Start with Dust, Not Polish

Dust is the quiet enemy of any period piece. Left alone, it settles into the grain of oak, the crevices of carved mahogany and the delicate open work of a Chinese fretwork chair, where it slowly absorbs moisture and grit that will abrade a surface every time you brush past it. The good news is that the remedy is neither expensive nor complicated, and it takes only minutes a week.

Use a soft, dry cloth — a well-washed cotton duster or a microfibre cloth reserved for the purpose — and work in straight lines rather than circles. Circles on a waxed surface can lift polish unevenly and leave a dull halo. For carved details, mouldings and the recesses around brass handles, a soft artist's brush or a clean shaving brush is far better than a cloth, because it reaches into the hollows without dragging on the edges.

When you dust, lift objects rather than dusting around them. Sliding a clock or a china bowl across a polished top is one of the most reliable ways to scratch it. Keep a note of anything with fragile veneer along its edges — Georgian card tables, Victorian work tables — and lift those with both hands, never by the top alone.

Control the Air Before You Touch the Wood

Most damage to antique furniture in British homes comes not from neglect but from the environment. Central heating, double glazing and draughty sash windows together create swings in humidity that timber simply cannot absorb without complaint. Veneers lift, joints open, drawers stick in summer and rattle in winter, and old glue fails.

Aim for a stable relative humidity of roughly 45 to 55 per cent. A simple hygrometer, placed on a shelf nearby rather than on the piece itself, will tell you what your room is doing. In winter, when heating dries the air, a room humidifier helps a great deal; in a damp ground-floor room or a stone-built wing, a dehumidifier set to a moderate level is the kinder choice.

• Keep furniture at least a metre from radiators, log burners and hot water pipes.
• Move pieces away from direct sunlight, or fit a good linen blind — ultraviolet light fades wood, fabric and gilding alike.
• Avoid placing furniture directly against an outside wall, particularly a solid stone or brick one that draws damp.
• Open windows briefly for a proper airing rather than leaving a sash ajar all day in cold weather.

Where a piece must sit in a difficult spot, a sheet of acid-free paper or a thin breathable mat between it and the wall gives a useful layer of protection.

Wax Sparingly, and Know What Is Already There

Antique furniture is rarely bare wood. It may carry a French polish, a linseed and beeswax finish, a shellac coating or a modern lacquer, and each wants slightly different treatment. If you are unsure, test a hidden area — the underside of a drawer or an inside rail — with a tiny amount of spirit on a cotton bud. If the finish softens, it is shellac-based, and should only ever be cleaned with a barely damp cloth.

For waxed and polished surfaces, a good quality beeswax or carnauba-based furniture wax applied two or three times a year is ample. More frequent waxing builds a sticky layer that attracts dust and traps grime. The method matters more than the brand:

• Apply a very small amount with a soft cloth, working with the grain in thin layers.
• Leave it to haze for twenty minutes or so, then buff with a clean, dry cloth.
• Never apply wax directly to carved detail; use a brush and brush out the excess.
• Avoid silicone-based sprays and aerosol polishes. They look wonderful for a week and leave a residue that resists proper repair for years.

Water rings and heat marks are best left to a conservator. Household remedies involving vinegar, mayonnaise or a hot iron usually make matters worse.

Upholstery, Tapestry and Gilding

Textiles need air and gentleness. Vacuum upholstery no more than once a month, using the lowest suction setting and a brush attachment covered with a piece of clean muslin to stop fibres being pulled. Work in overlapping strokes, and pay attention to the creases where arms meet seats, since that is where grit accumulates and wears the weave.

Rotate loose cushions regularly so they fade and compress evenly. Keep pieces out of strong sunlight, and consider a washable loose cover for a chair in daily use. Original tapestry or silk upholstery should never be wet-cleaned at home.

Gilded frames and giltwood mirrors need almost nothing beyond a very soft sable brush and a light puff of air. Water — even a damp cloth — will lift gold leaf and stain the gesso beneath. Leave them be, and let a specialist handle anything more.

A Gentle Seasonal Rhythm

The most effective routine is a modest one followed consistently. Once a week, dust thoroughly and check for new scratches, lifting veneer or loose joints. Once a month, vacuum upholstery and check the room's humidity. Twice a year, in spring and autumn, wax polished surfaces, turn cushions, and open drawers fully to let air circulate — drawers that are never opened become damp and stiff.

Handle brass, ivory and tortoiseshell inlays with care; brass can be left to develop its own patina, which most conservators prefer, whilst ivory dislikes both dryness and water. Keep a written note of any treatment you apply and when, so that a future owner — or your own memory — has a clear record.

Antique furniture has already survived a century or more of use. With steady air, light dusting, a little wax and a sensible distance from the radiator, it will comfortably see out another.