Valuable vessels: the history, value and restoration of ceramic vases

Whether it is made of fine porcelain or rough terracotta, a vase is often a centrepiece when it comes to ceramic art. These decorative and functional features of our home can hold extreme sentimental or monetary value, causing distress when damage occurs. Luckily, the restoration of ceramic vases by our conservator is carried out at such an invisible level that the destruction is nothing more than a bad memory.

Above: a timeline of vessels from the ancient world to the early 20th century

This article will look into a brief history of vases, from ancient Greece and Ming dynasty China to the arts and crafts movement and modern designers. We will explore shapes, value and the cultural significance of these much-admired vessels, as well as their care, preservation and restoration.

Above: a Kahler vase before and after restoration by our ceramics conservator

A short history of decorative vessels

In western art history, the vase is one of the most significant features of ancient craftsmanship and visual culture. Whilst the oldest examples of a vase date back to the bronze age, ancient Mesopotamia and Egypt, it was the terracotta pots of the Greeks that have been the most admired when it comes to purely decorative use. Greek ceramic vessels often act as a form of storytelling, encouraging a symbolic or moral reference.

Above: an ancient Greek psykter (520-510 BC), pelike (420-410 BC) and oinochoe (350 BC)

By the time of ancient Rome, this decoration was more often sculpted in marble rather than applied in pigments upon terracotta. The most famous Roman era example is perhaps the Medici vase, a 1st century AD garden urn or ‘krater’ that was crafted in Athens. The ongoing influence and value of ancient design is reflected in the fact that this ceramic masterpiece is known for its renaissance connection to the powerful Medici family, as well as being copied continuously throughout later centuries.

Above: a selection of ancient Roman ceramic vases

Painting and drawing was not the only artform to be enlightened during the Italian renaissance. Ceramic designs also became more visually dynamic, paving the way for the decorative pieces we have today. Tin-glazed majolica vessels, whether these were in the form of albarello or orcio, included painted decorative features as well as attractive shapes. Albarello were intended for practical use in a pharmacy, though in later centuries as well as today they are sought after as aesthetically pleasing antiques.

Above: a selection of albarello including a small pharmacy jar depicting the goddess Fortuna (1579), a cylindrical storage jar (1515), a drug vase (1620-80), a mostarda jar (1543) and a Vincenzo di Marco jar (late 16th century)

By the 17th century, decorative ceramics became typical in most aristocratic households. This was thanks in part to the open trade with China who produced fine porcelain goods for a European market. The blue and white pieces in particular proved heavily influential on tastes of the era. The work of the famous Delft manufactory would have been directly inspired by these Ming dynasty imports as well as Persian designs. In the Netherlands, the use of ceramics for holding flowers would also become a key part of their use during the tulip craze, the most famous being tulipieres or bloempiramide (flower pyramids).

Above: a selection of Chinese inspired delft ceramics including a double gourd vase (1670), a bottle (1678-85), a tulip vase by Daniel Marot the Elder (1690), a square vase (1690) and a covered vase (1764-88)

Alongside the sought after Chinese and Dutch imports, Britain headed towards their own development in ceramic craftsmanship. Whilst many manufacturers were formed in this era, the most famous name was Josiah Wedgwood. His vases were often direct copies of ancient designs, in keeping with the neoclassical desires of the late 18th century and Regency period. Royal Worcester, Royal Crown Derby, Chelsea Porcelain and many more names we know today were formed in the mid to late 18th century.

Above: four Chelsea Porcelain vases produced in the 1760s

During the industrial revolution, decorative vases became more accessible to middle classes, as well as readily available for practical use in further households. Counteracting industrial production, the arts and crafts movement aimed to bring artistic and natural influence to the market.

Above: a Moore Brothers vases in the shape of a lotus (1880-91), a Royal Worcester octagonal vase (1877), and a Minton vase with cloisonné style decoration (1868)

Vase shapes and identifying features

Ancient vessels have names determined by their size and shape. This is a whole area in itself, as Greek pottery in particular is a complex and vase subject. To categorise the styles, you may come across the terms amphora, krater, hydria or oinochoe, as well as more specific terms like ‘lebes gamikos’ which is a wedding vase.

