Most Roseville pottery sells for about $40-250 a piece. The company was founded in Roseville, Ohio, in 1890, moved to Zanesville in 1898 and made pottery until 1954, and the floral lines of the 1940s and early 1950s, such as Magnolia, Snowberry, Zephyr Lily, Freesia, Clematis and Bushberry, were made in large numbers and sit in that range. The money is in a smaller group: the Depression-era lines like Futura, Sunflower, Blackberry, Baneda, Jonquil and Ferella, the better colors of Pine Cone, and the early hand-decorated wares like Della Robbia and Rozane. Those bring about $300-3,000 for typical pieces, and the best Della Robbia and Futura forms have sold for well over $10,000.
Two things move the price inside every pattern more than anything else: the color and the condition. A blue Pine Cone vase can bring two to three times the same shape in green, and a chip or a hairline crack on any piece cuts the value by half or more. Reproductions are the third thing, because Chinese copies of the most valuable patterns have been sold since the 1990s, and they are good enough to fool a casual buyer.
Quick answer
- Common 1940s and 1950s Roseville: about $40-250. Pine Cone, Futura, Sunflower, Blackberry and similar 1930s lines: about $300-3,000. Early Della Robbia: $3,000 and up.
- A raised "Roseville U.S.A." mark with a shape number and height in inches is normal from about 1937 on. A raised mark on Sunflower, Blackberry or Futura is a warning sign: those lines originally carried only paper labels.
- Color and condition set the price within a pattern. Chips, hairlines and restoration cut value by 50 percent or more.
- Reproductions have muddy glazes, soft mold detail and heavy walls. Compare against a known original.
How to identify and value Roseville, step by step
- Turn it over and read the mark. The common mark from about 1937 to 1954 is a raised, molded "Roseville" in script with "U.S.A." beneath and a shape number and size, for example "Roseville U.S.A. 108-8". The number after the dash is the height in inches. Earlier pieces may carry an impressed "Rv" mark, a Rozane wafer seal, an ink stamp, or nothing at all. Our guide on how to read pottery marks covers the general method.
- Check whether the mark makes sense for the pattern. From about 1927 to 1935 Roseville marked most pieces with paper labels, usually silver or black foil, rather than molded marks. Futura, Sunflower, Blackberry, Baneda, Jonquil, Cherry Blossom, Falline and Ferella were sold that way. Most authentic examples are unmarked today because the labels fell off. A crisp raised script mark on one of those patterns is the classic sign of a reproduction.
- Name the pattern. Roseville patterns are identified by the molded flower or design and the colorway. Pine Cone shows a branch with cones and needles, often with a twig handle. Sunflower shows yellow flowers on a green and brown ground. Futura is angular and Art Deco, often in stepped or geometric shapes. Magnolia, Freesia and Snowberry are later floral lines. A standard collector reference, or a photo search with the shape number, settles most cases.
- Name the color. Most patterns came in two to four colorways. Pine Cone came in blue, brown and green, with blue the most sought. Later lines such as Freesia, Magnolia and Zephyr Lily came in blue, green and a tan or brown, and collectors usually pay most for blue. The color name matters in any sold search.
- Measure it. Height drives price within a pattern. A 14 or 15 inch floor vase is worth several times a 6 inch bud vase in the same line. Check that your measurement matches the size number in the mark.
- Check condition with your fingers and a light. Run a fingertip around the rim, the handles and the base. Look for chips, glaze flakes, hairline cracks running down from the rim, and crazing. Hold a strong light inside a vase to show hairlines. Repairs and overspray show under a blacklight as dull or bright patches that do not match the glaze.
- Search sold results for pattern, shape number, size and color. Asking prices for Roseville are often far above what sells. Filter to sold or completed listings and to auction results, and match the condition.
What Roseville patterns sell for
These are typical sold prices for undamaged pieces of average size, about 6 to 10 inches, as of late 2026. Large floor vases, jardinieres with pedestals and unusual forms bring more. Small bowls and candleholders bring less.
| Pattern or line | Years, roughly | Typical sold price, undamaged |
|---|---|---|
| Della Robbia, carved and hand-decorated | About 1906 to 1910 | $3,000-20,000+ |
| Rozane Royal, Rozane Egypto, early Rozane | About 1900 to 1906 | $100-800 |
| Futura | 1928 | $300-3,000+ |
| Sunflower | About 1930 | $300-1,500 |
| Blackberry | About 1932 | $300-1,200 |
| Baneda, Jonquil, Ferella, Falline, Cherry Blossom | About 1928 to 1933 | $250-1,500 |
| Pine Cone, blue | From 1935 | Roughly $100-800, more for large forms; sales vary widely |
| Pine Cone, brown or green | From 1935 | $60-400 |
| Windsor, Wisteria, Morning Glory, Laurel | Early to mid 1930s | $200-900 |
| Iris, Clematis, Columbine, Water Lily, Fuchsia | Late 1930s to 1940s | $60-300 |
| Magnolia, Snowberry, Zephyr Lily, Freesia, Bushberry | Late 1930s to 1950s | $40-250 |
| Apple Blossom, Gardenia, Peony, Mock Orange, Foxglove | 1940s to 1950s | $40-200 |
| Ming Tree, Wincraft, Raymor, late lines | Early 1950s | $20-150 |
| Utility ware, florist pieces, unmarked plain bowls | Various | $10-60 |
The shape of this table is the honest part: the 1940s floral patterns account for most of what turns up at estate sales, and they are collected and sell steadily, but in the tens and low hundreds of dollars. The patterns that bring real money are the Depression-era lines, which were made in smaller numbers when few people could afford art pottery.
