Determining the age and value of Rosenthal porcelain

Before buying: Information is key

The rule for anyone who wants to collect porcelain is: first get informed, then buy. The following are particularly helpful:

• Specialist literature on Rosenthal porcelain age determination and factory marks – e.g. the standard work by Röntgen on German porcelain marks.
• Libraries and online databases if printed works are out of print.
• Specialist magazines such as “Weltkunst” or “Antiquitätenzeitung,” which regularly report on trends and auctions and are read by dealers themselves.

Talking to reputable specialist dealers is also recommended. By talking to several dealers, you will quickly develop a feel for who can give realistic estimates of the value of porcelain. Tip: Ask specifically what you can expect for a fixed budget (e.g., 500 or 750 euros) – for example, when collecting Rosenthal figurines or collectible plates.

Buying at auctions: opportunities and risks

Auctions are an interesting way to acquire rare items, especially limited edition porcelain pieces, such as those from old Rosenthal series. But caution is advised here: anyone bidding at auctions should have experience.

Our recommendations:

• First, attend auctions without buying to familiarize yourself with the procedures, prices, and market behavior.
• Don't let yourself be carried away by professionals: dealers pull out at lightning speed when the price gets too high for them – leaving the non-specialist alone with the highest bid.
• Always set yourself a clear price limit – and view the item in person beforehand.
• Those in the know can buy more cheaply at auctions than in antique shops.

Determining age and value: what collectors should look out for

The exact age of porcelain, whether it is Rosenthal porcelain or from another manufacturer, is essential for a reliable valuation. Pay particular attention to:

• Factory marks: these provide information about the place and period of manufacture.
• Decorations and shapes: Many models were produced over decades, sometimes with widely varying decorations. Example: Rosenthal's old Sanssouci series differs significantly from later versions in terms of glaze and pattern.
• Reissues: It can be particularly important to know whether an item has been included in the “Classic Collection” in recent decades. Although such reissues are testament to an item's popularity, they are significantly less valuable than items from the older, original production.
• Whiteware (unglazed or unpainted porcelain): Only certain whiteware items, such as the Rosenthal figurines by Klimsch, Schliepstein, Steger, and Wenck, which were never painted, are particularly highly valued. For all other items, e.g., all Art Deco porcelain, whiteware is worth about 50% less than the decorated item.

A major advantage for collectors of Rosenthal porcelain: There are no known fakes by Rosenthal – this provides security when purchasing. Nevertheless, you should carefully check each piece for damage and restoration, as even the smallest defects can significantly reduce the value of Rosenthal porcelain. A good dealer will also be available to advise you after your purchase.

Document and insure collections correctly

As your collection grows, it is worth investing in professional documentation and insurance:

• Record all items with photos, dimensions, brand, series, and estimated value.
• Store the documentation digitally and physically (e.g., USB stick + folder).
• Home contents insurance usually only covers collections up to around €150,000. For larger collections, specialized art insurance is recommended.

Price factors: What influences the value of a porcelain dinner set?

Whether a dinner set or an individual piece is considered valuable depends on various factors. The following are particularly relevant:

Rarity of shape and decoration: Even widely used shapes can increase significantly in value due to a rare decoration or a limited color variation.

• Production quantity: The less a particular design or shape was produced, the higher the collector's interest is likely to be.
• Condition and completeness: Dinner sets are usually sold in units of six or twelve place settings. A set with only five cups or incomplete plates is worth significantly less than a complete porcelain set.

As a rough guide: For widely available post-war tableware sets with simple printed designs, the rule of thumb is half the price of new tableware or €15 to €50 per place setting (cup, saucer, plate) – regardless of whether accessories such as jugs or tureens are included.

