Porcelain and Pottery Value Guide: How to Identify, Date, and Price Valuable Collectibles

Is Porcelain Worth Anything?

Yes. Porcelain still has value. Most pieces sell for modest amounts, but certain porcelain can sell for millions when rarity, condition, and history line up. The most valuable examples are often antique pieces from the 1700s and 1800s, especially those made for royal courts or by elite manufactories. One of the most famous sales was a small Ming dynasty wine cup from the Chenghua period, known as the “chicken cup,” which sold for around 36 million dollars. That price came down to rarity, pristine condition, and its connection to imperial use.

It’s not just ancient porcelain that holds value. Complete tea or dinner services from renowned makers like Meissen, Sèvres, Royal Copenhagen, KPM Berlin, or Herend can bring strong results at auction. Even modern porcelain from respected designers and factories can sell well if the design is in demand and the set is complete.

Why Some Porcelain Sells for So Much

Age plays a big part, but it’s not the only thing that matters. Collectors pay the highest prices for porcelain tied to royal commissions, early factory production, or short-lived kilns. Eighteenth-century Sèvres soft paste porcelain and early Meissen hard paste porcelain are prized because they represent innovation and artistry at the time they were made.

Craftsmanship matters too. The sharper the detail, the cleaner the painting, and the more complex the form, the better. Sèvres reticulated wares, with their double-layer pierced walls, took enormous skill to produce. Meissen’s Swan Service, created for Count von Brühl, is another example of court-level production that remains in demand centuries later.

The Importance of Marks and Signatures

Marks on the base tell you a lot. Meissen’s crossed swords mark, Sèvres’ interlaced Ls with date letters, KPM Berlin’s blue scepter, and Royal Copenhagen’s three blue waves all give clues to authenticity and production date. These marks have changed over time, so learning the variations can help you identify when and where a piece was made. Clear, correct marks can confirm a piece’s origin and make it more attractive to serious buyers.

Porcelain Types and What They Mean for Value

Not all porcelain is the same. Hard paste, first perfected in China and later in Germany, is dense, glassy, and translucent. Soft paste, made in France and England before hard paste was perfected, fires at a lower temperature and feels warmer and creamier. Bone china, developed in Britain around 1800, mixes bone ash into the body for extra strength and a slightly ivory tone. Knowing which type you have can help you understand its durability, look, and potential value.

Complete Services Can Outperform Individual Pieces

Full tea or dinner services, especially when they include original serving pieces, can be worth far more than selling the items individually. This is especially true for patterns from Meissen, Sèvres, KPM, Royal Copenhagen, or Herend. For example, large Herend dinner services in classic patterns often sell for thousands, and named Meissen services can bring even higher prices. The value comes from completeness, condition, and desirability of the pattern.

Modern Design Still Has a Place

While antique porcelain gets the headlines, collectors also buy modern and mid-century pieces when they come from respected makers and have strong design appeal. Arabia Finland, Rosenthal, and other European producers worked with leading designers on limited patterns. Marimekko, known for bold designs, has licensed tableware over the years, though not all of it is true porcelain. Always check the material and marks before pricing.

Condition and Restoration Checks

Condition can make or break a sale. Chips, cracks, hairlines, stained crazing, or heavy wear to gilding all reduce value. Professional restoration can help in rare cases, but sloppy repairs hurt prices. Many collectors use a black light in a dark room to check for restoration or overpainting, as newer materials often fluoresce differently from the original glaze. This won’t tell you age, but it can reveal hidden repairs.

Provenance Adds Weight

A solid ownership history can add value. Factory records, old invoices, exhibition labels, and auction catalog mentions give buyers more confidence. Some manufactories, like Sèvres, kept detailed records that match date letters and painter marks to specific years, making it easier to document authenticity.

Is Pottery Worth Anything?

Yes. The market for collectible pottery is broad and active, covering everything from modest Art Nouveau vases to high-value artist collaborations. Early 20th-century European Art Nouveau pottery still attracts serious collectors. Makers like Moorcroft, Weller, and Brannam produced richly glazed, nature-inspired designs that remain popular. Prices for these period pieces can range from a few hundred to several thousand, depending on the maker, pattern, and condition.

Studio pottery from notable individual artists has also carved out its own strong market. One of the most famous names is George E. Ohr, known as the “Mad Potter of Biloxi.” His twisted, free-form vases and daring glazes were far ahead of their time. In recent auctions, Ohr’s works have sold for impressive sums, sometimes leading entire sales of American and European art pottery.

