| Reproduction.In most mid-century American
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| | designs or painting, there is no artistic
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| collectible pottery circles, the word
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| | skill needed to turn out a duplicate.
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| reproduction draws immediate, passionate
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| | Scratch the original manufacturer logo on
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| responses, usually negative. A quick read
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| | the underside before you fire it, and you
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| of posts on the larger cookie jar
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| | have a counterfeit.You see the results of
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| collector forums will reveal a loathing
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| | this ease all over the auction website
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| of ceramic reproductions that has no
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| | eBay, where hundreds of counterfeits of
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| parallel in any other area of
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| | simple pottery designs can be found every
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| art.However, most of those who express
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| | day. The easier the piece is to
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| the strongest feelings about reproduction
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| | duplicate, the more numerous the
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| pottery are using the word "reproduction"
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| | counterfeits. One prominent counterfeiter
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| when they really mean, "counterfeit". A
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| | is known to say that his favorite piece
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| counterfeit is a reproduction
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| | to make is the McCoy "Mammy" cookie jar
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| deliberately mismarked for the sole
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| | because it is so "easy" to paint. A quick
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| purpose of confusing the prospective
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| | scan of eBay will show his statement to
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| buyer into believing it was made by the
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| | be true. On most days, there are more
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| original company.Properly, permanently
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| | "fake" McCoy Mammy cookie jars for sale
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| marked, reproductions pose no threat to
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| | than genuine ones.The main counterfeiters
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| collectible ceramics. They can never be
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| | in the collectible mid-century pottery
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| confused with the original items, even if
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| | world are well known. None of them are
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| they are passed from consumer to
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| | actually artists, and they have
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| consumer. Counterfeits are, rightly so,
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| | concentrated on counterfeiting
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| the scourge of any collectible
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| | mass-produced simple designs because of
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| circle.Reproductions have always
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| | their lack of mold making and artistic
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| coexisted with art and collectibles. Any
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| | skill. You see very little counterfeit
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| desirable painting, sculpture, piece or
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| | Roseville Pottery, for example, since the
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| style of furniture, doll, textile,
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| | original glazing techniques and color
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| mosaic, piece of jewelry, ancient
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| | application processes are simply outside
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| treasure, or ceramic piece that is
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| | the skill level of the current
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| outside of current copyright protection
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| | counterfeiters.Simplicity is why McCoy
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| is a candidate for reproduction, if for
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| | Pottery and the Hull Red Riding Hood line
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| no other reason than to satisfy the
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| | have drawn the attentions of the
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| market demand for items that are one of a
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| | counterfeiters to an extreme. As they
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| kind or outside the budget of the
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| | branch out for new material, they have
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| masses.Most collector groups have to
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| | recently turned their attention to Watt
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| wrestle with education about discerning
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| | Pottery, which produced simple bowls and
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| original from reproduction, especially
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| | pitchers with relatively easy to
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| vintage reproductions of their art form.
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| | reproduce folk art style motifs.Even if
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| In furniture, for example, reproductions
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| | the current counterfeiters were stopped,
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| of many period styles are now as
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| | there will always be someone else with a
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| collectible as the originals they copied.
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| | bag of plaster to take their place. Early
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| Serious collectors of period originals
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| | to Mid-century American pottery has only
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| have to be very educated about discerning
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| | become really collectible in the last
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| examples from the era they specialize in
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| | 15-20 years or so, but as it gets more
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| from later made reproductions. Thousands
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| | valuable and desirable, the skill level
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| of dollars are often at stake, so very
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| | of the counterfeiters will surely rise.
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| few people take up collecting antique
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| | As the potential for profit rises,
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| furniture, jewelry, or paintings
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| | counterfeiting this type of pottery will
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| casually.Mid-era collectible ceramics
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| | attract those with more experience to
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| present unique challenges for collectors.
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| | offer the task. Ironically, this will
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| The originals were often mass-produced
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| | probably be a good thing for the genre,
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| under low-tech conditions with
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| | as collectors will be much more careful
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| inexpensive materials. They were often
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| | about their purchases if there is
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| colored with simple designs or solid
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| | considerably more money at stake for each
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| finishes, ideal for quick, easy
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| | piece.For now, it is incumbent on the
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| turnaround in a factory. While there were
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| | potential collector to take on collecting
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| smaller pottery companies, like the Helen
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| | mid-century pottery products with a
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| Hutula Company of the 1940's, whose
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| | margin of wariness and commitment to
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| complex cookie jars have never been
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| | research and education. While that may
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| reproduced, there were also large
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| | not seem "fair", it is reality.
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| manufacturers, like the McCoy Pottery
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| | Collecting ceramics from any manufacturer
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| Company, who have drawn more than their
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| | whose originals were inexpensive,
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| share of interest in duplicating their
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| | mass-produced, simple designs must
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| ceramic products.The designers at McCoy
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| | necessarily be considered "High Risk" for
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| Pottery turned out hundreds of simple,
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| | fraud.StoryBook Ceramics creates
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| utilitarian, designs that required very
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| | reproductions, not counterfeits. Our
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| little artistic talent to produce. For a
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| | reproductions are properly marked,
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| factory setting, this was desirable,
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| | permanently, to forever designate them as
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| since it allowed for the easy, uniform
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| | StoryBook Ceramics products. We have
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| creation of the pottery without requiring
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| | reproduced many of the expensive, complex
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| teams of specialized artists that could
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| | examples of mid-century pottery for the
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| be costly to train and maintain.From the
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| | first time, making them available to
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| vantage point of a counterfeiter,
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| | budget minded collectors. Our items are
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| however, the simplicity of the original
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| | specifically designed to pose no threat
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| products is their weakness.Anyone with a
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| | to any collector.We take the
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| cheap kiln, a bucket of slip and a bag of
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| | responsibility of creating reproductions
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| plaster has the potential to create a
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| | seriously, and we take educating people
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| "knock-off". The process of creating a
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| | about the dangers of counterfeits
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| plaster mold from an original piece of
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| | seriously too. Understanding how
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| pottery isn't terribly complex. There are
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| | counterfeiters think, and what products
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| better and worse ways to go about it, and
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| | and manufacturers they target is one of
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| the complexity of the piece is a huge
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| | the best ways to avoid being victimized
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| factor in the success rate, but for a
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| | by them. It is our hope to rehabilitate
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| simple item, like a bowl, vase or simple
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| | the notion of a legitimate ceramic
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| planter, even a first timer has a
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| | reproduction, while simultaneously
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| reasonably good chance of making a
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| | educating collectors about the inside
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| workable mold with minimal effort.Once a
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| | workings of those who produce
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| mold is made, the rest is simply process.
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| | counterfeits.Remember, "repro" is not a
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| Unless the original piece had complex
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| | four-letter word.... but "fake" is.
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