Documentation
How to Write a Condition Report for an Ancient Object
A condition report records exactly what an object looks like on a given day: its losses, repairs, surface and stability. Museums write one whenever an object moves or changes hands. Collectors who do the same gain a sharper eye, a better file and early warning of problems.
Quick answer
- A condition report describes physical state only. It is not an appraisal and it is not an authentication.
- Use a fixed structure: identification, conditions of examination, overall summary, detailed observations by area, a damage map and photographs.
- Use standard, neutral terms (chip, loss, crack, abrasion, fill, overpaint) and say where each one is.
- Repeat the report periodically. Changes such as spreading salts or active corrosion are what you most need to catch.
Why collectors should write condition reports
When you buy an ancient object, you inherit its history of damage, burial, repair and handling. A condition report captures that history in a form others can check. It helps you in several practical ways:
- At purchase, it lets you compare what you received with what the listing or catalogue described.
- Over time, it gives you a baseline, so you can tell whether a crack has grown or a powdery deposit is new.
- For insurance, loans or resale, it shows that the object has been cared for and honestly described.
- For research, it forces you to look closely, which is where most identification insights come from.
A condition report sits beside, not inside, the provenance file. Our guide on documenting provenance covers the ownership side, and organising an inherited artifact research file shows how the pieces fit together.
A simple structure you can reuse
Museum registrars use many formats, but most contain the same sections. A one- or two-page template is enough for a private collection.
| Section | What to include |
|---|---|
| Identification | Your inventory number, short object description, material, dimensions and weight |
| Examination details | Date, who examined it, lighting used, magnification, whether UV light was used |
| Overall summary | Two or three sentences on general state and stability |
| Detailed observations | Area by area: front, back, base, rim, handles, interior, edges |
| Repairs and interventions | Joins, fills, overpaint, replaced parts, coatings, mounts |
| Stability concerns | Anything that looks active or progressive, flagged clearly |
| Damage map and photographs | Annotated sketch or photo, plus a standard photo set |
| Handling notes | Weak points, safe places to support the object, what not to touch |
Keep the overall summary descriptive rather than graded. Phrases such as "intact, with surface wear and a stable rim chip" are more useful than a one-word rating, because the next reader can verify them.
The vocabulary: say exactly what you see
Consistent terms make reports comparable over time and readable by others. These are widely used in museum and conservation practice:
| Term | Meaning |
|---|---|
| Chip | A small piece missing from an edge or surface |
| Loss | A missing area, larger than a chip; note size and location |
| Crack / hairline | A break that has not separated; hairlines are very fine cracks |
| Break / join | Fully separated pieces; a join is where they have been reattached |
| Abrasion | Surface worn away by rubbing |
| Accretion / encrustation | Material deposited on the surface, such as burial soil or mineral crust |
| Corrosion | Chemical alteration of metal; describe colour, texture and whether it seems stable |
| Flaking / spalling | Surface layers lifting or detaching |
| Efflorescence | Salt crystals on the surface, common on ceramics and stone from salty burial environments |
| Fill | Modern material filling a loss |
| Overpaint / inpainting | Modern paint over original surface or used to disguise repairs |
| Consolidation / coating | Adhesives or varnish applied to strengthen or protect the surface |
Always pair a term with a location and size: "chip, 4 mm, at rim above left handle" rather than "minor chip". If you are unsure whether something is a repair, say "possible fill" and describe what makes you think so. For help spotting repairs on ceramics, read how to spot repairs, overpaint and pastiches.
How to examine the object
- Prepare the space. A padded, clutter-free table, clean dry hands or nitrile gloves, and the object never lifted by a handle, rim or projecting part.
- Look in good diffuse light first. Get an overall impression before you zoom in.
- Use raking light. A light held low to the surface shows cracks, tool marks, flaking and fills that vanish in flat light.
- Magnify systematically. Work around the object with a 10x loupe, area by area, in the same order every time.
- Consider UV examination. Under longwave ultraviolet light some modern fills, adhesives and paints fluoresce differently from original surfaces. Results are suggestive, not conclusive, and you should protect your eyes and skin.