Production figures and age determination of porcelain tableware

One of the biggest uncertainties when collecting porcelain tableware is the question of the original production quantity. This is rarely documented – the experience of seasoned collectors or reputable dealers is the best source of information here. Brand stamps and base marks can provide clues to age determination, especially if production periods can be clearly distinguished from one another. However, many designs were produced virtually unchanged for decades, such as some Rosenthal tableware and the associated designs. An older year of manufacture does not therefore automatically mean a higher value.

Collecting strategy: specialize instead of buying indiscriminately

If you are new to collecting, you should concentrate on a clearly defined theme, such as

• a particular style or period (e.g., 1920s, mid-century)
• a preferred decorative color or shape
• signed pieces by a particular designer or creator

Specializing makes it easier to assess quality, originality, and price trends. Classic series, Art Nouveau or Art Deco designs, and designer pieces from the 1960s and 70s are popular, even among well-known brands such as Rosenthal.

Tip: A good start for beginners can be to buy individual pieces, such as coffee pots, sugar bowls or plates, which are often cheaper and are often sold separately. This way, you can gradually build up entire sets or swap specific pieces with other collectors.

Rosenthal porcelain age determination – factory marks and design features

The stamps on Rosenthal porcelain are a decisive clue for determining the age of Rosenthal porcelain pieces. The factory marks in particular – the porcelain marks on the underside – have changed several times over the course of Rosenthal's 140-year company history and allow for rough dating.

Although the year of production and authenticity cannot always be clearly determined from the stamp by laypeople, the marks provide valuable guidance for collectors. Our overview of the Rosenthal mark chronology illustrates the continuous development of the logos and factory marks. Most Rosenthal porcelain bears the well-known crown stamp with crossed rods, while the earliest pieces (1887–1891) still featured a painter's palette with the initials “Ph.R.&Co.” as a mark. The most important factory marks of Rosenthal porcelain are presented and explained chronologically below to assist in determining age and classification.

1887–1891: First Rosenthal mark from the founding period

Rosenthal's earliest porcelain mark (1887–1891) showed a painter's palette with brushes and the initials “Ph.R.&Co.” for Philipp Rosenthal & Co. This trademark dates back to the founding period, when Philipp Rosenthal set up an art and painting studio in Erkersreuth Castle in Selb. The palette as a symbol reflected the craftsmanship of the art. Pieces from this period are rare and can be easily distinguished from later productions by this unique factory mark.

1891–1906: Crown and crossed rods – Rosenthal & Co.

From around 1891, Rosenthal introduced a trademark featuring crossed rods with a crown above them, flanked by the letters “R.&C.”. This porcelain mark stands for Rosenthal & Co and marks the phase of expansion following the establishment of the company's first production facilities. The crown above the crossed lines became a defining motif and symbolizes the royal quality of the products. This stamp – usually applied as a green underglaze mark – forms the origin of the Rosenthal logo that later became world-famous. Collectors can roughly date pieces with this crown stamp to around the turn of the century (late 19th century).

1907–1933: Script logo “Rosenthal” in curved lettering

From 1907, Rosenthal used a curved logo with the word “Rosenthal”, complemented by a crown and crossed rods as part of the design. This elegant trademark – often underlined by a long line – became established during the German Empire and the Weimar Republic. During this period, the Rosenthal range grew and the brand's international reputation flourished. The logo can be found, for example, on many Art Deco figurines and tableware sets from the 1910s and 1920s. Brands from this era often bear additions such as “Selb Bavaria,” which refers to the place of production in Bavaria.

1934–1956: Continuity and change in times of crisis

Between 1934 and 1956, the Rosenthal trademark remained true to its characteristic lettering with a crown. Despite political and economic upheavals (the Nazi regime took action against Philipp Rosenthal because of his Jewish ancestry), the factory mark changed only in minor details. In the 1930s and 1940s, stamps often appeared with the addition of “Germany” or “Selb” to comply with export regulations, but the crown lettering remained recognizable. Collectors should note that many pre-war designs continued to be produced in the 1950s, some with the stamp unchanged. Accurate dating of Rosenthal porcelain from this period therefore sometimes requires further information.

