No area of collecting can offer a wider range of objects, originating from a wider range of cultures and historical periods, than articles fashioned from clay.

In a typical home there are likely to be more objects made of ceramics — earthenware, stoneware and porcelain — than any other single category of material. Most will be of the 20th century, a fair proportion will be late Victorian, and perhaps a few pieces will be earlier.

Oriental ceramics have a far richer history than those in the West. Fine porcelain was made in China from at least the 8th century, and started to reach Europe from about 169o. Despite their inherent fragility, many early Chinese pieces survive and are keenly collected — as are rare ancient Greek and Roman items. But ceramics need not be as old as that to attract collectors. Some people amass 19th-century Staffordshire pottery figures, lured by the colourful characters they depict. Others love French soft-paste porcelain from 18th- century factories such as Chantilly. Or early slipware or delftware may appeal.

Antique Collector Magazine

Ceramic objects do not have to be in perfect condition to be enjoyed. You can build up an extensive collection at reasonable cost if you are prepared to accept imperfect pieces — and can learn a great deal in the process. Any damaged or restored object will be worth less than it would be if perfect, but the difference depends on the type of object and degree of damage. A tiny chip or hairline crack might reduce the value of a Chinese dish from the reign of the Emperor Qianlong (1736-95) toone-tenth. But an English delftware bowl with a chipped edge or flaking foot will be worth very little less than a perfect one, since it is delftware’snature to chip. Of course, a great rarity, even damaged, will always be valuable if no better example exists.

If buying for investment rather than for enjoyment and education, it is vital to get expert advice on the cost of any necessary restoration, and its effect on value. Restoration never restores the full value of a piece — indeed, you may not even cover the cost of restoration. Any reputable dealer or auction house should give advice without charge. If the restoration is purely for sentimental or aesthetic reasons, then the cost may be irrelevant.

The detective work involved in identifying a ceramic object’s origins is part and parcel of collecting. Even when buying from a major auction house or dealer whose descriptions you feel you can trust, you need to learn as much as you can about your chosen field so that you can recognise the materials and method of manufacture, the style and means of decoration, and so on. Only then will you be able to identify the object and distinguish it from copies and forgeries. Eventually, you will probably know more than many of the people from whom you buy —and then you should be able to cash inon your knowledge.

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Collecting Pottery and Porcelain