repurposed vintage pieces in our homes. Fine bone china, crystal and tablewares gilt with gold and silver grace our tables, similar to the tables our grandparents and their parents once sat down at. We’ve finally come full circle and embraced these unique treasures from the past. People are going all out with over-the-top tables and are really enjoying the art of it.

We have a wondeful collection of antique and vintage dinnerware items to choose from in Ghorbany Benmore, that is sure to add amazing flair to your dinner parties.

Books are back

Not only are more people curating books for decoration (and their personal libraries), but they’re also building stairs and tables out of vintage books. Even if you’re not a hardcore bibliophile, books are great tools to use as visual references.

“I’m not ashamed to admit that I’m just flipping through the pictures, but that is such a great way of not going online and learning a little bit about history, People have done the work of curating all of this information for us, so why not use it? Some book covers from the ’80s are art pieces, so I like having them out even just for that, “ says designer Sophie Collé .

You heard it here first: Books are the new status symbol.

Craftsmenship is back with a bang!

We are finally returning to and appreciating craftsmen of all kinds and the unique pieces they make. The skills involved in hand making things will also be more appreciated and celebrated.

The concept of craft and handmade “will apply everywhere,” says Nina Campbell; “design is becoming much more personal, and much more unusual. No more catalogues!” Wendy Nicholls of Sibyl Colefax & John Fowler defines it as “individualism.” Olivia Outred explains “We’ll start to celebrate the time it takes to make things, and the process that the maker goes through will become almost as important as the end finished piece.” (Ho use & Garden UK)

Ghorbany has always been a proud supporter and retailer of handmade arts and decor. Visit our showrooms in Riverside and Design Quarter to view our wonderful 2022 collection of rugs and our showroom in Benmore to view our substantial antique and vintage furniture and decor collection.

Dorotheum Oriental Carpets, Textiles and Tapestries

26.04.2021, 15:00 - Vienna | Palais Dorotheum

Exhibition: 20.04. - 26.04.2021
Exhibition: 20.04. - 26.04.2021
Auction type: Online auction, 234 lots to be auctioned, for more :

Dagestan Gendje Caucasian Carpet

Sold for Sold for $2,800 on Sat, Mar 27, 2021 5:00 PM GMT+2 New Orleans, LA, USA,

LOT 0464

Starting bid:$800

New Orleans Auction Galleries
New Orleans, LA, USA, March Major Estates Auction: Day 1 of 2

An Isphahan fragmentary rug, Central Persia, 17th Century

Sold for 9,450GBP on Live Auction: 31 March 2021 • 10:30 BST • London

Lot 160 
UK: Greenford Park Warehouse
9,000 - 14,000 GBP
Bid:6,500 Sotheby’s Arts of the Islamic World & India including Fine Rugs and Carpets

Antique Moghan, Caucasus, late 19th century, wool

Sold for €2,000 at Henry’s auction Sat, Apr 03, 2021 2:00 PM GMT+2

A Mudjur niche rug, Central Anatolia, mid 19th century

Sold for 4,788GBP on Live Auction: 31 March 2021 • 10:30 BST

Brunk auction

Sat, Apr 10, 2021 3:00 PM GMT + 2

A 'Transylvanian' niche rug, Oushak region, West Anatolia, first half 17th century

Sold for 17,640GBP on Live Auction: 31 March 2021 • 10:30 BST • London


15,000 - 25,000 GBP

Davide Halevim: Magnificent Carpets and Tapestries, Christie's London, February 14, 2001, lot 114 , Sotheby’s, Arts of the Islamic World & India including Fine Rugs and Carpets

Corinthian Pottery Black-Figure Aryballos

Sat, Apr 10, 2021 3:00 PM GMT+2 Asheville, NC, USA

LOT 0668
Starting bid:
Brunk Auctions
Asheville, NC, USA, Premier Auction - Session II

Chinese bowl bought for $35 at a yard sale sold for over $721,800

An exceptionally rare 15th-century Chinese antique that wound up at a yard sale has sold for $721,800 at auction by Sotheby's, exceeding its top estimated sale price of half a million dollars.

Bought for just $35 near New Haven, Connecticut, last year, the small blue-and-white floral bowl is now worth nearly 29,000 times that price. It features motifs of lotus, peony, chrysanthemum and pomegranate blossoms, and was originally commissioned by China's imperial court during the Ming dynasty.
While Sotheby's is not disclosing the seller's identity, the head of its Chinese art department, Angela McAteer, revealed in a phone interview ahead of the sale that the man who found the bowl at the yard sale "didn't haggle over the $35 asking price."....

An Album Page: A Youth Lying in a Landscape, Safavid Persia, 17th Century

SOLD for €35,080 in Live Auction: March 16, 2021 • 14:00 CET

An exceptional Khurasan silver-inlaid bronze inkwell, probably Herat, circa 1200

Sold for 277,200GBP on Live Auction: 31 March 2021 • 10:30 BST • London,

80,000 - 120,000 GBP
Sotheby’s, Arts of the Islamic World & India including Fine Rugs and Carpets
VAT applies to buyers outside the UK