1957–1999: Slight modification of the Rosenthal factory mark

From 1957, the classic Rosenthal logo underwent a careful modernization. The familiar curved lettering with crown and crossed rods was retained, but was slightly simplified graphically and adapted to the spirit of the times. The introduction of the Rosenthal studio-line (1961) also falls within this period, but the classic Rosenthal lettering continued to appear as a base stamp on the traditional series. Porcelain from the 1960s to the 1990s often bears additional designations such as “Selb-Germany” or simply “Germany” under the logo, identifying it as West German production after World War II. Overall, the Rosenthal Porcelain stamp from this period characterizes a company that combines tradition and modernity – it remained in use until 1999.

Since 2000: Current Rosenthal factory mark and brand division

Since 2000, Rosenthal has been using its traditional trademark in an updated form. The Rosenthal factory mark still features the curved “Rosenthal” lettering with a crown, but now as a uniform logo for all porcelain lines. As part of the reorientation at the turn of the millennium, the brand structures were streamlined: Rosenthal divided its range into modern design lines and classic collections, but retained the central logo. The age of Rosenthal porcelain and tableware collections can therefore be easily determined by the Rosenthal factory mark. This contemporary logo, which retains the spirit of the old days, stands for the combination of traditional brand heritage and fresh design in the 21st century.

Rosenthal Studio-Line (from 1961): Change and zeitgeist

1961 - 1999

The Rosenthal studio-line was launched in 1961 and has its own trademark. The Rosenthal base stamp consists of the classic Rosenthal lettering with the word “studio-line” added below. This Rosenthal mark identifies the avant-garde design collections created in collaboration between renowned artists and designers and Rosenthal. Pieces with the Rosenthal studio-line base stamp can be clearly dated to after 1961 and appeal to a design-conscious audience. 

1999 - today

In 1999, the studio-line logo was slightly revised, but the basic structure – the Rosenthal lettering with the addition – remained unchanged. For collectors, a studio-line stamp means that it is an original design “of our time”, as Rosenthal calls it, and not a historical form.

Rosenthal tradition: Classic Rose Collection / Rosenthal Classic (1974–2002)

1974 - 1982

In the 1970s, Rosenthal introduced the Classic Rose Collection – a line reissuing popular classic designs and shapes. Porcelain from this line bears specific factory marks that differ from the regular logo: 

1983 - 1991

Earlier pieces, for example, feature the words “Classic Rose Collection” in a circle with a crown and two roses, later simplified to “Classic Rose” with a crown and crossed rose stems. 

1991 - 2002

In 1991, the line was renamed Rosenthal Classic, recognizable by the normal Rosenthal lettering with the addition of “classic” underneath. These Rosenthal factory marks were in use until 2002.

As part of the Rosenthal “Classic Rose” line (1974–1982), iconic classics such as the Rosenthal Maria collection, the famous Sansoussi tableware, and other shapes and designs were reissued.

Important for determining the age of Rosenthal porcelain: A Classic Rose or Classic stamp means that the piece dates from the second half of the 20th century, even if the design itself appears historical. Such marks indicate reproductions or continuations of traditional models, not the original pre-war pieces – which is also evident in the mostly newer porcelain and lower collector's value.

Rosenthal meets Versace – 1992 to today

1992 - 2007

In 1992, Rosenthal began a collaboration with the Italian fashion house Versace, which was also reflected in special factory marks. Since then, porcelain from the Rosenthal meets Versace line has carried a combined trademark that combines the Rosenthal lettering with the Versace logo (Medusa head).

2007 - today

From 1992 to 2007, a Versace trademark with Rosenthal's name was used, which was slightly updated in 2007. Collectors can use these Versace stamps to identify pieces that belong to the exclusive design collaboration. At the same time, the version of the logo can be used to narrow down the time period: older Versace pieces (1990s) bear the earlier logo, while newer ones from 2007 onwards feature the current logo. This underlines how Rosenthal porcelain marks not only help to classify the brand itself, but also special editions and designer collaborations.

