Pottery has long been one of the top ten collectibles with antique lovers worldwide. The more popular an item, the more prone it is to reproduction, forcing collectors to deal with a never-ending plague of copy cats in the marketplace.
When first imported in the early 1990s, the quality of much of the mass-produced fakes was so poor that you have to be a complete novice to the field to be fooled. Over the years the Asian countries have become much more skilled in this area of reproduction, sometimes catching even those with a trained eye off guard.
In the world of pseudo-antiquity, three different categories have emerged: cheap imitations, clever fakes, and sound reproductions. By definition an imitation is “a newer item that resembles it’s vintage predecessor, but has been made with lesser grade material and low quality craftsmanship.” A fake is “an item that looks similar to an authentic piece and has similar markings, but was deliberately aged or made to deceive.” A reproduction is “an item that will look similar to an original piece, but it will have the new manufacturer’s mark and was not intended to deceive.”
The first key to wise collecting in any field is in the acquisition of knowledge. The more familiar you are with the patterns, marks and glazes from any pottery company, the easier it will be for you to avoid deception. Reference and pricing guides are available on all major brands of pottery. Descriptions alone can be confusing, so select those books with as many color pictures as possible. In addition to the general listing of years of production and patterns and molds, make certain that the book you choose has detailed section on the maker’s marks through the years. Books can be costly so check out the Internet for sites that may provide you with the information you need.
Look for quality of craftsmanship. My first experience in fake and imitation pottery came several years ago when I attended a sale that was advertised as a collection or Roseville Art Pottery. Viewing the display of what was represented as pieces of the popular embossed matte finish florals from the late 1938-1944, I was instantly aware that something wasn’t right. Roseville went out of business in 1954, yet everything looked brand new. “New” Roseville is not made from the original molds. The handles are thicker and the details are not refined. The glaze is flat, the colors are significantly different from the originals and the inside of the pieces is commonly white.
Reproductions and fakes are not always the same size as the originals — put a tape measure in your pocket before you go shopping. When molds are copied they diminish in size with each step of the process. A good example is the popular Red Riding Hood cookie jar that was 8 1/2” tall, while the repro is an inch shorter. While the overall size will be smaller, the best way to measure is from top to bottom.
Don’t be fooled by pricing. It would stand to reason that reproductions and fakes would have a lower price than authentic pieces. Whether through lack of knowledge of blatant misrepresentation, many a fake has been sold at the price of an original piece.
I do not recommend buying pottery online unless you know the person you are dealing with. Much of the detection of a fake or imitation can be determined by the feel of the finish and the weight of the piece, so whenever possible by in a hands-on setting. Until next time . . . Linda
Linda Kennett is a professional liquidation consultant specializing in down-sizing for seniors and the liquidation of estates and may be reached at 317-258-7835 or lkennett70@gmail.com
This column first appeared in February 2012.