6 Key Tips To Help You Identify Your Antique Wooden Furniture

Identifying antique wooden furniture is as much about reading evidence as it is about recognizing style. Every drawer side, screw head, tool mark, and patch of wear tells a story about when and how a piece was made—and whether that story is consistent. The six tips below combine connoisseurship and practical inspection so you can separate genuine age from clever imitation, estimate date and origin, and spot later alterations.

Before you begin: bring a flashlight and a small magnet; learn to examine undersides, backs, drawer interiors, and hidden corners. That’s where the most honest clues hide.

1) Read the wood itself: species, oxidation, and secondary timbers

Antique furniture starts with old timber. Identifying species and how it has aged gives you a foundation for dating and attribution.

• Species cues:

  • Oak: pronounced open grain; in quartersawn oak, look for shimmering medullary rays (“tiger” or “fleck”). Common in British and Arts & Crafts pieces.
  • Walnut: chocolate brown to purplish; fine, even grain. Favored in 17th–18th century Europe and early American case furniture.
  • Mahogany: tight, silky grain; can show ribbon figure in quartered cuts. 18th–early 19th century British and American furniture often used dense, fine old-growth mahogany; later African species are typically lighter and coarser.
  • Pine: pale to honey-toned, soft, knots present; often used as secondary wood in backs and drawer bottoms. Resin scent may linger in older pine when freshly cut or abraded.
  • Maple, cherry, ash, birch: regional preferences vary; early American often used maple and cherry for legs and casework.

• Oxidation and color: True age deepens and mellows color, especially in unpolished or hidden areas. Check the underside of tops, inside rails, or the back. In genuine age, the surface will be darker where exposed and lighter where covered, with smooth transitions. Stark two-tone “stain lines” or uniform color in hidden recesses can signal later staining.

• Shrinkage and movement: Old solid boards shrink across the grain. Expect slight overhangs, lip misalignments, or gaps at seams that match grain direction. Veneer may show hairline cracks paralleling grain; a perfectly flat, dead-straight carcase with wide solid boards can be a red flag.

• Secondary woods: Pull drawers and inspect sides, bottoms, and backboards. Early English high-style pieces often used oak or deal (softwood) for secondaries; American makers frequently used white pine or poplar. Thin, machine-smooth plywood bottoms indicate later manufacture; early bottoms are solid boards, often chamfered at edges.

• Wormholes: Old wormholes are tiny, irregular in size and spacing, and oxidized at the edges. New “worming” made to deceive often looks too uniform, with clean, bright holes.

Consistency matters: species choices, oxidation patterns, and secondary woods should make sense together for the claimed period and region.

2) Study construction and joinery: dovetails, tenons, and drawer bottoms

Joinery is a timestamp. Tooling and layout reflect the technology and habits of the shop that made the piece.

• Dovetails:

  • Hand-cut (common through mid-19th century): pins and tails vary in size; angles are not perfectly uniform; you may see faint scribe lines. Narrow pins with bold, wedge-shaped tails are characteristic of many 18th-century drawers.
  • Machine-cut (mid/late-19th century onward): regular spacing, identical angles, and cleaner interiors. If every tail and pin looks like a clone, it’s machine work.
  • Half-blind dovetails at drawer fronts are typical in quality work; a mere butt-jointed drawer front is late and low-grade.

• Mortise-and-tenon:

  • Doors and chair frames should use proper mortise-and-tenon joints; pegs or wedges may be visible. Sawing and chiseling traces are expected; perfect uniformity is not.

• Drawer bottoms:

  • Early practice often used a solid bottom chamfered to slide into grooves on three sides, or nailed up from below. Grain commonly runs front-to-back in 18th-century English work; regional practices vary.
  • Machine-made drawers frequently have thin bottoms set in four-sided grooves or plywood bottoms, especially 20th century.

• Carcase backs and dust boards:

  • Backboards in early case pieces are wide, hand-planed boards with feathered edges; later backs are narrower boards, shiplapped, or even plywood. Drawer dust dividers between rows are a quality hallmark.

• Fast assembly tells: Staples and modern pocket screws are obviously later. Overly neat, fully concealed joints in an “18th-century” style piece warrant skepticism.

Look for the internal logic: do the joints match period expectations? Are early hand-cut dovetails paired with wire nails and Phillips screws (a mismatch)? Discrepancies often reveal later repairs or reproductions.

