As the new year arrives, thoughts inevitably turn to new beginnings, including the prospect of spring cleaning or having a clear-out. If you do decide to de-clutter, downsize or otherwise have a bit of a tidy-up, you may well find things among your possessions that have the potential to earn you a bit of money. If so, here are a couple of tips to remember.

Firstly, don’t spruce up anything antique in the hope of making it more attractive to buyers. You may well find that you damage them or make them less appealing. Dealers, for instance, generally prefer to buy things in ‘untouched’ condition, as it gives them the opportunity to have them restored and build in their own margin. Take that away and they tend to lose interest.

No matter how lacking in detail, if you have any paperwork linked to the items in question, include it with the consignment. It can make all the difference. In many cases, you won’t have any, but if you have memories of that clock sitting on your grandfather’s mantelpiece for the past 50 years, write a note saying so and date it. It may not be much, but it helps a little to fill in the gaps of the piece’s provenance, and that’s what every buyer looks for.

2026 also promises to be an exceptional year for all things American. July 4 will mark the 250th anniversary of the US Declaration of Independence, so expect specialist auctions and exhibitions linked to that in the coming months. Will a copy of the Declaration come up for auction? It would be worth putting a bet on that. Around three or four copies of the first 1776 printing, known as the Dunlap Broadsides, remain in private hands. One sold in 2000 for $8.1 million.

It is also the centenary of two of the greatest female icons of the 20th century: the late Queen Elizabeth II (April 21) and Hollywood legend Marilyn Monroe (June 1). Jazz great Miles Davis would also have turned 100 (May 26), while Walt Disney would be celebrating his 125th (December 5). October 31, 1926 was the fateful date that Harry Houdini failed to make his final escape. And to show how good the Catholic Church is at keeping records, October 3 marks the 800th anniversary of the death of St Francis of Assisi.

Greetings cards initially became popular in the United States in the 1880s, thanks to the development of offset lithography, a form of printing.

Hallmark, one of the biggest names in greetings cards, has been around since the earliest days, when savvy British makers saw what was happening in the US and started exporting cheaper folded versions there not long before the First World War.

Understandably, collectors will pay more for the rarer early handmade Valentines of the Victorian era, but some of the earliest printed cards can prove just as rare. Certainly opting for printed cards is a less expensive way of entering the collecting field.

The first Christmas cards were hand-coloured for Sir Henry Cole, founder of the Victoria & Albert Museum, who ordered 1000 in 1843. They depicted a family raising their charged glasses in a toast above a draped banner carrying the words A Merry Christmas. He used half himself and sold the rest for a shilling apiece.

It’s thought around nine or ten survive, and each is valued at around £10,000 today.

Some of the most sought-after Christmas cards today are those designed by well-known artists of the late Victorian and early 20th century periods. Kate Greenaway, who illustrated many of the most popular children’s books of the 1880s and 90s is a favourite, along with her great rival at the time, Walter Crane.

Perhaps the most desirable cards, though are the early Hold-to-Light cards depicting Father Christmas, or Santa Claus. These were generally die-cut and got their name because if you held them up to the light, the die-cut parts lit up, creating a glowing Christmas scene.

When first produced in the US, in postcard form, these were the preserve of the wealthy as each could cost as much as a day’s wages for a working man. Nowadays while religious or other scenes can be had for as little as around £20, the pick of the Santa cards can cost £400.

Collectors tend to specialize in subject matter, such as comic cards, or anniversary type, such as birthday or Christmas cards. Condition can matter a great deal. If they are unused and have not been stuck in albums with the accompanying sticky tape. And particular printers, such as De La Rue, also tempt collectors.

E-cards, and the cost of postage, have largely killed off the traditional Christmas greetings cards, which is a shame, but enough goodwill remains for the tradition to continue.

As Remembrance Day falls, it is worth recalling not just the fallen but the medals they received in recognition of their bravery and sacrifice. The field of campaign medal collecting can serve as a poignant reminder of those who have fallen, the qualities they had and the reasons they were prepared to give their lives in the service of their country.

Every medal counts, but of course it is usually those most rarely awarded – the VCs, MCs, GCs, DFCs, DFMs and CGMs among them – that carry the most extraordinary tales. And that’s what it’s all about in the end.

Materially, the medals themselves are little more than fairly inexpensive metal held up by a bit of ribbon, but what they stand for is what counts  as they provide a physical link to these exceptional characters of the past, much in the way that religious relics have done for so much longer.

This explains why this field of collecting has grown hugely over the past 20 years or so, with prices at auction surging to several hundreds of thousands of pounds for the most sought-after VCs, and private sales rising to well over £1m.

The need to feel the touch of greatness was well illustrated a few years ago when the remains of a grasshopper were discovered trapped in the paint of Vincent Van Gogh’s 1889 picture Olive Trees.

Rather like those gorgeous pieces of amber you occasionally see at auction, which trapped unrecognisable insects sometimes hundreds of millions of years ago as tree sap before fossilising, the discovery created a seemingly direct link to a specific moment in time, over 135 years on, compressing the years in between so that you could almost see and hear Vincent slapping the paint onto the canvas. This grasshopper was there when he did it.

These direct connections are what many people look for when buying things at auction and explain the huge price differences between artworks described in the catalogue as ‘follower of’ (someone unidentified working in the style of a well-known artist at around the same time), ‘school of’ (a work of the time in the style of the artist), ‘studio of’ (a work from the artist’s studio or closely associated with them), ‘attributed to’ (probably, but not certainly, by the artist) and ‘autograph work’ (categorically by the artist).

In the art world, there is nothing quite like being close enough to touch the hand of the creator.

It’s worth doing your homework whether you are preparing to sell at auction or buy. One of the most important reasons is provenance. This is the history of ownership of an item. The more significant it is, the better, and if you can trace it back through solid documentary evidence to the point of its creation, all the better.

Many and varied are the tales of people who let something go for a song only to discover later that it was worth a small fortune. By the same token, experts and others who have bothered to investigate things that turn up in saleroom catalogues properly can snap up a bargain.

So what is the best advice to follow when confronted by a lot that piques your interest?

If possible – and this is often not the case now, thanks to the internet and access to auctions on a global basis – go to the view and look at the item in person.

Ask yourself a few questions? Does it look like the real deal? Does the estimate reflect its value? If you look past the flaws, damage etc, does the quality really shout out from beneath?

If you are an expert in your field, it’s true that first impressions really do count. You may immediately recognise the typical motifs or style of an artist that others have missed; or you may also spot that something isn’t quite right and the mark and period Qianlong vase you hankered after is actually a later copy.

One of my favourite examples of close inspection paying off was a set of daguerreotypes – one of the earliest forms of photographic development – that came up for auction a number of years ago. Taken in Italy, France and Switzerland in the mid 19th century, they were attractive but pitched at no more than £80. They sold for £75,000, but, as it turned out, were worth a great deal more because it transpired that they were the lost images of John Ruskin’s European tour. As the pre-eminent art critic of the 19th century, Ruskin was fascinated by the art and architecture of places such as Venice and was one of the first to catch them in photographs. Although it took the eye of a Ruskin specialist to spot the link, the discovery was a sensation and the previously unknown images were later published in a book.

So, one of the reasons that auctions continue to prove so popular is that on occasion they can be a bit like winning the lottery.