Picasso’s Pottery Commanding Top Prices

Terracotta plates and sculptures designed by Pablo Picasso are among the most sought-after pottery works of the 20th century. Between 1946 and 1973, Picasso worked with the Madoura pottery studio in Vallauris, France, creating over 4,000 ceramic designs. These ranged from simple plates to large sculptural vessels.

Each piece typically carries the Madoura stamp and often an edition number, which is key to understanding its rarity. Entry-level Picasso ceramics can be found for around $1,000 to $2,000. More desirable plates regularly sell for $10,000 to $30,000. Unique or extremely limited pieces can go well past $100,000, with the rarest examples breaking the million-dollar mark.

One example is the “Face in an Oval” plate, an edition of just 100, which was valued between $10,000 and $15,000 on Antiques Roadshow, even with a small chip, because of its scarcity and strong collector demand.

Beyond Picasso and Art Nouveau

Collectors are also paying attention to lesser-known but highly skilled studio potters whose works have distinctive glazes, hand-built forms, or cultural significance. Pieces from early edition runs or those with clear provenance tend to outperform similar-looking items with no documented history.

Condition plays a major role in pottery value. Chips, cracks, or poor restoration work can cut a piece’s worth sharply. However, if the work is rare enough, like an early Picasso plate or a one-of-a-kind Ohr vase, collectors may still be willing to buy even with minor flaws.

Where the Market Lives Today

Smaller pottery pieces sell well through online marketplaces like Etsy and 1stDibs, especially decorative Art Nouveau items in good shape. The highest-value pieces, such as rare Picasso ceramics or museum-quality studio pottery, appear most often in major auction houses. Demand is global, and bidding can escalate quickly when rarity, maker, and condition align.

For collectors, the pottery market offers opportunities at all price points. Whether it’s a hand-painted Moorcroft vase, a limited-edition Picasso plate, or a rare studio work from an influential potter, well-chosen pieces have the potential to hold value and, in some cases, appreciate significantly over time.

Porcelain prices cover a huge range. Common patterns and later twentieth-century sets often sell for little, but rare, high-quality pieces still attract strong bidding. The market is more selective now than it was before 2020, so selling at the right time and in the right venue matters. For investment potential, focus on rarity, condition, and documented origin.

If you know how to read marks, understand the different types of porcelain, and can spot high craftsmanship, you’ll have a much better chance of recognizing which pieces are just pretty and which ones are truly valuable.

How Much Are Porcelain Dolls Worth?

Porcelain dolls can sell for a wide range of prices, from just a few dollars to hundreds of thousands. The difference comes down to the maker, the time period, the type of porcelain, and how original the doll’s parts and clothing are. The very top prices almost always go to rare antique examples from well-known French or German makers, with untouched bisque, original clothes, and strong provenance. These are the kinds of dolls that consistently perform well at auctions.

Bisque vs China Dolls

Most high-value antique dolls are made of bisque. Bisque is unglazed porcelain with a soft, skin-like finish that became popular in the late 1800s. Before that, many dolls were made with glazed porcelain heads, known as china dolls. Parian dolls are another variation, with unglazed white porcelain and often classical-style faces. China head dolls were most popular from the 1840s to about 1880, but production continued into the early 1900s. Bisque became the preferred choice for more realistic dolls with detailed painting. Knowing which type you have helps you figure out both age and market value.

French Fashion Dolls and Bébés

French makers dominated the luxury doll market in the 19th century. Fashion dolls by makers like Jumeau, Bru, and Huret were designed for display and dressed in elaborate couture outfits. Later came the “bébé” dolls, with more childlike faces and glass eyes. Rare models in perfect condition can bring four to five figures at auction, sometimes more if the doll has a named maker, an early production period, and its original clothing. First-period Jumeau dolls, for example, are highly sought after and often outperform later versions.

German Character Dolls

Germany was a major producer of porcelain dolls, with factories turning out large numbers for export. Among these, the character-faced dolls stand out. Makers like Kämmer & Reinhardt and Simon & Halbig produced dolls with expressive, lifelike faces rather than the standard sweet smile. Rare character molds can sell for tens of thousands. The Kämmer & Reinhardt 108 boy doll, for instance, once sold for over £240,000. Common German child dolls from makers like Armand Marseille often sell for under $500 unless they are in unusually good condition or an uncommon size.