During the renaissance the most famous vase-like vessels were called albarello (intended as pharmacy pots) as well as typical jugs and pitchers. In the baroque period, urns were popular alongside reproductions of the ancient forms mentioned above. As well as the tulipieres, you may also come across the gourd vase, knobble vase and covered vase from the 17th and 18th centuries. Under the term vase or vessel you may also find generic pots, ginger jars and urns described from various eras, up until the modern day.

Asian ceramics, particularly those produced in China, will have their own terms as well as a crossover with these European varieties. Chinese vessels may be described as a cong shaped, plum, prunus, pear shaped, beaker, garlic mouth, double gourd, globular, rolwagen, rouleau, begonia, mallet shaped, pomegranate or phoenix tail.

In the 19th century, manufacturers often had standard shapes that followed in the traditional of previous centuries and especially the standards set out by Chinese craftsmen.

Modern vases and ceramic vessels tend to take their names from historic shapes listed above or simply the artistic genre their decorative details fall under. Covered vases may also be typical in the antiques market, as well as those originally intended to be pitchers, urns, flasks or jardinière.

Vase value

In 2010, the ‘Pinner’ Qing Dynasty vase sold for a record breaking $80.2 million at auction and in the same year another Chinese example of the same era sold for $19 million. This goes to show that the most sought-after designs, specially those with a Chinese origin, can be counted as some of the most valuable antiques in the world.

Above: a Roman amphora from 100-225 BC, a Qing dynasty vase from the Kangxi period 1662-1722, an American vase from 1884-93 and a Chelsea Keramic Art Works vase from 1876-80

More common examples at auction can sell for upwards of £10,000 depending on their date, make and attractiveness to collectors. For example, British vases from the likes of Royal Worcester can sell for anywhere between £100 to £12,000. An auction house should be happy to advise on the exact value of your vase and we always recommend this route in the first instance, as it takes an expert to determine the precise quality of any antique.

Vase care and ceramic restoration

If a ceramic object becomes damaged, always collect the pieces – no matter how small – so that our conservator can use as much of the original material as possible.

Our ceramics conservator uses museum-level expertise to sensitively restore a wide range of materials, from porcelain to earthenware. All restoration of ceramic vases is carried out with as little impact on the historic and artistic integrity of the piece as possible, allowing it to retain value as an antique object. This means that damaged areas are repaired with as invisible a finish as possible and any new parts or retouching is completed sympathetically.

Unlike common household adhesives, our studio uses conservation-approved solutions to re-adhere pieces. This will ensure that no yellowing or acidic deterioration occurs. Plates, vases or other ceramic items that have been previously fixed at home with less than ideal superglues and tape can have this contamination removed and replaced with preservation-friendly techniques.

As seen below, in some instances you may decide to choose a kintsugi option for repair. This use of gold along broken lines is a traditional Japanese skill that pays homage to the history of the ceramic and its past breakage.

Vase restoration can consist of anything from the removal of stains to the repair and restoration of broken or missing pieces. Entire areas can be recreated with precision, from the texture of the ceramic to the exact colour and glaze or patina If a vase has areas of historic loss or patina that are part of its historic appeal, these can be retained for an accurate and ethical finish.

There are three main points to consider for vase care and preservation. As well as avoiding busy areas where a vase might be knocked or fall, you may want to take the following advice into account for daily use and maintenance.

1. Flowers

If you have an antique vase that you would like to display flowers in, consider placing a productive container inside so that the water is not in direct contact with the ceramic. Debris and mould from decaying flowers, as well as the chemicals you may include to keep them alive for longer, may seep into small cracks and damage the structure over time. We do not recommend displaying flowers in extremely sensitive (very historic or unstable) vases or those with very high value.

2. Display

High-value or personally important ceramics should be kept behind glass as the natural cracking of a glazed surface is the perfect location for dust and other airborne contamination to gather. Areas that have no glazing may also be at a heightened risk due to a lack of protection upon the porous clay. Ensure all locations have a steady atmosphere with no major fluctuations in temperature occurring throughout the day.

3. Cleaning

For cleaning ceramics, it is recommended that no more than a light dusting with a clean and soft brush is used with no water or cleaning products. Any intense cleaning or removal of dirt and contaminants should be performed by a professional conservator with tailored solutions, as amateur cleaning of embedded dirt and staining may lead to accidental damage.