Europe's first hard-paste porcelain, celebrated for its figures and fine painting. We assess the paste, the modelling and the decoration — and we never treat the crossed-swords mark alone as proof of authenticity.
Single pieces, part-services or whole collections. Written valuation. Free insured postage. Paid in 72 hours.
With ceramics and glass we are principally interested in larger, worthwhile collections rather than single pieces. Because they are fragile, please don't post anything straight away — contact us first and email several photographs: a few overall shots of the whole collection plus close-ups of any maker's marks, signatures or damage. We'll then advise on the safest way to pack and send, and for larger or more valuable collections we can often arrange to collect in person.
Meissen was established near Dresden in 1710, the first factory in Europe to make true hard-paste porcelain, and it introduced its crossed-swords mark in the early 1720s partly to deter imitation. Ironically, it went on to become one of the most copied marks in all of porcelain. That history matters when you come to sell, because the mark alone settles very little.
The crossed swords have been copied and imitated by other makers and later decorators over a very long period, so a piece bearing them may or may not be genuine Meissen, and may not be the age it first appears. We assess the paste, the modelling and the painting together, and a physical inspection may be needed before any final valuation or offer. We will always give you an honest view rather than reading the mark in isolation.
Meissen produced an enormous range over three centuries, and the category a piece belongs to shapes its market. Finely modelled early figures sit in a very different place from later tablewares, though both are of interest.
The modelled figures for which Meissen is famous, from single figures to elaborate groups. Crisp modelling, fine painting and undamaged extremities matter greatly, as fingers, flowers and other details are easily lost.
Dinner, tea and coffee wares, often in well-known painted patterns. Completeness of a service, the quality of the painting and condition drive the assessment; matching, undamaged sets are recorded as such.
Vases, clock cases, mirrors and baskets encrusted with applied porcelain flowers. Beautiful but fragile; losses and restoration to the applied flowers are common and are noted honestly.
Ornamental vases, plaques and cabinet pieces, sometimes finely painted with figures, flowers or landscapes. Form, painting quality and condition of the gilding all form part of the assessment.
The piece itself tells us more than the mark, but marks and incised numbers add useful information. You do not need to interpret them; a clear photograph of the base is enough.
| Feature | What it can indicate |
|---|---|
| The paste | The whiteness and translucency of the porcelain body helps distinguish genuine early hard-paste from later or different wares. |
| Modelling quality | Crispness and finesse of the modelling, especially on figures, is a strong indicator of quality and hand. |
| Painting & palette | The style, quality and colours of the painting help place a piece in its period and workshop. |
| Crossed-swords mark | Read in context only. The form of the mark changed over time, but on its own it does not confirm authenticity or age. |
| Incised & impressed numbers | Model and mould numbers and painters' marks add information and are recorded where present. |
Alongside identification, condition drives the offer. We look at four areas and note each honestly on camera.
Losses to fingers, flowers and fine detail, chips, hairline cracks and firing faults. Undamaged, crisply modelled pieces are preferred.
Quality and condition of the painting, wear to enamels, rubbed or restored gilding, and any repainting or over-decoration.
Old and recent restoration, replaced parts and made-up pieces, which are common on figures and encrusted wares and recorded honestly.
The mark and any incised numbers in context, matching pieces of a service, and any original stand, box or paperwork.
Fair Vintage is an independent vintage and collectables buyer and is not affiliated with, authorised by or endorsed by the Meissen manufactory or its current owners. The crossed-swords mark and other marks can help with identification, but they are widely copied and can be misleading; a physical inspection may be required before a final valuation or offer.
Clear photographs let us give a preliminary view before anything is posted. Please send:
Photographs help with identification and condition, but they do not prove authenticity on their own — and with a mark as widely copied as the crossed swords, a physical inspection is often needed. There is no need to clean the piece for a photograph.
Call us on 01234 815116 or email support@fairvintage.co.uk.
Get your free label →No. The crossed-swords mark is strongly associated with Meissen, but it is also one of the most copied and imitated marks in porcelain, used by other makers and by later decorators over a long period. A crossed-swords mark on its own does not establish that a piece is genuine Meissen, nor its age. We look at the whole piece — the quality of the paste, the modelling and the painting — and a physical inspection may be needed before a final valuation or offer.
We buy across Meissen's output — figures and figural groups, tablewares and dinner services, and decorative pieces such as vases and flower-encrusted wares. Finely modelled early figures and well-painted pieces are of particular interest, but tablewares and later pieces are all considered. If you are unsure what you have, email a photograph and we will look at it before you send anything.
Age and quality come from the piece itself far more than from the mark. The whiteness and translucency of the paste, the crispness of the modelling, the quality and palette of the painting, and the style of the subject all help place a piece and its maker. Marks, incised numbers and painters' marks add information but can be copied or misleading, so we assess everything together and may need to see the piece in person.
Yes. Meissen figures in particular are prone to losses — fingers, flowers and other fine details are easily broken — and restoration is common. Chips, hairline cracks, firing faults, restoration and rubbed gilding are all noted honestly and reflected in the offer rather than ruling a piece out. It helps to tell us about any damage or repair up front so the valuation is accurate.
Only very gently. Do not scrub, soak or use harsh cleaners on Meissen before valuation — fine flower-encrusted and figural pieces are fragile, and old restoration can be disturbed by water or heat. A light dust with a soft dry brush is enough, and it is often safest to do nothing. Send the piece as it is, with any stand, box or paperwork you still have.
Paste, modelling and painting assessed, marks read in context, condition noted on camera. Written offer per piece. Opened and documented. Paid within 72 hours.