Auction Records That Made History

Some dolls have reached extraordinary prices. In 2014, an Albert Marque bisque doll dressed by Parisian couturier Jeanne Margaine-LaCroix sold for around £300,000. In 2018, a 19th-century doll by Antoine Edmond Rochard sold for over $333,000. These are extreme examples, but they show what can happen when artistry, rarity, and provenance align perfectly.

Marks, Mold Numbers, and How to Find Them

The best way to start identifying a porcelain doll is to look for a maker’s mark or mold number. These are usually on the back of the head or neck, often hidden under the wig. Some can also be found on the torso, arms, or feet. German and French manufacturers used combinations of factory initials, mold numbers, and size codes. Once you have the mark, compare it with known reference guides to confirm the maker and production period.

Why Originality Matters

Collectors will pay a premium for dolls that still have their original mohair or human hair wigs, glass eyes, pates, and clothing. The bisque itself should have its original paint and no signs of retouching. Swapped parts, replacement wigs, or heavy restoration work can cut value significantly. High-end auction listings for valuable dolls almost always stress originality as one of the main selling points.

Size, Scarcity, and Special Features

Unusual sizes often attract higher prices. Very small “cabinet” dolls and very large display dolls tend to outperform mid-range sizes if they are desirable models. Special subtypes, like googly-eyed characters or early portrait dolls, can also bring in strong bids. Scarce molds, such as the Kämmer & Reinhardt 101 “Marie,” are especially collectible when found in rare sizes and excellent condition.

Typical Market Prices

While rare and exceptional dolls can fetch staggering sums, most antique German bisque child dolls sell in the low hundreds. Common molds like the Armand Marseille 390 or Simon & Halbig 1079 are widely available and usually bring under $500 unless the doll is unusually well-preserved, has a rare size, or comes with its full original outfit.

China Head Dolls and Their Appeal

China head dolls, with their glossy glazed heads and painted hairstyles, have their own collector market. Value depends on the maker, hairstyle, decoration quality, and size. Hair designs are often tied to fashion trends of the time, so they can help date a doll. Rare hair colors or elaborate styles increase value. Some early examples by Meissen or KPM are very scarce and can command strong prices when documented and in good condition.

Modern Porcelain Dolls and Reproductions

Mass-produced porcelain dolls from the late 20th century, such as those from Franklin Mint or other subscription brands, are common and usually sell for low amounts. Artist-made reproductions from the 1970s onward also exist. Many have modern marks or artist signatures. These can be beautiful, but they usually don’t match the value of antique originals. Always check materials, construction, and marks before assuming age or worth.

What Collectors Should Keep in Mind

If you want to know the true value of a porcelain doll, start with the maker’s mark and mold number, confirm the type of porcelain, and assess originality and condition. Compare your doll to actual auction results for the same mold and size instead of relying on asking prices. While only a small percentage of dolls will reach record-breaking amounts, well-preserved examples from top makers with documented history will always attract serious collector interest.

Collector’s Checklist for Assessing Porcelain Dolls

Start by setting the doll on a clean, padded surface. Handle it gently and avoid pulling on clothing or limbs until you’ve checked how it’s attached. Old bisque can fracture with little pressure, so keep your hands under the head and torso when lifting.

Use bright, indirect light to inspect the doll. A magnifying glass or jeweler’s loupe will help you spot fine cracks, paint loss, or tiny chips. Move the doll slowly so light hits the surface from different angles. Hairline cracks in bisque can be almost invisible head-on but show clearly in side light.

Check the head and neck area first. Lift the wig carefully to look for marks or mold numbers on the back of the head or under the pate. Make sure the wig is not glued directly to the bisque, as this can hide damage. Note whether the mark matches known factory stamps and whether the mold number fits the style of the doll.

Look closely at the eyes. Fixed glass eyes should be even, clean, and properly set, with no cloudiness or glue residue. Sleep eyes that open and close should move smoothly without sticking. Eye styles, such as spiral-threaded paperweight eyes or painted lashes, can help pinpoint the production period.

Inspect the wig material. Mohair, human hair, and certain early synthetic fibers each have a distinct texture and age differently. If the wig is sewn to a net and fitted to the head shape, it is more likely original. Loose or modern machine-made wigs are usually replacements.

Examine the body construction. Antique composition bodies should show even aging, with no sharp contrast between new and old parts. Check the limb joints for proper fit and wear patterns. Mismatched limb sizes or fresh paint at joints may indicate replacements.

Test the stringing by gently moving the arms and legs. Original stringing often uses natural fiber cords, while modern restringing tends to use bright white elastic. Restringing does not ruin value if done correctly, but original stringing can be a plus for collectors.

