Papier-mâché has come a long way in valuable furniture, says Sheffield expert

Out came the flour and water and in no time we had a couple of bowls covered with paper and mess everywhere.

I started to explain about papier-mâché furniture, but interest soon waned.

Papier-mâché furniture became popular in the 19th Century. The decoration is japanned, or varnished onto a mostly black background.

Papier-mâché furniture was produced by a number of makers, but they largely remained anonymous. However, Jennens and Bettridge is one company synonymous with papier-mâché.

In 1816, it took over Clays in Birmingham and then began the great age of japanned papier-mâché, for which it is now famous.

Its earlier pieces tended to be smaller items such as bottle coasters, writing slopes, trays, glove boxes and fans.

Once the market had accepted these smaller items, the firm began to experiment with larger pieces which included furniture like dressing tables and cabinets.

Jennens and Bettridge pieces carry the company mark, usually on the reverse beneath a crown. No other papier-mâché firms are known to have done this.

Decoration is usually hand painted and elaborate, showing flowers, birds, or, on occasion, landscapes.

Giltwork was commonly incorporated into the design and used on borders and rims of furniture.

Mother of pearl inlay was another typical feature and this was introduced by George Souter at Jennens and Bettridge in 1825.

The condition of japanned papier-mâché items is a crucial factor in their value – papier-mâché needs to breathe and is liable to crack and warp if not given sympathetic conditions. The effects of central heating can be truly devastating on a piece.

Beware, because restoration is very difficult and often unsuccessful.