How We Describe Our Pieces
Every piece we offer has lived a life before it reached us. Our descriptions aim to tell that life honestly — what the object is, who may have made it, and how the years have treated it.
Condition
Every piece is examined personally, in hand, before it is described. We look for chips, cracks, crazing, restoration, wear to gilding or decoration, dents, and the clarity of any marks. We distinguish between the natural effects of age and use, characteristics of manufacture, and damage or repair.
Our condition grades give a general indication of an object’s state:
- Mint / Unused: appears as made, without evident signs of use, damage or restoration.
- Excellent: exceptionally well preserved, with no damage or restoration identified on examination. Any signs of age or handling are minimal.
- Very Good: well preserved, with light wear consistent with careful use, such as minor rubbing to gilding or decoration, or light crazing to the glaze. Any other observations are stated in the listing.
- Good: generally sound and presents well, although visible wear, age-related characteristics or minor faults may be present. These are described individually.
- Fair: shows more pronounced wear, damage or previous repair, which is disclosed in the listing and reflected in the asking price.
A note on crazing: the fine network of lines that can form in a glaze over time is common in older ceramics. With certain makers, such as Carlton Ware, light crazing is characteristic of the glaze itself and is expected by collectors. Light, stable crazing is not automatically treated as damage, although its extent and any associated deterioration are considered when grading the piece.
These grades are descriptive guides rather than guarantees of perfection. The specific observations in each listing take precedence over the general grade.
We disclose every fault identified during examination. Photographs accompany our descriptions to show each object as faithfully as possible, including visible imperfections.
Makers and Attribution
The language of attribution is chosen with care.
- Marked: a maker’s mark, hallmark or backstamp is present, and is read alongside the piece itself.
- Attributed to: the available evidence points to a particular maker or workshop, although it cannot be established conclusively, for example where a mark is worn or absent. Where possible, we explain the basis for the attribution.
- Identified through research: a pattern, model or design has been identified through reference material or comparison with documented examples, even where its name does not appear on the object.
- In the style of: the object reflects the characteristics of a particular maker, movement or period, without claiming direct authorship.
Where marks are worn, incomplete or difficult to interpret, we say so. Where a maker cannot be established with reasonable confidence, we do not present an uncertain identification as fact.
Hallmarks and Dating
For silver, we interpret hallmarks using the assay marks, date-letter sequences and established reference sources available. Not every mark gives an exact date, and we distinguish between confirmed dates and approximate periods.
For ceramics, dating may draw on backstamps, pattern registrations, manufacturing characteristics and documented production histories.
Where the evidence supports only an approximate date or range, we state it as such rather than suggest greater certainty.
Questions and Further Photographs
If you would like additional photographs, a closer view of a mark, or a particular measurement, please contact us on WhatsApp. We are always glad to help you look at a piece more closely.
— The Dancing Faun Antiques