- Record as you go. Write and mark the map during the examination, not from memory afterward.
Examine, do not treat. A condition report is observation only. Do not scrape, test-clean or probe a surface to see what is underneath. If something looks unstable, stop and consult a conservator.
Damage maps and photographs
A damage map is a simple outline of the object, front and back, with each observation marked and numbered. You do not need artistic skill; a traced outline from a photograph works well. Many people now annotate a printed or digital photograph directly.
- Mark each feature with a number that matches the written observation
- Use a small key: for example hatching for losses, a zigzag line for cracks, dotted outlines for fills
- Include a scale bar or ruler in reference photographs
- Photograph every face plus close-ups of each significant feature
- Store dated originals and never overwrite earlier images
Our cataloguing photography checklist covers camera angles and lighting in more detail.
What to watch for by material
Ceramics and terracotta
Salt efflorescence, flaking slip, old joins, fills and overpaint, cracks radiating from handles.
Copper alloys
Powdery pale-green spots that appear or spread, lifting crust, previous aggressive cleaning.
Glass
Flaking weathering layers, crizzling, old adhesives and stress cracks.
Stone
Surface salts, sugaring or powdering, old dowels or joins, recut surfaces.
Any feature that looks active, such as new powder, spreading crystals or fresh flakes on the shelf, should be flagged at the top of the report. For copper alloys, read bronze disease and conservation basics.
What a good entry looks like
Vague notes are the most common weakness in private condition records. Compare these two ways of recording the same kinds of observation on a small terracotta vessel:
| Weak entry | Useful entry |
|---|---|
| "Some damage to rim." | "1. Rim: chip approx. 5 mm wide at the 12 o'clock position when viewed from the front. Edges worn and discoloured, suggesting an old loss." |
| "Repaired." | "2. Body: break line running diagonally from rim to shoulder on the left side, rejoined with adhesive. Slight step at the join. Fill along part of the line, smoother and paler than the surrounding surface." |
| "White stuff on base." | "3. Base: fine white crystalline deposit, possibly salt efflorescence, over approx. a third of the underside. Not noted at previous examination. Flag for monitoring." |
The useful entries give location, size, a neutral description, and the examiner's reasoning or uncertainty. Note also the habit of comparing with the previous report: change over time is the most important thing a condition record can reveal.
Finally, sign and date every report, and keep superseded versions rather than editing them. A sequence of dated reports is far more informative than a single document that has been silently updated.
Using condition reports when you buy
Reputable auction houses typically offer condition reports on request, and good dealers will answer condition questions in writing. Ask before you bid or buy, and keep the answers. When the object arrives, write your own report straight away and compare it with what you were told.
It is also worth studying how experienced sellers describe condition. Completed listings show which terms are used for restored and unrestored material, and how honest descriptions read.
Be wary of any seller who describes everything as "excellent condition" without detail, or who will not disclose restoration. A careful condition description is often a sign of a careful dealer. For more on evaluating sellers, see how to vet an antiquities dealer.
FAQ
Is a condition report the same as an appraisal?
No. A condition report only describes the physical state of an object. An appraisal estimates value for a purpose such as insurance, and authentication is a separate opinion about whether the object is what it is claimed to be.
How often should I update a condition report?
Write one when the object arrives, then review it periodically and whenever the object is moved, loaned or shows a change. Unstable materials such as salt-laden ceramics or corroding bronzes deserve closer monitoring.
Can UV light tell me if a piece is restored?
It can suggest where modern materials are, because some fills, adhesives and paints fluoresce differently from the original surface. It is not conclusive: some modern materials do not fluoresce and some original surfaces do. Use it as one tool among several.
Should I clean an object before writing the report?
No. Record it as received. Cleaning can remove evidence and cause damage, and any treatment should be decided with a conservator after documentation.
The takeaway
A good condition report is plain, specific and repeatable. Examine in good light and raking light, use standard terms with locations and sizes, map what you see, and photograph it. Then come back to it. The value of the report grows each time you compare it with the object, and it becomes one of the most useful documents a future owner or conservator can receive.