A Guide to Antique Pottery

Antique pottery is one of the most enduring and historically significant forms of decorative art, with origins that date back over 20,000 years. Archaeological evidence has uncovered pottery vessels in China and ceramic figures in the Czech Republic that date from 25,000 to 29,000 BCE, highlighting humanity’s long-standing relationship with this versatile medium. However, commercially available antique pottery generally dates from around 620 BCE, when Greek artisans began decorating their vessels using a distinctive slip that would turn black during the firing process.

At Jacksons Antique, our curated collection spans numerous traditions and techniques, from Japanese Satsuma wares to Dutch Delft pieces, offering an extensive range of objects, vases, and vessels from across the globe. While our collection features strong Japanese influences, particularly Satsuma wares, we continually acquire unusual and decorative pottery from various centuries and continents.

Understanding Antique Pottery

Definition and Composition

Pottery is made by shaping clay into the desired form and then firing it at high temperatures, usually between 600°C and 1600°C, in a bonfire, pit, or kiln. This firing process induces permanent physical and chemical changes in the clay, which strengthen and solidify the object. While much pottery serves practical purposes, many pieces are also regarded as significant works of ceramic art.

Types of Ceramic Materials

Antique ceramics are broadly categorised into three main types:

  • Earthenware – Is made from coarse sedimentary clay that contains various impurities and can only be fired at temperatures of about 800°C. When fired, the clay particles bond together while still retaining tiny air pockets, which makes the material porous. To effectively hold water, earthenware must be glazed. These clays are available in different colours, which can be seen when a transparent glaze is applied. The colour often reflects the clay’s origin; for example, Torquay ware uses rusty orange, iron-rich clays from Devon, while Creamware is crafted from high-quality white Devon clay that can withstand higher firing temperatures.
  • Stoneware – Is harder than earthenware and has a finer texture, allowing it to hold water even when unglazed. These clays can be fired at temperatures of approximately 1300°C. Most stoneware clays are grey, while coloured stoneware items typically have only a surface layer of colour. Notable exceptions include Chinese Yixing stoneware, which has a consistent red colour throughout. Specialised types of fine stoneware include black basalt and jasperware, both of which were first produced by Wedgwood in the mid-18th century.
  • Porcelain – True hard-paste porcelain, first created by Chinese artisans during the late Tang dynasty over 1,000 years ago, is watertight whether it is glazed or unglazed. It can be found in white, grey, or creamy colours, and is known for being strong, delicate, and typically translucent. In 1708, Meissen produced the first true European competitor to Chinese porcelain. Porcelain can be fired at temperatures exceeding 1400°C, and higher firing temperatures result in a more impermeable, glass-like material.

Western porcelain is generally divided into three main categories:

  • Hard-paste Porcelain – One of the earliest European porcelains, produced at the Meissen factory, was composed of china clay (kaolin), quartz, and alabaster, fired at temperatures above 1350°C to create exceptionally hard and strong porcelain. Later formulations replaced alabaster with feldspar to lower the required firing temperature.
  • Soft-paste Porcelain – Developed during early European attempts to replicate Chinese porcelain by using mixtures of china clay and ground glass or frit. Later, more technically superior formulations were developed based on kaolin, quartz, feldspars, and other feldspathic rocks.
  • Bone China – Originally developed in England to compete with imported porcelain, bone china is now produced worldwide. Traditional English bone china was made from two parts bone ash, one part china clay (kaolin), and one part Cornish china stone (a feldspathic rock). The addition of bone ash creates a strong, white, translucent porcelain that has become highly prized for its quality.

Historical Significance and Cultural Context

Pottery is one of our most valuable archaeological resources, offering insight into past civilisations, trade routes, technological advancements, and artistic expressions. Different cultures have developed distinct pottery traditions reflecting their values, available resources, and aesthetic sensibilities.

In ancient Greece, pottery served not only practical functions but also became a canvas for depicting mythological scenes and daily life, providing modern scholars with a glimpse into classical society. Chinese porcelain, renowned for its translucent quality and delicate appearance, became so coveted that it sparked a race among European manufacturers to uncover its secrets, leading to significant technological innovations.

The development of pottery in 18th and 19th-century Britain coincided with the Industrial Revolution, transforming pottery from an artisanal craft into a manufacturing industry. Notable figures like Josiah Wedgwood revolutionised production methods while maintaining artistic excellence, making fine ceramics more accessible to the growing middle class. This period saw the establishment of many famous potteries, including Minton, Spode, and Royal Worcester, whose marks are now highly sought after by collectors.

Japanese pottery, particularly Satsuma wares, gained international recognition during the Meiji period (1868-1912) when Japan opened its trade with the West. These elaborately decorated pieces, often featuring intricate scenes from Japanese mythology and daily life, were specifically designed to appeal to Western tastes, exemplifying the cultural exchange characteristic of this era.

Identifying Antique Pottery

Pottery Marks and Signatures

Ceramic marks are crucial for identifying the maker, period, and authenticity of antique pottery. These marks are applied in four basic ways:

  • Incised Marks – Applied by hand after forming the basic model in china clay and before the first firing at approximately 900°C (biscuit firing). The clay is still soft, making it easy to apply the mark.
  • Impressed Marks – Similar to incised marks but stamped into the clay. This method is sometimes used to identify undecorated white porcelain or white blanks.
  • Underglaze Marks – Handpainted or printed marks applied after the biscuit firing but before the glaze is applied. These marks use metal oxides that can withstand the high temperatures of the glaze-firing process (approximately 1400-1450°C). Cobalt is the most common metal oxide used, producing the characteristic underglaze blue mark.
  • Overglaze Marks – Handpainted or printed marks applied after the glaze firing and before the final firing. These marks also use metal oxides but are fired at lower temperatures (approximately 800°C). Overglaze marks appear in various colours, with red (iron oxide) and green (copper oxide) being the most common. Gold can also be used, but requires firing temperatures below 400°C.