Glasses and old series: diVino by Rosenthal – 1995 to today

The glass series diVino by Rosenthal, introduced in 1995, stands for elegant restraint and maximum functionality. With their clear, timeless aesthetics, the delicate glasses appeal to wine lovers, connoisseurs, and design-conscious hosts alike.

diVino is characterized by the combination of thin-walled, lightweight glass and everyday robustness: despite their delicate design, the glasses are dishwasher safe and suitable for daily use. The wide variety of glass shapes – from red and white wine glasses to sparkling wine and champagne glasses to water glasses – makes diVino the ideal addition to classic Rosenthal series as well as modern Rosenthal design collections.

Limited art series – Rosenthal as a pioneer of modern porcelain art

Rosenthal's journey into the fine arts began in the early 1960s. With the aim of elevating porcelain from pure utility to the realm of fine art, the company has created unique, limited art series that are still available today.

On the occasion of the 3rd documenta in 1964, Rosenthal presented wall reliefs and free porcelain objects for the first time, which had been created in close collaboration with internationally renowned artists. These works were not only design objects, but also serious contemporary art – a special artistic contribution that permanently enhanced the medium of porcelain.

This line has been consistently developed to this day: in addition to porcelain, limited edition objects made of glass, ceramics, and even furniture have been created – always with artistic integrity and in strictly limited editions. Numerous artist designs on classic Rosenthal shapes are also part of this creative legacy.

Over 100 artists – a global art project

Rosenthal has collaborated with more than 100 artists from all over the world on its limited-edition art series, including personalities such as Victor Vasarely, Otto Piene, and Salvador Dalí. Many of these works are signed, numbered, and have long been sought-after collectors' items with high value growth. An overview of these artistic positions can be found in the designer portraits at rosenthal.com.

Rosenthal Designer Lexicon

A special milestone in the art line is the special edition “Hommage | Philip Rosenthal” from 2003. This collection was created posthumously as a tribute by artist friends who designed new works especially for the occasion or dedicated existing works to the company visionary.

Philip Rosenthal recognized early on that porcelain could be more than just functional art. In collaboration with artist and documenta founder Arnold Bode, he worked to rehabilitate porcelain as an artistic medium, thereby providing not only designers but also sculptors with a platform to make their works accessible to a wider audience.

“Porcelain was no longer considered serious art. Philip Rosenthal changed that – and Arnold Bode (...) helped him and saw porcelain as an opportunity for sculptors to ‘assert their right to greater distribution’.”

Prof. Dr. Dieter Honisch, former director of the National Gallery, Berlin

The value of Rosenthal: price examples for collectors

To give you an idea of the market value of Rosenthal products, we have compiled some specific price examples from auction catalogs and dealer prices from recent years. Please note, however, that prices may vary depending on the source. You are more likely to find higher prices in the art and antiques trade.

Decorative figurines: What prices are achieved?

Rosenthal porcelain figurines by well-known designers sometimes fetch high prices. For example:

• Rosenthal's “Pearl Seeker” (model no. 446) by Himmelstoß – a nude figurine from 1913 – is valued at €1,000 to €1,500.
• The dancer “Bajadere” (No. 71, designed by Karl Förster, 1921) costs around €625. Such early Art Deco figurines are rare and highly sought after.
• Simpler animal figures are less expensive: Rosenthal animals generally sell for between €60 and €400, depending on size, rarity, and color (a small white porcelain duck costs around €60, while a large colorful peacock can fetch between €300 and €400).

Decorative objects and plates: Price examples

• A Rosenthal Christmas plate from 1911 (diameter ~20 cm, artist H. Vogeler) was listed at €350.
• A decorative lid vase (No. 542) from 1920 fetched around €750. In contrast, a simple piece, a small ornamental vase from 1927 with no special decoration, is only worth around €50. This shows how important decoration and the artist are.