3) Read the tool marks: saw kerfs, plane tracks, and turning evidence

Tooling is the maker’s fingerprint. Honest marks help date a piece and confirm handwork.

• Saw marks:

  • Hand- or pit-sawn boards (pre-mid-19th century) show straight, slightly irregular kerfs, often diagonal on the board surface.
  • Circular saws leave arc-shaped, regularly spaced marks; common from the mid-19th century onward in many regions.
  • Band saws leave straight, uniform, very fine kerfs; widespread late 19th/early 20th century.

• Plane and scraper traces:

  • Hand-planed secondary surfaces exhibit subtle scallops or slight tear-out near knots and grain reversals; look for stop marks at the end of strokes.
  • Machine planers leave uniform, parallel ridges without the nuanced irregularities of handwork.

• Lathe turning:

  • Early turned legs and finials show faint tool chatter and variable profiles on close inspection. Later machine turning is crisp and identical piece to piece.

• Layout and scribe lines:

  • Pencil or knife lines at joints, dovetail baselines, or mortise outlines are consistent with hand layout. Their presence can corroborate age.

Separating honest wear from sham: “Antiqued” surfaces sometimes show sandpaper swirls, uniform distressing, or deliberate gouges where genuine age expects smooth, rounded wear on high points and edges naturally handled over decades.

4) Examine finish and patina: shellac, varnish, and real wear

Finish evaluation helps detect refinishing, later coatings, or destructive stripping that affects value and authenticity.

• Period finishes:

  • Shellac (common 19th century): warm glow, dissolves in alcohol; often used in French polish on fine mahogany.
  • Oil/resin varnishes: tougher, amber; frequent in 19th–early 20th century.
  • Wax: traditional top dressing over shellac or bare oak.
  • Nitrocellulose lacquer appears early 20th century; polyurethane is mid-20th century onward and looks plasticky on old pieces.

• Patina and use:

  • Expect softened edges, color gradients, and “ghosting” where hardware once covered wood. Drawer fronts may be lighter under old pulls; table tops show sun fade with darker edges under gallery rails or accessories.
  • Check inside drawers and case interiors: early pieces rarely have high-gloss finishes in hidden areas. A fully sprayed, even gloss inside and out often signals later refinishing.

• Alligatoring and craquelure:

  • Fine, irregular crazing in varnish suggests age; uniform, coarse crackle can be artificial.

• Refinishing clues:

  • Finish bridges over old dents or fills? Too-deep sanding erases plane tracks and rounds crisp carvings. Look for color pooled in pores (quick staining) versus depth from oxidation.

A well-aged finish has depth and transparency; it lets the wood glow rather than smothering it. Finish that looks like plastic film, or identical sheen on top, bottom, and inside, deserves scrutiny.

5) Check hardware, fasteners, and locks: cast vs stamped, nails vs screws

Hardware and fasteners are dateable. They’re also often replaced, so interpret them as part of a larger pattern.

• Screws:

  • Hand-wrought/hand-cut screws (18th–early 19th century): off-center slots, tapered shafts, irregular threads; the underside of heads may be slightly domed and file-marked.
  • Machine-made screws (mid-19th century onward): consistent threads and centered slots. Phillips-head screws are 20th century (c. 1930s+).
  • Tip: Remove one hidden screw when possible; check for oxidation in the hole. Bright wood in an “old” hole suggests a recent change.

• Nails:

  • Wrought nails (pre-1800s): hand-forged, irregular shanks, rose heads.
  • Cut nails (c. 1790–1890): rectangular shank with wedge profile; machine-cut heads.
  • Wire nails (c. 1890+): round shank; ubiquitous in 20th century.

• Hinges and mounts:

  • Early strap, H, and HL hinges appear on 17th–18th century case pieces; later butt hinges predominate. Cast brass hardware shows file marks and thicker sections; thin, stamped escutcheons and pulls are generally later 19th–20th century.
  • Lock plates and keyholes: An original lock sits snugly in a hand-chiseled mortise with oxidation consistent to the wood; swapped locks leave gaps, fresh edges, or misaligned screw holes.

• Evidence of swapping:

  • New screw holes near old holes, ghost outlines of earlier escutcheons, or mismatched patina between hardware and surrounding wood point to changes. Replaced hardware is not fatal, but it affects value and attribution.