Review the clothing and accessories. Period outfits often use hand stitching, hook-and-eye closures, and natural fabrics like silk, cotton, or wool. Modern clothes, even if attractive, lower originality value. If the doll has a hat, shoes, or jewelry, check if they match the age and style of the doll.

Scan the entire bisque surface for repainting. Overpaint will often look slightly different in texture or sheen. You can use a black light in a dark room to help spot retouches, as many modern paints will fluoresce differently from the original.

Finally, document the doll with clear photographs. Take front, back, and side views of the head and body, close-ups of marks, and shots of any flaws. This helps track condition over time and is essential if you plan to sell or insure the doll.

When you work through this checklist, you’ll be able to judge a doll’s age, authenticity, and originality with far greater accuracy. It also makes you less likely to overpay for a piece or undervalue one you already own.

Antique vs Reproduction Dolls - How to Tell the Real From the Copy

Knowing whether a porcelain or china head doll is truly antique or just a reproduction can mean the difference between owning a valuable collector’s item and holding a decorative copy. Many reproductions are well-made and charming, but serious collectors value genuine antique examples for their history, craftsmanship, and scarcity. There are reliable ways to tell them apart if you know what to look for.

Glaze Quality and Crazing Lines

One of the clearest signs is in the glaze. Antique china head dolls typically have a smooth, glassy surface without fine “crazing” lines. Crazing is a network of tiny cracks in the glaze, often found on reproduction dolls because of the way they were fired. Antique glazes were harder, fired at higher temperatures, and better fused to the porcelain body, so they stayed smooth for over a century.

Material and Body Construction

The porcelain on antique dolls is similar in quality to fine china. It is dense, hard, and rings clearly when tapped. Many reproductions use a softer pottery or earthenware body, which feels heavier and less refined. The difference is obvious when you compare the surfaces side by side: antique porcelain is smooth and luminous, while reproduction pottery often has a chalky or matte finish.

The “Peppering” Effect in Antique Dolls

Older china head dolls often show tiny black specks embedded in the glaze, known among collectors as “peppering.” These specks are particles of dust or kiln debris that settled on the surface during firing in nineteenth-century workshops. Modern reproductions rarely have this, as cleaner firing environments and modern kilns prevent such imperfections.

Face Painting and Artistic Style

The painting on antique doll faces was applied with a confident, fluid hand. Blush, eyebrows, and lips are even, balanced, and natural-looking. In reproductions, the painting can look hesitant, with uneven color and less detail in the features. Antique dolls also tend to have a softer blending of tones, especially in the cheeks, while reproductions may have harsher lines or blotchy application.

Maker’s Marks and Dating

Marks can reveal a lot. If a head is marked “Jane Smith 1972,” it means it was made by Jane Smith in 1972 - clearly not an antique. Antique makers often used incised numbers, letters, or symbols instead of full names and modern dates. Reproduction makers frequently include their own names and production years for clarity. Notably, in the 1980s and 1990s, Hartfeldt produced reproduction china head dolls that were clearly marked “Hartfeldt.”

Differences in Molding Techniques

Early antique china heads were pressed into molds, which leaves a more angular and defined interior. Later antique heads were slip-cast by pouring liquid porcelain into molds, creating a smoother inside surface. This can help date an antique piece, but it does not by itself separate antique from reproduction - both methods are still used by modern makers.

Why These Details Matter to Collectors

Authentic antique bisque and china head dolls, especially from the mid-1800s to early 1900s, are valued for their craftsmanship and historic charm. Recognizing the differences in glaze, material, painting, and marks helps collectors avoid paying antique prices for a modern reproduction. Careful inspection under good lighting, along with a magnifying glass, can reveal these small but telling details.

Most Expensive Vases in the World

Chinese vases hold nearly all the top spots when it comes to record auction prices. This is not just chance. China’s imperial kilns in Jingdezhen produced pieces with unmatched technical skill, rich symbolism, and direct links to the royal court. These factors make them some of the most desirable ceramics ever made.

The current record belongs to the Qianlong period Imperial Phoenix Revolving Vase, sold in Beijing in 2021 for about 41.6 million pounds. This is not a simple decorative vessel. It is built in four separate parts: an outer body, an inner vase, the neck, and the cover - each painted, glazed, and fired individually before being assembled so the inner section can rotate freely. Very few revolving vases survived intact, and the engineering and finish on this example are considered the finest known.