Value of Rosenthal dinner services and coffee services

• There are rough guidelines for complete tableware sets. According to collector's literature, the rule of thumb for common porcelain tableware sets after 1945 with standard printed decorations is approximately half the original price of a comparable current tableware set. In figures, this often means approximately €15 to €50 per place setting (cup and saucer) for widely available decorations. Of course, prices vary depending on shape and demand.

The following rule of thumb can be applied with some caution to the tableware below: The original price or the last list price applies, but if possible, the price should be lower (it is best to ask a dealer):

Drop collection

• Form / model number: Form 1.282
• Manufacturer: Selb
• Designer: Luigi Colani
• Year: 1971
• Special features: Organic, dynamic form, considered a design classic

Lotus collection

• Shape / model number: Shape 800
• Manufacturer: Plößberg
• Designer: Bjørn Wiinblad / Tapio Wirkkala
• Year: 1964–1967
• Special features: Characteristic floral decoration, typical of the designers' signature style

Zaubersee collection

• Shape / model number: – (limited edition)
• Manufacturer: – (studio line)
• Designer: Limited art series with artistic relief decoration
• Year: From the 1990s
• Special features: Limited to 500 pieces, numbered with certificate of authenticity – coveted collector's item

Value: Rosenthal Berlin, Rosenthal Variation, Rosenthal Zweitausend

Rosenthal Berlin

• Shape / model number: Shape 3.000
• Work: Kronach
• Designer: Raymond Loewy / Richard Baumann
• Year: 1959

Rosenthal Variation

• Shape / model number: Shape 2.500
• Work: Selb
• Designer: Tapio Wirkkala
• Year: 1962

Rosenthal Zweitausend

• Shape / model number: Shape 2.000
• Manufacturer: Selb
• Designer: Raymond Loewy / Fritz Latham
• Year: 1954

Prices for these porcelain services in tableware shops or at auctions for plain, colored, and printed designs in recent years:

• Coffee service: €75.00–€500.00
• Dinner service: €100.00–€750.00
• Per place setting (coffee/dinner): €10.00–€100.00

Donatello alt and Tirana/Li: price ranges

Donatello alt

• Form / model number: 250
• Manufacturer: Selb
• Designer: Reinstein / Philipp Rosenthal
• Year: 1905

Tirana / Li

• Shape / model number: 520
• Manufacturer: Selb
• Designer: Fleischmann
• Year: 1927

In recent years, the prices in tableware shops and at auctions for this Rosenthal porcelain service have ranged as follows:

• Coffee service: €300.00–€5,000.00
• Dinner service: €400.00–€7,500.00
• Per place setting (coffee/dinner): €50.00–€250.00