How condition, color and repros change the price
| Factor | Effect on value |
|---|---|
| Undamaged, clean glaze, no crazing to speak of | The baseline for the table above |
| Small glaze flake or tiny base chip | About 20-40 percent off |
| Chip on the rim or a handle | About 40-60 percent off |
| Hairline crack | About 50-70 percent off |
| Professional restoration, disclosed | About 50-70 percent of an undamaged piece |
| Undisclosed restoration found later | A dispute and a return; always check under blacklight |
| Best color in the pattern (blue Pine Cone, for example) | Often two to three times the common color |
| Original foil or paper label present on a 1930s piece | Small premium; collectors like the evidence |
| Large size, 12 inches and up | Often two to five times a 6 to 8 inch piece |
| Reproduction | Decorative value only, about $15-50 |
How to spot a Roseville reproduction
Reproductions of Roseville started showing up in large numbers in the late 1990s, and they still circulate at flea markets, antique malls and online. They copy the patterns that bring money: Pine Cone, Sunflower, Blackberry, Futura, Magnolia, Della Robbia and others.
The signs that settle most cases:
- A raised mark on a paper-label pattern. Original Sunflower, Blackberry and Futura were not marked in the mold. A reproduction often carries a raised "Roseville U.S.A." mark, sometimes in a slightly wrong script.
- Soft, blurred molding. Originals were cast in crisp molds and the details, such as pine needles, berry clusters and flower petals, are sharp. Repros are cast from molds taken off old pieces, so each generation is softer.
- Muddy or overly bright glaze. Original Roseville colors blend smoothly, with careful hand-painted accents. Repro glazes look thick, opaque, drippy or garish, and the painted details often wander outside the molded design.
- Weight and walls. Most repros are heavier and thicker-walled than an original of the same size.
- The base. Look at how the foot is finished and how the glaze meets the bottom. Repro bases are often rough, gritty or carelessly glazed compared with a known original.
- Size and shape number disagree. A mark reading "-8" on a piece that measures 7 inches is a warning. Reproductions often shrink slightly because they are cast from originals.
If a blue Pine Cone or a Sunflower vase is priced at a third of the going rate, the most likely explanation is that it is a copy. Real ones do turn up cheaply at estate sales, but less often than the repros do.
Common mistakes
- Treating every raised Roseville mark as proof. The mark is the most copied part of the piece.
- Assuming an unmarked piece is not Roseville. Most 1930s pieces lost their labels and are unmarked. Identify by pattern, glaze and form.
- Confusing Roseville with Weller, McCoy, Hull or Peters and Reed. These Ohio potteries made similar wares. Weller in particular made matte green and floral lines that look close. The mark or the pattern settles it.
- Ignoring hairlines. A crack that only shows with a light inside the vase still halves the value.
- Pricing from asking prices. Roseville is heavily listed and slowly sold. Only completed sales tell you the market.
- Cleaning with abrasives. Scrubbing a matte glaze with a scouring pad leaves marks that show. Warm water and a soft cloth are enough.
How WorthPic looks at Roseville
WorthPic runs on the newest and most capable AI model available, tuned for exactly this kind of identification. For Roseville, the useful work is matching three things that have to agree: the pattern molded into the body, the mark or lack of one on the base, and the shape number and size. A Sunflower vase with a raised script mark fails that test, and WorthPic says so. A Freesia ewer with "Roseville U.S.A. 20-10" on the base and a 10 inch height passes it. From the side photos it reads the colorway, the sharpness of the molding and how the painted accents sit on the design, which are the details that separate original glaze from repro glaze. It gives an honest value range for the pattern, size and color, and it flags condition problems it can see, such as a chip on a handle. It says plainly when it cannot judge something, like a hairline that only shows with a light inside, and tells you which photo would show it. It identifies and estimates. It does not authenticate, appraise for insurance or vouch for a piece. For a valuable piece, an auction house specialist with the vase in hand is the right step.
What to photograph
- The base, straight on and in sharp focus, so the mark, shape number and any label remnants can be read. This is the photo that settles most reproduction questions.
- The whole piece from the front and the back in even daylight, so the true color shows.
- A close-up of the molded design, such as the cones, flowers or berries, to show how crisp the detail is.
- The rim and handles close up, where chips gather.
- A photo with a strong flashlight inside the vase, which shows hairline cracks.
- A tape measure beside the piece, for height.
When to get it looked at in person
Common 1940s and 1950s Roseville in good condition does not need an expert. Sold listings for the pattern, color and size give you a fair price. For anything in the higher tier, a Futura, Sunflower, Blackberry, blue Pine Cone or Della Robbia piece, or anything you think is worth over about $500, the right route is an auction house with an art pottery specialist, or an appraiser who handles American art pottery. Regional auction houses in Ohio and the Midwest see a lot of Roseville and know the market well. They will check for restoration under blacklight and tell you whether it is a reproduction. Collector clubs and shows for American art pottery are another good place to get a second opinion from people who handle the patterns every day.
Roseville often comes out of the same cupboards as other mid-century glass and ceramics. Our guides to depression glass, vintage Pyrex and old china dishes cover the rest of the shelf.