When examining an antique pottery piece, look for maker’s marks (typically the potter’s initials, monogram, or full name), factory marks (symbols or logos used by pottery companies), country or region marks, pattern or design marks, date codes, decorator’s marks, or ownership/provenance marks. These identifiers can provide valuable information about the piece’s origin, age, and value.

Physical Attributes

Beyond marks, several physical attributes help identify authentic antique pottery:

  • Base and Foot – Examine the base for signs of wear, patina, or kiln marks, which can indicate age and authenticity. The bottom of authentic pottery will usually have an unglazed area, revealing what type of clay was used. If this area appears old and weathered, the piece is more likely authentic.
  • Shape and Style – Different periods favoured distinct shapes and styles. Research the characteristic forms of the period you suspect your piece belongs to.
  • Weight and Thickness – American pottery, for example, tends to be heavier and thicker than pottery from other regions.
  • Glaze Quality – Early glazes have distinctive characteristics that are difficult to replicate in modern reproductions.

Decorative Techniques and Glazes

Glazes

Glazes serve both functional and aesthetic purposes. Functionally, glazes make earthenware suitable for holding liquids. Aesthetically, they provide a smooth, pleasing surface with varying degrees of gloss and colouration.

Notable glaze types include:

  • Lead Glazes – Used until the 19th century when safer alternatives were discovered.
    Tin Glaze – Provides a white ground perfect for colour decoration, but chips easily.
  • Salt Glaze – Creates an “orange peel” effect on stoneware by throwing salt into the kiln during firing.
  • Crackle Glaze (Cracklure or Crazing) – Occurs when the ceramic body and glaze shrink at different rates during cooling, creating a network of fine cracks. This effect is highly desirable on certain items, particularly Japanese Satsuma wares.

Decoration Techniques

Antique pottery features a rich variety of decoration techniques:

  • Overglaze Decoration – Applied on top of the glaze, usually before firing. Colour borders can typically be seen or felt with fingertips. Overglaze colours on porcelain were usually applied using enamel paints, with different enamels applied according to their firing temperatures (highest applied first, gilding fired last).
  • Underglaze Decoration – Applied before the glaze coating, either on unfired or biscuit-fired pottery. The pigment fuses with the glaze during firing, creating colours that appear to emerge from within the ceramic body. The popular “blue and white” porcelain exemplifies this technique, with cobalt producing the blue colouration.
  • Pâte-sur-Pâte – A technique where porcelain paste is built up in layers against a contrasting coloured ground, producing an effect resembling cameo glass. Both Meissen and Minton are renowned for their exceptional pâte-sur-pâte decoration, with such pieces being among the rarest and most expensive on the market.
  • Reticulated Decoration – Created by piercing still-soft clay with various tools to produce intricate latticework patterns before firing.
  • Sprigging – Involves attaching moulded or stamped clay decorative shapes (typically sprigs of flowers or leaves) to the ceramic object using thin slip before firing. Wedgwood’s classical sprigs on jasperware exemplify this technique.
  • Trailed Slip – Created by dipping the object in pale slip, then trailing various colours of slip on top in intricate patterns. Staffordshire trailed slip is particularly notable.
  • Sgraffito – Produced when the ceramic object is dipped in coloured slip, and the artist then carves patterns to reveal the contrasting coloured ground beneath. Hannah Barlow’s naturalistic animal scenes on Doulton Lambeth stonewares are celebrated examples of this technique.

Care and Conservation

Proper care of antique pottery and porcelain ensures these treasures remain in excellent condition for future generations:

Handling

Use common sense when handling antique ceramics, as decorative pieces may be extremely fragile.

Remove jewellery that could scratch or mark the surface before handling.
Always pick up ceramic items by the main part of the body, never by extremities such as handles or spouts.

Cleaning

  • Pottery – Being porous, antique pottery should only be cleaned with a soft, damp cloth or briefly immersed in cool water. Never soak antique pottery, regardless of how dirty it appears.
  • Porcelain – Can be washed gently in warm water with a small amount of washing-up liquid. Never use abrasive cleaners, as they may damage the enamel.

Repairs and Storage

For minor repairs, avoid using adhesive tape to hold loose items in place, as it binds tightly to enamel and gilding, potentially causing permanent damage when removed. Reusable putty, such as Blu-Tack, offers a safer temporary solution.

Store porcelain and antique pottery in display cases or cabinets, keeping items a safe distance apart to avoid collisions.

Be mindful of vibrations from passing traffic or uneven flooring, which can cause objects to move. Placing ceramic items on a piece of chamois leather can help reduce unwanted movement.

Antique Pottery at Jacksons Antique

Antique pottery provides a tangible connection to our past and highlights human creativity and craftsmanship across different cultures and centuries. Ranging from practical vessels to exquisite works of art, these ceramic treasures continue to captivate collectors and enthusiasts around the world. By exploring the historical significance, unique features, and proper care of antique pottery, one can fully appreciate the rich heritage embodied in these remarkable items.

At Jacksons Antique, we are dedicated to preserving and celebrating this enduring legacy through our carefully curated collection of fine antique pottery from around the globe.