Use hardware dates to corroborate, not override, construction evidence. A period carcase with later pulls is common; period pulls on a modern case are a warning.

6) Weigh style, proportions, and regional clues (plus maker’s marks)

Once the physical evidence supports age, style helps narrow period and origin.

• British and American period cues:

  • William & Mary/Queen Anne (early–mid 18th century): turned or cabriole legs; pad or trifid feet; restrained ornament.
  • Chippendale (mid–late 18th): cabriole legs, ball-and-claw feet, pierced splats, heavier proportions.
  • Hepplewhite/Federal (late 18th–early 19th): tapered legs, inlay, stringing, oval or shield backs, refined proportions.
  • Regency/Empire (early 19th): bold veneers, columnar forms, brass mounts, saber legs.
  • Victorian (mid–late 19th): exuberant carving, mixed revival styles, machine-made elements.
  • Arts & Crafts (late 19th–early 20th): quartersawn oak, exposed joinery, rectilinear forms.

• Continental and regional traits:

  • French provincial uses fruitwoods and refined provincial carving; Scandinavian pieces may use birch or pine with clean lines; Central European cabinets often feature parquetry and elaborate locks.
  • American regional workshops (New England vs. Philadelphia vs. Southern) favor different woods and foot or carving profiles.

• Veneer and inlay:

  • 18th-century veneer work shows bookmatching, crossbanding, and stringing done with hot hide glue; expect minor shrinkage, hairline seams, and occasional veneer bubbles. Perfectly flat, laser-sharp inlay often indicates later reproduction.

• Maker’s and retailer’s marks:

  • Stamps, labels, chalk assembly marks, and inventory numbers can anchor a piece to a shop or retailer. Expect them on drawer bottoms, backboards, or under seats. Period labels often have typography and paper consistent with age; too-clean labels can be later additions.

Let the style confirm what construction already suggests. If the style says 1780 but the tool marks and fasteners say 1900, trust the evidence.

Quick Inspection Checklist

• Flip it: Inspect underside, backboards, and interior rails first.
• Check joinery: Hand-cut dovetails and mortise-and-tenon where expected; drawer bottoms solid and chamfered.
• Read the wood: Species appropriate to region and era; convincing oxidation in hidden spots.
• Follow tool marks: Straight pit-saw kerfs or plane tracks for early work; avoid uniform machine signatures in “period” claims.
• Test the finish: Aged shellac/varnish with believable wear; no plastic-like film on hidden areas.
• Date fasteners: No Phillips screws or wire nails on pre-1900 claims; hardware casting and wear should align with age.
• Confirm style: Proportions, feet, legs, veneers, and inlay consistent with the stated period and origin.
• Look for alterations: Extra holes, patches, new backboards, or fresh glue lines.

FAQ

Q: How can I tell if a piece has been refinished? A: Look for uniformly glossy coating inside drawers and backs, loss of crisp carving detail from over-sanding, stain pooled in pores, and color that doesn’t differ under old hardware “ghosts.” A wipe with alcohol on a hidden spot softening the finish suggests shellac; if nothing happens and the film looks thick and plastic-like, it may be a later polyurethane refinish.

Q: Are wormholes and cracks a reliable sign of age? A: Not by themselves. Genuine worming is random, tiny, and oxidized; fresh holes are bright and too consistent. Shrinkage cracks should follow grain logic and appear in places where wood movement is expected. Artificial distressing tends to be repetitive or in illogical spots.

Q: When did machine-cut dovetails and circular saw marks become common? A: Machine-cut dovetails appear broadly from the mid- to late 19th century, varying by region. Circular saw marks become common in many places during the 19th century; earlier boards show straight pit-sawn kerfs. Use these clues with others—hardware, nails, and finish—to avoid over-reliance on a single indicator.

Q: Do replaced hardware or repairs ruin a piece’s value? A: Sensitive, period-appropriate repairs are acceptable and common; replaced pulls or locks are typical wear-and-tear. Value hinges on overall integrity: original surfaces and construction weigh more than hardware alone. Documented, reversible repairs are preferable to heavy refinishing or structural shortcuts.

With practice, these six tips become a routine: start with the wood, confirm with joinery and tool marks, interpret finish and patina, date hardware, and reconcile everything with style and regional knowledge. The more pieces you handle, the more fluent you’ll become at hearing the story each one tells.