This topic might be amusing were it not so disheartening.
This pair of lions currently listed on LiveAuctioneers is described as a “rare set of Ralph Wood Staffordshire Medic Lions.” The catalogue entry praises Ralph Wood’s artistry and the vibrant colours, noting that one lion is in lavender-pink and the other in cobalt blue—“a rare palette for Ralph Wood pieces, hinting at a special commission”—and further claims that the modeling displays “Wood’s signature traits."
The opening bid is $3,200.
The problem is that these lions are not Ralph Wood creations at all. They are late nineteenth-century majolica figures made by George Skey of Tamworth. A brief internet search reveals numerous examples of the same model, some impressed “GEORGE SKEY, WILNECOTE WORKS, TAMWORTH.”
Admittedly, Skey’s lions were modeled in a form broadly reminiscent of Ralph Wood’s earlier creations, but that is where the resemblance ends. The two wares differ entirely in decoration, and character. It is difficult to imagine a greater contrast than that between Ralph Wood’s delicately glazed eighteenth-century lions and these brightly colored Victorian majolica examples gooped with gaudy glaze.
This pair of lions currently listed on LiveAuctioneers is described as a “rare set of Ralph Wood Staffordshire Medic Lions.” The catalogue entry praises Ralph Wood’s artistry and the vibrant colours, noting that one lion is in lavender-pink and the other in cobalt blue—“a rare palette for Ralph Wood pieces, hinting at a special commission”—and further claims that the modeling displays “Wood’s signature traits."
The opening bid is $3,200.
The problem is that these lions are not Ralph Wood creations at all. They are late nineteenth-century majolica figures made by George Skey of Tamworth. A brief internet search reveals numerous examples of the same model, some impressed “GEORGE SKEY, WILNECOTE WORKS, TAMWORTH.”
Admittedly, Skey’s lions were modeled in a form broadly reminiscent of Ralph Wood’s earlier creations, but that is where the resemblance ends. The two wares differ entirely in decoration, and character. It is difficult to imagine a greater contrast than that between Ralph Wood’s delicately glazed eighteenth-century lions and these brightly colored Victorian majolica examples gooped with gaudy glaze.
Pair of Staffordshire lions attributed to Ralph Wood, circa 1790. Courtesy of Chairish.
What is particularly troubling is that an unsuspecting bidder may pay several thousand dollars for a pair of relatively late figures under the mistaken belief that they are rare Ralph Wood masterpieces.
The auction house is aware that the attribution is incorrect because I provided supporting information. Their response was that they rely on details supplied by the consignor and would pass my observations along. Whether the consignor chooses to correct the record remains to be seen.
For years, I have cautioned collectors about the hazards of buying at auction. Even experienced collectors can make costly mistakes, but recently I have watched new collectors experience one pitfall after another. Heavily restored figures, commonplace subjects, and even outright reproductions have been driven to astonishing prices amid the competitive excitement of bidding.
Many newcomers simply lack the knowledge needed to distinguish the rare from the common, the authentic from the reproduction, or the desirable from the merely decorative. It is discouraging to see the scholarship and expertise accumulated over the past century so readily ignored.
The sums squandered on mediocre or misrepresented pieces could often have purchased one or more truly fine examples of Staffordshire pottery. Sadly, none of these buyers will read this post because informed buying is just not their thing.
The auction house is aware that the attribution is incorrect because I provided supporting information. Their response was that they rely on details supplied by the consignor and would pass my observations along. Whether the consignor chooses to correct the record remains to be seen.
For years, I have cautioned collectors about the hazards of buying at auction. Even experienced collectors can make costly mistakes, but recently I have watched new collectors experience one pitfall after another. Heavily restored figures, commonplace subjects, and even outright reproductions have been driven to astonishing prices amid the competitive excitement of bidding.
Many newcomers simply lack the knowledge needed to distinguish the rare from the common, the authentic from the reproduction, or the desirable from the merely decorative. It is discouraging to see the scholarship and expertise accumulated over the past century so readily ignored.
The sums squandered on mediocre or misrepresented pieces could often have purchased one or more truly fine examples of Staffordshire pottery. Sadly, none of these buyers will read this post because informed buying is just not their thing.
