Yet, it is a two-pace market, according to Richard Madley, a fellow of the National Association of Valuers and Auctioneers (NAVA).
“It is akin to the London housing market compared to the rest of the UK, where prices go up and up in the capital,” he says.
“A work by Bacon is like an eight-bedroom house in Belgravia, while the chest of drawers is the two-bedroom cottage in the North East which remains affordable,” he says.
While the global super-rich keep spending record-breaking amounts at the top end of the market, prices of domestic, lower-value antiques have tumbled, he says.
For example, last year, $119.9m (£74m) was paid for Edvard Munch’s The Scream, whereas in the last 10 years the typical price of a traditional dinner service or a Victorian wardrobe has halved.
The reason is that masterpieces will usually retain their appeal, while lower level furniture and art are at the mercy of fashion.
“Antiques are not cool. Young people in their 30s and 40s do not want what their parents hung on the wall; they do not want a big Victorian extending dining table; they want glass and chrome,” Mr Madley says.