Second on the list is the Qianlong “Jiqingyouyu” Reticulated Vase, sold in 2012 for 32.8 million pounds. “Reticulated” means it has a double wall with a pierced outer layer, revealing painted scenes on the inner surface. This work requires multiple firings and absolute precision, or the form will warp and collapse. The phrase “jiqingyouyu” itself is an imperial blessing, expressed through characters, paired fish, and bells - every decorative element carrying meaning for the court.

In 2014, a painted enamel and bronze-mounted Qing dynasty vase brought 24.7 million pounds. This example blended fine porcelain with metalwork, a combination reserved for elite commissions. The mounts not only enhance the visual impact but also protect fragile edges, allowing such a piece to survive centuries with minimal damage.

The Ming dynasty cobalt-blue Meiping Vase sold in 2011 for 22.6 million pounds is another benchmark. The meiping form, with its high shoulders and narrow neck, was favored for displaying branches of plum blossoms. During the early Ming period, these were decorated with powerful cobalt designs under a thick, silky glaze. Intact examples of imperial quality are exceptionally rare.

Rounding out the top five is a pair of Qianlong famille-rose butterfly double-gourd vases, sold in 2017 for 19.4 million pounds. The double-gourd shape is tied to fertility and good fortune. The butterfly motif represents joy and long life. This pair’s perfect symmetry, strong colors, and untouched condition drove competition among bidders.

Techniques That Push Vases Into Record Territory

The most valuable Chinese vases often combine multiple technical achievements. Revolving vases require hidden mechanical precision and flawless potting so the inner layer turns without resistance. Reticulated vessels demand a double wall, pierced by hand, then fired without collapsing. Yangcai enamels, perfected under the supervision of Tang Ying at Jingdezhen, use Western-style shading for depth and realism. Falangcai enamels, applied in the imperial workshops in Beijing, are even rarer and were often painted directly for the emperor’s use.

Each of these techniques took years to master and was reserved for court orders, which is why so few pieces survive. Their complexity also makes fakes easier to spot, since modern copies rarely match the precision of original imperial work.

Symbolism and Imperial Taste

Every design element on these vases had purpose. The phoenix stands for virtue and peace, often paired with a dragon to symbolize balance between the empress and emperor. Fish suggest surplus and abundance because the Chinese word for fish sounds like “surplus.” Butterflies are a sign of joy and long life. Even color choices carried meaning. Yellow grounds were reserved for the emperor, while certain pinks and blues were linked to specific reigns. This coded symbolism made the pieces personal to the court, adding to their historical significance today.

Why China Dominates the Records

The dominance of Chinese vases in auction history comes down to imperial patronage, craftsmanship, and scarcity. The Qianlong emperor, in particular, pushed the kilns to produce technically challenging and artistically ambitious work. These were not made for the general public but for palace use, diplomatic gifts, or the emperor’s personal collection. When these pieces left China, often through royal gifts or during the late 19th and early 20th centuries, they entered private collections in Europe and America. Many of the highest-priced vases today come from these old collections, which is why they appear at sales in London or Hong Kong rather than mainland China.

Export Laws and Market Supply

Modern Chinese law tightly controls the export of cultural relics. Many categories of antique porcelain cannot leave the country at all without permits. This limits supply and makes pieces already in overseas collections more valuable. When a top vase appears on the market, it is often the only opportunity collectors have to compete for it, sometimes for decades.

Recent Record Outside the Top Five

In November 2024, Sotheby’s London sold a pair of Ming Jiajing period wucai fish jars with covers for 9.6 million pounds. These are the only complete pair with original covers known to exist. Their condition and rarity drew fierce bidding and show how complete pairs or sets can command a significant premium over single examples.

Understanding the Numbers

Auction figures can be misleading if you only read headlines. Some widely reported record prices never finalized because the buyer failed to pay. The Bainbridge sale of a Qianlong yangcai reticulated vase in 2010 is a key example. It was reported as selling for over 50 million pounds, but the deal collapsed, and the vase was later sold privately for much less. When judging a record, always rely on the official auction house results.

What Collectors Can Take Away

Learning the techniques, symbolism, and production history behind these vases gives you an advantage. Understanding terms like “revolving,” “reticulated,” “yangcai,” and “falangcai” can help you read catalog descriptions with a sharper eye. Watching how rarity, imperial marks, condition, and completeness affect auction results will help you gauge whether a piece has real investment potential or just decorative appeal.

Does Age or Natural Flaws Affect the Value of Ceramics and Porcelain?

