You would have thought after all these years of antiques TV shows that just about everybody would be at ease with auctions, but we still get a few shy ones coming through the doors in Fernhurst. They’re clearly interested in the whole process, or they wouldn’t be there. If you’re one of them, have no fear, we don’t bite, and I’d be amazed if you couldn’t find anything to spark your interest.

My advice to anyone who hasn’t yet got to grips with auctions but would like to find out more is to come to a viewing before the sale. That way you can wander around and look at everything that’s on offer in a relaxed fashion. At viewings you will find lot numbers attached to each piece on display, and they correspond with the numbers in the catalogues, which are also around the saleroom so you can check out the description and estimate. Staff are on hand to answer any questions or help you get a better look at anything – you’ll find that’s true at any decent auction house.

And if you want to see a great bit of traditional auction drama, come along to the early part of one of our general auctions when the saleroom manager takes bids in the back viewing room rather than from the rostrum. You will find all the bidders standing together among the pieces being sold. There’s nothing quite like it to get you hooked.

If you do decide to bid, here are a couple of tips: firstly, how are you going to get your purchase home? If it’s a small piece of jewellery or a collectable, no problem; but what if it is a sideboard or a sofa? If you won’t be able to transport it yourself, find out how much it would cost to have it shipped to you before you bid. That way you won’t suffer any nasty surprises. Most auction houses will either be able to arrange shipping for you or give you the details of a reliable shipper.

Secondly, running auctions costs money, and some of the costs are passed on to the buyer in the form of fees charged as a percentage of the hammer price. Again, find out what they would be before you bid so that you have a clear understanding of what the final invoice total will be. That way you can bid with confidence.

Watching the Antiques Roadshow recently, I was reminded of the most important question a professional should ask when valuing something: why are you having it valued? This is because valuations will differ depending on the answer.

Let’s consider a diamond ring, for instance. If you want it valued for insurance, you are going to need enough cover to replace it at retail cost. If you want it valued for sale to a dealer, the valuation must consider what a dealer might pay for it, so that they can build in a profit margin for resale. So, the insurance valuation might be as much as four times the resale value to a dealer.

Getting the asking price right is as much a skill at chattels auctions as it is when putting your home on the market: price it too high and you can kill demand but undercook it and you risk giving it away.

Overexposure over a prolonged period tends to raise questions as to the condition of the property on offer. A newly redeveloped house near me has recently gone on the market for around 30 per cent more than I would think is reasonable. This is because it will have been priced according to what the plot cost to buy, what the developer paid to knock it down and create the house that now stands there, and what their projected profit is added on top. No one has shown any interest. After a while, market reality will kick in and it will be re-priced accordingly, but that exposure will cost the owner dear and they may well end up with less than if they had simply pitched it at a more competitive rate in the first place.

It’s the same for chattels auctions. Those prepared to consign items at come-and-get-me estimates very often spark a bidding battle, with lots selling for what they really hoped to get for them, or even higher. Auctioneers will agree a reserve price with you, as a safety net, below which an item cannot be sold, so as a seller you are protected.

Go to most art, antique and design fairs and you will see stands set out like shop windows or room sets. Many of the fairs have ditched the word antique in favour of decorative, design or modern – or they use a completely different word to emphasise exclusivity and luxury.

All this reflects the fact that most people have moved away from the notion of collecting and towards that of decorating and lifestyle enhancement. That means those who sell desirable items must package them in different ways.

Take accessories like scarves, costume jewellery and vintage handbags. They used to be tail-end offerings at general auctions where you would be lucky to scrape together a few pounds from them. Now, though, they enjoy dedicated sales, which bring in new, younger buyers eager to get the look and pick up a rarity usually available only as a modern re-issue. Some of these things remain antiques but have just been re-labeled. It’s a great marketing lesson and shows that whatever you call them, some antiques never really go out of fashion.

It’s a lesson the leading luxury brands themselves have learnt, going as far as to set up their own pre-loved divisions, buying up and reselling their own vintage products.

With social media, pop-ups, drop sales and drop shipping all new phenomena competing for business these days, our industry is obsessed with staying relevant in attracting the next generation of buyers and sellers. Fifty years ago, newly married couples tended to go to auction to buy furniture and decorations for their first home. Then the era of mass consumerism, with its disposable, flatpack furnishings, took over, tastes changed, and the local general weekly auction started to look like a thing of the past.

Well, close to half a century on we’re still here and as relevant today as we have always been. Yes, we have had to adapt, offering more specialist sales, better catalogues, clear costings and, in the advanced technological age, live bidding via the internet.

What hasn’t changed are the twin thrills of finding something special hidden among the day-to-day items and the charged atmosphere of competitive bidding and ultimate victory as the hammer comes down.

One of the most interesting aspects of working in the art, antiques and collectables world today is just how few people realise that they are part of it. Antiques may be things of the past, but it’s an ever-changing world, which means there is a constant supply of ‘new’ antiques, objects that have just become more than 100 years old.

In the end, it is a fairly arbitrary measure; what really matters is the quality of the piece in question. Values can change depending on a range of factors, such as rarity and condition – and, indeed, age – but perhaps the two factors that most alter the general cycle of buying and selling are changing tastes and habits.

Take dining room furniture. Personally, I think a return to having a special room for dinner parties and the like is long overdue, but while larger homes may still accommodate this if they choose, the average new-build house simply does not have the space.

A collector who has proved very successful in identifying trends – perhaps even creating them himself – describes himself as a ‘homesteader’, he has acted like one of the great pioneers of the West in the 19^th century, heading out and staking his claim before seeing if it yields anything of value.

The thing about people like this is they accept that a lot of the time their efforts will yield very little, but it’s all worth it because here and there they hit paydirt.

So, look about you and ask yourself a few questions. What do you see that will stand the test of the time? Does it have mass appeal? In time, will items associated with this field decline sufficiently to create that vital rarity factor– especially for examples in mint or near new condition? Does it have the potential to create a strong sense of nostalgia? Perhaps have retro or kitsch value? Is it the sort of thing that could be a future design icon or simply a fascinating piece of history? If you want to test your ‘eye’, this is a good way to go about it.