Literature recommendations from Rosenthal

• Bornträger, Wolfgang: "Die aufwendige Artistik der feinen Lebensart" in "Unternehmenskultur. Der Weg zum Markterfolg", Frankfurt/Main, 1990
• Cameron, Elisabeth, „Encyclopedia of Pottery and Porcelain - The Nineteenth and Twentieth Centuries", London 1986
• Dolz, Renate, „Porzellan – Von den Anfängen der Porzellankunst bis zum 20. Jahrhundert", 17. Auflage, München 1991
• Friedl, Hans, „Warum? Weshalb? Wieso? 100 Fragen aus dem Gebiet der Keramik", 16. Auflage, Marktredwitz 1994
• Friedl, Hans, „Warum? Weshalb? Wieso? 100 Fragen über Glas (Wirtschaftsglas)", 7. Auflage, Marktredwitz 1989
• Fritz, Bernd, „Die Porzellangeschirre des Rosenthal-Konzerns - 1891-1979", Stuttgart 1989
• Fritz, Bernd, „Design-Klassiker: Das Teeservice TAC1 von Walter Gropius", Frankfurt 1998
• Hauschild, Joachim, „Philip Rosenthal", Berlin 1999
• Honisch, Dieter, Hermann Schreiber und Ferdinand Simoneit, „Die Rosenthal Story", Düsseldorf /Wien 1980
• Kerr, Ann, „Rosenthal - Excellence for All Times, Dinnerware, Accessories, Cutlery, Glass", Atglen 1998
• Kestner Museum Hannover (Hg), „Rosenthal, Hundert Jahre Porzellan", Ausstellungskatalog, Stuttgart 1982
• Morley-Fletcher, Hugo, „Techniques of the World’s Great Masters of Pottery and Ceramics", Oxford, 1984
• Museum Morsbroich Leverkusen (Hg), „Kunst - Form - Design Beispiele von Rosenthal", Ausstellungskatalog, Leverkusen 1989
• Niecol, Emmy, „Rosenthal Kunst- und Zierporzellan 1897-1945" in 5 Bänden, Wolnzach 2002-2004
• Opie, Jennifer (Hg), „Scandinavia Ceramics and Glass in the Twentieth Century", New York 1989
• Quilitzsch, Uwe, "Wedgwood – Klassizistische Keramik in den Gärten der Aufklärung", Hamburg 1997
• Rosenthal, Philip, „Das Markenbild von heute ist der Umsatz von morgen", Selb, 1957
• Rosenthal, Philip, „Einmal Legionär", Hamburg, 1980
• Rosenthal, Philip, „Philip Rosenthals Witze & Gedankenblitze - mit 12 Überlegungen", Stuttgart, 1998
• Siemen, Wilhelm (Hg), Beate Hüser, Karl Hüser, Maria Schweizer und Wilhelm Siemen, „So fing es an, so ging es weiter, Deutsches Porzellan und Deutsche Porzellanfabriken 1945-1960", Schriften und Kataloge des Deutschen Porzellanmuseum (DPM), Band 11, Hohenberg / Eger 1988
• Siemen, Wilhelm (Hg), „175 Jahre Hutschenreuther, Ein Beitrag zum Firmenjubiläum 1814-1989",, Deutsches Porzellanmuseum, Hohenberg/Eger 1989
• Siemen, Wilhelm (Hg), Cornelis Aldewereld und Wilhelm Siemen, „Dino in China - Form, Vision und Tischlandschaft", Schriften und Kataloge des Deutschen Porzellanmuseum (DPM), Band 36, Hohenberg/Eger 1994
• Siemen, Wilhelm (Hg), Klaus Elben, Petra Werner und Sabine Zehentmeier, „Die Rosenthal Studio-Linie Form Suomi, Varianten & Variationen eines Erfolgs, die Privatsammlung Klaus Elben", Schriften und Kataloge des Deutschen Porzellanmuseum (DPM), Band 61, Hohenberg/Eger 2000
• Siemen, Wilhelm (Hg), „New Routes -> New Destinations, Design Project of Rosenthal AG and the Royal College of Art", Schriften und Kataloge des Deutschen Porzellanmuseum (DPM), Band 63, Hohenberg/Eger 2000
• Siemen, Wilhelm (Hg), „Rosenthal and Versace - Haute Couture Dining", Schriften und Kataloge des Deutschen Porzellanmuseum (DPM) and Partners, Band 85, Hohenberg/Eger 2004
• Staatliche Kunstsammlungen Dresden (Hg), Klaus Peter Arnold, Wolfgang Hennig, Annette Loesch u.a., „Rosenthal Porzellan, Vom Jugendstil zur Studiolinie", Ausstellungskatalog, Dresden 1991
• Struss, Dieter, „Rosenthal Service, Figuren, Zier- und Kunstobjekte", Augsburg 1995
• Werner, Petra (Hg), „Deutsches Porzellan zwischen Inflation und Depression - Die Zeit des Art deco", Schriften und Kataloge des Deutschen Porzellanmuseum (DPM), Band 30, Hohenberg / Eger 1992