Ceramics and porcelain are fragile by nature. Perfect examples are rare, so flawless pieces almost always sell for more. A rare item in mint condition can command a premium because it’s unusual to find one that has survived decades or centuries without damage. But if a piece isn’t especially rare or unique, even a small flaw can cut its value sharply. A chip, crack, or noticeable repair can drop the price by half or more. Major breaks or missing parts can make something almost unsellable unless it’s tied to a major maker or historically important design.

Collectors tolerate some kinds of imperfections more than others. Production flaws, like tiny glaze skips, light firing marks, or slight asymmetry, don’t always hurt the price, especially in handmade or older pieces where such quirks are expected. In certain traditions, imperfections can even add to the appeal. Japanese Kintsugi repairs, which highlight cracks with lacquer and gold, or the rough, irregular look of Raku pottery, are valued as part of the object’s beauty and story.

The age of a piece doesn’t guarantee higher value. An 1850s vase from a respected maker in good condition will likely sell for more than a modern piece from the same brand, but a damaged antique from an unknown maker may not bring much at all. Rarity and condition matter more than the date alone.

Some materials and glazes are more vulnerable to visible flaws. Fine porcelain chips easily at the rim or handle. Glaze crazing (thin web-like cracks in the surface) can be acceptable to some buyers but may lower value for others. While crazing doesn’t always weaken a piece, it can stain or trap dirt, which affects appearance. Glaze blisters, pinholes, or firing cracks are other issues that can reduce worth, especially in high-end porcelain where buyers expect flawless surfaces.

Damage from use isn’t the only risk. Many ceramic flaws start during production. Uneven heating, poor clay mix, or sudden cooling can lead to warping, hairline cracks, or glaze defects before a piece ever leaves the kiln. These built-in weaknesses can make a piece less durable and less valuable in the long term.

Restoration also plays a role. Skilled professional repairs can preserve much of a piece’s value, particularly if the work is hard to detect. But overpainting, visible filler, or sloppy glue jobs can drop the price dramatically. Serious collectors often use a black light to check for repairs because many modern restoration materials glow differently than the original glaze.

For anyone buying in this field, it’s worth learning how to spot damage and understand how much it matters. Knowing the difference between harmless quirks, production flaws, and serious damage will help you judge a piece’s true worth before making a decision.

What Damages Can Lower the Value of Antique Porcelain

Older porcelain often comes with some wear. If the piece is rare enough, flaws might be forgiven, but the price will still drop compared to one in perfect shape. Most serious buyers want porcelain in very good to mint condition if they are going to pay top dollar.

Before buying, look over every inch of the piece. If you’re shopping online, ask the seller detailed questions. Make sure they’ve checked for common problem spots. For high-value items, request that they test it under a black light to check for hidden repairs.

Here are the main types of damage that can bring down the value of antique porcelain.

Crazing Can Weaken the Appeal

Crazing shows up as fine cracks in the glaze or top layer of porcelain. It can happen to pottery, some plastics, and even composition materials like doll faces. These cracks form when the porcelain body and the glaze contract at different rates. Storing porcelain in places with extreme temperatures, like attics or basements, or exposing it to sudden temperature changes can cause crazing.

While crazing usually lowers the value, the impact depends on how severe it is and how rare the piece might be. A rare porcelain item with light crazing might still attract interest, but it will usually sell for less.

Rim and Base Chips Are Common Damage Points

Rim chips are often easy to see or feel. Collectors run a finger along the rim to detect sharp edges that signal damage. It’s a quick trick that finds flaws others might miss.

Base chips are easier to overlook but still matter. Porcelain cups, saucers, vases, and figurines often get chipped on the bottom from years of being moved around. A small flake at the base is less serious than a big chip out of a rim or spout, but it still affects the value. Size matters here. Tiny chips are less of an issue than large gaps.

Cracks Can Be Hidden in the Design

Many cracks are visible if you look closely, but colorful decorations can hide them. A simple way to check is to set the piece on a flat surface and tap it lightly. If it rings with a clear tone, it’s probably fine. If it sounds dull, there may be a crack.

Hairline cracks are often easier to see inside pitchers, vases, and similar shapes. Shining a light inside can help reveal them.

Repairs Can Make or Break Value

Before buying, take the porcelain into a dark room and use a small black light. Good repairs can be hard to spot, but glue will glow under ultraviolet light. The same test can reveal modern paint, touch-ups, or added details.

Some repairs, if done by a skilled professional, can keep part of the value, especially if the piece is very rare. But most repairs lower the price significantly. It’s best to find them before spending a lot on a supposedly flawless antique.